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The multifaceted Perth-based record label 823, founded by Australian producer and creative powerhouse Ta-ku, is gearing up for "All Things Considered Vol. 3." Committed to detail and a celebration of life's simple pleasures, this LP refuses to be confined to any single genre. Noteworthy releases from 823 include Cabu's "So Far To Go" EP, Ta-ku and Matt McWaters's collaboration "Black and White," featuring the Masego collaboration "Flight 99," and their debut project with Australian producer and instrumentalist Kuzich.

This time, The guest list includes Jakarta Records beat-veterans Alexander Flood, Lucid Green, and Cabu, bringing RnB with a soulful twist that's sure to warm the heart. Playfully melodic artists Makzo, falcxne & Seb Zellner blend jazz, soul, and sweetness creating a natural and playful sound for the LP. Den Brooks, Lovesome, and Tambala all contribute to the rhythmic neo-soul zest on the iconic 808 beat.

On the whole, "All Things Considered Vol. 3" embarks on a forward-thinking rhythmic journey into the creative minds behind the LP. It's as diverse and eclectic as those minds themselves and proudly follows up on its first and second volumes. Natural sounds blend seamlessly with electronic elements, from lush melodies to wintery vibes. Playful vocals adorn this 12-track gem, from Lucid Green's ethereal journey "Splash" twisted in UK garage vibes to the jazz-pop infused "Lost & Found" by Makzo & friends, echoing Jamiroquai-esque beats. The first single, "Babyslowdown" by MXXWLL, takes center stage with its strings, while Alexander Flood's James Bond-inspired melody receives a funky update.

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

Fronted by vocalist/guitarist Taylor Madison, and with Jake Clarke on drums and Mike Paulshock on bass, Webbed Wing cement their place in modern rock supremacy across 10 tracks of fuzzed-out pop nostalgia on new album Vol III. One impossibly-catchy anthem after another, loaded with Madison's signature sardonic wit, makes for one of the most exciting alternative rock records of the year. Taking notes from the likes of The Lemonheads and Teenage Fanclub, "Further" opens Webbed Wing's new album Vol. III with a bang--in less than 10 seconds, we're all the way in with Webbed Wing as they expertly intertwine the vibrancy of modern pop, the heaviness of grunge, and the sincerity of country. Brazen and self-deprecating, "Burn It Down" finds Madison unpacking what it means to fly too close to the sun. Its mid-tempo mastery is a testament to the trio's connection as musicians and friends; everything about this song just works. Drawing inspiration from big country ballads and shoegaze gems alike, the song shows off a different side of what listeners can expect from Vol. III.

Ex-Here We Go Magic frontman Luke Temple emerges with a new project, Luke Temple and The Cascading Moms. Debut album, Certain Limitations. Lauded for his contributions to Here We Go Magic and Art Feynman, Luke Temple brings his signature off-kilter grooves and melodies to his new project's debut album Certain Limitations. The trio's sound takes influence from the likes of Dire Straits and The Velvet Underground, weaving together intricate guitar work, and a propulsive rhythm section, with a touch of jazz sensibility that recalls the ECM catalog. A product of serendipity, The Cascading Moms were formed when in need of a band for an upcoming show, Temple brought together Kosta Galanopolous, a collaborator from his Art Feynman project, and Stuart, a musician he already knew in LA. When these three came together to rehearse, a spark ignited, revealing a creative connection that transcended that first show that brought them together. The album's lead single, "I Can Dream," originally appeared on Art Feynman's Half Price At 3:30. However, aer reworking it with the Cascading Moms, the song took on a new life. This reinvention exemplifies Certain Limitations' core concept: a collection of songs honed and reshaped through the improvisations and collaborative spirit of three musicians creating and exploring a new sonic world.

Permanent Repeat is the highly anticipated second LP by Long Island indie/emo favorites Macseal. The album follows 2019's Super Enthusiast and is their first release on Counter Intuitive Records. Our first record in nearly five years, Permanent Repeat was an outlet to emotionally and musically reflect on our lives at our own pace that allowed us to fine tune until we were fully satisfied. Sonically, we honed in on sounds that reminded us of the early 2000s pop rock with more modern twists and turns. This record is meant to condense big themes such as longing, existential dread, and falling in love into moments that can be played on permanent repeat.

