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

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

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

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

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

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

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

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

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

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

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

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

On his second Blue Note album Love Bug, organist Reuben Wilson fronted an exceptional quintet with Lee Morgan on trumpet, George Coleman on tenor saxophone, Grant Green on guitar, and Leo Morris (aka Idris Muhammad) on drums. The 1969 soul jazz date presented funky Wilson originals like “Hot Rod,” Back Out,” and the title track alongside R&B hits of the day like “I’m Gonna Make You Love Me,” “I Say A Little Prayer,” and “Hold On, I’m Comin’” . This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal

On his second Blue Note album Love Bug, organist Reuben Wilson fronted an exceptional quintet with Lee Morgan on trumpet, George Coleman on tenor saxophone, Grant Green on guitar, and Leo Morris (aka Idris Muhammad) on drums. The 1969 soul jazz date presented funky Wilson originals like “Hot Rod,” Back Out,” and the title track alongside R&B hits of the day like “I’m Gonna Make You Love Me,” “I Say A Little Prayer,” and “Hold On, I’m Comin’” . This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.

While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.

In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.

Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.

Since its creation in 2007, Hifiklub has led more than 150 collaborations which have allowed the Toulon trio to open its music to multiple artistic experiences revealing a constant desire for research and novelty. From unprecedented encounters to unique projects, Hifiklub has developed over the years a now substantial discography whose musical proposals range from pop to jazz through the most experimental sounds and even traditional music. One path, however, remained unexplored: contemporary music."Last Party On Earth" is organized around the association of three energies: contemporary composer Jean-Michel Bossini, singer Duke Garwood and the instrumental ensemble Hifiklub.

Surrounded by mysticism and darkness, the creation has cinematographic dimensions. It positions the listener in a depth and disposition of soul where the voice - and the poetry - of Duke Garwood is carried by Hifiklub and Jean-Michel Bossini around cold and tormented atmospheres. The album seduces by the detail of its sounds, its apparent tranquility and its intimate atmospheres thwarted by harsh flashes.

Mixed by Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), the album sees the exceptional participation of the string trio Anpapié (Alice Piérot, Fanny Paccoud and Elena Andreyev) who magnificently perform the score by Jean-Michel Bossini.

All songs performed by Hifiklub, Duke Garwood and trio Anpapié (conducted by Jean-Michel Bossini)

Pascal Abbatucci Julien – drums, percussion
Eléna Andreyev – cello
Jean-Loup Faurat – guitar
Duke Garwood - vocals, guitar
Régis Laugier – bass
Nico Morcillo – guitar
Alice Piérot – violin
Fanny Paccoud – alto

Collaboration is an essential ingredient to this open trio’s creative approach, forming a recurring theme in Hifiklub’s extensive discography and filmography. Based in Toulon, the hyperactive experimental rock band offer a diverse ever-evolving catalogue that now boasts over 150 artist collaborations since they started in 2006. Over the years they have formed as many fruitful artistic friendships allowing them to explore the endless possibilities of expression combining sound, image and text.

Some of the artists that feature in Hifiklub’s kaleidoscopic discography: Lee Ranaldo (Sonic Youth), Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), Roddy Bottum (Faith no More, Imperial Teen), Matt Cameron (Pearl Jam, Soundgarden), The Legendary Tigerman, Jad Fair (Half Japanese), Iggor Cavalera (Sepultura, MixHell), Jean-Marc Montera, R. Stevie Moore, Mike Watt (Minutemen, The Stooges), Fatso Jetson, Nels Cline (Wilco), Scanner, Mike Cooper, Eugene Chadbourne…

Long Awaited Double Gatefold Release!

Omar Lyefook MBE is without doubt, one of the greatest soul music talents the United Kingdom has produced in the last 40 years. If anyone has doubts about that, then they might want to consider the list of legendary artists who happily line up to collaborate with him musically, or simply sing his praises - from Stevie Wonder, the late Leon Ware, Erykah Badu, Common, through to Carleen Anderson, D'Angelo, and Soul II Soul's Caron Wheeler, Angie Stone and U.K. artists Courtney Pine, Rodney P, Kele LeRoc, Natasha Watts and Estelle, all appreciate his truly original and unique voice, musicianship and songwriting talent.

When asked to reflect on his long, successful, critically acclaimed and deeply influential career that shows no signs of slowing up, Omar said "I feel blessed. I try to keep things moving and evolving, and when I finish an album, I always put my heart and soul into it. I'm looking at it from an outsider's point of view, because I never really see myself making the music. It's like I'm the vessel and somebody's controlling what I do, I just happen to be the one that gets the praise for it".

That modest statement just re-enforces the fact that Omar is simply a one off, a genuinely unique artist. That is a bold claim, but his sound is so immediately identifiable, that you will know you are hearing an Omar track within seconds - and that is the stamp of true originality.

This collection features many of his classic collaborations, from his evergreen worldwide anthem There's Nothing Like This, It's So, the dancefloor destroying banger inspired by the amalgam of sounds Omar heard at The Notting Hill Carnival.

● 180g heavy vinyl pressing, comes with a 4p insert including an interview with Leonardo Marques, artists biographies and exclusive pics.

