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"Welcome To My World" is a collection of some of Daniel's most-beloved songs and is now available on vinyl for the very first time. These are the songs that built the legend...a must-have for the legion of devoted Daniel Johnston Fans as well as the perfect introduction for new listeners.

Welcome To My World serves as an introduction to Daniel Johnston, housing a number of his most acclaimed works. Johnston's music captivated fellow artists and fans with its childlike elements and lo-fi elements. The singer-songwriter and artist earned a cult following in the early '80s, sharing homemade cassette tapes of his music, and his prominence was established after Kurt Cobain was publicly seen wearing a shirt with Johnston's illustration.

Freestyle Records präsentiert eine Neuauflage der größten Hits und seltenen Grooves der legendären britischen Lovers Rock-Formation. Diese erstmals 1991 erschienene Zusammenstellung enthält die Aufnahmen der Band aus den späten 1970er bis Mitte der 1980er Jahre.

This is the second time out for the Wormholes on AllChival following on from their You Never See the Stars When it Rains anthology release. This one is a previously unreleased album recorded in a concise burst of seven nights in Dublin’s Sun Studios in the spring of 1996. It was originally envisaged as being The Wormholes’ second album, the follow up to their 1994 debut Chicks Dig Scars. Unfortunately the end result of the sessions - Parijuana - would not only be ignored by their label of the time (Roadrunner Records) - but would also just as quickly be dismissed by the band themselves.

Eamonn Crudden, the manager of the band, had manged to extract some money from Roadrunner to record demos of new tracks as soon as the release cycle for their debut was over. The budget was so tight that it covered studio time but was not even enough to buy the master tapes. With things going south with the label – a classic 90’s tale of the A&R man who championed their cause heading off elsewhere the minute they signed - the intention was to go in and aim to record an album rather than demos - with the intention of releasing it on another independent label to keep the momentum around the band going.

However by this stage the Wormholes were totally wrapped up in listening to Can, Faust and generally exploring music based on casual recording, improvisations and extemporization. For them the album was too ‘rock’ and – having been dropped by Roadrunner - they no longer felt under any obligation to release it. To them it was time for a fresh start. Their next recordings would not be ‘for’ anyone but themselves. Today bassist Anto Carroll admits that “at times we were our own worst enemies” and with the benefit of hindsight both he and guitarist Graham Blackmore wish they had gone ahead and released this album at the time. However, back then, they thought they could do better and they did go on to make inventive and unique sounding versions of some of these songs with Stan Erraught producing just a short time later. These recordings were eventually released by Dead Elvis in 1999 - along with a couple of ‘adjusted’ tracks from the Sun Studios sessions - on Parijuana: 4 Years in Captivity.

It’s highly unlikely that listeners today will share the band’s view that the abum was too ‘clean’. This version of Parijuana is dirty, raw, messy with plenty of experimentation and extemporisation. The songwriting is as strong as that on their Chicks Dig Scars debut. The music is played with a new confidence and swagger, very much the sound of a band rooted in a wave of US ‘lo-fi’ finding their own sound. It’s the missing link between their conventional Pavement/Sebadoh influenced debut to the more drawn out, free roaming and extemporised second album proper Scorpio The Album.

'The John Carter and Bobby Bradford Quartet/Quintet were critical to the progressive jazz movement around Los Angeles in the late 60s alongside the likes of Horace Tapscott. Both hailed from the Watts area and trumpeter, Bradford played with a woodshedding Ornette Coleman for two years in the early 60s when the legendary free movement leader decided not to record for a while but wanted to hone his trademark sound on the saxophone. Multi-reed player, Carter also worked with Coleman who brought them together to lead their own band.

Their first outing on Flying Dutchman was “Flight For Four” as the Carter Bradford Quartet that was released in 1969. This is the second album they recorded where Carter and Bradford were supported by Tom Williamson (bass), Buzz Freeman (drums) and another uncredited bass player on four extended improvisations – ‘The Sunday Afternoon Jazz Blues Society’, ‘The Eye Of The Storm’, ‘Loneliness’ and ‘Encounter’.'

