Cerca:partners in time

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

Mita Gami makes a striking return to Crosstown Rebels this summer with the bold and emotive ‘Untouchable’ EP, a three-track offering that also marks the label debut of acclaimed live-electronic duo Garden City Movement. Following the success of his recent collaboration ‘Where’s My Voice’ with EREZ, his standout remix of Parallelle & Nicolas Masseyeff’s Renegade’ alongside Adam Ten and their 2022 EP ‘High On’, Mita’s fourth outing welcomes a first-time partnership with Garden City Movement - merging two distinct sonic worlds into a deeply textured and atmospheric EP.

Enjoy The Ride Records, in partnership with New Cannibal Society, proudly presents the 2xLP Expanded Deluxe Vinyl release to the Cult-Classic Horror/Comedy Cannibal! The Musical, directed by Trey Parker, co-creator of South Park and The Book of Mormon. Cannibal! The Musical is the true story of the only person convicted of cannibalism in America - Alferd Packer. The sole survivor of an ill-fated trip to the Colorado Territory, he tells his side of the harrowing tale to news reporter Polly Prye as he awaits his execution.

While searching for gold and love in the Colorado Territory, he and his companions lost their way and resorted to unthinkable horrors, including toe-tapping songs! Packer and his five wacky mining buddies sing and dance their way into your heart... and then take a bite out of it! Cannibal! The Musical is Oklahoma meets Friday The 13th Part 2. The film stars Trey Parker (South Park), Matt Stone (South Park), Dian Bachar (Baseketball, Orgazmo), Jason McHugh (Orgazmo) and Toddy Walters (Orgazmo).

For this newly expanded release, the stereo, music, and effects tracks were pulled from the digibeta tapes (thought to be lost) and have been remixed from scratch. This soundtrack also features complete dialogue scenes that lead into songs. What you'll hear is the best quality this soundtrack has ever heard! Cannibal! The Musical is housed in a gatefold jacket with brand-new art by Garreth Gibson. It is pressed on 2xLP vinyl for the first time and features 22 additional tracks available on the format for the first time, including instrumentals, dialogue, and score music. Pressed across four colorful variants, Side B also features a pop-up center label. What a Shpadoinkle day!

Extremely Limited Black Screen-Printed Jacket / Glow in the Dark Ink / Red Insert Printed Sleeve 7Inch Black Vinyl
Hidden Revealed is one of Joaquin Joe Claussell Aliases which features a more Experimental Cosmic Jazz Side of Joaquin garnering just as many music supporters as his other aliases.

Sold out on our Bandcamp in only a few days; we are now offering copies of this highly sought-after record to our distribution partners. This is an Extremely Limited Specially Packaged 7" Black Screen-Printed Jacket using Glow in the Dark Ink. The record itself is housed in a special Red Insert Sleeve which is also printed. Musically Speaking this concept showcases the cosmic Jazz side of Joaquin Joe Claussell. All human musicians, no computers. Joaquin has been featuring these compositions in his DJ sets for quite some time now garnering inspiring crowd response.

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: A Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.

Cari Lekebusch, Alexander Johansson & Mattias Fridell converge their creative energies for the first time on the "Tant Gron, Tant Brun & Tant Gredelin EP". This collaboration is a masterstroke, uniting three of Sweden's most innovative techno artisans.

Cari Lekebusch, a stalwart of the Swedish techno scene, has been a relentless force since the early '90s, continually redefining the genre's boundaries. His pioneering spirit has paved the way for countless artists and set a high standard for techno production.

Alexander Johansson and Mattias Fridell have cultivated a dynamic partnership, consistently delivering tracks that resonate with depth and precision. Their recent work, such as the "angvalt EP" on H-Productions, exemplifies their commitment to crafting immersive techno experiences.

The "Tant Gron, Tant Brun & Tant Gredelin EP" stands as a testament to their collective prowess, offering a quartet of tracks that embody the essence of pure techno. Each composition is meticulously engineered to captivate and transport listeners, making this release an indispensable addition to any techno aficionado's collection.

This EP also marks the inaugural vinyl release for Grab The Groove (GTG WAX001), heralding a new chapter in their mission to deliver uncompromising techno.

"In 2020, Chick Corea—27-time GRAMMY® winner, National Endowment for the Arts Jazz Master, and one of the most iconic figures in jazz—hit the road with his powerhouse trio of Christian McBride and Brian Blade, and embarked on what would be his final tour. Candid Records and Chick Corea Productions proudly present the recordings from that tour as Trilogy 3, the third installment from this extraordinary group. This unforgettable double live album showcases their unparalleled chemistry and cements their legacy in contemporary jazz history.

With years of collaboration to draw from, 9-time GRAMMY®-winning bassist Christian McBride and 4-time GRAMMY®-winning drummer Brian Blade bring a profound musical connection to their work with Corea. Their longstanding partnership fuels a dynamic, ever-evolving soundscape that elevates the art of the jazz trio to new heights.

Following the critically acclaimed Trilogy (2013) and Trilogy 2 (2018) albums, which each earned two GRAMMY Awards® including Best Jazz Instrumental Album, Trilogy 3 marks yet another milestone for this celebrated ensemble. The release brings together live performances from their February-March 2020 tour, cut short by the onset of the pandemic, capturing the trio’s extraordinary interplay and artistic brilliance. The album features fresh interpretations of jazz standards and Chick Corea originals, including the first trio recording of Corea’s iconic composition ""Windows"" since its appearance on the album Now He Sings, Now He Sobs, nearly six decades ago.

Widely regarded as one of Chick’s most acclaimed ensembles, this trio has consistently pushed the boundaries of jazz with technical brilliance, playful camaraderie, and deep emotional resonance. Trilogy 3 invites listeners to join these masters on a journey through music that is both timeless and groundbreaking."