● Multi-talented musician, singer songwriter, music producer, and sound engineer Leonardo Marques selects ten musical gems recorded at his Ilha Do Corvo studio in Belo Horizonte, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces. Ilha do Corvo is also an indispensable creative hub for the inimitable Belo Horizonte and Minas Gerais musical scene. This compilation highlights some of the best works recorded at Ilha Do Corvo over the past few years and features some of the brightest talent to record in the studio, with music by Bernardo Bauer, Moons, Giovanni Leão, Douglas Scalioni Domingues, Gui Hargreaves, Arthur Melo, Rodrigo Damati, Invisível and Leonardo Marques himself. This is essential Brazilian music at its best!

Ajo Sunshine (pronounced “Ahh-Ho”) is heralded by
an alarming horn ensemble, stabbing with the dramatic
urgency of a killer’s theme in a midnight movie. It’s a
jarring but appropriate entry point for this brilliantly blasted
listen, an array of exquisitely sharp edges punctuated by
kaleidoscopic respites of throbbing warmth and surprising
tenderness. J.R.C.G. (Justin R. Cruz Gallego)’s previous
work with Seattle’s excellent Dreamdecay may foreground
the broad strokes here, but he’s pushed things way outward
in terms of his sonic palette. Abutting field recordings
captured from rodeos off Ajo Way, a stretch of highway
that leads one westward out of Tucson Arizona directly into
the sun, both acoustic instruments and gleaming walls
of synthetic noise are framed in dour and dissonant chord
shapes, crackling with overdriven drum mics and seasick
waves of distortion. It’s homage that plays out like a
collage, a dream switching from station to station, a series
of dedications broadcast on late night radio. All pin-hole
size images from scenes never seen whole, strung together
in but one version of complete, all making for a dazzling
listen.

Over the course of the decade, Meatbodies’ Chad Ubovich has been
a perennial candidate for MVP of West Coast’s fertile rock scene. The
LA native could be seen peeling off guitar solos in Mikal Cronin’s
backing band, supplying the Sabbath-sized low end for Ty Segall and
Charlie Moothart as the bassist for Fuzz, and, of course, fronting his
own Meatbodies. Today the recently dormant experimental noise /
freak-rock outfit has announced their return with 333—a corrosive
stew of guitar scuzz, raw acoustic rave-ups, and primitive
electronics that charts Ubovich’s journey from drug-induced darkness
to clear-eyed sobriety. 333 simultaneously reflects on how the world
he re-entered was still pretty messed up—if not more so. “These lyrics
are dark, but I think these are things that a lot of people are feeling
and going through” he says. “Here in America, we’re watching the
fall of U.S. capitalism, and 333 is a cartoonish representation of that
decline.”
In mid to late 2019, the band—Ubovich and drummer Dylan
Fujioka—had a new album in the can, ready to be mixed. But
when COVID hit, like so many other artists, they put their release
on hold as they rode out the pandemic’s first wave. During that idle
time, Ubovich discovered a cache of demos that he and Fujioka had
recorded in a bedroom back in the summer of 2018, and he really liked
what he heard. In contrast to Meatbodies’ typical full-band attack, it
was deliriously disordered. “It sounded gross, like a scary Magical
Mystery Tour,” he recalls proudly. After subjecting them to some
mixing-board freakery, Ubovich fast-tracked the songs into becoming
this third release of theirs, 333. It proves Meatbodies have greatly
expanded their palette, opening new portals to explore. And for an
album that wasn’t supposed to exist, 333 is the ultimate testament to
Meatbodies’ renewed vitality.

Acid percussive grind sound. A bloody massive night Acid sound. This will drive really crazy for sure !!

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

* New from Innerground Records (co-founded by DJ Marky), also the home of Calibre, BassBrothers, Random Movement and Blade, comes the highly anticipated double vinyl LP from DJ Marky & others, ‘100’. Drawing inspiration from the past 18 years of Innerground’s vast history and impact on the Drum & Bass movement, and the signature latin influences of DJ Marky that have brought excitement and vitality to stages around the globe. This special collaboration between one of the most important figures in the genre, and a collection of some of the most highly respected producers and artists in the scene, creates a ground-breaking LP that marks the 100th release from Innerground Records.

* It should come as no surprise that the double LP packs a punch, when looking at the combined experience of its contributors. ‘100’ begins as a bold statement from the main man DJ Marky, laying down the foundations of what’s yet to come from this veteran D’nB lineup. We’re taken on a ride through morphing tempos and enchanting vocals that hammer home what this immense centennial is all about - a special milestone in the genre that will be remembered in years to come.

TRACKLIST:

A1 : DJ Marky Feat. Lorna King – Changing Moods (LEAD SINGLE (SPECIALIST RADIO PLUGGING BY LISTEN UP)
The album launches with the warm Brazilian sunshine D&B that Innerground’s main man Marky is known for. Lorna King’s uplifting harmonies intertwine with playful melodies to shape not only a guaranteed party starter, but a track that will put a smile on your face. Shades of his legendary ‘LK’??!

A2 : Data 3 – String Theory
After the Brazilian sunshine comes the rain… We’re taken on a detour through a dark valley as spiralling synths ascend to a glitch filled break. Ominous chords reverberate around the onslaught of rattling hats and deep choral vocals.

B1 : Random Movement – Patty Melt
The American D&B veteran returns to Innerground, bringing a funky fast guitar filled banger. Rapid drums and airy synths balance over happy vocals and undulating groovy bass guitar to create a track you can’t help but move to. Potential (slow-burner) track of, ’Innerground : 100’, the album?

