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Brand new music from Warpaint's jennylee (Jenny Lee Lindburg). Newtopia is the first release of a series of singles, culminating in full album to come on RSD 2022.

Feeling is at the core of jennylee’s music. Having spent the past decade defining the grove that allows Warpaint the luxury to drift between genres and eras, jennylee’s solo record proved more loose, open, and driven by the rhythm of the heart.

Critically acclaimed LA quartet Warpaint have been confounding expectation since the band’s inception in 2004. Releasing their third album ‘Heads Up’ to rave reviews in 2016, Warpaint remain on top of their game; cementing themselves as one of the bands of a generation.

Scuba begins a new project with London vocalist and producer DOMiNii, who makes his debut with ‘Diivorce’.

Paul Rose (aka Scuba) has long since explored cross-genre sounds, blending disparate elements and mining nostalgia to create cool moods and moments of pure escapism. Over four critically acclaimed albums and mix CDs for DJ Kicks, fabric, and Ostgut Ton, he’s established himself as one of the industry’s most respected artists and tastemakers. He’s continued to evade musical pigeonholing over the course of his career, never hesitating to challenge himself with new creative endeavours. The fresh sonic direction expressed on ‘Diivorce’ is one he’s been developing since 2018, when he took an indefinite break from the full-time DJ circuit.

‘Diivorce’ is a collaboration with debut artist DOMiNii, a vocalist and producer who takes influence from the likes of Wang Chung, David Newman, Arthur Russell, and The Blue Nile. Although he appeared uncredited with backing vocals on Scuba’s ‘Forgive Me’, which initially came out last summer, ‘Diivorce’ marks his first official release.

Covering areas as varied as power pop, indietronica, exuberant house, and classic rock, the project seemingly touches as many points as it can think of, something Rose acknowledged in a recent interview where he stated that “we made so many tracks, with no real set direction, so with this record I just wanted to pick a limited number that kind of showed where we’d been. We are working on something now that I’d call a ‘proper album’, which I think will come out in 2022, Diivorce is something I see as a documentation of a period of time.”

The project includes illustrations by French artist Virginie Kypriotis who tells the story of ‘Diivorce’ through the eyes of DOMiNii, detailing a world of abandonment and separation against a backdrop of a faded paradise. Rose was first acquainted with Kypriotis’ work through her iconic illustration ‘A Night at Berghain’, which was later used by the club as their official flyer artwork in December 2017.

The vinyl edition of ‘Diivorce’ includes previously unreleased (and vinyl-exclusive) track ‘Tricks’, and is packaged in a limited edition, numbered, screen-printed sleeve.

Multi Culti launch a new quarterly 12" series in step with the seasons beginning with SOLSTICE I:

Post-pandemic lockdown inspiration can be found in the great planetary balancing act that has taken place since a cataclysmic impact with an asteroid caused mass extinction and set our earth’s orbit off axis. This AXIAL TILT, or obliquity, is responsible for the seasons, and life as we know it has evolved around these unleashed forces. As our lives and for many, careers, have spun dramatically off axis as of late, we look ahead to the coming seasons, with the hope that we can weather the changes, and maintain inner stability. To aid in this quest, Multi Culti promises to deliver sonic support with utmost regularity at the peak moments of cosmic significance, with each Solstice and Equinox.

Beginning this journey are some of the label’s most beloved artists. Israeli duo RED AXES provide a chakra-elevating soundtrack with their inimitable blend of psych-garage-tronica, a sun-kissed banger that signals a long-awaited return to the togetherness of the dancefloor.

ZILLAS ON ACID turn in a robustly wiggly jam that electrifies, frazzling zaps and frenetic percussion recall the fritzy tension of the past year, a cathartic shock-treatment for traumatized dancers looking to get back to prime spine-shaking shape.

Mexico managed to stay open for the most part, and TYU seems to have not skipped a beat here, still in perfect form after breaking out as one of the hottest young producers to emerge in recent years. Dark disco, Mexi-chug, call it what you want, but the emergent genre is never better represented than here… spooky, phosphorescent tribal dance, Tulumminati-tested and approved.

Finally, the big guy - MANFREDAS - whose remixes and edits have been highlight-reel material the past couple of years, delivers a long awaited original track with his requisite heavy-weight swag. Wonky tunings and a chunky downtempo beat underpin Manny’s trademark masterful arrangement style, building patiently, with breakdowns that managed to wring every last drop of impact out of an odd, other-worldy assortment of sounds.

When Berus debuted in January 2021 on Kommerz Records with his “Voyage EP”, he had no idea how precise the title would be for the coming months. A little over a year before the release of “Voyage” the Berlin based multi-instrumentalist and producer had taken his focus away from his, more than a decade lasting, house and techno career towards a new sound, inspired from neo soul and hip-hop. Whilst his electronic projects found home on Kerri Chandler's Madhouse Recordings and DVS1’s infamous Mistress and gained his moniker Frag Maddin worldwide attention, it was part of his progress to focus on himself and Berus, his real name. He took this step not knowing it would lead him into a dark journey of self revelation, identity finding and for the foremost new hope: blue hope.
Berus was born to a Zaza family in Kurdistan, which eventually migrated to Germany escaping prosecution and discrimination of the nationalist regime in Turkey. The family settled in Hamburg and Berus grew up to be a New Release Information
musician. He played the drums, formed teen punk bands and started producing at an early age experimenting and shaping his future as an artist.
Since the beginning of his career Berus releases can be seen like a diary, always expressing his very personal state at the time. For the work on “Blue Hope” two main topics fall into the production of the album: love relationships and seeking identity.
There is a blue melancholy and reflection leading through the album. On “Talk to Me (Karþýlýklý)” Berus opens up about his feelings of true love and the need to set free when they are not answered. Whilst the incredible Mulay who is featured on “Holy Waters” answers with her female perspective. And there is hope. The hope (“Dream On”) and fears (“Being Alive” feat. Sedric Perry) of a young migrant generation. “Blue Hope'' is a coming of age story that’s relatable and yet unique, honest but vulnerable and for the foremost: 100% Berus.
The album is a neatly curated mixtape and delivers a wide range of styles like the jiggy sounding Mike Nasa on “On Me” all the way to “Wholesome” on which Barne delivers a John Mayer-esque performance.
On “Blue Hope” Berus gathered a mixture of old friends and new talent around him to produce the record. The outcome is an LP referencing different influences without the use of any samples.