Fit for Consequences: Original Recordings, 1984–1987 is the first ever archival release from Repetition Repetition, the “two-man electric minimalist band” consisting of Ruben Garcia and Steve Caton hailing from Los Angeles in the mid 1980’s. Repetition Repetition’s unique blend of cosmic art-rock minimalism / maximalism was self-released across a series of cassettes produced in micro editions, and while garnering the attention and participation of luminaries such as Harold Budd, remained under the radar during the band’s existence. Fit for Consequences: Original Recordings, 1984–1987 collects select material from across the duo’s catalog.

It was over a plate of Mexican breakfast food when Ruben Garcia and Steve Caton first told Harold Budd of Repetition Repetition and the worlds they intended to explore by respective way of synthesizers and guitars --- a rendezvous instigated by the former’s fan mail to the legendary composer. If the upstarts entered this restaurant from a one-way street of admiration, they would leave with not only Budd’s interest but, sometime later, a blessing in the wake of many hours shared by the three in Garcia’s Los Angeles home recording studio: “This is going to be difficult, but God help them, I think they’re great,” noted Budd in a USC lecture in 1985. Now several degrees removed from prior rock music aspirations, the real game was afoot.

Between 1984 and 1988, Repetition Repetition operated within something akin to the underground of the experimental underground, although even that designation perhaps overstates the case. The duo’s sparse output consisted of three cassettes self-released on Garcia’s Third Stone Music label: Repetition Repetition (1985), Lakeland (1987), and The Machinist (1987). Their songs would also be included during this period on Trance Port Tapes’ vital scene-scanning compilations assembled by A Produce. Live performances occurred with similar infrequency, but Garcia and Caton counted converts in quality over quantity, numbering among them the aforementioned Budd, a Chambers Brother, and, judging by a memorably drop-jawed reaction following a rare Repetition Repetition gig, Jackson Browne.

Likewise, critical support materialized in the form of KCRW deejays Brent Wilcox and Dean Suzuki, whose steady airplay positioned Repetition Repetition’s music amidst fearless company like Jon Hassell, Hiroshi Yoshimura, and Richard Horowitz. Yet, to hear fellow Trance Port featured players like Tom Recchion and Bruce Licher of Savage Republic tell it, Garcia and Caton moved as ghosts --- a notion more vexingly endorsed by the silence of record companies that failed to come knocking --- and therein lies an overarching truth to the work itself.

Journey to the heart of Repetition Repetition and one discovers a collective ear impossibly attuned to the hypnotic possibilities of stylistic convergence, the resulting music possessed of seamless multimodalities which beckon to a glimmering plane of the disembodied. Where Caton sought his artistic fixes at an intersection of popular genres, Garcia zoned in on the sonically spare, drawing from the same wellspring as the Enos and Rileys of his personal avant-garde pantheon, and in their coming together the two tapped into a deeper cosmic source. Synthetic walls of keyboard sound in forever states of reprise met waves of shimmering --- and at times even punishing --- guitar in reply, their soundscapes hovering convincingly between, as suggested in fittingly dualistic fashion in a press kit assembled by Garcia, such disparate sensations as bird flight in one song and oil drilling in the next.

But don’t call it a push-pull dynamic, as this was a creative partnership founded upon fluidity and organicism by way of, naturally, repetition. In contrast to, say, the Bressonian ideal of repetitive motion as a great stripping away, the concept in the hands of Garcia and Caton equated to ascendancy via continuous unfolding, a maximal route to minimalism. To be sure, their recording philosophy morphed over the course of the act’s short history, and what started as a process defined by consistent in-person interplay developed into a more isolated method formulated by Garcia, who eventually took to his own one-man bedroom-studio sessions in order to fully chart any and all potential ostinato-loaded paths which he could travel down, the Tascam-captured resonances subsequently provided to Caton as blueprints from which to take flight himself, adding layer upon layer of steel to the proceedings.

If the practice and execution changed, however, the evidence certainly didn’t rest in the results: The seamlessness remained, and, despite the brevity of their time together, so has Repetition Repetition. With this finely calibrated collection of songs in Fit for Consequences: Original Recordings, 1984–1987, Freedom To Spend sees to it that the private worlds of Garcia and Caton can now be visited by all rather than just the count-‘em-on-both-hands lucky few whose musical endeavors or collector vocations carried them into this once-distant dimension.

Repetition Repetition’s Fit for Consequences: Original Recordings, 1984–1987 will be released on Freedom To Spend in vinyl and digital editions on May 30, 2025. The collection includes extensive liner notes from Bill Perrine, and wil be offered alongside Over & Over, a supplemental collection of music available exclusively as a mail order cassette from Freedom To Spend and RVNG Intl.

Happy Birthday, Ratboy combines the old and new — containing 10 brand new recordings of their earliest material + a newly-written bonus track, this record celebrates a decade of Ratboys: a 10-year songwriting partnership, an evolving live show, a D.I.Y. project, a web of friendships, and every thing in between. Almost as soon as Julia Steiner and Dave Sagan met during their college orientation, they started playing music together. What came out of their dorm rooms was the 5-song RATBOY EP, uploaded to Bandcamp on April 1, 2011 to share with friends and family. Now, to mark a decade since (to the day), Ratboys have hit the studio to re-inhabit these songs and bring them back to life. New recordings of the 5 original RATBOY EP songs make up the A-side of Happy Birthday, Ratboy, with 5 new versions of rare college-era tracks and the newly-written standout, “Go Outside” on the B-side. Featuring mainstays from their live show over the years, including “The Stanza” & “Space Blows,” pressed to vinyl for the first time and given the full band treatment, Happy Birthday, Ratboy introduces new Ratboys fans to the band’s beginnings while also raising a toast to those who’ve been there from the start.

'Heartstrings' is the fourth album from London-based Snowpoet, led by the creative partnership of Lauren Kinsella and Chris Hyson Since their debut EP in 2014, the band has built a devoted audience drawn to their emotionally rich songwriting, intricate production, and distinct sonic identity. With 'Heartstrings', they take a bold step forward, writing and recording in the studio as a collective for the first time, capturing the raw immediacy of live performance while expanding their sound with lush textures, layered harmonies, and deeply personal storytelling. "We wanted to capture the moment to create something that feels real, unfiltered, and alive," says Chris Hyson.