B2 : Melinki & D'Cypher - Listen To Everything
A dark bopper with swaying hats chiming over aggressive basslines. Vocal samples provide a short-lived breather from this menacing track’s all-consuming energy. This isn’t the first time Melinki & D’Cypher have linked up and we look forward to many more from these two!

C1 : Saikon - Guilty Pleasures
Anticipative strings and a steady break lead to snappy vocal chops, crescendos at a break that unfolds in to house-led bouncey stabs. You wouldn’t expect anything less from Saikon!

C2 : Carlito - About You
Fans know that this is far from Carlito’s first Innerground rodeo – he’s back with a track that balances male and female vocals over enchanting pads. Synths twinkle amongst racing breaks to make for a certified club heater.





D1: Collette Warren, DJ Marky & Tyler Daley - One Exception (Pola & Bryson Remix)
As the album draws towards its close, cinematic piano and vocals to make your hair stand on end craft a beautiful contemplation between Tyler Daley and Collette Warren. D&B household names Pola & Bryson show their take on the track originally produced by DJ Marky. If this song doesn’t move you, you’re made of stone!


D2: Fluidity & Loz Contreras - Back To You
The LP finishes with a bang. Fluidity & Loz Contreras pair up to transport us back to the sunshine that Marky initiated. Oceanic pads and wispy vocals merge seamlessly to craft a warm and groovy finale that will leave you craving more Innerground energy, as this incredible centennial LP boldly forges its place.

Nair Mirabrat is a Uruguayan ensemble led by the composer Martín Ibarra. The candomberos of Montevideo are dressed in the infinite colors of the world and they immerse themselves in the world of song and dance, building bridges between the inside and the outside. "Juntos ahora" is built based on the myth of the hero and his journey through the symbolic labyrinth. Death, time and place are the themes where the lyrics wander. DESCRIPTION Martín Ibarra and his Nair Mirabrat ensemble bring a garden variety of electrifying rhythms with "Juntos ahora", fusing together elements of candombe fusion, jazz, and pop. Deep in the Montevideo music scene, Nair Mirabrat effortlessly transcends genres and local tradition bringing forth a new era of influence as they revel in the bliss of Ibarra's soaring vocals over tropical rhythms. Ibarra and crew are a modern-day mixture of Jaime Roos, OPA, Hugo Fattoruso and Eduardo Mateo with their explorative, forward-thinking passion of keeping it 100% Uruguay. Chris J. Morris

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label.
• The third album released for the label was 1984’s “CATS WITHOUT CLAWS”, which was produced by
Michael Omartian, who followed-up his production duties on “She Works Hard For The Money” by giving
the album a mid-80s dance/pop themed sound. The album includes the singles ‘Supernatural Love’, ‘There
Goes My Baby’ and ‘Eyes’.
• “CATS WITHOUT CLAWS” reached the Top 30 in several countries across Europe, also becoming a Top 40
album in the USA and Japan.
• Michael Omartian’s production credits include albums with Michael Bolton, Peter Cetera, Christopher
Cross, Amy Grant, Whitney Houston, The Jacksons, and Rod Stewart. Alongside Quincy Jones, he coproduced USA For Africa’s 1985 No. 1 hit, "We Are the World".
• Donna won a Grammy Award for Best Inspirational Performance for the album’s final track, ‘Forgive Me’.
• This special edition revisits the original album on 180g Pink Colour vinyl.

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

Ellesmere, a symphonic-prog music project founded and led by Italian multi-instrumentalist Roberto Vitelli, author of all the music and lyrics, surprisingly comes back just one year after their second album "Ellesmere II / From sea and beyond" with an amazing work in terms of freshness, energy, impact and meticulous attention towards its sound and arrangements.

First of all, "Wyrd" deserves admiration starting from the cover artwork made by Rodney Matthews, an iconic illustrator at least equal to the legendary Roger Dean. Musically, it evolves on the same path of "Ellesmere II", so the main references are classic prog outfits Yes, King Crimson, Kansas, plus a good amount of jazz-rock, present in every song; but there are also references to contemporary progressive rock and to artists such as Transatlantic, Flower Kings and Spock's Beard. "Wyrd" is therefore a third epic and even more enthralling chapter than the previous one, almost completely instrumental and captivating from the first minute to the very last one.

As per tradition, "Wyrd" also involves a series of prog-related prestigious guests: Mattias Olsson (Änglagård, White Willow / drums), Tomas Bodin (The Flower Kings / keyboards), David Cross (King Crimson / violin), John Hackett (brother of the famous Steve Hackett and a constant presence in his solo records / flute), David Jackson (Van Der Graaf Generator, Osanna / saxophone), Tony Pagliuca (Le Orme / keyboards), Luciano Regoli (Raccomandata Ricevuta Ritorno / voice), Fabio Liberatori (Loy & Altomare, Lucio Dalla, Ron / keyboards), Fabio Bonuglia (keyboards) and Giorgio Pizzala (vocals).

In a path of musical and stylistic evolution that started from the acoustic and pastoral prog of "Les Châteaux De La Loire" (2015), we hope that "Wyrd" does not represent point of arrival, but another passage towards new unexplored lands!