Monk’s Blues is an album by Thelonious Monk, accompanied by a big band arranged and conducted by Oliver Nelson. Produced by Teo Macero, the album was recorded in Los Angeles by Monk‘s working quartet augmented by a group of top Hollywood studio musicians. The Monk Quartet included Monk on the piano, Charlie Rouse on Tenor Saxophone, Larry Gales on Bass and Ben Riley on the Drums. Additional musicians a.o. Tom Scott, Buddy Collette, Bobby Bryant and Conte Candoli. Monk’s Blues is available as a limited edition of # copies on translucent blue coloured vinyl.

Michael The Lion and Natasha Kitty Katt began collaborating as Natasha found a second home in Philadelphia. The two have a mutual love of classic disco and found a kindred spirit in Suki Soul, who has been tearing up the scene the last few years in Northern England. I Found Peace features Michael on guitar and Natahsha on drum machines and synths alongside Michael’s long-time studio band mates. Classical composer and legendary Pittsburgh hip hop producer Jules Krishnamurti adds bass guitar and University of Pennsylvnia jazz ensemble leader Dan Paul plays keyboards on this incredible modern disco classic. Pontchartrain brings all the right touches to the club mix, along side some heavy house mixes by Tonarunur (aka B.G. Baarregaard) to round out the first Whiskey Disco release in several years.

Cetu Javu was a German synth-pop band lead by singer Javier Revilla Diez and synth wizard and composer Chris Demere. They started with the band in 1984 and in the spring next year surprisingly reached the third place in a young talent festival in Hanover. Several other shows followed but the highlight was a concert in December of 1986 as the opening act of Erasure. Their first maxi single “Help Me Now” was released in the spring of 1987 on their own label’s. Through the mediation of Talla 2XLC, Cetu Javu got a record contract with major company ZYX Records and released their debut album “Southern Lands” in 1990.

When the song “A Dónde”, a B-side sung in Spanish included on the single “So Strange”, hit number two in Spain, the band surprisingly achieved a great success and toured all this country. The second full-length, “Where Is Where”, was released in 1992 in Spain. The success did not stop here and led Cetu Javu became very popular in some other countries such as Argentina and Mexico. Unfortunately, in 1994, between problems and having to make decisions about the future, the group withdrew from the music scene and each member moved to focus to other activities.

“Where is Where” is re-released contains the original album along with some extended versions and remixes from the singles “¿Por Qué?”, “Dame Tu Mano” and “Una Mujer”. Limited edition of 500 copies on gatefold sleeve and a poster.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

Enjoy The Ride Records in conjunction with Warner Records proudly presents Music From The Motion Picture Beowulf. Composed and Conducted by Alan Silvestri, Beowulf is available on vinyl for the first time. Beowulf features score tracks as well as songs performed by Robin Wright (The Princess Bride, Forrest Gump, House of Cards) and Idina Menzel (Rent, Wicked, Frozen). Directed by Robert Zemeckis and written by Neil Gaiman and Roger Avary (based on the Old English epic poem), the 2007 CGI fantasy action film features an all-star cast, with a powerful musical accompaniment.

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): “Haunted”/”Nothing Is Forever” and “I Believe In You”/”Someone Who Cares.” A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, “Faithful” (in mono), as a bonus track on the 1990s CD release of Dusty’s 1970 Atlantic album A Brand New Me. The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts.

Then, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —assembled Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful on LP presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks meant for the album release out on vinyl over 50 years later. All tracks are in stereo, while the liner notes on the new gatefold spread, penned by The Second Disc’s Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing/ jumbled part of Dusty’s august recorded legacy, finally set right and available in its intended format. Out on metallic gold and purple “royalty” vinyl as befitting The Queen of Blue-Eyed Soul…limited to 1500 copies!

American indie-pop luminary Clairo returns with third album, Charm, co-produced by Clairo and Leon Michels (of The Dap-Kings and El Michels Affair). Evoking balmy summer evenings and tête-à-têtes in plush conversation pits, Charm is a collection of warm, 70’s-inspired grooves that move lithely between jazz, psychedelic folk and soul. Available on July 12th.

You know it's a guarantee when we welcome back the legendary Breakbeat Junkie to represent the 14th installment of the Toxic Funk series that things will be all about the Party rocking Breaks!

The Breakbeat Junkie has been around since the early nu funk days as a solo producer and as part of the dynamic duo Second Hand Audio, who has dropped various classic releases on both BBP and the Ghetto Funk label.

Toxic Funk Vol. 14 features 2 golden funky cuts from the beat master, which will be sure to get the party rocking anywhere its dropped.