This album marks an evolution in Snowpoet's approach. Instead of the fragmented process of previous records, 'Heartstrings' was born in the moment, with the full band improvising, shaping, and refining ideas together in real time. The result is an album that feels alive - organic, immersive, and deeply human. Sonically, the group leans into rich, analogue synth tones, intricate drum textures, and a dynamic push- and- pull between electronic and acoustic elements. Lyrically, it is their most personal work to date, weaving themes of life, loss, and renewal with poetic honesty. "The sound of this record is richer, bigger, more expansive, representative of the culmination of everything we've done so far," reflects Lauren Kinsella. At the heart of 'Heartstrings' is a powerful contrast - moments of deep emotional weight balanced with luminous joy. Songs like "Host" dive into themes of grief and the body as a vessel for experience, while tracks like "New Tree" radiate warmth and rebirth. The band's signature harmonies and layered production give the album a three- dimensional quality, pulling the listener into a space where vulnerability and beauty coexist. With 'Heartstrings', Snowpoet solidifies their position as one of the most innovative and emotionally resonant bands in the UK's jazz- adjacent and electronic-acoustic crossover scene. This is an album for listeners who crave depth, sonic richness, and lyrical honesty.

2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.

These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.



Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

1982 4-Piece Demo' is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band's mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn't a complete picture. Bryson and McDowall's growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson's art school background and McDowall's history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band's very first incarnation, an all-female 4 piece, recorded one demo at Glasgow's Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it's in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.


Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

As one of the most prolific and influential producers of the last thirty years, The Hacker’s imprint on electronic music already spans genres, eras and scene revolutions. And still, there’s more. In spirited collaboration with friend and fellow French journeyman Endrik Schroeder, the first release from The Hacker & Endrik Schroeder Project eschews EBM excess or gritty electro. Instead, two introductory tracks slip into the continuum of evergreen underground techno, influenced in equal part by the digital soul of Detroit, and the futurist experimentations of Sheffield.

Quickly escalating from a classic beat to a hoover-rave ascent determined to fill the vacuum of any warehouse, ‘Puissance’ is an unapologetic anthem that doubles as an elegant and impactful introduction to the Hacker & Schroeder partnership. Hypnotising dancers with ever-more forceful acid oscillations, the pair masterfully stave off the pressure with a wide-eyed organ riff, played live and direct from rave heaven.

‘The Voyagers’ contrasts with a cosmic groove, certain to satisfy heads-down bleep purists, while dedicating time and space for the charisma and quirks of this machine-led dance to shine through, including emotional pads and whispering voices, par excellence.

Wewantsounds continues its extensive Meiko Kaji reissue program - in partnership with Teichiku Records and Kaji herself - with the release of Yadokari, her third album from 1973. This marks the first time the album has been reissued on vinyl, featuring its original artwork and newly remastered audio. Renowned for her iconic 1970s films (Lady Snowblood, the Stray Cat Rock series) and admired by Quentin Tarantino, Meiko Kaji also released a string of outstanding albums on Teichiku, blending Japanese pop with cinematic grooves. Yadokari, is reissued here with its original deluxe gatefold sleeve andOBI plus a two-page insert featuring new liner notes by Hashim Kotaro Bharoocha. As a special bonus, this edition includes a 7" EP single featuring Shura No Hana, famously featured on the Kill Bill soundtrack.

Mutant, in partnership with Back Lot Music, are proud to present the premiere physical release of Benjamin Wallfisch's incredible score to the 2025 Wolf Man. Leigh Whannell (Invisible Man, Upload) continues exploring the classic Universal monster series, and with Wolf Man hw again teams up with composer Benjamin Wallfisch for the score. Ben's score evokes the lush classic sounds of the original 1940s movie. It's a beautifully light score featuring incredible orchestration, evoking the mystery within the woods. The score is scary and brutal but also delicate and human when necessary. It's evocative and rich and helps add grounding to this very contemporary telling of this tale.

4XLP. Hardcover slipcase box. Liner notes from Soichi Terada, Colour: translucent red, clear, blue, and yellow vinyl

It has been 25 years since the release of Saru Get You (サルゲッチュ), known stateside and in the UK as Ape Escape. Ape Escape marked a significant milestone for the PlayStation, as it was the first game to require use of the PlayStation's DualShock (analog) controller. In Ape Escape, the use of the analogue sticks goes beyond camera rotation and acts as an extension of Kakeru's (Spike's) own character, controlling his many gadgets like the stun club, time net, and sky flyer. It's a unique form of control that, really, didn't become popularized until the release of the Nintendo Wii. It feels like a distinctly Japanese design, the sort of off-the-wall design that is either embraced or rejected on a global scale. In Ape Escape's case, the mechanic caught on.

Ape Escape is fast, frantic, and—at times—downright frustrating. Pipo monkeys dash, taunt, and swim away from your advances. They ride water monsters, fly UFOs, and even shoot uzis! Whether it's Kakeru, his friends, or the monkeys themselves, the characters are always running across the levels. This mad dash is enhanced by the game's soundtrack, composed by legendary composer Soichi Terada. As he recalls, the director of the production said, "Spike and his friends always have the image of running." In response, Terada happily produced fast songs with an average speed of over 170bpm. The resulting gameplay and audio is a match made in heaven.