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

A true masterpiece, full of dashing solos and containing some of Freddie King's finest vocals since his heyday in the late '50s and early '60s. Released by Shelter Records in 1972, Texas Cannonball is similar to his first Shelter outing (Getting Ready), but with
more of a rock feel. It covers tunes by Jimmy Rogers, Howlin' Wolf, and Elmore James, tackles compositions by Leon Russell and, more unexpectedly, Bill Withers, Isaac Hayes-David Porter, and John Fogerty (whose "Lodi" is reworked into "Lowdown in Lodi"). King's own pen remained virtually in retirement, as he wrote only one of the album's tracks. In 2007, the Houston Chronicle listed
Texas Cannonball among the 75 essential Texas blues albums.

Mind Against launch their eagerly awaited imprint Habitat with a 15-track compilation titled “METAFLORA”, available as a deluxe transparent vinyl 3LP box set including a 24x12” fold-out poster.

Suitably, the compilation features new and emerging artists with whom Mind against have relationships, and recurrent motifs of subtly unsettling melodic house/techno building alternate worlds in soundscapes.

Mind Against & Sideral – ‘Criseide’ heralds this new world with portentous pounding beat/bass, the melodic synth singing beneath like beauty surviving under threat, the vocal/lyrics with an edge of alarm: ‘if you think it couldn’t happen to you…’

‘Talk To Me’ by Dyzen (who also collab’ed with Mind Against on their fabric presents compilation) has stately chords riding a prancing beat while sombre piano and sweet high vocal create a heraldic, post-apocalyptic nu-medieval world, whereas Sam Shure’s ‘Plus Ultra’ has rattling percussion, with melody like a coded message from an abandoned spaceship to which something replies in stark tones…

Marino Canal, whose debut album was released by Nicole Moudaber’s MOOD, and who has support from many big names including fabric’s founder Keith Reilly, features plangent notes veering up, down and off the scale for a disturbing effect in ‘Ample’, while Swiss duo Read The News in ‘A Place’ set a fast, kicking beat against a female voice yearning for ‘a space where I can just be’.

Remcord, often played by Black Coffee, Tale of Us and more besides MA, show us why in ‘Entourage Effect’ while Laroz gives a lively melody and raucous chords in ‘Don’t Touch’ feat. Sheera as her cool, raunchy, layered vocals come to the fore.

Seriously sought after, classic rare groove 2 stepper from Maxi, ‘Lover To Lover’ gets its first ever official reissue on vinyl with this also being the first 7 inch pressing of this oasis of joy, courtesy of South Street Soul.

Previously only ever available on Maxi’s self-titled 1977 LP, released on Blue Note. With originals of the album selling for over £160+, South Street give these glorious grooves space to breathe with a 7 inch reissue of two choice cuts. Soaring vocals, top drawer production, sumptuous instrumentation, with a string section to melt any heart out there – all arranged to perfection. The sort of track that will sweep you off your feet before you even know what’s hit you. Famously sampled by Tom & Jerry aka 4 Hero for their ridiculously rare Jungle anthem ‘Maximum Style’.

To complete the package, another hand-picked hit from Maxi’s one and only LP with a cover of the Van McCoy penned soulful serenity ‘Walk Softly’.

Bar Musica kicks off 2016 in style with a new EP from Bartomoleo that features one hot original as well as remix from Einzelnkind.

Unlike many in the dance world, Bartomoleo has formal training in classical music behind him. He is influenced by everything from jazz to blues to new wave and exploring electronic music comes naturally to him. His beats are richly detailed and expertly produced and his DJ sets are equally considered. Essentially, he has a delicate and emotive touch and that shows in this new EP.

The excellent L'Azdora is a deep and bubbly home cut with loose percussive patterns and rubbery drums full of warm human feelings. Trippy synths add a curious vibe and colourful pads help flesh out the groove. It is a turning track full of feeling and musical invention and is sure to get into the soul of all who hear it.

German Cocoon star Einzelnkind remixes and does so with a more uptempo slant. His version is slick and tech house feeling, with watery droplets, energetic drums that have real force in them and lots of fluid percussive lines that make you want to move.

This is a tidy two track package that confirms both label and artists to be right on form.

Voted DJ Mag’s Underground Hero in 2022, DJ & producer Lauren Flax has been a fixture in Brooklyn’s electronic scene for two decades. On her latest project Liz & Lauren EP, she teams up with Liz Wight of shoegaze techno duo Pale Blue, whose sultry vocals explore questions of love and isolation to the tune of Detroit house and acidic techno.