Auf Deerhoof ist Verlass: 2020 veröffentlichte die Band "Future Teenage Cave Artists" und überraschte mit dem Gratis-Album "Love-Lore" (auf dem sie 43 Songs in 35 Minuten coverten!), schon lassen die experimentellen Indie-Rocker bereits ihr nächstes Werk folgen. Mit "Actually, You Can", ihrem insgesamt 18. Studioalbum, beweisen Deerhoof, dass - von der kreativen Neuerfindung nach 25 Jahren Karriere bis zur Selbstverwirklichung inmitten einer globaler Umwälzung - alles möglich ist. Das Ergebnis ist Deerhoofs "Barock goes DIY"-LP, die von der Band selbst produziert wurde und mit nur nur zwei Gitarren, Bass, Schlagzeug und Gesang auskommt. Dabei nutzen Satomi Matsuzaki, Ed Rodriguez, John Dieterich und Greg Saunier ihren Witz und ihre Skurrilität, um eine neue gemeinsame Sprache der Revolution zu erschaffen. Eine, die von lyrischen Labyrinthen und thrashigen Melodien angetrieben wird. Das Album markiert außerdem Deerhoofs Rückkehr zu biblischen Referenzen, wie man sie von ihren früheren bahnbrechenden Noise-Rock-Werken kennt. Während das gefeierte "Future Teenage Cave Artists" märchenhafte Visionen der Post-Apokalypse und den Anti-Helden als Retter der Menschheit erforschte, schlägt die Band auf "Actually, You Can" optimistischere Töne an.

Parquet Courts’ thought-provoking rock is dancing
to a new tune. ‘Sympathy For Life’ finds the
Brooklyn band at both their most instinctive and
electronic, spinning their bewitching, psychedelic
storytelling into fresh territory, yet maintaining their
unique identity.
Built largely from improvised jams, inspired by
New York clubs, Primal Scream and Pink Floyd
and produced in league with Rodaidh McDonald
(The xx, Hot Chip, David Byrne), ‘Sympathy For
Life’ was always destined to be dancey. Unlike its
globally adored predecessor, 2018’s ‘Wide
Awake!’, the focus fell on grooves rather than
rhythm.
“‘Wide Awake!’ was a record you could put on at a
party,” says co-frontman Austin Brown. “‘Sympathy
For Life’ is influenced by the party itself.
Historically, some amazing rock records been
made from mingling in dance music culture - from
‘Talking Heads’ to ‘Screamadelica’. Our goal was
to bring that into our own music.”
Deluxe LP features tipped on gatefold sleeve with
a glued-in six page booklet.

Parquet Courts’ thought-provoking rock is dancing
to a new tune. ‘Sympathy For Life’ finds the
Brooklyn band at both their most instinctive and
electronic, spinning their bewitching, psychedelic
storytelling into fresh territory, yet maintaining their
unique identity.
Built largely from improvised jams, inspired by
New York clubs, Primal Scream and Pink Floyd
and produced in league with Rodaidh McDonald
(The xx, Hot Chip, David Byrne), ‘Sympathy For
Life’ was always destined to be dancey. Unlike its
globally adored predecessor, 2018’s ‘Wide
Awake!’, the focus fell on grooves rather than
rhythm.
“‘Wide Awake!’ was a record you could put on at a
party,” says co-frontman Austin Brown. “‘Sympathy
For Life’ is influenced by the party itself.
Historically, some amazing rock records been
made from mingling in dance music culture - from
‘Talking Heads’ to ‘Screamadelica’. Our goal was
to bring that into our own music.”
Deluxe LP features tipped on gatefold sleeve with
a glued-in six page booklet.

Lo! Soul’ is the fifth solo album from Roddy Woomble, following on from
his acclaimed debut, ‘My Secret Is My Silence’ (2006), ‘The Impossible Song
& Other Songs’ (2011), ‘Listen To Keep’ (2013) and ‘The Deluder’ (2017).
The record sees Woomble continue his unique and restless trajectory, gently
stepping away from his previous acoustic/folk intentions in favour of a more
explorative light, prevalent on 2020’s ‘Everyday Sun’ EP, which featured largely
spoken word pieces over an ambient, mediative soundtrack.
Produced and mixed by collaborator and Idlewild bandmate Andrew Mitchell (aka Andrew Wasylyk), ‘Lo! Soul’ was recorded remotely between Roddy’s
home in the Hebrides and Andrew’s studio in Dundee throughout 2020 while
Scotland was locked-down.
Roddy explains: “Andrew describes moments of the album as ‘Dystopian-pop’
which I think is as good a description as any. Lockdown gave me the sense of
a collective melancholy, a shared remoteness and isolation - that has been a
guiding influence throughout all the songs. It is the most unusual record I have
made, and made in the most unusual way.”
Across his twenty-five year career, ‘Lo! Soul’ may well be Woomble’s most inventive, creative album to date. From undulating synths and ambient soundscapes in the abstract narratives of ‘Atlantic Photography’ and ‘Secret Show’,
the sun-tinged horns of ‘Architecture in LA’, a mellifluous Mellotron or perhaps
a piano chime. Here, the path is embedded with Roddy’s words delicately unearthing the known and never known.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Born in Majorca, Marc Melià is a composer/producer, who’s been based in Brussels for over 10 years. First spotted alongside Françoiz Breut, Lonely Drifter Karen or Borja Flames, he released Music for Prophet in 2017. It was issued on Gaspar Claus’s label Les Disques du Festival Permanent, as part of Flavien Berger’s curation.

