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Legendary psychedelic guitar music from the Islamic Republic of Mauritania finally available on vinyl!
Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered.
For fans of the more raw side of Sublime Frequencies, Sahelsounds, the ripping tape-hiss psychedelia of Les Rallizes Denudes, and anyone remotely interested in GUITARS.
12” 160 gram black vinyl LP, with 2 spot color reverse-board jacket, and 8-page full sized booklet with extensive notes and photos, and a history of Mauritanian guitar playing.
‘’this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.’’ 8.0 Pitchfork
The LP version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie.
Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention.

Dance music legend Mark Archer returns with our own Shadow Child under the M.A.S.C alias with the Grandstand EP.

2 new slices of new dance floor hardware come in the shape of 'Grandstand' & 'Bumpy Shit', and the much in demand original 'Rise Up’ and instrumental is finally yours.

'Grandstand' pounds its way into the lead spot with earth shaking drums, acid lines and rave bleeps whilst 'Bumpy Shit' does exactly what it says on the tin.

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

The prolific MC, producer and musician Oddisee’s album ‘The Iceberg’ is a plea for humanity to dig deeper in search of understanding and common ground. ‘The Iceberg’ is a distillation of stereotypical tropes in hip-hop and beyond, 12 tracks about money, sex, politics, race and religion that appear superficial until his multi-dimensional lyrics unfurl to expose the complexities of individuality and identity; how we see ourselves and how others see us. Deeply soulful, and shot through with jazz, Go-go, gospel, thick R&B and hard beats, the album is a timely, poetic statement. Oddisee has released two studio albums, several EP’s, mixtapes, and instrumental albums, and has over 30 million plays on Spotify. He’s been profiled by NPR, the Washington Post, praised by Pitchfork and Stereogum, performed on NPR’s Tiny Desk, Red Bull Sound Select, and at festivals including Glastonbury and Sasquatch. ‘The Iceberg’ follows two releases in 2016, the ‘Alwasta EP’ and the instrumentals album ‘The Odd Tape.’ His 2015 full-length ‘The Good Fight’ was a top five album on the iTunes Hip Hop/Rap chart and he was #5 on Billboard’s Next Big Sound Chart.

Old 97s are an American alternative country rock band from Dallas, TX, fronted by lead vocalist and primary songwriter, Rhett Miller. Formed in 1993, they have since released twelve studio albums, two full EPs, and have one live album. Starting out as a popular bar band before being spotted by Bloodshed Records, they are pioneers of the alt-country movement during the mid-to-late 90s. Their Bloodshot debut LP brought them to the attention of Elektra Records, who hoped that alt-country could be a new post-grunge trend.

In 2005, Blender magazine ranked the band’s then most successful single, 1999’s “Murder (Or a Heart Attack),” as the 176th greatest song “since you were born.” Their music has been featured in a number of film and TV series, including The Break Up, Clay Pigeons, Slither, Ned’s Declassified School Survival Guide, Ed, Scrubs, Veronica Mars and Scorpion. Old 97s recorded three albums for Elektra, before moving on to New West and ATO Records subsequently.

Their fourth studio album, Fight Songs was recorded at Kingsway in New Orleans and released on April 27, 1999. The album is more-slick and pop-oriented than their previous efforts. For the release of this deluxe worldwide debut on vinyl, ROG had six-time Grammy® award-winning producer and engineer, Vance Powell, remix the 12-track album as the band originally intended; stripping off the slick 1990s-style production and sheen that helped the album get on the radio in 1999. With the assistance from the band we are also able to offer previously unreleased 1998 pre-production demos on a 3rd LP that helps to round out the complete story of this classic 1990’s alternative country record.

Born At Midnite is the faux-vanity project of Amery Sandford and David Carriere. Jamming strictly ‘post-party’ with a fnish line posture – either completing or scrapping a song in a single evening – the Montreal based duo began writing together in late 2018.

Employing samplers, tape machines, and an extemporaneous approach to songwriting, the duo establish an eerily familiar atmosphere through an unpolished lens of thin ice. Playing into whilst poking fun at our era’s omnipresent narcissism and self indulgence, the group stitch together an unsponsored sort of ‘product-placement-punk’.