Ape Escape is the first game soundtrack Mr. Terada ever created. The producers of the game heard one of his singles, "Sumo Jungle," and thought his frenetic drum-and-bass (Jungle) would be perfect for the game. The marriage of Ape Escape's charming overworld and Soichi's upbeat compositions is nothing short
of sublime. Especially now, it is difficult to separate the mischievous Pipos and fast-paced action from Soichi Terada's silky smooth synthesizer and heart-pounding bass. Earlier this year (2024), Soichi Terada's Ape Escape work was celebrated by the six-track EP Apes in the Net, which includes music from Ape Escape 1 and 3 (Terada did not compose the series' second installment). The label, Rush Hour Music, has prestigiously championed almost all of Soichi Terada's music, especially his (specifically non-VGM) house, jungle, and drum and bass releases (Sounds from the Far East, Asakusa Light, and more).
Before Apes in the Net, Terada's Ape Escape music was only available on CD, released in Japan around 2010. This release featured reconstructed tracks created by Mr. Terada himself, identical to the music arrangements featured in the game. The biggest difference, of course, was that they were of higher fidelity than was originally available on the PS1 disk format. Completing all of the aforementioned releases is this box set, released by Far East Recording in partnership with Cartridge Thunder and officially licensed by Sony Computer Entertainment. This box set release includes four LPs, housed individually by a hardcover slipcase. This box set includes every song from Ape Escape 1, except those available on Apes in the Net. This box set release also includes one bonus song, previously unreleased anywhere else (including the game itself!).

The music on this box set was meticulously mastered by Justin Perkins of Mystery Room Mastering. Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. Rounding out the audio is absolutely stunning artwork created by Gobo3D. CT worked with Gobo to recreate some of Ape Escape's most iconic characters, referencing the original Japanese guidebook and other promotional materials. The result is visually delicious 300dpi artwork that takes you straight back to 1999. As uber-fans of the original PlayStation game, Cartridge Thunder and Far East Recording are proud to celebrate Soichi Terada's music and pay our respects to such a legendary PlayStation franchise—on the original hardware's 30th anniversary no less! It's with a happy heart, then, that Far East Recording and CT present to you Soichi Terada's Ape Escape Originape Soundtracks in a Box.

Please note: due to licensing exclusivity, this release does not include tracks previously released on Apes in the Net

For Fans Of The Indie/Americana, Punk ‘N’ Roll, Streetwalkin’ Cheetahs, Fear, Supersuckers, Tom Petty, MC5. Living Between the Lines is the debut solo LP from Frank Meyer. A long time coming, Meyer’s been hinting at it for a while now with Bandcamp exclusive tracks, covers on tribute albums, acoustic solo shows, and his acclaimed collaboration album with Eddie Spaghetti of the Supersuckers. Like the Eddie collab, LBTL is out on Kitten Robot Records. The 11-song album adds touches of blues and soul to Meyer’s expected high-energy rock ‘n’ roll, revealing a more mature voice. He is joined for duets by longtime friend and collaborator Lisa Kekaula of the Bellrays on the title track, Runaways icon Cherie Currie on “Piece of Me” and Spaghetti himself on “Partners In Crime.” An award-winning musician, filmmaker and author, Meyer has a track record that covers rock ‘n’ roll, punk, heavy metal, blues, and country. Known for his work with everyone from Rock ‘n’ Roll Hall of Famers James Williamson (Iggy & the Stooges) and Wayne Kramer (MC5) to legendary punk act FEAR, Meyer has carved out a career full of unlikely collaborations, hard work, searing guitar playing, and ace songwriting skills. “I have rarely seen the public leave so enthusiastic by the pure rock ‘n’ roll download that they had just witnessed. Frank Meyer is an incomparable frontman who lives rock ‘n’ roll 24/7 and always gives his all!” Popular 1 Magazine.

past present (tone poems across time)" is Mark de Clive-Lowe's exquisite new solo album and his debut for Greg Boraman's Impressive Collective label in partnership with BBE Music. Previously the pair released the Pharoah Sanders tribute album 'Freedom', and the equally lauded 'Hotel San Claudio' in collaboration with Shigeto & Melanie Charles. A deeply personal sonic exploration by Mark, "past present" is a reflection on family, heritage, and healing which was created in tandem with retracing his late father’s journey across Japan 70 years ago. The project is a collection of ambient jazz, emotional cinematic soundscapes that weave analog synths with field recordings from Japanese sacred sites and nature locations. "past present” partially came into existence thanks to the perseverance of producer, percussionist and Mark’s friend Carlos Niño, who after experiencing Mark's multi-layered motifs in the studio and in live contexts over many years explains, "I kept hearing him make an album like this, I kept telling him that he needed to, and that it would be his best album yet. Subtle, poetic, solo, texturally rhythmic, expressive, full of rippling layers, and arrangements representing such profound thoughts, feelings, relationships, and memories". Mark also took on board Carlos' recommendation of recording the bulk of "past present" at Ken Barrientos’ analog synth studio, 'The Breath' in Pomona, California - where he utilized no less than 22 different keyboards to create the ethereal and engaging soundscapes across all 11 tracks, also intertwining his own field recordings made during a long, explorative stay in Japan. Being such an individual and personal concept, it was only correct that Mark wrote the extensive album liner notes, to fully illustrate the decades-long backstory to this stunning collection. Mark completes the album's presentation using archive images from his family's private photo collection - an entire process he likens to time travel and signs off to the listener by stating that he hopes "it takes you on your own journey of imagination and reflection, leading to unexpected places, just as it has for me

Happy Birthday, Ratboy combines the old and new — containing 10 brand new recordings of their earliest material + a newly-written bonus track, this record celebrates a decade of Ratboys: a 10-year songwriting partnership, an evolving live show, a D.I.Y. project, a web of friendships, and every thing in between. Almost as soon as Julia Steiner and Dave Sagan met during their college orientation, they started playing music together. What came out of their dorm rooms was the 5-song RATBOY EP, uploaded to Bandcamp on April 1, 2011 to share with friends and family. Now, to mark a decade since (to the day), Ratboys have hit the studio to re-inhabit these songs and bring them back to life. New recordings of the 5 original RATBOY EP songs make up the A-side of Happy Birthday, Ratboy, with 5 new versions of rare college-era tracks and the newly-written standout, “Go Outside” on the B-side. Featuring mainstays from their live show over the years, including “The Stanza” & “Space Blows,” pressed to vinyl for the first time and given the full band treatment, Happy Birthday, Ratboy introduces new Ratboys fans to the band’s beginnings while also raising a toast to those who’ve been there from the start.