On that first album, Marc Melià had explored the possibilities of a mythic synth; on Veus, as if sloughing, he applied the process of sound modification to his own voice, until becoming an android. But an android who sings of love and dreams, a sensitive automaton who plays with the tropes of pop music. Through this device, Marc Melià knowingly seeks poetry and beauty within transgenics, in the search of a universe where one can surf though waves of profoundly moving chord patterns, hear voices unconstrained by range limitations, or dance freely, as in zero gravity.

Part of the album has been recorded in Une ferme dans les Vosges, courtesy of Rodolphe Burger. It was recorded with Roméo Poirier, one of the most promising figures of ambient, and the elegant multi-talented Lou Rotzinger. As if progressing in parallel with his own linguistic experience, to add another layer to the sloughing, side A is sung in Catalan, Marc Melià’s mother tongue, and side B in French, his adopted language.

Like an echo to his previous album, Veus opens with an instrumental, “Pulse on a E”, which starts with a sequence created with a single note transposed to its octave, just like “Fata Fou”, the last song on Music for Prophet.

Although the title seems to reference an iconic 80s synth, “DX7” is actually about the seven days of the week. It is a love song, about the temperamental oscillations which make every morning the blank canvas of an unpredictable story. Wednesday, I hate you, Sunday, I love you. With few words and a lot of emotion, a synthetic voice is trying to grow more human each day.

“Dent de Serra” deals with the weight of memory on our relationships, but also with the way we revisit them constantly in order to integrate souvenirs within present relationships. Suddenly, the song stops and enters a new dimension, everything is different, as if what had just happened was now forgotten forever.

Oxytocin (“Oxitocines” in Catalan) is said to be the hormone of love. This song deals in a playful way with the duality between science and faith, between rational and magic, when it comes to sentimental relationships. Love is a universal theme, it is everywhere in the world, and love songs have been written for a very long time. But this particular love song is an ode to an aspect of love that has been less sung about: biology, which makes it possible to feel like you’re floating in space when you fall in love.

“Les étoiles” is a trio with Flavien Berger and Pi Ja Ma. The song is about attraction. What attracts humans to each other, but also the inevitable gravitational attraction. The song is also about accidents, magic moments that take us outside of our daily lives and give us the possibility to imagine a sidereal, infinite love.

“A propos d’une chanson” was born after Marc Melià had dreamed he had written the most beautiful song he’d ever created. When he woke up, he realized that song was actually O Superman by Laurie Anderson.

Aside from these songs, Marc Melià offers a few breaks, instrumental but no less narrative.

“Final d’hivern” conjures these quiet moments between two intense events; sleeping at night between two days; the calm that settles in after a hard winter, right before spring properly starts.

Using a musical language that clearly references Ryuichi Sakamoto, “Romain”, with its theme based on a melancholic chord pattern, could be the soundtrack to a 1970s movie lost in time. Little by little, elements that seem to come from a completely different context find their place, while turning the initial mood into something strange and unexpected.

Finally, “Retorn”, which finishes the album, is a reprise of the theme of “DX7”.

From the chords that make up a song, to the days that make up our lives, existence is but a cycle, and Veus is an exploration of them. Marc Melià keeps on drifting on his personal path, between homage to the past and visions of the future.

ABRAXAS is the activist techno side project of Damià Llorens , alma matter of WE ARE NOT BROTHERS. Self-defined as “activism trough music, promoting social, political, economical and environmental changes in our fucking capitalist society towards a greater good”, his vinyl debut is about real punk attitude on the 21th century. Including collaborations by Nightcrawler, Univac and José Rodríguez”. Presented on deluxe edition, including inner printed sleeve.

"WHAT THEN?" is the second album from Irish singer-storyteller David Keenan. The follow-up to his critically acclaimed 2019 debut "A Beginner's Guide To Bravery", which charted at Number One on the official Irish independent album charts, and Top 10 on the national album charts. It was also one of the best selling vinyl album releases by an Irish artist of 2019. At the end of 2019, David Keenan premiered his concert film 'Alchemy & Prose' at the London Doc'N'Roll film festival. "WHAT THEN?" has been produced by Jonathon Mooney of Portland, OR cinematic-indie rockers Other Lives. Guests on the album include celebrated Scottish author, namesake and soul brother David Keenan, Irish poet Stephen Murphy and Nashville drummer Aaron Steele, best known for his work with Portugal. The Man and Hayley Williams. David Keenan will be touring America in September as special guest of Rodrigo y Gabriela before returning to Europe to headline his own tour through October to December.

Norah Jones has been a steady voice of warmth and reassurance for nearly 20 years since her cozy 2002 debut album Come Away With Me became a familiar musical companion for millions of people around the world. Now the 9-time GRAMMY-winning singer, songwriter, and pianist has made her first-ever holiday album with I Dream Of Christmas, a delightful and comforting collection of timeless seasonal favorites and affecting new originals that explore the complicated emotions of our times and our hopes that this holiday season will be full of joy and togetherness. I Dream Of Christmas will be released October 15 on Blue Note Records and can be pre-ordered now on vinyl, CD, and digital download.

“I’ve always loved Christmas music but never had the inclination to make a holiday album until now,” Norah says. “Last year I found myself listening to James Brown’s Funky Christmas and Elvis’s Christmas Album on Sunday’s during lockdown for a sense of comfort. In January 2021, I started thinking about making a Christmas album of my own. It gave me something fun to work on and look forward to.”