● Double A-side single w/ limited edition 7” pressing.
● Follow up to 2020's debut 7”.
● Past campaign includes coverage from Gorilla vs Bear, The FADER. Past playlisting at Spotify includes Montreal Chill (79k followers), Fresh Finds: Indie (90k followers).
● Features Amery Sandford (Alpen Glow), and David Carriere (TOPS, producer of Sorry Girls, Marcii, TOPS)

Second solo album, twenty five years after his solo debut "Little Bruises" was released. This record see's Gary in a reflective mood across the 11 songs. Standard black vinyl LP and CD formats. Ads, features, interviews and reviews across all press. TV promo includes BBC Breakfast, This Morning, Sunday Brunch and more TBC. Radio support with spot plays, interviews and sessions across R2, 5Live, Talk Radio, ILR network. Online/social media activity and poster campaign/database mailout.

Born in Naples, educated in New York and now residing in Paris, drummer Francesco Ciniglio combines spotless drumming facility with substantial compositional flair, and has the capacity to move, reflect and express through his music. An in-demand sideman, Ciniglio has collaborated with Wynton Marsalis, Shai Maestro, Aaron Parks, Dayna Stephens, Seamus Blake and Tony Tixier. Following his debut solo release (‘Wood’, with Parks and Joe Sanders), Ciniglio returns as leader for his Whirlwind debut, ‘The Locomotive Suite’, a set of compositions for sextet that combine a personal metaphor of resilience with snapshots of his formative familial influences. Barcelona-based Raynald Colom (trumpet), fellow Paris emigr e Matt Chalk (alto) and Matteo Pastorino (bass clarinet) take the frontline duties, with Frenchman Alexis Valet on vibraphone and rising star Felix Moseholm on double bass. The suite is a collection of substantial, knotty harmonies, rhythmic shifts and spacious textures. But it also experiments internally, with chordal horn textures giving bass and vibraphone more melodic freedom. The unusual scoring is inspired by the soundworlds of Pat Metheny and Ben van Gelder, bridging the gap between music for large ensemble and harmonically focused trio music. Or, as Ciniglio puts it, it’s all about “finding an ensemble that’s not too big or small.” “This album is all about movement - getting a train here, marching there,” summarises Ciniglio. But it also reflects on people and places, and on the personal growth that helps make ‘The Locomotive’ Suite a significant compositional statement.

Director David Lynch once said "I long for a kind of quiet where I can just drift and dream. I always say getting inspiration is like fishing. If you're quiet and sitting there and you have the right bait, you're going to catch a fish eventually. Ideas are sort of like that. You never know when they're going to hit you." Inspired by this quote in both name and spirit, Hollie Kenniff's The Quiet Drift is an ambient gallery of cloudlike synths, seraphic strings, echoing guitars, and other celestial textures guided to cohesion by Hollie's own wordless singing. Though the album certainly creates (and originates from) the kind of space where Lynch's proverbial "fish" can be caught, The Quiet Drift is a fitting title for Hollie's own history, both recent and distant. During the course of the album's creation, Hollie and her family moved cross-country from an island in Washington state, to an island in Maine before ultimately relocating to Canada. "As a child I visited Ontario year-round," she explains in her own words. She continues "More than any other landscape, I think the lake, rivers, and woods there left the most enduring impression on me. The landscape and pace of life of these places will always stay with me." But the reverberant spaces Hollie crafts need no physical headquarters. Instead of conjuring views of nature at the ground level, her sound more readily evokes a top-down perspective, with the distinct features of the land shrinking underfoot as the listener becomes untethered from geography altogether. The Quiet Drift belongs more to the liminal spaces between life and afterlife, memory and fantasy, landscape and dreamscape, than any mappable locale. Describing her formative years, Hollie says "As a dual US/Canadian citizen who spent my childhood in a rural town-- one that I haven't returned to in many years - I have a sense of not entirely belonging anywhere. When I was a teenager my close friends were male musicians, so I was also an outsider to the degree that they were wild and anarchic in a way that I wasn't. I was a quiet book reader and avid music listener who enjoyed being around a creative group. I was also a radio DJ for alternative and punk music throughout high school." In this light, The Quiet Drift attests that creativity is placeless, and calls into question the stereotype of artists as scene-centric city dwellers. Having come of age in the absence of metropolitan sensory overload, Hollie learned to spot the muse in nature, and within herself, instead of the echo chamber of a frenzied peer group. On The Quiet Drift Hollie Kenniff wholly escapes from such pop-culture feedback loops into transcendent, shimmering realms, and she brings the listener along with her. In this age in which we have all been called to reevaluate our relationship to indoor spaces, and seek refuge in the great outdoors, The Quiet Drift provides an apt soundtrack for such rebalancing.