Josienne Clarke’s brand-new label Corduroy Punk
Records launches with its debut album release,
bringing you her quintessentially succinct singer /
songwriter bangers and ballads on electric guitars,
bass, keys and drums.
For the first time since her early beginnings, Clarke
is flying solo. No label, no musical partner, no
producer. Clarke is in complete control of her
songwriting, arranging, producing, release
schedule and musical direction. While the themes
might feel familiar to her fans, the musical journey
will not, with Clarke taking in a wide range of new
and diverse influences across the album - from
Adrianne Lenker’s ‘Hours Were The Birds’, IDLES’
‘Colossus’, Radiohead’s ‘Airbag’ to Phoebe
Bridgers ‘Garden Song’ and more, the album’s
touchstones span a vast musical collage of anger
and hope.
‘A Small Knowable Thing’ is alt-indie for fans of
Julia Jacklin, Sharon Van Etten, Angel Olsen,
Fiona Apple and Boy Genius.
CD edition with gloss gatefold and 8-page lyric
booklet. LP on 180 gram clear with orange and
blue splatter vinyl in a gloss gatefold sleeve with
lyric insert.

A stylish selection of city pop, funk and modern soul from Japanese label Nippon Columbia, selected by DJ Notoya and featuring cult classics and rarities by Hiroshi Sato, Hatsumi Shibata, Hitomi 'Penny' Tohyama & many more.

Annotated by Notoya with journalist Nick Luscombe and artwork by Optigram.

Newly remastered audio.
The selection on ‘Tokyo Glow’ starts with 'Kimugare' a relaxed mid-tempo track by Kumi Nakamura, actually a famous actress who only recorded one album in 1980 for Columbia.

The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi - with his superb boogie, 'Juggler'
- and one of the queens of the genre, Hitomi 'Penny' Tohyama with 'Tuxedo Connection'.

Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba (key), Kazuo Shiina (gtr) and Yutaka Uehara (ds) who all played with Tatsuro Yamashita among many others.

There are many other excellent examples in 'Tokyo Glow', showcasing the diversity and specificity of Japanese City Pop during the late 70s and 80s.

Nippon Columbia opened their much-guarded vaults to curator DJ Natoya. Tracks were remastered in Tokyo and the result, ‘Tokyo Glow’, is a unique insight into a most creative period in Japanese music.

NOW Music is delighted to introduce our new sub-brand ‘NOW Presents…’. This new series starts with ‘NOW Presents… The 1970s’, the first-ever NOW vinyl boxset featuring 5 LPs uniquely designed to reflect the era.

The boxset is a musical time capsule of the decade that saw so many different genres find chart success. Across its 74 tracks over 10 sides of vinyl, the massive hits sit alongside enduring classics from each year. The set not only includes 5 beautifully designed front covers on the individual albums (that slot into a rigid slip case), but also features track by track annotations with chart positions and facts about the artists and songs.

Each year, 1970-1979 is presented as 1 side of each LP… Kicking off with the iconic ‘Bridge Over Troubled Water’ by Simon & Garfunkel from the biggest selling album of the year, and of the decade. 1970 also includes Motown classics from Stevie Wonder, Smokey Robinson & The Miracles, and the debut hit ‘I Want You Back’ from the Jackson 5.

1971 includes the seminal ‘What’s Going On’ from Marvin Gaye, alongside Elton John’s breakthrough – the timeless ‘Your Song’, Rod Stewart’s breakthrough ‘Maggie May’, and The Who’s defining rock anthem ‘Baba O’Riley’.

The charts in 1972 began to reflect the popularity of ‘Glam Rock’ – and ‘Virginia Plain’ by Roxy Music, and ‘Metal Guru’ by T. Rex are included, as is the David Bowie-produced ‘Perfect Day’ from Lou Reed.

‘Killing Me Softly With His Song’ – one of the most beautiful songs, and vocals ever from Roberta Flack opens 1973’s side – and is joined by, amongst others, Billy Joel’s signature song ‘Piano Man’ and Bob Dylan’s ‘Knockin’ On Heaven’s Door’.

1974 celebrates Queen having their first Top 5 single with ‘Killer Queen’, and title tracks from two of the decades’ biggest selling albums: Paul McCartney & Wings with ‘Band On The Run’, and ‘Tubular Bells’ from Mike Oldfield.

John Lennon released ‘Imagine’ in 1971 – but it became a UK hit in 1975, and so, starts this side… and finds space for some of the year’s perfect pop from Steve Harley & Cockney Rebel, David Essex, 10cc, and the biggest hit ‘Bye Bye Baby’ from Bay City Rollers, at the peak of their popularity.

ABBA enjoyed 7 UK Number 1’s in the 1970s, and their biggest was the enduringly popular ‘Dancing Queen’ which leads into 1976. Electric Light Orchestra had a huge hit with ‘Livin’ Thing’, as did Thin Lizzy with ‘The Boys Are Back In Town’ – plus Joan Armatrading emerged with ‘Love And Affection’.

1977 saw Fleetwood Mac release their mega-selling album ‘Rumours’, and from it ‘Don’t Stop’ is here, as is Donna Summer’s ‘I Feel Love’ – one of the most influential dance tracks of all time – and one of 1977’s favourite TV stars, David Soul, enjoyed a #1 single with ‘Don’t Give Up On Us’.

With ‘Wuthering Heights’, Kate Bush not only had 4 weeks at number 1 in 1978, but became the first female artist to achieve this with a self-written song. The Jam, The Boomtown Rats and Siouxsie And The Banshees all found consistent success as Punk & New Wave established new chart stars.

1979 concludes the set and opens with the iconic ‘London Calling’ from The Clash, and includes two of the biggest bands of the era, The Police and Blondie. A couple of years later the first video played on MTV would be ‘Video Killed The Radio Star’ from The Buggles – and it’s fitting that this is the final track on the collection, a #1 in late 1979 – it signposted the synth-pop wave that would define the early 80s…. (but that’s a different box set).

British duo The Boy Least Likely To are not new to Christmas music. It started in 2005 with a charming cover version of ‘Little Donkey’ on a give away CD single, followed three year later by the first Christmas original they recorded, ‘The First Snowflake’, that made it into an episode of Grey's Anatomy. In 2010, the band released the album ‘Christmas Special’, with mostly originals, including the single ‘George And Andrew’, that came with a much watched and liked video. Last year, The Boy Least Likely To released a new Christmas song ‘It Will Still Be Christmas’, that reflected the difficult time the world was going through in 2020. What was still lacking in The Boy Least Likely To Christmas discography was a Christmas 7”. That is now also taken care of, as the band recorded two new Christmas songs for the ninth edition of the Snowflakes Christmas Singles Club. The nostalgic sounding original ‘Two Christmases’ is typical for the somewhat bittersweet nature of many of the duo’s songs, as it is about a recently divorced couple who, for the first time, will celebrate Christmas separately, one after the other, so that their children can celebrate Christmas with both their parents. On the flipside of the record, The Boy Least Likely To rework Shakin’ Stevens number one hit ‘Merry Christmas Everyone’ into an uptempo cross between indie pop and western swing. The record comes on white vinyl and is limited to 300 copies.