Flax and Wight became fast friends in 2021 after being introduced by Pale Blue member & 2MR co-founder Mike Simonetti, who’d enlisted Flax to remix Pale Blue’s “Breathe.” Naturally, when Flax needed a vocalist for some tracks she was working on shortly after, she knew just who to call. “I was in my last year of grad school doing an internship in community mental health helping kids cope with the trauma of the pandemic,” Wight says of the time. She channelled this experience as she wrote and recorded the lyrics to Liz & Lauren EP from her home in Los Angeles.

As a result, the lyrics on Liz & Lauren EP are open-ended musings on connection, isolation, and convention. Lead single “Fix Everything” can be read both as an indictment of the trappings of marriage or, on Flax’s view, a rousing call to action, applicable to issues ranging from the degradation of the environment to the attack on LGBTQ+ rights in America. As the EP progresses, Wight’s airy vocals consider the pitfalls of love, from the destructive power of infatuation to the pain of outgrowing a relationship.

Sonically, Liz & Lauren EP feels like a natural progression from Flax’s first release on 2MR, 2021’s Out Of Reality, which saw her exploring a more minimalist production style for the first time in her work. “I Don’t Want To Hurt You” and “Fix Everything” pulse with bright, dynamic production, while slow burner “Return To Love” takes a sparser approach, anchored by a muted drumbeat and a simple, earworm synth refrain. “I’d Risk It All To Be With You” is a masterful balance of both; it even gets the club treatment on the EP’s closing remix, courtesy of Flax’s friends Mark Archer and Simon Neale (Shadow Child) of MASC.

Liz & Lauren EP is an impassioned collection that showcases both Flax and Wight’s artistry in equal measure. For both artists, it’s a testament to stepping outside the norm (DJing for Flax, performing in Pale Blue for Wight) and collaborating with others, the fruits of which are sure to be felt on the dancefloor for years to come.

With one foot planted in jazz and the other in the township groove of Mbaqanga, saxophonist Sello Mmutung was a powerful crossover figure in the history of popular music in South Africa. Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.

Joining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two records in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group the Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, Butterfly (1975) and The Battle of Disco (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced with jaw-dropping solos. With music trends shifting dramatically in the late-1970s, the title of The Battle of Disco was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.

For enthusiasts of African music from the 1970s, a full appreciation of the continent’s output is incomplete without South Africa’s pop-jazz sound providing a regional counterpoint to the funk experimentation of West Africa. Reissued for the very first time, Bra Sello returns in 2023 with limited replica editions from Afrodelic using master tape sources from the As-Shams/The Sun collection. Afrodelic’s unique edition of Butterfly features a previously unreleased track on Side B.

Red hot Italian DJ and production collective Aura Safari is back with a second full-length album, Island Dreams. It lands on Hell Yeah Recordings on September 15th and is another live and sun-kissed odyssey through balmy Mediterranean evenings, gorgeous sundown sessions and funky analogue grooves.

Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni, Nicholas Iammatteo, Lorenzo Francioli, Ruggero Bonucci and Nicola Pitassio are Aura Safari, and between them they play drums, percussion, bass, keys, and guitar. They contributed to the first volume of the Buena Onda compilation in 2020 on this label, a year after serving up a debut album on London's Church Records. Since then they have become ever more entrenched in their local scene in Perugia, playing summer sets at the Umbria Jazz Festival, winter warmers at the legendary Red Zone Club and host their own Tropical Climax parties each month in the town centre.

Aura Safari are also deep-digging music collectors who have extensive and far-reaching tastes. When cooking up their sounds they draw on everything from Afro to Italo, house to disco, 80s boogie to world music, jazz and Balearic beats. This new album shows that once more across four sides of vinyl that sweep you up and transport you to somewhere idyllic.

The title track kicks off with steamy Mediterranean grooves embellished with lush Rhodes chords and sprinkles of cosmic magic. 'Sur Mon Balconnet' then slips into dubbed-out disco territory with 80s synths and leggy drums while 'Riserva Naturale' is a new-age jazz house sound with majestic lead synths and heart-melting chords that speak of a sunset dance on the beach. 'Onda' has squelchy boogie bass with hip-swinging drums, 'Wave Riding' is a lo-fi funk excursion with hints of West Coast Californian swagger and 'Magic Malbe' is loose-limbed Balearica with clear blue skies and blissed-out chords.