We’ve all been fans of each other from the start, says Jimmie Dale Gilmore, “but the thing that’s always struck me about The Flatlanders is that, first and foremost, it’s a band rooted in friendship. Beyond the music, we just connect with each other in these deep and personal ways, and that’s been a lifelong treasure.” Take a listen to Treasure of Love, The Flatlanders’ first new album in more than a decade, and it’s clear that those bonds are deeper and stronger now than ever before. Completed during COVID-19 lockdowns with the help of longtime friend and collaborator Lloyd Maines, the record finds the iconic Texas trio of Joe Ely, Jimmie Dale Gilmore, and Butch Hancock in classic form, serving up a rollicking collection of twang-fueled, harmony-laden performances full of wry humor and raw heartbreak. While a few of the songs here are never-before-heard originals, the vast majority of the tracklist consists of vintage tunes the band picked up during their 50-year career, some stretching as far back as the group’s earliest performances in the honkytonks around Lubbock, TX, where you might have spotted Willie Nelson or Townes Van Zandt in the audience on any given night.

Action/Adventure (A/A) is a pop-punk band hailing from Chicago ready to shatter the decades-long stereotypes of the scene. As a band comprised solely of BIPOC, their mission is to create #PopPunkInColor and ensure pop punk is a genre where everyone is represented on and off stage. Playing collectively together since 2014, the band has gotten the attention of alt scene tastemakers like Alt. Press and Kerrang!, garnered nearly 20k monthly listeners on Spotify, over one million plays on TikTok, and even secured a slot at the final Vans Warped Tour in 2018. The band consists of Adrian Brown (drums), Blake Evaristo (lead vocals), Manny Avila (bass), Oren Trace (guitar), and Brompton Jackson (vocals/guitar). Pulling Focus will be the bands fourth EP joining Going Heal (2018), Last Minute Stuntman (2016), and Ruble Pak (2016). The dynamic five-piece collectively write music that slides along the vast spectrum of pop punk, typically landing in the area of melodic hardcore. Poppy lyrics and melodies bring an air of familiarity that are simultaneously bringing a fresh perspective through a new lens, and gripping riffs and trashing breakdowns that you can nod your head to. A/A has now successfully planted their flag into the national landscape of the pop-punk scene following the release of their powerful 60-second single, “Barricades,” which details the discrimination the band has faced while gigging at pop-punk shows across the country. On a whim at the suggestion of a friend, the band posted the impactful music video for “Barricades” onto TikTok one afternoon with their hashtag #PopPunkInColor, and uninstalled the ap shortly after. By the end of the day, they had over 60k plays #PopPunkInColor. Within three weeks, the guys had over one million plays and an email from their dream label in their inbox.

Marking his first full-length album in six years, Five-Time GRAMMY Award nominee and diamond-selling performer, actor, entrepreneur, and philanthropist Robin Thicke makes a return in 2021 with the long awaited new album, "On Earth, and in Heaven." Setting the stage for the record, the scorching single "That's What Love Can Do," ignited this new flame and hit #1 on the Urban A.C. charts. The second single, "Forever Mine," garnered high praise from Vibe, and has already amassed over 2 million Spotify streams and counting. Presenting the same bold, bright, and boisterous R&B that turned him into a household name, he ascends to new heights on his eighth full-length album.

The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest.
The subsequent recording was lathe-cut on to a 7-inch, then “scratched and abused to add texture and color,” from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres.
Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for ‘bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where “shadows are amplified and bright spots dimmed.”

(gatefold 2LP with spot gloss finishing) Regal's debut album! His staunch productions have garnered support from techno's well-established vanguard, including noted collaborations, projects and remixes with Amelie Lens, Hadone, Nina Kraviz, Ellen Allien, Emmanuel Top and Len Faki. "Remember Why You Started is meant to be a message for everyone, including myself, to look back to your roots -where anything you do is influenced by nothing but passion" -Regal

Puerto Rican-born Jose Feliciano had already been a major star in
Latin America for several years with his Spanish-language
recordings when he spectacularly broke into the US mainstream in
1968 with an acoustic reworking of Light My Fire. A million seller
that reached No. 3 on the Billboard Hot 100 chart, the Doors cover
introduced Feliciano to an entire new audience in the States and
around the world. Also a UK Top 10 hit, it showcased not only his
virtuoso guitar playing and extraordinary voice but also his gift for
reimagining other artists’ songs. This compilation firmly puts the
spotlight on Feliciano the interpreter, although there is also room to
showcase his own great songwriting

Kryptox records was born to show what's happening in the new scene in germany. And David Nesselhauf is the next upcoming artist. Kryptox will release his 6 track EP.?Nesselhauf is a multi-talented artists: bass player, composer, bandleader and man of very original ideas. He was already featured on the Kryptox' Kraut Jazz Futurism compilation vol 1 (2019) and now delivers his first solo EP for the label.