The Boy Least Like To are composer/multi-instrumentalist Pete Hobbs and lyricist/singer Jof Owen, both originally from Wendover in Buckinghamshire, England, who met at school and began making music together in 2002. They debuted in 2003 with the 'Paper Cuts' 7” on their own label To Young To Die. In 2005 the duo released their first album, 'The Best Party Ever', that made it into Pitchfork's top 50 albums of 2005. Three more albums followed (2009's 'Law Of The Playground', 2010's 'Christmas Special' and 2013's 'The Great Perhaps') and in 2018 the career spanning collection 'The Greatest Hits', including classic tracks like 'Be Gentle With Me' and 'Hugging My Grudge' was released. Their music, once described in Rolling Stone as sounding like what would happen "if all your childhood stuffed animals got together and started a band.” incorporates influences from all over the indie landscape (twee pop, indie country, jangle pop, piano pop) and blends it into something that is unmistakingly To Boy Least Likely To – often joyous and uplifting, sometimes melancholic, with lyrics that reflect our everyday fears and anxieties, as it’s not all sunshine in our lives. In 2021 the band celebrated the slowly opening world by releasing a new digital single, 'Get Into The Summer', a joyous burst of fresh energy, showing that the band’s music is for all seasons

Baltimore, Maryland’s Angel Du$t have announced details of their new album ‘YAK: A Collection of Truck Songs’, which will be released on CD on 10th December on Roadrunner Records and the band have also shared the new song ‘Big Bite’, which is joined by a music video directed by Ian Shelton.

Vocalist / guitarist Justice Tripp commented, “People get really married to the idea of making a record that sounds like the same band. If one song to the next doesn’t sound like it’s coming from the same band, I’m ok with that.”

Put simply, Angel Du$t are the guys who do whatever you don't expect.

Produced by Rob Schnapf (Kurt Vile, Elliott Smith), ‘YAK: A Collection of Truck Songs’ follows Angel Du$t’s 2019’s album ‘Pretty Buff’, and sees the group channelling an anything-goes philosophy into their tightest, most forward-thinking material yet. Recorded over a two-month period in Los Angeles last year, the album is a rotating smorgasbord of percussion, guitar tones, effects, genres, and influences, fashioned in the spirit of a playlist as opposed to a capital-R ‘Record.’ The album’s 12 tracks span jangle-rock gems (‘Big Bite’), piano-spiked power pop (‘No Fun’), and a breezy duet with Rancid’s Tim Armstrong (‘Dancing On The Radio’).

‘YAK: A Collection of Truck Songs’ also features ‘Love Is The Greatest’, ‘All The Way Dumb’, ‘Turn Off The Guitar’ and ‘Never Ending Game’, all of which appeared on Angel Du$t’s 2021 EP ‘Bigger House’,

Breezy but determined as they imbue their laid-back acoustics with sharpness, Angel Du$t continue to prove they are band averse to boundaries. The band’s Roadrunner Records debut ‘Pretty Buff’ was produced by Will Yip and earned the band critical acclaim. Widespread international attention included UK praise from Kerrang! (“13 super-accessible, honest and artfully crafted songs… there’s lots to love about them”), NME (“the fun-first hardcore group bringing ‘90s pop-rock to the pit”) and The Line of Best Fit (“a cacophony of good times and soul”).

Tete Mbambisa has performed and recorded with many of the giants of South African Jazz (Bazil ‘Manenberg’ Coetzee, Johnny Dyani, Dick Khoza, Duku Makasi, Gideon Nxumalo, Dudu Pukwana, etc...), and is one of the very few South African jazz musicians that can claim to have played with the three jazz generations of the last fifty years. His work as a pianist, vocalist, composer and arranger is a landmark on South African jazz history.

After a recording hiatus, Mbambisa returned in 1974 with an octet album, 'Tete's Big Sound' released on a newly formed label, As Shams or The Sun, established by South African record store owner and independent producer Rashid Vally. 'Tet's Big Sound' included tracks like 'Unity' and the 'Black Heroes Lamentation', now considered a classic in the South African jazz underground. The sound that Mbambisa carved in this period was wholly acoustic, and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation in echoes of John Coltrane and Pharaoh Sanders.

Unforgotten is a British crime drama television series. The program follows a team of London detectives, led by DCI Cassie Stuart (Nicola Walker) and DI Sunny Khan (Sanjeev Bhaskar), as they solve cold cases of disappearance and murder. Each season deals with a new case, introducing seemingly unconnected characters who are gradually revealed to have some relationship with the victim. Seasons 1 to 4 were broadcasted between 2015 and 2021. A fifth series was announced, scheduled for release in 2022.

Unforgotten has received critical acclaim, with Tom Courtenay winning the 2016 BAFTA TV Award for Best Supporting Actor for the first series and Mark Bonnar winning the 2017 BAFTA Scotland for Best Actor in Television for the second series.

Michael Price is one of the UK’s most sought after composers. His debut album Entanglement (2015) was critically acclaimed by furthermore Rolling Stone, Uncut and Clash. His work for film and television has been widely recognized in general, winning an EMMY award in 2014, a BAFTA nomination and 2 further EMMY nominations for his score with David Arnold for the critically acclaimed BBC series Sherlock.

This is a limited edition contains of 1000 individually numbered copies on crystal clear vinyl. The LP package contains liner notes by Andrew Collins and Michael Price.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

The Japanese-born duo Miho Hatori and Yuka Honda relocated to New York and christened themselves with the band name Cibo Matto, which is Italian for “crazy food”. The band teamed up with drummer Sean Lennon, percussionist Duma Love and drummer Timo Ellis for their second studio album Stereo Type A, which was originally released in 1999. It was the last album before the group disbanded a few years later, until their 2011 reunion. With this album Cibo Matto received praise for combining styles and genres such as heavy metal, pop and hip hop, while the album was also described by critics as “eclectic, hot and funky”. It was the band’s way of breaking down stereotypes.