The album’s opening track, Norah’s original “Christmas Calling (Jolly Jones)” is available to stream or download today. Over chiming piano chords, Norah expresses a deep desire for holiday cheer and companionship. “I wanna hear the music play / I wanna dance and laugh and sway / I wanna happy holiday for Christmas.”

“When I was trying to figure out which direction to take, the original songs started popping in my head,” Norah explains. “They were all about trying to find the joys of Christmas, catching that spark, that feeling of love and inclusion that I was longing for during the rest of the year. Then there are all the classics that have that special nostalgia that can hit you no matter who or where you are in life. It was hard to narrow down, but I picked favorite classics that I knew I could make my own.”

Among the album’s many pleasures are Norah’s playful reinvention of The Chipmunk’s “Christmas Don’t Be Late” by David Seville (aka Ross Bagdasarian), which is given a languid beat and swaggering horns. Other highlights include sublime versions of “White Christmas,” “Blue Christmas,” “Winter Wonderland,” and “Christmas Time Is Here.”

I Dream Of Christmas was produced by Leon Michels, and features an excellent cast of musicians including Brian Blade on drums, Tony Scherr and Nick Movshon on bass, Russ Pahl on pedal steel guitar, Marika Hughes on cello, Dave Guy on trumpet, Raymond Mason on trombone, and Michels on saxophone, flute, percussion, and more.

Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described “moody little record” that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 GRAMMY Awards. Since then, Jones has become a nine-time GRAMMY-winner. She has sold 50 million albums and her songs have been streamed six billion times worldwide. She has released a series of critically acclaimed and commercially successful solo albums—Feels Like Home (2004), Not Too Late (2007), The Fall (2009), Little Broken Hearts (2012), Day Breaks (2016), Pick Me Up Off The Floor (2020), and her first-ever live album ‘Til We Meet Again (2021)—as well as albums with her collective bands The Little Willies, El Madmo, and Puss N Boots featuring Sasha Dobson and Catherine Popper who released their second LP Sister in 2020. The 2010 compilation …Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Since 2018 Jones has been releasing a series of singles including collaborations with artists and friends such as Mavis Staples, Jeff Tweedy, Thomas Bartlett, Tarriona Tank Ball, Rodrigo Amarante, and Brian Blade, some of which were compiled on the 2019 singles collection Begin Again.

Distant Populations, just the fourth full-length album of Quicksand’s career,
comes as a comparatively swift follow-up to Interiors--which itself came a
full 22 years after its predecessor, 1995’s Manic Compression.
Critically lauded and deemed very much worth the wait, Interiors succeeded
in reestablishing the band as the powerful and contemporary entity they had
always been.
Distant Populations has a punchier, more up-tempo sound than its predecessor; its 11 songs are concise, carved sonic jewels boasting not a single wasted
note; and its raw power, its gripping lyricism, leaps out from the very first listening. It is a striking step up for the band.
The songwriting itself had been no minor process: Following the release of
Interiors, the band successfully toured around the world and in the process
fully re-established their chemistry together. Looking forward to making the
next album, the three of them frontman/ guitarist Walter Schreifels, bassist Sergio Vega, and drummer Alan Cage had methodically recorded various
soundchecks, improvisations, and show rehearsals, and compiled the results.
“Eventually, when it came time to make a record,” Schreifels says, “we would
just edit down to the ones that were most exciting to us all, and then refocus
on them and see if we could recapture the magic from it.”
There may be a final irony in the title of Distant Populations. Practically speaking, that’s precisely whom Quicksand recorded it for: Listeners very far away.
Not a single one of these songs has ever been played live onstage. The band has
dates on hold for the fall, notes Schreifels, and fingers are crossed Quicksand
will be out there performing very soon. They will likely be the most memorable
shows of the band’s career

The second release on CWPT marks the label’s debut reissue, delving into the most propulsive corner of label-founder Palms Trax’s collection in order to deliver a rare and foundational record from Chicago house music history.

Recorded in 1987, Rog’e’s ‘Body Fidelity’ would have surely ticked all of Ron Hardy’s boxes and then jacked them right back out again. The alias of proto-house hero Reginald Rodgers collaborating with vocalist Tanya Stevens, ‘Body Fidelity’ is at once sensual, playful and commanding, the scent of freedom, sexuality and new musical horizons potent across each of the four distinct cuts.

The ‘Radio Mix’ offers the most upfront blend, a full-bodied mix that once filled the local Chicago airwaves with Stevens’ permissive and persuasive performance. Elsewhere, Rog’e breaks the track down to its core elements for alternate DJ sensibilities. His ‘Percussapella’ mix is a raw, rhythmic trip that erupts with acidic licks, whereas the ‘House Club’ mix is pure dancefloor pleasure sculpted in what would soon become the classic mold. Finally, analog freaks and the sleaze-adjacent will find the most allure in the instrumental ‘Bass-Ment’ mix.

Legendary master drummer Ivan ‘Mamão’ Conti teams up with Brazilian producer grassmass on two experimental funk monsters of the highest order that perfectly illustrate the Azymuth founding member’s constant desire to push his signature sound towards the future.
Recife born/São Paulo based bass player, producer and founder of experimental label UIVO Records Rodrigo Coelho aka grassmass is not only a long time collaborator with influential names like Naná Vasconcelos, Arto Lindsay and Ivan Conti “Mamão”, but also hosts projects with some of today's brazilian edgiest talents Negro Leo and Thiago Nassif. Advanced Brazilian music on Rush Hour's sister label New Dawn.