'Through Today' is the sophomore album for rising Australian band Chimers. A husband / wife duo comprising life partners Padraic Skehan (vocals / guitar) and Binx (drums / vocals). Recorded by Jono Boulet (Party Dozen) over two days at Stranded Studios, Wollongong and mixed at Boulet’s Sydney home studio, produced by the band and veteran manager / promoter / producer Tim Pittman (Feel Presents), 'Through Today' features ten tracks of tightly-coiled intensity that barely lets up for all of its 34 mins. In enlisting Boulet, the band were confident that due to his own experience of being one half of Party Dozen, they had someone who understood the confines of working within the structure of a two-piece but also the possibilities that creates. Boulet, in turn, rewarding that trust by capturing a powerful bedrock of sound that allowed the band's taught rhythms to circle and permeate and yet give full breathing space for the melody within. For Pittman’s part, having a third ear on hand to devote serious listening time and critical commentary was an added bonus. It’s a major step forward from the band’s 2021 self-titled debut. A twelve track effort that snuck out during covid and only hinted at the power within. "Our debut felt more like just trying to capture the songs we had at the time, we weren’t sure if we’d even release it or if it would be our only album" "This time around we were intent on capturing the energy and intensity of our live show on the recording but with a more produced sound than self-titled. We worked more on song structure previous to the sessions. We rehearsed a lot playing quietly so we could actually talk to each other whilst playing the song and iron out any kinks.” “Jono turned the whole live room into a drum room, mics everywhere. The guitar amps were situated outside to prevent too much spill but still recorded live along with about half of the vocals. Second guitar and the rest of the vocals were recorded the next day. Jono was super quick and had the same work ethic and mindset, get in, get it done. If the first take was good enough, move on.” - Padraic Lyrically Chimers maintain the intensity as they tackle the themes of love, life, death and relationships, distance from home (Padraic is Irish, moving to Australia in 2001) and the current political climate providing enough drama to fuel a forest fire. Guest musicians on the album include saxophonist Kirsty Tickle - also of Party Dozen - and violinist Jordan Ireland of The Middle East. Both of whom were invited in on short notice adding their respective parts in just 1-2 takes each without any prior knowledge of the material. Binx too showing added versatility contributing lead vocals to An Echo and sharing lead across 3AM, Generator and others. “Singing is not something that comes naturally to me, and it was at the last minute before we went into the studio that Padraic suggested I sing the lead in An Echo. Having very minimal musical instruments within the band I think having the two different vocals adds a nice dynamic to the record.” - Binx 'Through Today' is a great album. Solid and confident from the get go. No waste. No unnecessary fat. Should it be Chimers last it would remain a defining statement of originality and intent. But it’s not the last, it’s just the beginning. And there’s plenty more where that came from. BIO Like many good bands Chimers are a band born of isolation, not geographically though, via the pandemic. Irish born Padraic Skehan and his life partner Binx, formed the band in their Wollongong backyard during the initial lockdown of 2020. Veterans and drummers both of the ‘Gong’s vibrant garage-scene – The Pink Fits, The Drop Offs, Evol and more – Chimers is an altogether different beast, Padraic taking a giant leap forward by removing himself from the back-seat and assuming the role of driver; singing, playing guitar and writing the songs that would eventually become their 2021 self-titled debut album. It’s a sound and album that draws heavily on Skehan’s time as a youth in Ireland and the post-hardcore sounds of Dischord Records, Husker Du, The Wipers and which has seen the band find friends and favour in like-minds The Mark Of Cain, Henry Rollins, Guy Picciotto and Mudhoney. This is no mere nostalgia though, the band instead landing at the vanguard of a new generation of Sydney and surrounds bands – Body Type, Second Idol, Dust, Private Wives, R.M.F.C – borrowing from the past in order to create a future.

That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.

Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.

Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.

“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.

Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”

That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.

Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.

Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.

“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.

Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”

A once shocking 1962 LP of love songs…by men, for men. A long lost treasure featuring the cool & sophisticated vocals of Gene Howard and a cast of prime studio jazz musicians, performing a set of standards sung to a male suitor. Ahead of its time in every way. Decades ago, JD Doyle, renowned LGBT music historian and archivist, happened upon a copy of Love Is A Drag. Doyle would often play cuts from it on his radio show, Queer Music Heritage. He remained intrigued by the lack of either artist or producer credited on the album. A vague line of jacket text ambiguously announced, “For Adult Listeners Only - Sultry Stylings by a Most Unusual Vocalist.” And, the facts behind the album would have most likely remained unclear if it were not for one Murray Garrett Out of the blue, Murray Garrett contacted JD Doyle and wanted to talk about the album. According to Garrett, through his photography career, he had forged a friendship and partnership with prolific big band vocalist, Gene Howard. The two worked together on projects, eventually teaming with Jack Ames, founder of Edison International Records. When queried for ideas for a potential Edison International release, Garrett recalled a performance he had once seen in Greenwich Village - a performance of a man singing love songs to another man, in serious fashion, i.e., not at all campy or overly-dramatic. Gene Howard (straight and happily married!) agreed to sing on the record, accompanied by a who’s-who of Los Angeles A-list session men. Upon release, the record sold well in Hollywood, with Frank Sinatra, Liberace, and Bob Hope among its biggest advocates.

PRESENTED IN AN OPAQUE GREEN WITH BLACK AND ORANGE SPLATTER PRESSING HOUSED IN A DELUXE GATEFOLD JACKET

One year after coming out of early retirement and releasing his 11th studio album Can't Stay Away, Too $hort dropped his 12th studio album You Nasty in the year 2000. With over twenty years in the game, Too $hort don't stop mackin' or rappin' and spits his pimp game over West Coast funk-laden tracks with some Dirty South influences for the Y2K. Get On Down in partnership with Sony Music's CERTIFIED is proud to present You Nasty for the first time on vinyl. The album is pressed on colored vinyl with 3 bonus instrumentals and packaged in a deluxe gatefold jacket.