“We go round and round in the night and are consumed by fire” *

After their highly acclaimed 'Come La Notte' (2019) WOW are back with 'Falene' a special limited release, a flickering light in the dusk where the comedown is ecstatic, intense and staggering.
In between lockdown the Roma Est quartet played the liberating Meletao festival in the Simbruini Mountains in the middle of a forest. One night a moth (falena) started dancing above the fire attracted by the light and after a few twirls dived into the flames.
Somehow ‘Come La Notte’ anticipated many of the atmospheres and emotions we’d encounter during confinement and isolation; ‘Falene’ instead was born directly from those ashes, ghostly homes, clandestine get-togethers, an old farfisa saved from dust that sparked the initial motif of the album’s title-track, a somber march, a mini-opera that sways gently, sprinkled by the beautiful sax played by Gianlorenzo Nardi and by one of the most intense China performances layed down on tape, foreshadowed by Julie Normal’s Ondes Martenot that graciously elevates the ‘Anticoda’ intro.
Tropicantesimo’s remix of ‘Occhi Di Serpente’ breathes new life into ‘Come La Notte’s classic, elevating the hypnotic and extending the pure tribal force with one of the signature trademarks of the Pescheria crew. ‘Partirai’ sung by Leo Non again is WOW at its purest, escapism to the max encapsulated in a nugget of primitive rock’n’roll and 60s night clubbing. Folks, it’s time to start living again.

Jeff Parker's Forfolks - a new album of solo guitar works - was recorded by Graeme Gibson at Sholo Studio in Altadena, California (aka Jeff's house) over two days in June 2021. It includes interpretations of Thelonious Monk's "Ugly Beauty" and the standard "My Ideal," plus six original compositions including "Four Folks," "La Jetée" (a tune he recorded with Tortoise in 1998), and four totally new loop-driven, stratiform works that marry melodic improvisation with electronic textures. "It's a particular thing to hear Jeff play solo," writes veteran Chicago musician and longtime Parker collaborator Matthew Lux in his liner notes for Forfolks. "He is an unusually selfless improviser, oftentimes laying out and highlighting the contributions of his band mates... On this recording, however, he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound." Forfolks follows Parker's critically acclaimed 2020 record Suite for Max Brown, which Pitchfork called an "effortlessly detailed album, full of tradition and experimentation that spans generations ... It lives at the vanguard of new jazz music." The album went on to debut at No. 1 on Billboard's Current Contemporary Jazz Chart.

Interiors, the title of this new release from Ultramarine, may have a topical resonance for many listeners who have found themselves in involuntary confinement during the past year, but the five tracks on this EP were actually recorded in 2011, and they represent a significant opening out of the duo's evolving musical perspective.

Ian Cooper and Paul Hammond, who had become friends while growing up together in the Essex countryside, formed Ultramarine in 1989. Throughout the 90s their distinctive music, an enticing blending of acoustic with electronic instruments, secured a loyal following and won critical acclaim. Then, throughout the whole of the next decade, Ultramarine lay dormant. Interiors documents their reawakening, with Cooper and Hammond exploring approaches to music-making made possible by recently developed software, designed specifically with live performance in mind.

Four of the five tracks to be heard here were issued digitally last year. But as Paul Hammond has pointed out, "with Ultramarine the whole point is to create an artefact, so the form and the look of the finished product is central." That's an outlook shared passionately by Simon Lewin's label Blackford Hill, and the music now available on this vinyl record is appropriately enhanced with cover art by printmaker Katherine Jones. Her imagery matches the music neatly in its nuanced interplay of solidity and shadow, line and colour, geometric form and organic growth.

Ultramarine returned refreshed in October 2011, bursting back into public awareness with "Find A Way," issued as a 7" single on their own label, Real Soon. Clive Bell, writing in The Wire, extolled its engaging mix of electronic beats with cool vocals and tropical percussion. More generally Bell embraced Ultramarine's thoughtful hybrid electronica as "music you could enjoy at home without feeling your intelligence was being scorned, or that if you were not physically in a club, you were wasting your time."

On Interiors, the roots of that slinky single are laid bare on the purely instrumental track "Find A Way Back." Its two distinct parts stretch out the beats and flaunt those tropical flourishes, shuffling and flexing, vibrant and heady, languid and sultry. This is techno filtered through the fabric of magic realism, an exotically spiced concoction, chilled and ready to be savoured at home.

With the diagrammatic clarity of its punchy thrust and spooling loops "Even When" distils the essence of Cooper and Hammond's way of working with their musical material: layering and shaping, nurturing textures, plaiting rhythms and juggling accents. The cumulative impact is almost sculptural in its physical immediacy and looming presence. In contrast, on "By Return" the duo skew the outcome, projecting a selection of limber figures into dub's auditory hall of mirrors. They are clearly revelling in the reverb, relishing the recoil and decay.

Interiors ultimately opens out onto "Decoy Point (Version)." With its ozone saturated ambience, this closing track evokes marshland and mudflat soundscapes, seabird mews, maritime signals and tidal wash. Cooper and Hammond feel deep attachment to the Essex landscape and, in particular, to the local history and physical features of the Blackwater estuary. Blackford Hill provides an accommodating home for Ultramarine's ongoing project Blackwaterside, which has featured to date a 7" vinyl record plus 28-page booklet, and a photo film with soundtrack. Now, delving into the Ultramarine archive, this welcome incarnation of Interiors offers a fascinating glimpse of the duo finding their bearings, at a vital stage along the way.

GALATHEA is the new project by DJ Massimo Napoli, and the title of his first solo album. Borrowing the name from the homonymous Nereid from the Greek mythology, the album is a deep dive into dub, spiritual jazz and African surroundings. Over 12 tracks, the LP conceals a strong personality. Departing from club culture with particular emphasis on electronic dub, Galathea unfolds into many influences and styles, making it a unique listening experience. Mediterranean culture, afro and cinematic melodies, jazz, spiritual echoes, and soothing beats lead the listener into a subliminal escape, where the fluidity and the convergence of genres freely progress into a dream-like journey.

Third time’s a charm. Or a chant in this case.“Antologia De Música Atípica Portuguesa” is back.Following two sold out volumes, the unplanned trilogy comes to a close with chants and hymns whilst continuing to merge music genres and presenting them as a world building concept.

If the first two volumes were dedicated to work (“O Trabalho”) and regions (“Regiões”), it only made sense to close the trilogy with ceremonial music, connecting the real – each musicians’ creation – with a fantasied celebration of Portuguese folk, traditions, and ghost methods within these unusual anthems.

If you’ve listened to Niagara before, you probably felt this whole ceremonial thing going on. A perfect opener then, for this volume with Niagara’s deep dive into proto religious-ambient music with “Paulo, Apolo e Pedro”. It sets the tone for the next 35-minutes of ethereal like songs. Either you listen to musicians working within their natural habitat (João Pais Filipe or Filipe Felizardo) or feel them exploring new areas in their realm (Niagara, Joana Guerra or Serpente), this third volume manages to combine eight of the best underrated visionaries working in current day Portugal.