Draconian Steps brings together Jeremy Rodriguez and Ron Morelli for the first of 2 - 12''s under the name ''Circus of Death''. The tracks were recorded at Devon Analogue Studio in the UK.

Wrangled in from a weekend of long studio jams. Bleak over driven analogue business from start to finish. 3 - 909 cuts crunched out and pushed way into the red. Limited edition!

Killer tracks by Draconian Steps. A project by Jeremy Rodriguez and Ron Morelli for the first of 2 - 12''s under the name ''Circus of Death''. The tracks were recorded at Devon Analogue Studio in the UK. Wrangled in from a weekend of long studio jams. Bleak overdriven analogue business from start to finish. 3 - 909 cuts crunched out and pushed way into the red. Limited edition, so don't sleep on these!!

The edition that marks the start of the brand-new Comets Coming could not be more suitable: it is that Rodrigo Brandão, like his grandfather Herman Poole Blount, dust of stars that the world knows as Sun Ra, may have his feet on the Earth, but he has definitely a sidereal head.

Brandão arrived recently to Portugal, but already left a strong mark in the most adventurous Lisbon scene, having performed several concerts in which his language has been wrapped in the exploratory sounds of musicians such as Rodrigo Amado, João Valinho, and Hernâni Faustino. The agitator, poet and spoken word artist, brought a vast experience that over the years saw him collaborate with artists as distinct as the members of Metá Metá or Prince Paul (that one!) on BROOKZILL!.

This work, however, came in his luggage, across the ocean, on the rediscovery trip that brought him from Brazil to Lisbon. OUTROS ESPAÇO was recorded in São Paulo in late 2019 with a luxury crew: Tulipa Ruiz and Juçara Marçal added to the microphone, Thiago França played flute and alto & tenor saxophones, Guilherme Granado dealt with the synthesizers and effects, Marcos Gerez measured the overall pulse with his electric bass, Thomas Rohrer played soprano and 'rabeca' (fiddle), and Paulo Santos dealt with the percussion. In addition to the base band, OUTROS ESPAÇO also features some members of Sun Ra Arkestra's current incarnation. Respectively: Danny Thompson (RIP) on baritone and bongo, Elson Nascimento on 'surdo' (tom drum), Knoel Scott on tenor and soprano, with the giant Marshall Allen in a prominent role leading the collective towards the unknown, while playing the alto sax and synthesizer.

In OUTROS ESPAÇO, Brandão reaches for words from different origins, from contrasting times and cultures, all with magnetic resonance imaging: what is not from his furrow comes to him from Candomblé (“Quando Os Orixás Desfilam Sobre A Cracolândia”), from his readings of Sun Ra (“Eu Sou 1 Instrumento” is an adaptation of the poem I Am An Instrument), or from the school's playgrounds (“Jamais Nos Esqueceremos”). And in these words there are teeth and nails ingrained in injustice (“Quantos Coltrane...?, “Todo o Dia Tem +”) and kaleidoscopic delusions that result from the speed of light (“Sol da Meia Noite”).

The crew that travels through these OUTROS ESPAÇO (PT for "Other Spaces") has freedom as the main fuel, jazz as a measure of their reach, and all swings in the world as maps, so they can lose themselves at the end of the cosmos. There is urgency and reflection, craziness and precision, surprise and well-known ancestral raw material, that makes us vibrate inwardly with the same trembling as the comets that are coming.

The visionary and veteran Scotty Hard was responsible for making everything sound like the music of the spheres, dealing with the mixing from his INGUASONIC SOUND studio in Brooklyn, NY.

And lastly, in January, Rob Mazurek, another frequent ally of Brandão, another notorious space traveler, offered a poem that frames this project. Among other things, he writes:

Make this place sing

Make this place thunder

Make this place shake

It couldn't be in any other way.

marbled 12" Vinyl

Seamless to our first release of the Stone Techno series we are presenting the second edition of this unique concept. Each artist has been given a sample library consisting of recorded minerals from the Ruhr Area. The task was pretty clear, to create a track exclusively out of those sounds. The results are remarkably differing from each other and showing the huge creative potential of this project, which is a collaboration between the world famous Ruhr Museum foundation and The Third Room collective.

While Matrixxman delivers us an ambient driven masterpiece, RODHAD shows us his impeccable skills to create an ever-evolving tension in his dub techno influenced approach. Yan Cook on the B-Side is exploring the full potential of those samples to honor the industrial era and its machines, while T3R-Resident VNNN. is hailing with his hypnotic grooves the late hours of an extensive musical journey.

We hope you enjoy this imposing line-up of artists and its different styles within the release. There is more to be coming. Stay tuned!