'Dancing in the Moonlight' feat. Zeke Manyika has all the vibrant feelings of bubblegum pop with Afro vocals and steel drum sounds next to rich xylophone sounds. There is plenty of heat and exotic charm to the proto-Afro house of 'Tropical Climax' and as well as dub versions of 'Sur Mon Balconnet' and 'Dancing in the Moonlight' come the scuffed-up Dam-Funk style beats and boogie of 'Disco Mantra' before closer 'Patagonia' shuts down with elastic drums and bass and playful synth leads that send you home wanting more.

Island Dreams is a tropical escape to a rich world of fusion sounds that look back to go forwards. It's a feel-good record to accompany hot nights and lazy afternoons, cocktails at dusk and dancing till dawn.

New Zealand disco-boogie outfit Flamingo Pier plant some Brooklyn roots with their fresh new ‘Beneath the Neon EP’ on Razor-N-Tape. Known for parties in East London and their massive hometown festival, as well as previous releases on Soundway, the Kiwi collective deliver a trio of new songs that solidify and expand their signature danceable blue-eyed indie-soul sound.

Lead off single 'How 2 Feel' shows a clubbier side of the band, with a pulsating house rhythm track and layers of angular synth stabs, vibey horn lines, and vocal chants. 'Beneath the Neon' and 'Remedy' are more familiar Flamingo Pier territory, upbeat indie disco anthems that boast incendiary vocal hooks, funky guitar work, and crisp production by Luke Walker.

Rounding out the EP are remixes by Chicago house legend Glenn Underground, and RNT co-head JKriv, whose mix features a guest appearance by Afro-boogie royalty Steve Monite.

Oozing with hazy sun, Beneath the Neon is the perfect soundtrack to soak up the dog days of summer.

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title – and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion.

These characteristics – along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting – have allowed the album to endure to the point where it sounds as fresh today as in 1972.

After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales – but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1,000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s.

Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.

In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk – and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe.

Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion.

Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats – and stamps Still Bill with a conversational nature and egoless approachability.

"I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job." There's that word again: real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all – independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple.

Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me," which reached No. 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.

That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" – the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.

Hideo Shiraki travelled to the US from Japan in 1962 and was bowled over by Horace Silver and the Bossa Nova Craze happening at the same time. When he returned to Japan he went straight into the studio and cut this Blue Note inspired Japanese Jazz Masterpiece.

With a selection of tunes ranging from the 1940's stylings of "Tico Tico" through to the samba infused "Orfeo Negro" and arriving in Silversville with "Sayonara Blues" Hideo Shiraki has hit all the sweet spots!

With sleeve notes translated into English for the first time and laid out in the Blue Note Style this release is going to be seen as a landmark re-issue.

A special Vinyl Only release on Jazz Room Records.

A certified maestro of his time, king of Cool Jazz with a penchant for unusual time signatures, Dave Brubeck is as prolific as they come. For their third release, Major Keys lovingly remaster and reissue three of his key pieces as The Dave Brubeck Quartet including the instantly recognisable ‘Take Five’ on 180g vinyl in a Major Keys sleeve.

On the A side one of the most famous jazz pieces of all time. Released in 1959 as part of the Quartet’s Time Out LP, which become the first jazz album to sell more than a million copies with the ‘Take Five’ single also taking that that coveted spot whilst going on to become the best-selling jazz single of all time. Accolades aside, it’s an intricate, absorbing and elating piece of jazz history, with one of the most recognisable melodies ever to be written. Timeless genius written by the quartet’s saxophonist Paul Desmond and performed by Dave Brubeck, Paul, Joe Morello and Eugene Wright, reissued for a new generation of listeners.

The B side sees ever more experimentation from the quartet, with the time signatures Dave heard on the streets of Istanbul providing the inspiration that gave birth to the lead track from Time Out - ‘Blue Rondo a la Turk’. As cool and complex as they get, stirring up those meters like a slick Manhattan. Rounding off the package, American jazz singer Carmen McRae’s 1962 vocal version of ‘Take Five’ gives an extra dose of sophistication to proceedings. All in all, a must have for any discerning music lover.