In the past, “Antologia da Música Atípica Portuguesa” created an imaginary folktale where current day creations could live with the idea of archive or fake-folk. This volume forgets the world building and actually lives in it. Because this is the real Portugal. This is our folk. These are our chants. Embrace the otherworldly.

All Them Witches have built a career out of playing music that cannot be pigeonholed into one specific genre.

‘Nothing As The Ideal’ was recorded in Studio 2 at the world famous Abbey Road with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come.

The band’s signature psychedelic blues riffs, relentless drums, melodic basslines and non-linear lyrics are all present.

The resulting album is a thought provoking headbanger that is the band’s most cohesive album to date.

140g black vinyl gatefold LP.

All Them Witches are an American rock band from Nashville,
Tennessee. The band consists of drummer Robby Staebler,
vocalist / multi-instrumentalist Charles Michael Parks Jr.,
guitarist Ben McLeod and keyboardist Allan Van Cleave.
 The band’s musical style incorporates elements from multiple
genres, such as hard rock, stoner rock, psychedelia, neopsychedelia, blues, folk and southern rock; however, Julian
Marszalek of The Quietus noted that: “... this isn’t blues of the
‘woke-up-this-morning’ variety but one of malaise, anxiety and
fear brought on a by world seemingly dead set on destruction;
nor is this an escapist variant of psychedelia wherein one form
of reality is jettisoned in favour of another for reasons of cheap
thrills.”

Gene Jackson's rich soulful character along with his emotional range make him one of the finest local vocalists. His debut album “1963" came out in 2017 to critical acclaim, including a Blues Blast nomination (new artist debut). His new album “The Jungle”, out of which this 7” release is taken, has plenty of songs with the subjects you’d expect a soul singer to tackle: falling in love, the heartbreak from love and the evergreen “right now you can’t trust anybody,” as he puts it. A St. Louis native, Gene grew up singing. His mother, Mary Coleman, sang with Ike and Tina Turner, the Shirelles and others. She encouraged her son’s gift, and he gained experience singing in the Mt. Gideon Missionary Baptist Church.

GENOCIDE PACT return with their eponymous new album. An overdose of gut-wrenching Death Metal, Genocide Pact is heavy, engrossing, and undoubtedly brutal. "This album reflects on the feeling of watching the world crumble while dealing with personal tragedy," says guitarist/vocalist Tim Mullaney. True to his word - every track on Genocide Pact is a sonic assault brimming with palpable malaise. From the guttural screams in the album's opener "Led to Extinction", to the driving double bass that carries "Perverse Dominion", and a head rattling low end on "Deprive Degrade" - Genocide Pact is wholly negative Death Metal. The fury behind Genocide Pact captures the band's collective frustrations and personal journeys through these turbulent times. "You turn on the news and see mass shootings, a global pandemic, endless war, and corporations and politicians trying to sell you bullshit. You pick up your phone and another friend or family member has died. On top of that, you’re broke as fuck and work endlessly for a boss that doesn’t even know your name. You find yourself paranoid, pissed off, and embracing nihilism," Tim Mullaney says. GENOCIDE PACT have learned to embrace the negativity, churning out one of 2021's ugliest and unforgiving records.

For many years now, the comparative of epic has simply been EPICA. Since their formation in 2002 and their quick ascension to stalwarts of symphonic metal noblesse with trailblazing masterpieces “The Divine Conspiracy” (2007) or “Requiem for the Indifferent” (2012), Dutch metal titans only knew one way: Up. Especially with their last three releases “The Quantum Enigma”, “The Holographic Principle” and this years’ “Ωmega”, forming a metaphysical trilogy that’s both alpha and omega of all things symphonic metal, EPICA became rightful monarchs of a genre they themselves helped made become a global phenomenon.

Yet, as every other band, EPICA couldn’t take their latest installment of breathtaking cinematic grandeur to the seven corners of the world as they would have normally done. You know why. Thus, plans have been made and visions fulfilled to produce a once-in-a-lifetime event that couldn’t be further away from yet another streaming show. What EPICA unleashed upon the world on Saturday, June 12th, 2021, was a monument to their music, their career, and their enduring legacy as forebears of a whole genre. Now finally being released on Blu-ray and DVD and various audio formats, “Ωmega Alive” is the EPICA show of your wildest dreams, brought to life by blood, sweat, tears and a healthy dose of megalomania. Think Marvel meeting Cirque de Soleil in a Tim Burton universe.

Celebrating the release of their gargantuan new opus magnum, „Ωmega“, the streaming event saw fans from over a 100 countries flock to the screens to witness a show that has proven to be the defining moment in EPICA‘s concert history. A show that’s nothing short of the band’s most explosive performance to date, brought to life with an enormous production on an ever-evolving stage setting that’s full of visual surprises. For the first time ever, EPICA performed songs like ‘The Skeleton Key’ or the insanely monumental “Kingdom of Heaven Part 3” from “Ωmega”, alongside the band’s most popular songs, rare songs, fan favorites and huge surprises. “What started as a basic idea to do an online release show for “Ωmega” quickly spiraled out of control and became our most ambitious project to date,” creative director and keyboard wizard Coen Janssen says. “As usual, we wanted to push the boundaries, explore the limits, and think outside the box. We found ourselves back in our happy place. This concert film, our ray of light for you in the dark times that we have all been living in.”

For half a year, the band worked tirelessly on a show that’s been setting a new standard for concert films and streaming events. “What we wanted to do was the ultimate EPICA show where we could fulfill every dream we ever had, where there was room for all the ideas, effects and props that are just too big to be taken on tour.” Far from your usual streaming concert, the band developed a trademark feature called a “living backdrop.” Coen explains: “We built another stage right behind our stage where lots of things were going on the whole time. And we meant that very literally,” he laughs. “Every song got something extra, something unique that was fitting its world.”

He can say that again: Elaborate visuals, tailor-made videos and graphic effects, fire, and flames on a Nibelungen level, dancers and actors, artistic performances or fire performers all add to the aura of symbolism and cinematic splendor, setting the stage for a band that can’t be happier to finally bring their new album to life, harmonizing wonderfully and giving their A game for a show to remember. “It was so great finally playing with the band again, actually standing on stage with them. Boy, did we miss this,” Coen emphasizes and adds: “We also built a pretty cool new stage with some fire-breathing snakes and lots of rotating elements. Good thing is, we might also take it on the road when we can finally tour again.”