This EP is a follow up in a longer musical evolution that the Hamburg born talent has been making over the past years. A journey that's basically a style he is building that he calls afro-kraut. Before joining Kryptox he already released 2 albums under the Afrokraut title on his own (Bandcamp) before meeting Mathias Modica (head of Kryptox) and they decided to work together.

So on the "Rituals EP“ Nesselhauf salutes his personal pantheon of musical gods once again, leading the listener through his musical Jungle encompassing Krautrock, Downbeat, Drone, Electronica, Afrobeat, Lo-Fi, Shoegaze, Funk and Ambient textures in the blink of an eye.?The 6 new tracks share a common feel, but are colorful individuals at the same time. Some more organic, others with electronic elements.

About Nesselhaufs workflow: Four of these composition are based on quick, playful, raw jams recorded live within hours by a group of Nesselhauf's inner circle musicians. Great grooves played by a heavy rhythm section that he uses also for his live gigs. Just on a few songs Nesselhauf exchanged the human musicians with a legendary Vermona Drum Synthesizer as the main rhythm ingredient.

Guests: One more track was recorded with Julian Gutjahr, Drummer for The Drawbars. Some tracks feature guest appearances by Dennis Rux (he also mixed the EP) and Graeme Currie on guitar. Soulamadou made his way to one of the tracks just by incidentally leaving a very groovy voice message on David ´s phone ("Zeit").

The material was later bewitched into deep, organic swirls: Trippy, psychedelic somnambulistical. The rather mystical, nocturnal reworking process of the recording added even more dimension and depth, leaving the 6 Tracks ready for home listen, but also for an open minded dancefloor and an otherworldly listening experience at the same time.
The next generations of jazz are just waking up. And Davd Nesselhauf and his bunch are one of these new interesting phenomena. Working in the underground since few years, now hopefully there will be more spotlight on these great new innovators.

For their upcoming album TRIP (their first trio album since 2017) Elektro Guzzi return to their core competence of creating driving techno on the spot. Through their impulsiv interplay and the heavy use of effect circuits they create an energetic and unique form of dance music. More directly than ever before, all tracks on this album capture Elektro Guzzi's live sound and energy.
TRIP will be the first vinyl release on their very own Palazzo imprint and it will be the purest
Elektro Guzzi record so far.

Drug Store Romeos formed at college in nearby Farnborough when childhood friends Jonny (Gilbert) and Charlie (Henderson) pinned an ad about finding a bassist for their new band to the school’s notice board – Sarah (Downie) replied and quickly proved herself a better vocalist than either of them. The trio spent the subsequent 24 hours discussing their love of Stereolab over messenger and watching Portishead and Mild High Club videos in the college’s computer lab. The band soon cut their teeth playing live at college, at Guildford Boiler Room and Aldershot West End Centre, rather than the familiarly trodden paths in London although they did frequent Brixton Windmill as often as three times a week at one point; carrying all of their equipment back to Fleet by train as none of the band were old enough to drive. The 3am walk home from Fleet station, with amps and flight cases slung over their shoulder, would become a rite of passage; the quiet countryside influencing their hushed atmospheric sound and nocturnal aesthetics as much as their shared affection for Suburban Lawns, Broadcast, and Tom Tom Club. Lyrical abstractness / concrete meaning. Danceability / lyingdownability. Minimalism / fullness. Introspective melancholy / playfulness. Lo fi / hi fi. Drug Store Romeos play with the senses and flip the expectations, finding the sweet spot every time.