Over the past 16 years, Rebelution has had nearly everything a band could
ask for: chart-topping albums, hundreds of millions of streams, a GRAMMY
nomination, even their own festival in Jamaica.The only thing they haven’t
had, it seems, is time.
“When COVID hit, we found ourselves in uncharted territory,” says frontman
Eric Rachmany. “Suddenly we were just sitting still, which was a completely
new experience for us.”
Difficult as it was to leave the road behind, pressing pause proved to be a blessing in disguise for a band that has emerged from lockdown with their most
captivating, eclectic record to date: ‘In The Moment’. Recorded remotely in the
midst of the coronavirus pandemic, the collection is deliberate and wide-ranging, infusing the quartet’s soulful, exhilarating brand of modern reggae with
addictive pop hooks, alt-rock grit, and hip-hop grooves.
The performances here are bold and self-assured, and the production is equally ambitious, drawing on swirling reverb and trippy delay to create an immersive sonic universe that’s both futuristic and vintage all at once. Strip away the
intoxicating atmospherics, though, and what remains is a work of profound
reflection, a probing, revelatory meditation that balances joy and introspection
in equal measure as it contemplates the meaning of time and invites us to sit
back, slow down, and live ‘In The Moment’.
Includes guest appearances by Busy Signal, Kabaka Pyramid, Durand Jones, and
Keznamdi.
coverage out in reggaeville worldareggae niceup Print: Rock at
Night Magazine
Radio plays for “Old School Feeling” on BBC Radio 2 David Rodigan, The Random Reggae Show Swindon 105.5 Swindown FM and Vibes FM Reggae My
Limits

This is music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History of Nothing (Trost records/TR170) got a huge number of excited reviews: A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays. (Peter Margasak, Chicago Reader) Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed. (Stuart Broomer, Free Jazz Collective) Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well. (Jan Granlie, Salt Peanuts) Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017 Mixed by Joaquim Monte and Rodrigo Amado, CD Master by Simon Wadsworth / LP Master by Martin Siewert

This is music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History of Nothing (Trost records/TR170) got a huge number of excited reviews: A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays. (Peter Margasak, Chicago Reader) Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed. (Stuart Broomer, Free Jazz Collective) Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well. (Jan Granlie, Salt Peanuts) Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017 Mixed by Joaquim Monte and Rodrigo Amado, CD Master by Simon Wadsworth / LP Master by Martin Siewert

NIGHTMARE VACATION vinyl will be released on 27th August via Atlantic Records/Sugar Trap. The genre-defying album features 16 captivating tracks, each showcasing Rico’s out-of-this-world energy and rockstar delivery, complimented by production from the likes of CashMoneyAP, Buddah Bless, Dylan Brady (100 Gecs) and more.

“I feel like this album proved to me that no matter what I’m going through, I can still make powerful music. All of these songs that I ever made were always about power, always about making you feel powerful. Sometimes you give so much power you feel powerless…I just tried to put all the emotions, and the happiness, and the crazy feelings y’all make me feel in this music and give it right back to you to consume and get your power up. So this is a soundtrack to getting back on your shit!” – Rico Nasty

NIGHTMARE VACATION has already drawn early acclaim via a number of international and domestic press looks, ranging from NME, WAVE and CRACK to Rolling Stone, The New York Times, W Mag and more. The album – which includes features from such luminaries as Trippie Redd and Aminé and production also by Take A Daytrip (Lil Nas X, Sheck Wes, Kid Cudi), Avedon (Roddy Ricch, Chloe x Halle), GRAMMY® Award-nominee Tay Keith (Travis Scott, BlocBoy JB, Drake) and longtime collaborator Kenny Beats – is highlighted by the singles, “IPHONE,” “Own It,” “Don’t Like Me (Feat. Don Toliver & Gucci Mane),” and “OHFR?,”.

NIGHMARE VACTION further follows the release of ANGER MANAGEMENT, a collaborative project with longtime producer Kenny Beats which followed the duo’s work together on Rico’s breakthrough 2018 Atlantic Records/Sugar Trap label debut, NASTY.















[o] 15. Smack A Bitch (feat. ppcocaine, Sukihana & Rubi Rose) [Remix]

Guitarists Marisa Anderson and William Tyler distil deeply
rooted and varied traditions into distinctive voices all their own.
Anderson and Tyler are each unyielding in their desire to extend
through those traditions and the confines of ‘guitar music’ to
craft music at once intimate and expansive, conversational and
transcendent.
The duo’s debut collaborative album tethers together their
singular voices into unified narratives that glisten, drive and
sway. On ‘Lost Futures’, Anderson and Tyler’s guitars dance
through lush arrangements and pastoral duets serpentine and
reverent.
‘Lost Futures’ takes its name from writer Mark Fisher’s cultural
theory of the loss of potential futures, the hopes and ideals
which once felt inevitable but have since been interrupted.
Anderson and Tyler’s use of textural drones, rhythmic repetition
and harmonic shifts embody the building tensions of uncertainty
created by profound loss: loss of life, experience,
companionship, compassion. Across ‘Lost Futures’, Anderson
and Tyler mold their instruments into breathtaking panoramas of
blight and bliss. Each movement contains a dense biome of
transportive sound.
The duo’s music together reckons with mounting pressures as
well as the joy of newfound friendship and gratitude for being
able to play together. In tandem, Marisa Anderson and William
Tyler have composed a work of remarkable breadth, brimming
with resplendent odes of solace.
Marisa Anderson and William Tyler are both prolific solo artists.
Tyler has also toured with groups including Lambchop and
Silver Jews and Marisa has contributed to recordings by Beth
Ditto, Sharon Van Etten and Circuit Des Yeux among others.
‘Lost Futures’ features guests Gisela Rodriguez Fernandez on
violin and Patricia Vázquez Gómez playing quijada.
Package features artwork by Sam Smith. LPs include artworked
inner-sleeve featuring photography by Marisa Anderson.