The complete LP + 2 bonus tracks - limited edition pressing on 180g vinyl

Although Chet Baker and Bill Evans were both highly lyrical and introspective players who could have made a fabulous partnership, they only ever recorded together on a couple or so occasions. By the time the recordings here were made, Chet Baker had been a star for less than a decade and this wholly instrumental album presents him accompanied by other great jazz stars with whom he would also rarely play and record with again.

"Chet Baker's penultimate session for Riverside produced an all-star lineup to support him, including jazz heavyweights Pepper Adams, Bill Evans, and Kenny Burrell. Each of them makes important contributions to the session. A good place to hear Baker's special way with the horn is made even more attractive with the presence and contributions of top jazz artists." - ***** Dave Nathan, AllMusic

Mutant, in partnership with Hollywood Records and 20th Century Films, is proud to present the premiere physical edition of Mark Korven's terrifying score to THE FIRST OMEN. Combining the inventive and dynamic instrumentation he is best known for, Mark Korven (THE WITCH, THE LIGHTHOUSE) has created a truly unsettling and powerful score to this new chapter to the legendary series. Jerry Goldsmith's Academy Award® winning score for the original 1976 classic THE OMEN is a totemic work of horror cinema. The film is the only time a horror film has ever won an Oscar for its score. Korven clearly knows he has big shoes to fill, because he takes his scoring style to powerful new heights with this brilliant work. It helps that Mark Korven is one of our favorite working composers. His score to THE FIRST OMEN is an incredible achievement and a fitting inclusion in one of the most important legacies of Horror filmmaking. A lot has changed since 1976, but one thing that hasn't is that horror scores deserve to be played as loud as possible, on vinyl, from your home stereo. Pressed on two red vinyl 140gram discs, housed in printed inner sleeves, contained within a die-cut jacket.

Mutant, in partnership with Studio Ponoc, are proud to present the soundtrack to their latest animated film The Imaginary, now streaming on Netflix worldwide.

From the studio that brought you Mary and The Witch’s Flower (2017) and Modest Heroes (2019) comes a new sweeping and epic animated feature film based on the novel by A.F. Harrold. Studio Ponoc’s The Imaginary tells the story of Rudger, the made-up and invisible friend of young Amanda, through his eyes as he traverses the magical liminal spaces that Imaginaries inhabit, the dangers they face, and their adventures.

The original score is full of genre swings and poignant beauty. Bouncing from imaginary Yeti attacks, to Venetian Banquets, and Submarine battles, all while deftly navigating joy, and grief and everything in between - Kenji Tamai & agehasprings take us all on a journey that helps us find our imaginations again.

The anthemic closing track of the film, "Nothing's Impossible", written and performed by A Great Big World featuring Rachel Platten. We are proud to present it for the first time in any physical form.

This limited edition release features original artwork by Tom Whalen (continuing his Studio Ponoc series from Mary and the Witch's Flower), and pressed on 2x 140 gram "Zin-Zan Eyes" color vinyl

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

The very first (and long overdue) career-spanning retrospective from Soul music legend P.P. Arnold • A 57 song 3CD set, or 25 song 2LP set featuring singles, album tracks, demos, and previously unreleased songs • A stylishly packaged collection with new sleeve notes by author Jude Rogers • A companion piece to P.P. Arnold's critically acclaimed autobiography Soul Survivor The term "well-established" might be appropriate for some artists but it barely begins to cover the career of the phenomenal P.P. Arnold, whose records and performances are now in their seventh decade.

Her consistently excellent music covers multiple genres, her high-profile admirers and collaborators are plentiful, and yet 'Soul Survivor - A Life In Song' is the first collection dedicated to this extraordinary body of work. Compiled by the artist, 'Soul Survivor - A Life In Song' is being released on a 57 song 3CD set, and 25 song 2LP set, both formats housed in an eye-catching sleeve created by photographer (and close friend) Gered Mankowitz, with extensive new sleeve notes by author Jude Rogers.

Alongside key singles and album tracks it includes previously unreleased recordings, demo versions, live performances, and some rare mixes that are being reissued for the very first time. From her early days at Andrew Loog Oldham's Immediate label (where she "became one of us", according to Andrew) her allies, associates, and working partners have included the Small Faces, Cat Stevens, Mick Jagger, Barry Gibb, Eric Clapton, Andrew Lloyd Webber, The Blockheads' Chaz Jankel, Roger Waters, Ocean Colour Scene, The Blow Monkeys' Dr. Robert, and Paul Weller. In 2022 P.P. Arnold told her extraordinary life story in her critically acclaimed autobiography Soul Survivor (Mojo magazine called it "a jaw-dropping memoir"); now that book has the soundtrack that it deserves.

Free jazz poetry by a spry, 85 year old Joe McPhee, adapting his renowned improvised practice to words - juxtaposed with Mats Gustafson’s sparing brass and electric gestures. It’s an utterly timeless and transfixing salvo, another shiny notch for Smalltown Supersound’s Le Jazz Non Series.

As a common ligature to the OG free jazz scene of ‘60s NYC, with formative binds to its European offshoots and the experimental avant garde, Joe McPhee is a true force of nature who has represented jazz at its freest over a remarkable lifetime. In duo with Swedish free jazz and noise standard bearer Mats Gustafson, he upends expectations with an astonishingly vivid and upfront example of his enduring contribution to freely improvised music. In 11 parts he variously reflects on everything from the neon sleaze and scuzz of NYC to contemporary US politicians and laugh out loud imitations of his previous sparring partners such as Peter Brötzmann, with a head-slapping immediacy that leaves you reeling, spellbound.