Lately The Breakbeat Junkie has been stable with his bootleg jams on Craig Charles Funk and Soul show on BBCand we know these cuts will go down perfect with the big jams played on this show.

Another timeless 7- inch donut that will be going quick so get it while you can and look out for more Toxic Funk coming very soon…

Welcome to the " Triangle d'Or " by Nathan Melja. The first opus of a series to come out on his label Parodia, this record is an ode to those Parisian nights where the prestige and extravagance are prior.

Showing a strong willing to integrate elements from the mainstream world in his creative process, the EP opens with the contemplative and emotive 'Stargazing'. You're walking down Champs Elysées, looking at the sky. In a fraction of a second, everything starts to move in slow motion. You're passing out, your eyes stuck on moving stars. It was all a dream, they say.

As you wake up, you're sitting next to a glossy club. 'UnDcided' is blasting out of that neon door. You get lost in its colorful and trippy intro before your head starts to feel the vibrations of its wobbly baseline.

You need a cocktail to get your night started. You enter the restaurant next door. 'Welcome!' is playing in the background. That's Patrick Holland on the guitars you just tried to Shazam! Like the missing piece is not missing anymore.

One too many drinks - you got lost in the groove of the night. It's time to go home. As you leave the club, the sounds of 'Bblluurrryy' are floating in the air, every noise you hear melts into the music. Everything looks hazy. Nothing feels the same anymore.

Following on from their highly anticipated debut on Steel City Dance Discs, Scottish duo Clouds, consisting of Glasgow based Liam Robertson and Berlin based Calum Macleod now unveil their second EP via the label, Positive Delusion.

Clouds waste no time in bringing us straight into their bass-soaked underworld with the title track and continue this unrelenting musical voyage with Get With It; an aggressive orchestra of distorted instrumentals, rolling percussion, bellowing bass and chopped vocals. The duo’s “mission” of achieving Rhythm Perfection is laid out bare in the aforementioned track, as its piercing stabs keep the listener hooked and chained to this ungodly underbelly of sound. Dreamarena, with its ominous rave-stabs and gut-hurdling bassline takes us eventually to our fate, as the EP reaches its darkest, deepest point with Vyperskin.

The Diary Of Alicia Keys', released in 2003, was her multi-award winning, multi-million selling, second album. According to The Times, it is the album 'that secures her place in musical history' and is home to the billion streaming 'If I Ain't Got You', as well as the mega-hit 'You Don't Know My Name' and 'Karma'. A x15 trk, double, Black LP Vinyl. Promo & marketing activity across both releases..

Lovesick is an Italian based band formed of Paolo Roberto Pianezza and Francesca Alinovi. Two multi-instrumentalists, whose influences are deeply rooted in the American country, rock"n"roll and western swing music of the 40s and 50s. In addition to their vocal harmonies, Paolo plays electric and acoustic guitar, as well as lap steel, Resonator and Dobro guitar. Francesca plays double bass with the addition of a brush pad, a percussion built into the double bass to keep the rhythm with a drum brush. The duo is joined by Alessandro Cosentino on fiddle and drums. Lovesick have played as opening act for Ben Harper, JD McPherson, Zucchero, ToquinIo and Edoardo Bennato and they have played big festivals all around Europe, alongside the likes of The Offspring, Social Distortion, Walter Trout, Fu Manchu, Secondo Casadei Orchestra and Ten Years After.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

Hometown to Come' is the second full-length album by Minhwi Lee from Seoul, South Korea. The eight tracks were written over a period of seven years after Lee's first album and loosely form a single story, contemplating how people who have lost their hometown can return.

“What I had imagined from the title, Hometown to Come, was something forever delayed yet constantly approaching; however, upon repeated listens, it takes on a different meaning—a promise of hospitality being realized every day. Even if our places to meet disappear, ‘the song we sing today’ will remain. We will continue to grow, cross paths again, venture far away, and encounter more faces. And when time has passed and you, having forgotten me, ask about my smile or sadness, I will hum ‘the same song,’ cherishing it as a keepsake.” (morceau j. woo, sound designer)

Pledging to Keep It Alive with her debut album in 2022 (In The Red), Liz Lamere doubles down with her latest full-length second album, One Never Knows, released on In The Red. Dedicated to her late partner Alan Vega, with whom she collaborated on his solo works for over three decades, Lamere’s minimalist approach to creating music is clearly in line with the Vega aesthetic that she helped develop with him during countless experimental hours in the studio since the late ’80s. Lamere teamed up again with her and Vega’s son Dante Vega Lamere in their Dujang Prang NYC home studio surrounded by the Suicide singer’s spectacular light sculptures, co-producer Jared Artaud, and mixing and mastering engineers Ted Young and Josh Bonati. Vega had always encouraged Lamere to create her own music. After he passed away, she began writing as a form of catharsis which became the inspirational bedrock for her solo music. Lamere said, “At the end of Alan’s life, he was using the expression ‘one never knows’ to underscore that we don’t know how much time we have in this realm or where this journey will lead us. It was a phrase that had resonated so much for me. Alan taught me to go bravely into the unknown; to be fully present in the moment and deeply explore what is already here.”