Strut present the definitive edition of Sun Ra's classic 'Lanquidity' album from 1978 with brand new 4LP box set and 2CD editions. Recorded overnight at Bob Bank's Blank Tapes on 17th July 1978 after the Arkestra had appeared on Saturday Night Live, the album is unique in the Ra catalogue. "Most critics felt that it was more of a fusion-inspired record," explains Michael Ray."As the name suggests, the album is liquid and languid." Bob Blank continues,"Musically, it was very ad hoc and freeform. There were horn charts but most trackscame out of improvised jams. Sun Ra just did his thing." Comprising five effortlessly fluid pieces, the album eases in with Lanquidity. Danny Ray Thompson remembers, "This was one of Sun Ra's on-the-spot compositions. It is almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets." Where Pathways Meet is "Sun Ra's funky version of an Egyptianmarch. Pharaoh is sending his troops off to fight and this is his pep-talk!" continues Thompson. "The music seems to take different pathways but still converges." The loping groove of That's How I Feel, features the reflective trumpet lines of Eddie Galewith solos by John Gilmore and Marshall Allen: "Marshall comes in with that snake charming oboe." Says Thompson. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline while the haunting closer, There Are Other Worlds (They Have Not Told You Of), is pure "space music." The poet Mama Nzinga described it as 'The essence of light. Spirit takes a ride inside the deep darkspace of just being."

Sasha introduces LUZoSCURA, a new compilation that hasevolved from the thriving eponymous playlist. Featuring adiverse package of original works from a host of fresh talent, aswell as established artists and Sasha himself, it traverse selectronica, ambient, breaks and techno. Meaning light and dark, LUZoSCURA began on Spotify as a stash of tracks sent to Sasha which didn't meet the pace of his clubsets nor suit his venerated label LNOE, LUZoSCURA came into itsown through 2020 as Sasha gravitated toward more mellowed sounds while being off the road, and clubbers diverted their ears to home listening. Gaining a renewed source of energy inconnecting with more gifted, budding producers and seeing the project blossom, the idea for the compilation came off the back of doing a live stream solely featuring tracks from the playlist. Meticulously compiled to flow like a DJ mix for home listening, Sasha kicks it off with the buoyant, breaks-influenced 'Corner Shop', the first of his three tracks on the compilation. MJ Cole is among the established artists to feature with blissed out track 'Maestro', while The Micronaut, a multi-instrumentalist whose back catalogue was a favourite of Sasha's through lockdown, offers an immersive trip in 'Koelsa'. Lau.ra, lead singer from British experimental rock band Ultraísta, evokes a sense of spiritedness in 'I'll Wait' before we hear again from Sasha with another breaks-loaded trip in 'HNDI' and a collaboration withB ritish producer Franky Wah. Closing the odyssey with a stirring, expansive soundscape is synth duo Felsmann + Tiley.

Clint Mansell and Clint Walsh’s reimagining of Lou
Reed’s 1973 album ‘Berlin’ as a tribute to
Mansell’s late partner Heather who passed away
in 2014. Now available on vinyl.
Pressed on neon pink vinyl and housed in a deluxe
spined sleeve with spot varnish polaroid image.
The record itself comes housed in a double sided
printed inner sleeve with digital download card
included.
Mansell is best known as the former lead singer of
Pop Will Eat Itself and as a composer for films
such as ‘Requiem for a Dream’ and ‘Black Swan’.
Walsh is a multi-instrumentalist and founding
member of Tweaker and is known for his work with
Courtney Love, Gnarls Barkley and many others.
Mansell and Walsh worked previously together on
the score for ‘Black Mirror’ episode ‘San Junipero’.
“The ‘Berlin’ they've made together isn't a copy in
style, however: instead, it conjures up the sounds
of jangly goth-pop, early ‘90s synth, and classic
singer-songwriter balladry.” - The Quietus

The Monkees, one of the most recognizable names in the annals of pop music history, are an American rock and pop band originally active between 1966 and 1971, with reunion albums and tours in the decades that followed. The original line up was Micky Dolenz, Michael Nesmith, Peter Tork and Davy Jones. The group was conceived in 1965 by TV producers Bob Rafelson and Bert Schneider specifically for the sitcom series The Monkees, which aired from 1966 to 1968. The music was originally supervised by record producer Don Kirschner, backed by the songwriting duo of Tommy Boyce and Bobby Hart.

The Monkees self-titled debut and second albums were meant to be a soundtrack to the first season of the TV show, to cash in on the audience.Their first single, “Last Train To Clarksville” b/w “Take A Giant Step,” was released in August 1966, just weeks prior to the TV broadcast debut. In conjunction with the first broadcast of the TV show on September 12, 1966, NBC and Columbia had a major hit. The first long-playing album, The Monkees, was released a month later; it spent 13 weeks at #1 and stayed on the Billboard charts for 78 weeks.

The Monkees have sold more than 75 million records worldwide making them one of the biggest selling groups of all time with international hits, including “Last Train to Clarksville,” “Pleasant Valley Sunday,” “Daydream Believer,” and “I’m A Believer.” ROG is reissuing their iconic debut album as a deluxe 2LP set with bonus tracks (several of which are unreleased mixes) and are having lacquers cut from the analog tapes for the first time since 1966—creating THE DEFINITIVE version of this album since original release!