McPhee’s flow of rare, organic cadence, ranging from urgent to contemplative and dreamlike, is blessed with a unique turn-of-phrase that surely mirrors his decades of instrumental work. Gustafsson, meanwhile, dextrously takes up the mantle with a multi-instrumental spectrum of sounds, leaving McPhee unbound and able to float and sting on the mic. There’s obvious wisdom in his perceptively penetrative observations, as derived from a rich cultural life well spent, but also a playful naivety and levity in his ability to veer from almost melodic speech to explosive aggression and a knowing, bathetic wit. It’s perhaps hard to believe that McPhee only started incorporating and performing spoken word in his work in the past ten years, a half century since his declaration of “What Time Is It‽” announced his arrival on a legendary debut ‘Nation Time’ (1971), ushering in one of free jazz’s most singular characters in the process.

Oscillating between discordant reflections on life as a touring musician, set to Gustafsson’s skronk and culminating in a snort-worthy imitation of Peter Brötzmann’s gruff German accent, on ‘Short Pieces’ or the glowering growl and noise exhortations of ‘Guitar’, he evokes a more sweetly consonant calm in ‘When I Grow Up’ and eerie threat of ‘The Dreams Book’, and viscerality of ‘Disco Death’, where Gustafson’s tonal versatility comes into hugely mutable play, whilst McPhee’s extraordinary, unaffected voice is a constant. It’s perhaps McPhee’s balance of cool measuredness and wellspring of barbed energies that allows us, at least, to get the most out of this one; not stifling with mannered or manicured enunciation that can trigger certain icks; keeping close to the nature of spoken word in a way that avoids cliche and becomes inherently critical of it within his purposeful, non-hesitant clarity and unflinching approach.

Mutant, in partnership with Netflix, are proud to present Graham Raynold’s score to Richard Linklater’s film HIT MAN.

A Romantic Comedy Noir, loosely based on the true story of a nebbish philosophy professor named Gary Johnson who moonlighted as an undercover police officer, HIT MAN is Richard Linklater and Glen Powell’s meditation on identity. Linklater, a filmmaker who has shapeshifted many times over his storied three decades of storytelling, has reteamed with his frequent music collaborator Graham Reynolds, to produce a jazzy, romantic, dark, and playful score.

Reynolds has worked in each of these modes before with Linklater, but never all at the same time. It stands defiant in contrast the version of the Gary that we meet at the beginning of the film - allowing the character to meet the score on its level by the time we approach the twisted finale. This score proves that genre, like identity, can be a limitation placed on both films and film music.

This physical release is limited to 500 copies worldwide, and features a forward by Graham Reynolds and packaging designed by Mutant co-founder Mo Shafeek.

Poet, novelist, musician and academic, Anthony Joseph teams up with legendary UK producer Dave Okumu for forthcoming album, ‘Rowing Up River To Get Our Names Back’

Dave Okumu, known perhaps best as frontman for The Invisible, though digging deeper into his production credits, huge names emerge such as; Grace Jones, Amy Winehouse, Jesse Ware, Rosie Lowe and Eska. On this album, the magic and alchemy of Dave’s production style showcase subtle sonics and deep layering resulting in a contemporary sound to carry Anthony’s afrofuturistic metrical meanings.

Anthony and Dave first came across each other when working with Shabaka Hutchings during Covid broadcasts, and then after Anthony performed some poems on Dave’s 2023 album ‘I Came From Love’, the seeds of collaboration were sown.

With a little more psychedelia, a little more experimentation, Dave’s eclectic vision focuses on the actual sounds on these pieces. Anthony stated that “The best producers guide you, not push you” now add to that the fact that both these humans were born on the same day, a concoction of laid back attitudes in people with strong purpose, some real magic can happen, naturally.

Early writing sessions for this record took place in 2022, around Mount Blanc in France. Anthony was away touring with long-time collaborator, Jason Yarde. Ideas were a little thin and they found themselves somewhat repeating previous work resulting in Anthony rethinking things a little, and so entered Dave Okumu.

LP opener ‘Satellite’ is a fine example of how this new partnership pans out. New musicians have been enlisted; Dan See (Drums), Aviram Barath (Synths), Nick Ramm on Fender Rhodes and Byron Wallen (Trumpet). Add to that the mighty vocal power house of Eska and we have a whole new dimension of soul and depth, to carry Anthony’s statements. “You build a wall, we go under, you build it higher, we go higher, like a satellite” .

On the album's second single, ‘Tony’ - there’s a nod to all drummers and creators of African rhythms, from the point of view of Afrobeat legend Tony Allen. Highlighting this is drummer’s drummer Richard Spaven as Dave’s choice of skin beater. He successfully reminds us that Tony was someone who understood the real power of rhythm and how it is used to unite people.

As well as the new musicians on this LP, Dave Okumu played all the guitars and used the studio as his tool. On ‘A Juba for Janet’ - a poem to Joseph’s mother, and a track so bass heavy that it feels as though it could sit in a deep dubstep set in Plastic People days, - Anthony’s voice reaches straight down your ear canals next to dark drums, huge synths and delayed saxophone stabs from Colin Webster. Slightly more introspective verses on ‘An Afrofuturist Poem’ see Dave’s beats show off the real future sound of this record, kalimba, moog bass and guitars all played by the man himself.

Mellower and deeper moments are also present, Anthony’s cryptic yet informative storytelling is at its absolute best on ‘Churches Of Sound (The Benetiz-Rojo)’ - Caribbean and Windrush history reeled off alongside a linear musical timeline of Black music in the diaspora.

A reminder that this body of work is first of 2 volumes, ‘Rowing Up River To Get Our Names Back’ is not a follow up to Anthony’s previous album, but more a development of his 2006 novel, ‘The African Origins of UFOs’ a book where experimental elements of afro-futurism, metafiction, science fiction, surrealism, mythology are rewritten in Anthony’s innovative language. Look out for Volume 2 also coming in 2025.

Anthony Joseph releases, ‘Rowing Up River To Get Our Names Back’ (Vol. 1) via Heavenly Sweetness 7th February 2025 and he will play live at Ronnie Scotts in London on 14th March 2025, with Dave Okumu as a special guest.