Symphony Orchestra is a new group from Maximilian Turnbull and Michael Rault. Both Rault and Turnbull are accomplished songwriters, performers and producers in their own right, with Turnbull leading The Badge Epoque Ensemble, playing with the group Darlene Shrugg, and once releasing records under the name Slim Twig and Rault having released several psychedelic rock & roll classics under his own name in the past decade. The pair have worked together in various capacities for many years, writing and recording together on U.S. Girls' In A Poem Unlimited, and contributing to each other's releases, but the debut LP from Symphony Orchestra (due out May 12th on Telephone Explosion) marks their first release as an official entity.

Needless to say, there is a potent creative chemistry between Rault and Turnbull and Radiant Music showcases the alchemy between their distinct skill sets. The album is an exercise in pure collaboration. After years spent focusing on solo projects and working as hired guns on other projects, the duo came together with no specific intentions other than to work free of boundaries and direction. Freeing themselves from the familiar pressures of deadlines and expectations, they found a sense of discovery through togetherness. Duties on this project were split between Rault acting primarily as a one-man rhythm section and lead vocalist with Turnbull bringing chord sketches and his trademark aphoristic lyrical musings to the table. Trading off roles on guitar and keys from song to song, the duo's deft approach to melody bleeds through their instrumental parts as much as it does through Rault's vocal melodies. The majority of this album was self-engineered over the course of three sessions in 2018, at Michael's Montreal studio. Dormant during the pandemic, Rault's move to Los Angeles and the birth of Turnbull's twin sons, work reignited in 2022. The latterly tracked instrumental 'Concerto' and ballad 'Unthink The Thinkable' provide a dynamic depth to the album perhaps attributable to this tumultuous pause. Mixing came courtesy of Steve Chahley & Tony Price (U.S. Girls, BÉE, Jane Inc, etc).

In all of their work, Rault and Turnbull have made a hallmark of elaborately precise production and arrangement, Radiant Music is no different, though its pared-back simplicity provides a streamlined directness. The pairing of Rault's soulful, elastic vocal with Turnbull's evocatively cerebral lyrics provides a thrilling sensation unlike anything else in their respective catalogs. With an explosive, groove-forward approach, kaleidoscopic walls of vocal harmony and technicolor displays of guitar work, these 31 minutes of music will most certainly stimulate the mind of any fan of classic pop rock and funk. The blown-out breakbeats, winsome woven vocal melodies and propulsive wah-wah guitars of the title track evoke memories of an after-school cartoon special that never really existed outside of a lysergic daydream. "Harp In The Wind" is a perfect moment of overcast melancholy complete with ribbons of weeping synthesizers and velcro-fuzz guitar that could rip a clean line through Kevlar. "Know Thyself" and the harmony-rich "Intersection" are standout tracks that find a kinship in Stereolab's space-age effervescence. "Concerto" is a slab of beaming, mischievous funk that nods to Billy Preston's extraterrestrial keyboard explorations.

Radiant Music, like the best pop music, is life-affirming, confectionary, and enticing. Symphony Orchestra have created an album that hits you right where you need it, anchoring heady, adventurous sonic ideas down to a solid foundation of masterful songcraft, virtuosic instrumental performances and undeniable groove. Not a bar, nor beat is wasted.

In anticipation of Kerri Chandler’s forthcoming album Spaces and Places, his first in 14 years, that sees the New Jersey legend celebrating club and soundsystem culture by recording, writing and performing a track in twenty-two of the worlds most distinguished nightclubs, Kaoz Theory drop the second in a series of vinyl album samplers.