[n] c3. This Just Doesn’t Seem to Be My Day (TV Version) [Mono]

[p] c5. I Wanna Be Free (Fast Version) [Mono TV Mix]
[q] c6. You Just May Be The One [Mono TV Version]






[x] d6. (I Prithee) Do Not Ask For Love [2020 Remix]

Clear Vinyl

WRWTFWW Records is happy to announce the release of Para One’s new album SPECTRE: Machines of Loving Grace, available in half speed mastered 180g double lp housed in a heavy sleeve with UV spot varnish. Machines of Loving Grace, the new album by Para One, whose real name is Jean-Baptiste de Laubier could be called fiction. It is an object freed from constraints, formats, genres, territories: the gospel of a new world. Six years after Club, eight years after Passion, his previous LP, this lover of electronic music, who has also been putting his sensitivity to the service of movies (soundtracks for Céline Sciamma in particular) opens with this record a new dimension in his artistic career. “I needed to break away from patterns and systematisms of formats, and take unexpected turns. To do so, I had first to allow myself to do so”. Allow oneself and maybe above all confront oneself – with one’s childhood, with one’s childhood’s ghosts, and what fantasies, ideals, memories, and grey areas they harbor. He had to go back – without giving up on his position as an adult, as a full-fledged artist – to the sources of his imagination, to the moment when music was holding almost mystical power. And then revisit it to make something new out of it. Just like Sanity, Madness & the Family (the feature film directed by Para One that he just finished and of which it is a consubstantial part), Machines of Loving Grace has an investigation around a family secret and the father figure as its starting point. “When you go down the path – of a work, of a person, of the past – you never really find out what was. You find yourself

In the space of five short years (and as many albums) at the end of the 20th century, Add N To X caused havoc with their unique retro-futurist electronic music. Add N To X’s musical intensity proved too much for the group who split up in 2002. Their album On The Wires of Our Nerves, complete with its classic cover image, recorded on Soul Jazz
Records’ then new offshoot label Satellite Records, launched them into the spotlight and included two NME Singles of the Week ‘Black Regent’ and ‘King Wasp’. Over twenty years since it was first released and long out of print the album 'On The Wires of Our Nerves’ stands up one of the most forward-looking electronic albums of then
and now. This classic album is released in a very limited one-off pressing silver coloured vinyl edition as a Record Store Day exclusive title.

ith canceled shows, closed venues and lost incomes, the pandemic was bad news for many music artists. But it wasn't only bad news in 2020, as many artists used their struggle to do what they do best during difficult times: create great music. This is why N.E.W.S. Records, a record company based in Ghent releases 'Bad News. Good News.'. A limited edition vinyl record with great songs that couldn't be played live because of the pandemic. The record itself is made from the ashes of newspapers and magazines containing the bad news that hit the music industry in 2020 (and prevented artists from performing live). As proof that great music always survives bad news, no matter how desperate things can get. To create the records, N.E.W.S. Records worked with And Vinyly, a UK-based company specialized in pressing vinyl records with ashes.

Many artists collaborated on the project and shared their insight on how the bad news happening in the music world influenced their music, like Johannes Genard, lead singer of School is Cool: "The one good thing about bad times is that they open new perspectives on things you've grown accustomed to, and that is exactly our core business as artists: comforting during challenging times; challenging during comfortable times and finding new ways to look at old things."

The compilation contains some exclusives like the Brihang & Compact Disk Dummies 'Steentje / I Remember' mash up, recorded live for 'Week van de Belgische Muziek' and Sam De Nef's cover of the belpop classic 'Satelliet Suzy' recorded for StuBru.

Almost all records are a snapshot, a musical ribbon bow that documents a very specific moment in time or simply ties-off everything up to that point. Indigo De Souza’s I Love My Mom, her debut LP initially released in 2018, was the latter; a collection of the best songs she’d written in the few years that preceded it, recorded quickly and breathlessly and thrown out into the world.

Consisting of ten songs, I Love My Mom feels both raw and unabashed. Indigo pulled a band together for the first time, and was quickly encouraged to commit her songs to tape. Recorded at her friend’s house, they played almost everything live in just a few days, and released the record naturally, with little fanfare. That the record quickly took on a life of its own, deeply resonating with those who heard it, is a testament to Indigo’s songwriting which took inspiration from the unique worlds created by Arthur Russel, Sparklehorse, The Microphones, as well as contemporaries such as LVL UP and Happyness.