‘’The duo’s music has traces of 1980s dream pop and 1990s slowcore, particularly Low, another married-couple band. There’s more to the comparison than ink on a certificate. Marriage’s suffering and devotion breed a particular kind of intimacy. Windy & Carl often resemble an ambient version of Yo La Tengo, another group that centers on a long-wed duo and conveys a secret, profound sense of life beyond the music.’’ PITCHFORK 7.2
For the first time in almost twenty years, Windy & Carl’s second album for kranky, Consciousness, will be available on the vinyl format once again. The fourth album from Michigan’s premier space duo, again delivers their shimmering trademark wall of sound, beautiful vocalization, and delicate songcraft. Six sweet and easy new tracks recorded in their home studio in Dearborn, that drift and dream with layered guitars, keyboards, bass and a love-arsenal of delicious effects and distortion.
“There is an airy shaft of light that extends straight through these six extended pieces, offsetting the density of sound with a breezy loveliness that’s almost impossible to articulate, towering on a floating sea of mesmerising, sub-level sounds.” —Boomkat
“Genre descriptions such as ‘ambient guitar soundscape’, ‘wall of sound’ and ‘drone’ fail miserably to capture the astonishing, magical emotional beauty of their pieces.” —Cyclic Defrost

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

2024 Repress

Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions.

Originally released on Rick Rubin's American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque.

Frusciante's rapidfire, angular playing shows how key he was in the Chili Peppers' evolution away from their funk-rock roots. His cover of "Big Takeover" perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody.

The album's second part - thirteen untitled tracks that Frusciante defines as one complete piece, Usually Just A T-Shirt - contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia's Michael Rother or The Durutti Column's Vini Reilly.

On the front cover, Frusciante appears in 1920s drag - a nod to Marcel Duchamp's alter-ego Rrose Sélavy - which comes from Toni Oswald's film Desert in the Shape.

This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with gatefold jacket and printed inner sleeves.

Mel Britt’s magnificent “She’ll Come Running Back”, with its searing strings and anguished vocal it is the complete deal, simply Northern Soul perfection. Cecil Washington takes second credit on the now iconic “I Don’t Like To Lose”.

Der Soundtrack zur Apple TV+ Originalserie "Masters Of The Air" ist ein epischer und innovativer Score des EMMY®-preisgekrönten Komponisten Blake Neely. Die ausführenden Produzenten der Serie sind Steven Spielberg, Tom Hanks und Gary Goetzman (siehe auch "Band Of Brothers" und "The Pacific"), zur herausragenden Besetzung gehören unter anderem die Oscar-Nominierten Austin Butler und Barry Keoghan. Im Mittelpunkt von "Masters Of The Air" steht die Darstellung des psychologischen und emotionalen Preises, den junge Männer zahlten, die dabei halfen, den Schrecken des Dritten Reiches zu zerstören.