Sampler 2, a sublime gatefold, double 12 inch package sees Kerri soak up and channel the atmosphere of Dublin’s District 8, Glasgow holy grail Sub Club, NYC’s Output and Lisbon’s crowning jewel Lux into four trademark Kerri cuts, doubled up with a further mix of each track for good measure too. Piano-laden deep house, heads-down groovers, vocal-tinged soulful gems, recorded directly from each space, it’s brimming with future classics from start to finish.

yet is a slippery word in English. Amorphous, these three letters in dierent contexts can define contrast or emphasis, set a place in time, show an expectation that something will occur or, paradoxically, that it is likely to stop.
It is this mercurial nature that makes yet the perfect title for Tresor’s latest compilation: the label follows on from the more explorative sections of 2021’s landmark Tresor 30 boxed set with a compilation, featuring 13 artists making music that resists easy definition.
Every track hints at and borrows from the familiar yet none follow the expected path: halfway through Deserto, Nandele & A-Tweed dramatically reveal a very dierent sonic landscape that was initially suggested; DJ Sotofett collaborates with Sri Lankan artist Kavadi with results that are unlike anything in the Norwegian producer’s catalogue as yet.
Further invention can be found as Jean Redondo’s Hypersonic moves across spaces inhabited by digital hardcore and hyperpop before swerving o-road and into a futuristic hip-hop section; on No Longer Human, Ireen Amnes takes a dierent path at the crossroads melding hyperpop, trance, and sci-fi soundtrack atmospherics, Significant Other heads towards UK Bass and Dubstep, and France’s Willis Anne skims by the outskirts of footwork with a piece that is almost completely uncategorisable.
Yet more sonic experimentation comes from E-Saggila, Nadia Struiwigh, NVST, Solid Blake, and Viikatory who oer unique takes on the well-established electro blueprint, while Ryan James Ford, and Nit. both find ways to blend elements normally found in ambient pieces with those heard on a dancefloor.
The feel of the compilation is yet again reflected in the enigmatic artwork by Malik Arbab, where shapes and colours suggest animals and plants but in a world that appears to be transient and constantly evolving.

Jazz music has more than its fair share of overshadowed figures that whilst contributing much to the music have little presence in its collective conscious. One such musician is the talented multi-reedist, Sahib Shihab. Born Edmond Gregory, as he was known before he adopted the Muslim faith in 1946, Sahib Shihab's music background shows a deep and significant evolution, influenced by Thelonious Monk, Dizzie Gillespie (his experience in Dizzie's band marked Sahib's switch to Baritone, the instrument he became most readily associated with), and above all by Charlie Parker's Bop. Had it not been for the post-war migration of many top American jazz musicians to Europe, it is quite likely that the legendary Clarke-Boland Big Band might never come into existence. Sahib, one of this musicians disillusioned with the politics and racism of the United States, accepted to join the band of Quincy Jones for an European tour in 1959. When the tour ended, Shihab he remained in Europe where he joined, in 1961, the Clarke-Boland Big Band. The collection 'Companionship', whose line up consists of seven elements which derives from this original band, spotlights the consummate musicianship and individuality of Sahib Shihab and is testimony to his special musical gifts - not only as a top-rank flautist and baritone saxophone but also as a composer. Furthermore, it provides a welcome reminder of the high quality of the Clarke-Boland Big Band's rhythm section, the lively style of vibraphonist Fats Sadi and the power and personality of two of the C-BBB's horn-playing stalwarts, Benny Bailey and Ake Persson. Here's a real rarity, surely a desert island disc. This double album has it all from frantic banging percussive workouts to modal numbers to beautiful ballads. It's a staggeringly good piece of music and worth every penny of the price tag it commands. Let's have a look to the most significant pieces. Francy Boland's "Om Mani Padme Hum", taken from a Tibetan prayer, shows Shihab in exuberant mood, playing against a vigorous percussion background and making dramatic use of his special technique of combining voice and flute. Boland contributes an incisive, effervescent solo. "Bohemia After Dark", a classic original by bassist Oscar Pettiford which he first recorded back in August 1955, finds Shihab in exultant form on baritone. "Companionship" has a Bossa Nova beat and features Bailey on flugelhorn and Shihab on flute, playing with a limpid, floating sound. Bailey's minor-key original, "Stoned Ghosts" was, he says, inspired by listening to some music written by Bela Bartok before he emigrated to the United States. The piece has an infectious back-beat pulse and showcases the superb walking technique of Jimmy Woode. In "Con Alma" Shihab's mellow flute set against a churning 12/8 beat in this stylish Boland arrangement. Woode's performance of the superb Mei Torme ballad, "Born To Be Blue", reveals his great affection for the song. "lt is the perfect combination," he says, "a beautiful melody married to a great lyric. I really love that tune." It is a song of rueful resignation, putting a brave face on the blues. "Balafon" is an up-tempo Francy Boland original written for the French mime artist, Marcel Marceau. The rhythm section really cooks on this track with Kenny Clarke's cymbal work outstanding. Boland's solo here is notable for its neat, left hand punctuations. "Calypso Blues" has been written by Nat King Cole and Don George. lt tells the wry and wistful tale of a Trinidadian in New York desperately homesick for the land where everything 5 so much cheaper (in New York "a dollar buy, a cup of coffee and a ham on rye") and the girls more natural than the artificial, painted beauties of New York. Woode's composition, "Sconsolato" is a haunting theme in A minor and it brings to a close a truly fascinating album. This is dynamic music played with vigour, verve and vitality - and it is an enormous pleasure to rediscover it. A shadowy fugitive from his home in the land of jazz, Sahib Shihab remains a true unsung figure, worthy of more attention. With his equally expert technique on Baritone, Flute, Alto and Soprano saxophones and his capacity to adapt easily to a variety of musical settings. His warm, individual, singsong sound in improvisation and his unusual and interesting compositions mark him out as a hidden treasure in the dusty corners of jazz archive.