Two of the songs have racked up more than a million streams each on Spotify: “Take O Ur Pants” and “How I Get Myself Killed.” The former balances an often breezy lead vocal with gnarly undercurrents of guitar before the whole thing lets rip in its punchy chorus, while the latter, the album’s opening track, finds a different mood entirely, a slacker rock gem that repeats its chorus as a chest-beating mantra. Elsewhere, “Good Heart” furthers the dichotomy which sits at the record’s core, each moment of quiet introspection soon met by a cacophonous burst of energy.

Drumcode treasures Alan Fitzpatrick and Joel Mull link for their debut collaboration, complemented by a rare Adam Beyer remix. This is special in every sense.

Tis the season for something different; interesting collaborations and the broadening of creative boundaries is the order of the day. Long-time friends and techno colleagues Alan Fitzpatrick and Joel Mull are the latest to connect for a fresh production outing, ‘We Don’t Know Anything Yet’. Inspired by the Buddhist saying ‘Nothing is forever except change’, the duo work alongside Swedish band Frangie to craft an ascendent techno cut that explores existential questions about the future, all the while being propelled by a strong rhythmic underbelly.

Beyer’s first remix in two years is inspired. The boss sharpens his focus on the vocal, while teasing out the melody, ripening the track for a mid-morning post-peak-time moment when the sun starts to bathe the dancefloor is a hazy gentle glow. A masterstroke.

“Listening to the track, it’s obviously very connected to what’s going on in the world right now. When I heard it for the first time, I fell in love with the parts so much I decided to do a remix on the spot. It’s two of the old school crew, so the release is very dear to my heart.” – Adam Beyer

Different Shades Of Brown originated from Spingfield, Ohio in 1968 before being talent spotted by renowned Detroit producer Clay McMurray in 1971, who in turn secured a recording contract with Motown for them. With Clay as their producer they released two singles on the label which are highly regarded by soul music lovers across the world. An album was also recorded for Motown but it has never been released so far. When the group were released from their contract Clay continued recording them.

Will Hofbauer & Sangre Voss team up for ‘Steppe EP’ this June on Control Freak Recordings, featuring a remix from Discwoman’s Ciel.

London-based Will Hofbauer and Sangre Voss, who’s individual work has seen them appear on labels such as Rhythm Section and Will’s own Third Place imprint, team up for the first time on Control Freak Recordings for the wonky ‘Steppe EP’, picking up early support from Ben UFO, Bradley Zero, and more.

Leading the release, ‘Pumice’ tumbles through rolling low end, crunchy percussion and an eerie breakdown for a high energy start to the A-side. ‘Flundra (Flundra Mix)’ follows with bubbling pads and speaker-rattling subs around a kick-less drop, leading into a shimmering breakdown.

On the flip, ‘June-O’ sees the duo craft a low tempo slugger, peppered with tablas, bells and eagle samples around warped, loopy synthesis. Ciel’s remix of ‘June-O’ takes the B2 spot, adding stuttering percussion, vocal chops, and additional wildlife samples to the mixture to round out the release.

Will Hofbauer & Sangre Voss ‘Steppe EP’ drops on Control Freak Recordings on 18th June.

Everything has its right moment in space and time. And Rhode & Brown’s debut album “Everything in Motion” is no exception to this rule.

But first things first:
Hailing from Munich, Germany, Friedrich Trede and Stephan Braun are the DJ and producer duo Rhode & Brown. Growing up in two neighbouring villages near Munich both of them had been music enthusiasts since their early childhood. Friedrich played drums in punk bands at school and recorded rap songs in his bedroom, while Stephan, as childhood friend of Harold Faltermeyer's son, had the chance to experiment in the impressive studio of the legendary Donna Summer producer in his early teens.

By the late 2000s older friends started supplying them with DJ mixtapes and helped them sneak into clubs they weren’t allowed to visit, yet – cultivating their love for electronic music and club culture. And, of course, the Internet was their go-to source for finding the latest blog house tunes back then, too.

It wasn’t until October 2009 that their paths would cross for the very first (but almost last) time when introduced by a mutual friend: Back then Stephan was selling his old CDJ-player and Friedrich, who wanted to hone his DJ skills, ended up buying it: „When I got home and unpacked the player I realized that it was the wrong model. I thought Stephan was trying to rip me off - so I called him in a rage and demanded my money back.“ Friedrich laughs. To cut a long story short, the two met again the same evening, money and CD-players were exchanged, but luckily so was their passion for house and disco music. It was at that very moment that Rhode & Brown was born.