Until then, “Ωmega Alive” will be a more than efficient remedy against no-concerteritis – for bands, fans, and crew alike who all look back on an extra-long dry spell. Divided into five acts as there are letters in EPICA and “Ωmega”, each part gets a different theme, look, and feel, complemented with references to the history of EPICA, the symbolism of the band and the videos they did. It’s, in short, the best show they ever did, a two-hour spectacle spanning their storied career up to their latest endeavors and graced by Simone Simons’ breathtaking a-cappella rendition of ‘Rivers’ from “Ωmega” complete with choir, easily the most emotional and achingly beautiful moment in their entire career. Frankly, you don’t see this on a normal tour.

What EPICA brought to life here with the help of 75 artists and crew members is a testimony to their burning will to take their band ever higher – even now, in the darkest of times we ever had to endure. Let “Ωmega Alive” be your ray of light as it was theirs, a journey into the heart, body and soul of one of the most passionate and visionary metal bands alive today.

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

Northern Soul legend Lorraine Silver recorded Lost Summer Love when she was just 13 years old in August 1965. Whilst not a chart hit on its release, the track did become a massive anthem at the iconic Wigan Casino and was reissued on the Casino Classics label in the late 70s selling in excess of 30,000 copies. However, Lorraine knew nothing of her heroic Northern Soul status until the late 80s.

23 years after the original recording, Lorraine’s husband, agent Barry Collings, was reading Blues & Soul magazine which featured a top ten selection of favourite Northern Soul tracks that included Lost Summer Love. Lorraine called the editor and was flabbergasted to discover it really was her song. Following this, her story was told in a whole
selection of Northern Soul publications. She contacted the original record company PYE and was told that the track had sold some 34,000 copies worldwide and she could claim her royalties!

At around the same time Barry was involved in promoting Northern Soul weekends across the country and Lorraine was able to meet all the DJs who had been playing her record for years.
She was persuaded to get up and do a couple of PA’s of Lost Summer Love much to the delight of the audience who were queueing for autographs.

Since then, Lorraine’s resurrected career has gone from strength to strength, with airplay on BBC Radio 2, performances at Northern Soul events, and an appearance at the Edwin Starr Memorial Concert alongside the likes of Clem Curtis, Geno Washington, and Jaki Graham. In 2011 she was asked to join the line-up of a new touring show ‘The Mod All Star Band’ with artists she herself had idolised in the 60s including Steve Ellis and Chris Farlowe.

Now, at the age of 70, Lorraine continues to perform, record, and release new material in a career that now spans an incredible 57 years. Her brand-new single Fever Raging Out Of Control was produced by legendary Northern Soul DJ Ian Levine who has also produced pop hits for Take That including ‘A Million Love Songs’ and ‘Could It Be Magic’. The final mix of the track was done by Nigel Lowis who has also worked with Burt
Bacharach, Andrew Lloyd Webber, Stevie Wonder, Luther Vandross, Mariah Carey and Celine Dion to name just a few.

And…that original recording of Lost Summer Love, has now become quite the collector’s item, with a recent copy selling on eBay for some £700.00!

On December 3, Marshmello releases his 4th independent album “Shockwave” on vinyl via his label Joytime Collective.

“Shockwave” explores genres such as trap, dance, bass house, dubstep, tech, and everything in between. The album represents a gritty and confident sound, exploring a new territory while staying true to Mello’s Joytime roots.

Filled with an old school sound mixed with perfect new collaborators including Megan Thee Stallion, Juicy J, DJ Sliink, Sippy, Peekaboo, Nitti Gritti, Subtronics, Carnage and Troyboi.

 A fascinating thing about jazz is what can arise through force of
circumstance rather than the result of planning. The drummer
scheduled to appear in a trio with Jan Lundgren at the Ystad
Sweden Jazz Festival had to cancel because of the pandemic,
which forced Lundgren to rethink the gig. The pianist - who is
also artistic director of the festival - quickly realised that things
could also work without a drummer. Serendipitously, the name
of Emile Parisien came to his mind... and a new trio was born.
The three musicians had never played together in this
configuration before; so, after a single day of rehearsals, the
band took to the festival’s main stage on 1 August 2020.
 Jan Lundgren is one of those pioneers who gave European jazz
its distinct identity and freed it from American jazz. The Ystadbased pianist combines virtuosity, an acute sense of tonal
colour, awareness of form from European classical music and
his own folk music tradition. For him, to make music where
many different genres coalesce is both inevitable and natural.
 Lars Danielsson’s bass playing is unmistakably melodic and
lyrical. He is one of just a handful of bassists who stand out
both as creative composers and as distinguished band leaders.
Technical brilliance, outstanding musical imagination and an
almost telepathic understanding of his fellow musicians - his
presence is ideal in this trio.
 Soprano saxophonist Emile Parisien found his way into this
band practically out of nowhere. The vivacious Frenchman lives
jazz with body and soul and his honesty and authenticity ring
true in every note he plays. Parisien is a visionary of jazz,
aware of its legacy but always looking forward in an innovative
way.
 This unique performance leaves the listener begging for more.
Having started this new venture so auspiciously, Jan, Lars and
Emile are surely going to want to aim even higher.
 Recorded live in concert by Mattias Dalin (Eurosound AB) at
Ystad Sweden Jazz Festival, August 1, 2020. Mixed by Bo
Savik, Jan Lundgren and Lars Danielsson at Tia Dia Studios,
Mölnlycke, Sweden. Mastered by Bo Savik.