On April 7th electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice.

This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right.

Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

Following a short, scene-setting ‘Arrival’ – a simple major chord arpeggio played on a Jupiter 6 which sounds like curtains opening at dawn, things begin apace with ‘The Grass’, which hurtles like a precision-tuned bullet train through Arctic tundra. The undulating effect of compression is emphasised by the classic techno trope where 2 rhythms jar yet interlock, creating an exquisitely disorientating strobe-like flutter. On the track’s guest, Fake comments, “I fell in love with Wizard Apprentice's ‘I Am Invisible’ and felt our musical styles were similar. Their vocals are smooth and clear and sharp at the same time. They’re like a calm within the storm.”

Inspired by Italo disco but sounding wholly alien and futuristic, ‘Vimana’’s fizzing buzzsaw arpeggiated bassline, popping snares and bright whirling melody are equally an electro trance melange, with an effervescent major chord Arp that kicks in midway.

Reminiscent of what used to be called ‘funky techno’ but with sparklier sounds, ‘Boss Core’ blinds like sunshine bouncing off ice. Using his trusty Boss DR550 drum machine, and inspired by Autechre's ‘Vose In’, the track peaks by reaching that melancholic/euphoric axis for which he is loved.

With chugging slow breakbeats not a million miles from Board Of Canada or trip hop, ‘Crystal Vision’ rolls along, with the melody opening up, revealing more hidden notes as it progresses, building into a fractal, kaleidoscopic mosaic.

An emotional outpouring with serotonin surging through the circuitry, classic breakbeats and layers of lazers, ‘Bibled’ has all the hallmarks of a classic. This is a bonafide festival-set closing, hugging-your-mates, moment – or, with its guitar solo, “a power ballad” – as Nathan calls it.

A minimalistic moment of calm midway through the album, ‘CMD’’s gently comforting dreamscape is conjured with FM stacked and detuned sine waves which are left to breathe, whilst the chunky Chicagoan house jack of ‘Hawk’ brings to mind classic Relief records, but even more detuned and wibbly, and laden with synths.

As the title suggests, ‘Amen 96’ is in Fake’s own words, “me having a go at jungle. I grew up listening to it, and I remember as a teenager it sounded like the most intense and otherworldly music ever. It still does. This track is an experiment to see how my melodic style works against amen breaks”. Closer to the braindance end of the spectrum than ‘proper’ jungle (and all the more interesting for it), Fake channels the spirit of Squarepusher but makes it his own, brimming with melodious twinkle.

A collaboration with Nathan’s close friend and genuine musical hero Clark. ‘Outsider’ finds this dream team alchemising pure gold that’s bigger than the sum of their parts. Skittering, intense, far-reaching end epic, the pair close proceedings on a grandly dramatic note. In 2020 Nathan released the album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor. The equally well received ‘Blizzards Remixes’ EP which featured Afrodeutsche and Irene Dresel followed in 2021, as did a nationwide UK tour.

An in-demand remixer, Fake has added his magic to tracks by Radiohead, Clark, Perc, Jon Hopkins, GoGo Penguin, Dominik Eulberg, Christian Löffler and Damian Lazarus, working for labels including Ninja Tune, Domino, Warp, Blue Note and Kompakt.