CREDITS:

Vocals - Anthony Joseph

Additional vocals, vocal arrangements - Eska Mtungwazi

Producer - Guitars, Bass, Moog, Synthesisers, Programming, Percussion - Dave Okumu

Drums - Dan See

Drums on ‘Tony’ - Richard Spaven

Synthesiser - Aviram Barath

Fender Rhodes, Synthesisers, Nick Ramm

Trumpet - Byron Wallen

Saxophones - Colin Webster

Trombones - James Wade Sired

The hornsman instrumental has a long legacy in the realms of reggae music. Don Drummond, Tommy McCook, Vin Gordon, Rico Rodriguez, Eddie Tan Tan. The list players behind this tradition could go on and on. The notes they played across eras from ska to rock steady to the deepest dubwise steppers bellow through the wind and the wire like a Warrior Charge ….

…It is within this tradition that Ital Counselor’s next weighty contribution to the musical world of QUALITY reggae fits…

…From the very first sonorous note emanating from the mighty Soothsayer’s Horn Section the listener can tell the Dub Organiser means business. That’s right. Once again, the Ital Counselor teams up with Chris Lane of Fashion Records for a cantankerous churning steppers meant to burn out all weak heart sound who try come test.

As evidenced from this 12”s namesake, the humble Soul Dragon Temple of Tone Sound System and IC partners in crime out of Philadelphia, USA, the Soul Dragon Anthem breaths some serious fire. The hard hard rhythm churns relentlessly while the bassline rolls like Dragon’s breath calling all in the dance to spring heel skank straight through all four cuts.

The Dub Organiser stirs a cauldron of dense dub at points conjuring aspects of Lee Perry’s classic Black Ark sound while maintaining his own distinctive spin on the mystical mixing arts. Shards of sound echo and delay. Mr. Lane takes the bassline to aquatic depths as the DRAGON DIVES DEEP……Cut 1…Cut 2…Cut 3…Cut 4…

This one is dedicated to all home town hi-fi’s forwarding reggae and sound system culture outernationally. So without further ado, all soundman and woman worth your salt it is time to DROP the needle on this track. Watch the Dragon FLY and let the Dub Organiser and the Soothsayer Horn’s “Soul Dragon Anthem” BREATH FIRE through your SPEAKER BOX!!!!!!

Rare Seventies Big City Street Soul

In 1971, film producer David Gil and his business partners Robert S Sinn and Paul Frankenberg launched a film company called GSF. Over the next few years, it would be involved in a small number of productions. But, in 1971 the movie business was kind of old-hat, music was where it was at, and so GSF Records, a well-funded label, headed by Larry Newton was formed. Today Newton is largely remembered for his attempts to prevent Louis Armstrong from recording 'What A Wonderful World' but that didn’t stop him from growing ABC from a second division company to an industry leader. As he approached his 52nd birthday he was unveiled as GSF Records’ president a full-service music company, involved in records and publishing across all genres. Through a joint venture with drummer Bernard Purdie the label targeted the R&B charts and soul & funk dominated GSF's release schedule.

Black music ruled and this was reinforced by the hiring of Lloyd Price as head of A&R (veteran R&B star), and producers George Kerr (All-Platinum), Mickey Stevenson (Motown) and Jerry 'Swamp Dogg’ Williams. No wonder then, unintentional as it was, that GSF left behind such an extraordinary legacy of rare soul treasures.

NEW YORK’S BEST KEPT SOUL SECRET Features legendary Northern Soul classics courtesy of Anderson Brothers, Skull Snaps and Connie Laverne Produced by hit makers George Kerr and Motown veteran Mickey Stevenson Starring the Whatnauts and Eddie “Hey There Lonely Girl” Holman

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Nat King Cole was born Nathaniel Adams on the 17th March 1917 in Montgomery, Alabama, USA. His family held a key position in the local black community with his father being pastor of the local Baptist church.

His first professional break came touring with the Broadway show “shuffle along” which eventually found its way to Los Angeles. Where Nat ended up playing at the century club on Santa Monica boulevard. This was an in-place for musicians and Nat’s already developed and incredible piano playing became a great attraction eventually forming a trio with Oscar Moore on guitar and Wesley Price on bass. With Nat’s great voice and add libs the trio were a great success in 1939/40.

In 1943 Cole signed to the infant Capitol records and began his enormous string of hits for that label and eventual amazing career partnership with the great arranger and orchestra leader Nelson Riddle. This was at the time of popular music already pioneered by Bing Crosby and latterly Frank Sinatra and something Nat would become a master of, with his by now incredible, highly developed and unique voice which we all instantly recognise.

Right up until his untimely and tragic death on 15th February 1965, Nat made a string of successful records for capitol, a string of film appearances, and the first black presenter of his own tv show, which ran for many years and introduced a whole host of new and old artists to the television screens. As is so often with people so talented, Nat’s life was short but extremely successful. He was a well loved and admired person with his vibrant and kind personality with many great friends and colleagues and made an enormous contribution to the music industry, civil rights and the world in general.

As a singer and pianist, he was exceptionally talented, and his voice will live on in immortality. His ability to express and sing any song was quite extraordinary to say the least and these recordings are a fine example of that ability. A must have for all music lovers!

Alicia Myers - I Want To Thank You & Don't Stop What You're Doin' are staple classics and for the first time since their initial release in 1981 are together on one piece of vinyl. A serious double header!

Both tracks are produced by Kevin ‘Mr Groove’ McCord, heralded as Dam Funk’s favourite producers and one of the founding members of Al Hudson & The Soul Partners & One Way before going on to contribute to hundreds of r&b, funk, disco, and boogie dancefloor movers in the ’70s and ’80s.

At the height of his career he produced his One Way band members, Alicia Myers debut solo album, Alicia featuring both tracks on this release. I Want To Thank You, a certified classic that never fails to elicit a joyous reaction anytime it’s played & Don't Stop What You're Doin' famously sampled by J Dilla for ‘What It’s All About’ by Slum Village feat. Busta Rhymes on the legendary ‘Fantastic Vol.2’ album.

Another fully licenced and remastered essential release from the South Street family!