An exciting new collaboration between New Mastersounds Hammond organist and Madrid based guitarist Lucas De Mulder plus drummer Luke Flowers (Cinematic Orchestra). Recorded at Joe's home studio on his cherished C3 Hammond (where The New Mastersounds' latest album "Old School" was recorded Galáctico will delight vintage jazz-funk fans with nods to Jimmy Mcgriff, Dr Lonnie Smith,George Benson etc etc. Joe and Lucas worked together on Lucas's album "Feel the spirit" in 2019 on Color Red label based in Denver.
The trio will be launching the record at the Saint Paul Soul Jazz festival in the south of France on 7th July and continue to play a series of other fgigs through-out the summer
The album starts with the frenetic James Brown groove of Double Take - a catch jazz guitar head that builds moving up in key to a frenetic hammond solo punctuated by The Haggis Horns.
Track 2 is the Meters-esque "Hey!" The only English language vocal track on the record and at that only one word
Next up is "El Gato" featuring Sam Bell on Congas and Atholl Ransome and Malcolm Strachan from the Haggis Horns a latin four to the floor vibe with solos traded throughout
Guinnee Drop is a swaggering funk jam with Luke Flowers funk drums breaks a feature
The only cover on the album is Sixto Rodriguez' Sugarman - Lucas and Joe were both inspired by his story and loved the song so much it had to go on the album with a mellow instrumental twist
The title track "Galáctico" is has funky soundtrack tune - the horns are back and take the track out with some blistering solos
"Retiro" inspired by the park near Lucas's pad in Madrid is a laid back boogaloo vibe and has Sam Bell on Congas and an upright piano solo from Tatton
"Dame Lo Que Tienes" - The first single from Joe Tatton's second album "Give me what you got!"- led by a funky guitar riff followed by a cutting hammond melody - a little "Meters, Booker T, The Crusaders "!
"Moonbow" a hypnotic slower tune with a nod to Khurangbin
The final track on the album is "Lost on You" A Breezy George Benson nod along
Out on vinyl, CD and digital on 5th July !

*** ULTRA RARE PSYCH-FUNK / GARAGE ROCK ***

The General Store recorded four songs in 1967 of which these two were released on a nowadays very very very very very hard to find 7inch single. This re-issue is limited to 300 copies and one with the blessing of the band. Tower of Power meets Funkadelic.

A second 7inch will be released soon with two UNRELEASED tracks!

As comped on "DOWN & WIRED Vol.7" (PT068LP).

To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date.All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool.Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on.Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook.

For Patricia Kaas' her sixth album Dans Ma Chair, she went to New York to work together with the successful producer Phil Ramone (Ray Charles, Billy Joel, Paul Simon), Lyle Lovett and, for the second time, James Taylor. With Taylor, she recorded the duet ""Don't Let Me Be Lonely Tonight"". Two singles from the album received silver status, ""Je voudrais la connaître"" and ""Quand j'ai peur de tout"". The latter was written by Diane Warren and later succesfully translated and covered by Sugababes as ""Too Lost in You"". The album went to #1 in Belgium and reached the Top 10 in Finland, French, Germany, and Switzerland. Dans Ma Chair is available as a limited edition of 1000(?) individually numbered copies on red coloured vinyl and includes an insert.

It tells the story of three different people and their everyday struggles, urging empathy from the audience, all over a genre-bending mix of rock, hip-hop and blues. Arguably his most successful song as a solo artist, the single reached number one on both the US Billboard Mainstream Rock and Modern Rock tracks charts and peaked at # 13 on the Billboard Hot 100. This 7' single also featured a b-side, "Ends," the second single from the same album.

Skin Bank is the second full-length vinyl release from Italian techno deviant Crypto Order. Drawing inspiration from conspiracy theories, occultism, transhumanism and the New World Order, the project mixes confrontational themes and recycled propaganda with a haunting blend of dark beats and ominous melodies. Thanks to a prolific body of work amassed over the last few years, savvy listeners who have been paying attention to the right places will know him already as an unorthodox force to be reckoned with in today’s underground music world. A hallmark of Crypto Order’s work is an enigmatic deployment of both sound and vision. Heavy electro-style breakbeats and extra-terrestrial atmospheres create a warped-yet-familiar sound reminiscent of early techno, whilst a compelling visual aesthetic evoking echoes of the early industrial and power electronics scenes infuses it further with a sense of mystery. Themes of power and control have been par for the course in the music of Crypto Order and Skin Bank is no different, manifesting a world that invites the listener to question the reality around them and dive deep into the shadows of their own repressed and murky consciousness. This is a kind of electronic body music which sends you into a dystopian realm of chaos and intrigue, throwing up uncomfortable questions along the way.

Two years after Strange Effect, the Parisian band are back with Half Asleep Half Awake, a second album that will restore your faith in rock. And how do they do that? With a compendium of overpowering hits, luminous melodies and finger-burning demonic jams. The trio of Djivan Abkarian (vocals, bass), Lucas Humbert (guitar) and Baptiste Leon (drums) went back to London to Liam Watson's studio (White Stripes, Madness, Tame Impala, Supergrass) for this new opus. Half Asleep Half Awake is a string of XXL hits. There are Proust ballads, hysteria, a remarkable home run and 18-carat diamonds. To reinforce this kaleidoscopic feel, Howlin' Jaws haveincorporatednewinstruments (a djura, a kind of mini Greek bouzouki; sagattes, smallcymbals used in Egypt and Turkey) to add depth and diversity. VocalsweredubbedandthenpassedthroughLeslieboothsforvibratoeffect, and solos were infused with phaser. This is an album wherealchemyandexperimentationgivebirthtofrenzy,savageryandemotion