*Vinyl Only*

Spirits From An Urban Jungle – A group consisting of JMJ & Richie (Moving Shadow/Good Looking) and Tekniq (Moving Shadow/Formation) who released two EPs on Whitehouse Records in 1994 and a recent, quickly sold out, EP on Vinyl Fanatiks sister label – Amen brother.

Their first release on Whitehouse was repressed by Vinyl Fanatiks in 2020 on red vinyl and sold out. This is a limited run on blue vinyl and is some deeper, Bukem styled tracks that pre-dated the ‘intelligent’ drum & bass sound that went stratospheric the following year.

Rolling in da shadows…

Death Is Not The End's 333 sub-label follows the reissue of Devon Russell's Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail - Robert Ffrench's 1985 LP 'Wondering'.

Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early '80s, the Wondering LP followed closely after two acclaimed LP sets ('Showcase' produced with Lord Koos & 'The Favourite' for Ossie Thomas' Black Solidarity label - plus a split showcase LP with Anthony "Gunshot" Johnson for Jah Thomas' Midnight Rock label).

Ffrench would write and produce the Wondering LP himself in it's entirity, laying down the tracks at Herman Chin-Loy's Aquarius & Michael Carroll's Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald "Nambo" Robinson among others, with Beres Hammond also providing backing vocals in places.

Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White's Parish label - and founded his own 'France' label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on 'Modern Girl', and with US rapper Heavy D on the track 'More Love'. Robert's productions released through later label 'Ffrench' would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single "Ruler" on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles 'Everyday of My Life' and 'Black Is a Colour' in late 2022 and Feb 2023 respectively, available through all digital platforms now.

333, under exclusive license from Robert Ffrench.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

Eric Clapton’s eponymous first solo album, originally released in August 1970, represents one of rock history’s most successful reinventions. After emerging as one of the seminal guitar heroes of the ’60s, the English superstar decisively re-established his musical priorities with Eric Clapton. The album marked Clapton’s transition from flashy instrumental icon to well-rounded recording artist, downplaying sonic pyrotechnics in favour of a song-focused ensemble approach that would lay the groundwork for his massively successful solo career. For the occasion, he surrounded himself with a new cast of American musicians, tapping into a rootsy musical foundation that provided an inspired framework for his talents. This Anniversary Deluxe Edition presents Eric Clapton – Eric Clapton in three separate mixes –

The Eric Clapton Mix, The Delany Bramlett Mix and The Tom Dowd Mix (The UK Version). The Eric Clapton mix is being released in full for the first time. This anniversary collection also includes some singles, alternate versions and session outtakes.

The debut studio album from multi-platinum singer RAYE. Featuring number one single Escapism feat. 070 Shake.

Four times BRIT nominated, RAYE is one of the most streamed artists in the world with over
2.3 billion streams of her music. She has a double-platinum, four platinum, two gold and
three silver singles to her name. She is also indisputably one of the UK's premier
songwriters. Her songs have amassed over 3 billion streams, having written for some of the
world’s biggest artists including: John Legend, Ellie Goulding, Khalid, David Guetta, Diplo,
and Beyonce. In 2019 she was awarded The BMI Impact Award in recognition of her 'groundbreaking artistry, creative vision and impact on the future of music, in 2022 she was
nominated for the Ivors Songwriter of the year, landed R1 Brits List and made her debut solo
TV performance on Jools Holland. During the summer of 2021, her cries of frustration for not being able to release her album were heard worldwide, leading to a mutual separation from her label and allowing her to
carve her own path. Having made her public tirade, followed by her personal 'declaration of
independence', Raye in effect has obligated herself to deliver the ground-breaking first
album that her 2019 BMI award prophesied.

Fukuinn's 3rd release on vivid blue color vinyl. A1 is edgy electro sounds from Bristol's "Lost Signal" resident trackmaker Fazack. A2 is a deep and floating track by Relaxant. He's released an EP on Florklang Records and is one of the hottest young artists out there. On B1, Böhm, known for his acid and bleep sounds, surprises with an acid-heavy masterpiece. His successes and releases in recent years have been very inspiring. Lyon's genius, Foreign Sequence, played the best bizarre sound with pleasant melody on the last track.