UK label Wisdom Teeth returns with its third long-form offering - Sculpturegardening: a new LP by Mexico City-based artist and producer, Tristan Arp. Incorporating elements of ambient, glitch, microhouse and downtempo, it’s an otherworldly record populated by knotty modular textures, blossoming floral melodies, tight pointillist rhythms and glossy acoustic instrumentation. The record was born from a process of “collaborating with machines”: using modular synthesisers to generate probabilistic melodies and rhythms, with the artist taking on the role of sculptor and curator. Throughout, the boundaries between the organic and digital are playfully blurred: we hear synthesisers played by guitars; emotive and distinctly human melodies generated by modular circuits; digital percussion drummed by hand; and live cello processed with a digital finish. The results sometimes recall Roman Flügel at his most colourful, or Benge’s meandering synth workouts, and even at times echo the dubbed-out cello experiments of Arthur Russell.But really sculpturegardening occupies a sonic world of its own, born from a unique web of happy accidents and incidental arrangements. The record’s bright colours and subtle rhythms make it a fitting follow-up to K-LONE’s 2020 LP Cape Cira and Facta’s 2021 LP Blush, and place it neatly alongside the work of label mates Duckett, Benoit B, Steevio and Iglew.
“With sculpturegardening, my concept was to approach music like gardening. I collaborated with machines inspired by the way a gardener collaborates with the earth. A gardener creates the conditions for the plants to come to life and develop on their own. In a similar way, I created a set of conditions and probabilities for the music to make itself. Who is making the music here? “A sculpture garden to me can be a really beautiful environment of balance between randomness and order––between nature and human interaction. Things that are either extremely organized or completely random tend to not resonate with us. On the other hand, something very interesting happens when a balance between the randomness and organization is struck. I invented this verb sculpturegardening to represent creating with the aim of this balance, and the with the aim of building a world in which each piece is a zone, or a sculpture in a garden.” The record will be twinned with a physical iteration - a sound installation at an exhibition curated by Tristan Arp titled Nada Se Pierde; Todo Se Transforma. The show opens on 9th October in Mexico City at Avant.dev. The physical sculpture garden will be a collaboration with Mexican sculptor Pablo Arellano. The sound installation will centre around a 4-channel audio system that gives voice to different sculptures and allows visitors to create a mix of the sounds depending on their position in the garden.

Originally recorded in 1986

featuring Nate Morgan and Horace Tapscott

Finally on LP as originally intended:

Straight from the 1/2” MASTER TAPES (All Analog Cut)

With Unseen Photos from the recording session

Tip-On Sleeve

Insert with Liner Notes by Mark Weber



First official Nimbus vinyl release of this classic album. LP cut directly from the 1/2” Master Tapes, this is, without a doubt, the definitive version of “Sharps and Flats” … the sound is akin to sitting in the control room while the band recorded, very detailed and deep in presentation and articulation. One of the very best (and also very last) studio recordings that Tom Albach undertook in the USA for his Nimbus label… this album sat in the vaults for many years before a cd was issued in the early 2000’s. (Unfortunately, the Cd and subsequent versions were sourced from a dubious DAT transfer which was 4 generations removed from the master tapes (at best).) This is really the first opportunity to hear the album as it was originally intended… Featuring a tip- on sleeve with session photos and a great shot of Jesse from the original cover shoot, and an insert with a new essay by Mark Weber.

Capping off a busy year as producer, DJ and label owner, Rory Hamilton provides a quick follow up to October's ‘Think About Me’ EP with the third release on his Italo Hiits imprint.

Once again arriving on coloured 10” vinyl, ’Strangeness’ takes the label's twisted disco sound into new territories that draws on both the genre’s darker hedonistic side and its more nostalgic leanings. The two-tracker will arrive on opaque green 10” vinyl & digital formats in November 2021.

Hailing from the almighty Midwestern USA is Richmond, Indiana’s very own WOLFTOOTH – offering a colossal slab of genuine, proto-metal influenced heaviness with a deep dose of doom essence and addictive stoner riffage to boot. In the same vein as their previous releases of subterranean acclaim, Wolftooth (dubbed a “best of” 2018 via Doom Charts) and Valhalla (2020), the band’s latest release and label debut, entitled Blood & Iron, continues the band’s journey through a treasure trove of fantasy-themed lyrical influences – exploring mystical and often treacherous themes of mythology, lore and legend with a focus on sorcery, battle and non-stop adventure! Recorded, mixed and mastered by longtime producer Jeremy Lovins, Blood & Iron is a true nod to classic, feel-good American heavy metal with modernized flair, providing an escape for the listener that hits hard without ever feeling pretentious or aloof. BLurb IG1: Burgeoning WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is matched by their storytelling prowess! On new single “The Voyage”, the noteworthy Indiana four-piece tells a Viking saga of success, reaping the rewards of a prosperous invasion. Fists will be pumping within the first few notes of the track as it gallops forth to victory, dosed with chugging riffage, soaring vocals, piercing basslines and powerful melodies. Blurb IG2: Heavy metal unit WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is deftly matched by their unforgettable epics! Thrash-injected "Broken Sword” begins with a galloping riff that will have listeners ready for the adventure to come, as WOLFTOOTH tells the story of a warrior so battle-worn, he’s utterly unbeatable! As he lays waste to all in his path, the band charges forward with soaring guitar melodies and an addictive chorus. Blurb IG3: Echoing the tale of Moby Dick, Blood & Iron opener “Ahab” begins ominously, beckoning the listener to join WOLFTOOTH’s pack with isolated guitar before bursting into a sticky, metallic blues jam. The track reverberates the likes of classic and modern greats like Black Sabbath and Pallbearer while maintaining a unique trademark, impressing from start to finish with a psychedelic intertwining of haunting guitar melodies, glorious vocals and winding riffage.

Sleigh Bells’ sixth album Texis is the sound of the duo letting go of all hang-ups and inhibitions and allowing themselves to embrace making the sort of loud, colorful, genre-melting music only they could make. “We stopped worrying about whether or not we’re in or out of our comfort zone, or if we were being repetitive or formulaic,” says guitarist and composer Derek Miller. “In the past we were pretty obsessed with tearing up the rule book and starting from scratch for every record as a means to do something new or different,” he says. “For Texis we didn’t worry about any of that stuff, we just pushed the first domino and hoped that something exciting and inspiring would happen.”

"Brand new music from Warpaint's jennylee (Jenny Lee Lindburg). Newtopia is the first release of a series of singles, culminating in full album to come on RSD 2022.
Feeling is at the core of jennylee’s music. Having spent the past decade defining the grove that allows Warpaint the luxury to drift between genres and eras, jennylee’s solo record proved more loose, open, and driven by the rhythm of the heart. Critically acclaimed LA quartet Warpaint have been confounding expectation since the band’s inception in 2004. Releasing their third album ‘Heads Up’ to rave reviews in 2016, Warpaint remain on top of their game; cementing themselves as one of the bands of a generation."

Tape

Tony Rolando's debut release Old Cool Echoes is the kind of tape you flip over and play again and again. His second release, an LP for Important titled Breakin' Is A Memory, will be available in early 2022. A CD titled Shared System will follow.

Imagine if you wished away your surroundings and found yourself in a synthetic landscape where the simplest three color pattern animated an entire horizon. If you could suppress your memory enough to experience the new beauty of it, but not so much that you lost the pieces of yourself that make life worth living, this could be your soundtrack.