Composed by Ennio Morricone alongside friend and frequent collaborator Bruno Nicolai, "Controfase" is one of the most overlooked and lesser known chapters in the maestro's extensive catalog. Various experimental elements perfectly intertwine in these skilful compositions, VCS3 blend with hair-raising violin notes on a pattern of ominous percussions by Egisto Macchi. With the precious help of Gruppo di Improvvisazione Nuova Consonanza as well as Edda Dell'Orso angelic voice, the two masterminds have crafted a true hidden gem.

"When the stirring musical passions of piano virtuoso Robert Mitchell, celebrated double bassist Neil Charles, and drum wizard Mark Sanders came together as a trio in 2022, “The Flame” was born, altering sound forever.

Much like their first album, Vol. 2 is yet another sparkling contribution to the rich vibe that is British improvised music. This outstanding interplay among trio members brings together the perfect balance of adventurous improvisation, abstract rhythms, and dreamy melodies that linger oh so pleasantly in your mind. Robert Mitchell opens the album with a dedication to the woman who gave him life. He tenderly recites his beautifully written poem about the selfless sacrifice of a mother so devoted to helping others."

“This is the second half of The Flame’s debut show at Café Oto in Feb 2022,” explains Professor Robert Mitchell. “It also features my poem ‘A Son Of Windrush Reflects’ in tribute to my mother and all of the nurses who served in the UK’s National Health Service from 1948 onwards - and the ongoing Windrush Scandal (5 years and counting)."

Robert Mitchell - Piano, narration, percussion.
Neil Charles - Double bass.
Mark Sanders - Drums, percussion.

Recorded February 10, 2022 by Shaun Crook at Cafe Oto, London, UK.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Illustration by Robert Mirolo.
Graphic design by Mark Smith.

Slip this delirious disc out of the lime/slime green sleeve and you're up close and personal with the new chapter in the TD saga.
A dance floor triptych of such seismic scale that the crew spent two years trying to wrangle the tracks on wax, finally finding a plant with the power to press them up.

Sprawling across the A-side is the devastating 'Doner Summer', an instrumental extension of some lost Munich disco masquerading as an Anatolian excursion. Ditching the vocals and cutting the kase, the crew lay down a galloping groove topped with Turkish licks and disco strings, take us into the psychedelic swirl of a tumbling drum breakdown before hitting the big red button marked banger for a searing second half. Firing up the hardware, TD blast this one further into the Phuture, dropping technoid sequences, nagging 303 and Cowley-style FX fuckery for a full on club assault.

In the alternate B-side universe, Hans Zimmer lost his dread note and Denis Villeneuve was forced to turn to Talking Drums for the Dune soundtrack. They obliged with the sci-fi rai of 'Chaba Ranks', reshaping an Algerian OG with a dancehall kick, off beat vamps and star-crossed synths, then letting loose with a heavy bass tone.
|In time honoured fashion, the team also drop a dub version, cutting out the vocals and focussing on those additional elements for the wildly cosmic 'Chaba Skanks'.

Now who's getting the spice in?

Limited Press - Numbered Insert - Drum Fun Guaranteed !

Introducing NICE002 "Shoreline Circuitry" EP, the second release from All Nice Records, featuring the Portuguese producer Lake Haze. This EP will take you on a journey through pulsating house tracks, driven by 707 toms and hypnotic acid lines. "Dune District" kicks off with uplifting house vibes, distorted pads, and infectious rhythms. "Voltage Vortex" follows, offering a chill house groove with a heavy Chicago-inspired bassline. On the B-side, "Shoreline Circuitry" delivers rhythmic intensity with 707 toms and obscure acid lines. Closing the EP is "Electribe Echoes," a mesmerising track showcasing Lake Haze's sound mastery.

As Klasse Wrecks enters the second chapter of our century of releases, we're happy to welcome the sounds and skills of Nicola Cruz to the roster. The Ecuadorian producer masterfully turns in a perfectly tuned handful of tracks for his 'Data Passenger' EP, the overiding soundscape being one of Electro, Breaks and infiniteless cosmic exploration.

Sonically the tracks are as much for the soles as they are the souls, a heady mix of intricate rhythms and vibrations await the listener and dancefloor. Plug in to the console let the soundwaves carry you across the spectrum.