For more than a decade, Tony Rolando has composed electricity into musical instruments at Make Noise. When he collaborated with Alessandro Cortini in 2019 to create the Strega instrument, the experience rekindled Tony's love of composing and recording music. On "Old Cool Echoes," Tony follows mutating patterns and slow timbral gradients, allowing them to suggest composition as much as he does, occasionally exploring digital media catacombs and dabbling in the microtonal, all with minimal percussion interruption.

Hailing from the almighty Midwestern USA is Richmond, Indiana’s very own WOLFTOOTH – offering a colossal slab of genuine, proto-metal influenced heaviness with a deep dose of doom essence and addictive stoner riffage to boot. In the same vein as their previous releases of subterranean acclaim, Wolftooth (dubbed a “best of” 2018 via Doom Charts) and Valhalla (2020), the band’s latest release and label debut, entitled Blood & Iron, continues the band’s journey through a treasure trove of fantasy-themed lyrical influences – exploring mystical and often treacherous themes of mythology, lore and legend with a focus on sorcery, battle and non-stop adventure! Recorded, mixed and mastered by longtime producer Jeremy Lovins, Blood & Iron is a true nod to classic, feel-good American heavy metal with modernized flair, providing an escape for the listener that hits hard without ever feeling pretentious or aloof. BLurb IG1: Burgeoning WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is matched by their storytelling prowess! On new single “The Voyage”, the noteworthy Indiana four-piece tells a Viking saga of success, reaping the rewards of a prosperous invasion. Fists will be pumping within the first few notes of the track as it gallops forth to victory, dosed with chugging riffage, soaring vocals, piercing basslines and powerful melodies. Blurb IG2: Heavy metal unit WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is deftly matched by their unforgettable epics! Thrash-injected "Broken Sword” begins with a galloping riff that will have listeners ready for the adventure to come, as WOLFTOOTH tells the story of a warrior so battle-worn, he’s utterly unbeatable! As he lays waste to all in his path, the band charges forward with soaring guitar melodies and an addictive chorus. Blurb IG3: Echoing the tale of Moby Dick, Blood & Iron opener “Ahab” begins ominously, beckoning the listener to join WOLFTOOTH’s pack with isolated guitar before bursting into a sticky, metallic blues jam. The track reverberates the likes of classic and modern greats like Black Sabbath and Pallbearer while maintaining a unique trademark, impressing from start to finish with a psychedelic intertwining of haunting guitar melodies, glorious vocals and winding riffage.

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

This is a high-octane tribute to jungle, footwork
and bass beats, with a BPM that rarely drops
below 150BPM and studded with names key to all
genres.
 It respects both the birth of the scene, with
inclusions like the late legend DJ Rashad and
former footwork dancer RP Boo, as well as its
current locality, pointing to a trio of uber cool US
producers in New York’s AceMo and Kush Jones,
and Miami-based duo INVT.
 Fellow Londoners Tim Reaper and Worldwide
Epidemic take in the latest of the UK scene, along
with label Time Tunnel who deliver remixes of
tracks from the glory days of rave.
 Driven, proudly black, gay and outspoken,
SHERELLE co-runs the established jungle label
Hooversound, while 2021 saw her launching new
label Beautiful, a platform for supporting black and
LGBTQI+ artists.

What do you get when you blend a reverential take on the diverse canon of popular Caribbean music with an all-star cast of seasoned studio musicians from the heart of Brooklyn? The answer lies in Combo Lulo's much anticipated debut studio long-player, Neotropic Dream. The group takes its influence from the deep musical heritage of New York's cultural pedigree, especially the heyday of the city's Caribbean record distribution industry — a culture of music that still bubbles today in the crevices of the city's independent neighborhoods and record communities.

Despite the general scope of the muse, it's hard to precisely pin down this fantastic re-imagining. In some ways, that's why the title for the band's debut album is Neotropic Dream, a nod to the biogeographic region that encompasses the countries along the Afro-Caribbean diaspora, a region intensely diverse in its climate, fauna and flora. This theme manifests musically as you journey through Combo Lulo's original compositions and cleverly chosen covers. More than anything, it's a dreamy storm of styles and musical moments born anew. And just as weather swiftly travels and transforms the Caribbean, so the varied musical styles carry the listener from the album's start to finish. Not just a talented band's showcase of styles, but rather a sumptuous feast of savory and sweet ingredients on display, together. A musical curry roux, if you will, that fits together so harmoniously, it's no wonder the band engenders automatic appreciation both in their studio recordings and in their uproarious live shows.

Whether it's cumbia gone rock steady, or reggae gone chicha, or vocal vs. version, there's a little something for everybody on here, depending on where you drop the needle. With splendid original compositions and horn arrangements from band leader Mike Sarason and saxophonist Anant Pradhan, respectively, Combo Lulo is quickly proving themselves to be a powerhouse of the highest caliber.

Grey Marbled Vinyl

But Only After You Have Suffered is a densely layered and deeply personal new work from multidisciplinary artist, composer, percussionist & producer Jamire Williams. Conceived as a spiritual, autobiographical artistic statement, Jamire applies sound collage practice to modern jazz composition, beat production, MC/vocalist features, and his uniquely impressionistic drumming style - making an album as akin to minimalist painting as an art-house film soundtrack or a classic hip-hop mixtape. A "self-reflective, almost testimonial work" that swiftly cycles across a vast spectrum of styles, it's the culmination of his five-year musical journey to the outer reaches of his own sound. It's the album he has always wanted to make.

The debut release from a London duo weaving vibrant patchworks of dance floor debris, from line-dancehall to hopscotch breaks. Enter the world of Angel Rocket…BIG TIP!

Angel Rocket is the eclectic new project from Angel Hunt (Good Morning Tapes) & Peter Rocket (BEAM). As dual specialists in new-clear fusion, primordial blooze and glittering bass-bin pressure, Angel Rocket is a match made in heaven.

The AM003 EP is a masterclass in playful dance floor navigations, charting territory from dancehall and techno to blissful Balearic plod, and beyond. It's the perfect release for Accidental Meetings debut wax release after a string of impressive cassette tapes & forward thinking compilations.

'Pomelo Fog' is a 100bpm wormhole with warm reese-bass expansions and washes of serotonin-soaked pads incubating a new mutant techno-dancehall variant.

'Oyster Perpetual' boasts an immaculate palette of harsh, tactile mid-highs and glossy bass swoops, sitting pretty between the realms of 100bpm Dembow and 200bpm Jungle.

Next in line is 'Tunnelrunners Unltd'; a pop’n’lock maze of funkee wall banging 4x4 techno with a noizy, UK-inspired lean.

'Foamstone Hoedown' closes the record, its low-slung Balearic wobble and weirdo 5th World polyrhythms gently beaming listeners back down to earth.