A lot has happened since the two played their first gigs together and made baby steps in music production. In the past 10 years they established themselves as one of the most reliable house producers around with rock solid releases on Toy Tonics, Shall Not Fade, Public Possession or their own Slam City Jams imprint. As well as becoming a household name in the DJ world, sharing the booth with the likes of Palms Trax, Dam Swindle, Jamie Tiller or Octo Octa - spreading their infectious "Dancing Deejays" vibes around the globe.

Following the great reception of last years „Aku Aku“ EP, June 2021 will see the release of Rhode & Brown’s debut album on Permanent Vacation. A record that showcases their open minded approach to making music and a passion for the nuances between genres - „We found inspiration for this album in all corners of our record collection. That means we are as much influenced by disco or 80s synth-pop as by house and techno of the last decades or the latest viral trap hit on Spotify“, the guys say.

On "Everything In Motion" you'll hear piano house / Italo disco hybrids alongside dreamy Balearic soundscapes and '90s-infused acid breakbeats flawlessly accompanying '80s synth pop anthems. Always infused with that signature Rhode & Brown magic. The album also finds them collaborating with some of the finest vocalists of the moment: Peaking Lights' own Indra Dunis is lending her voice to the title track for this special laid back California vibe, while Berlin's hottest export DJ City evokes a neon light romance affair on "Memory Palace", with a longing poem that makes you wander the rainy streets at night with your walkman on.

At a time when suddenly everything seems to be standing still, Rhode & Brown undeterred moving forward... true to their LP’s title.

First-ever career-spanning retrospective (1956–1980) – 5 CDs with repertoire from the Riverside, Fantasy, Verve, and Warner years. Includes the previously unreleased concert ‘On A Friday Evening’ recorded live at Oil Can Harry’s in Vancouver, BC on June 20, 1975, featuring Jazz legends Eddie Gomez on bass and Eliot Zigmund on drums. Craft Recordings proudly honors the pioneering jazz artist Bill Evans, and his enduring musical contributions, with two new titles. The first—a deluxe, five-CD box set and digital album, titled Everybody Still Digs Bill Evans: A Career Retrospective (1956–1980)—marks the first-ever career-spanning collection of music from the pianist, featuring over 60 tracks that spotlight Evans’ exceptional work as a leader and co-leader. The expansive set also includes a previously unreleased live performance from 1975, captured at Oil Can Harry’s in Vancouver, B.C. This recently unearthed concert recording will also be issued as a standalone album titled On a Friday Evening, which will be available on 2-LP, CD and digital formats, including hi-res 192/24 and 96/24.

Sir Rod Stewart was on his way to becoming one of the most successful recording artists in history in 1974 when he moved to America and signed with Warner Bros. Records (now Warner Records). Over his next 27 years with the label, Stewart released some of the most commercially successful and critically acclaimed records of his extraordinary career. This 5LP boxed set features Stewart's first four Warner albums on vinyl, plus a bonus LP of rare and unreleased studio outtakes from those albums: Atlantic Crossing (1975), A Night on the Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978).

After being out of print for decades, the studio albums look and sound better than ever as they return to vinyl, complete with replica sleeves and newly remastered sound. The albums and the bonus LP are all organised in an iridescent box with Stewart foil-stamped on the cover, his blonde shag haircut glistening in gold, and his leopard-print suit shimmering in silver.

After brilliant stints with the Jeff Beck Group and the Faces and several outstanding solo albums, Stewart moved to Los Angeles in 1974. ROD STEWART: 1975-1978 reflects the burst of creativity that followed, starting in 1975 with his label debut, Atlantic Crossing. The album was produced by the legendary Tom Dowd, who produced Stewart's next three albums. After Atlantic Crossing was certified gold, A Night On the Town went double-platinum, and Foot Loose & Fancy Free went triple-platinum, as did its follow-up Blondes Have More Fun, which became Stewart's first #1 album. That era introduced many of the singer's best-known tracks: "Sailing," "I Don't Want to Talk About It," "I Was Only Joking," "The First Cut Is the Deepest," "You're in My Heart (The Final Acclaim)," "Da Ya Think I'm Sexy?" and "Hot Legs."

The bonus LP, titled Encores 1975-1978, is a collection of 10 outtakes selected from the recording sessions for all four albums. The first side highlights five songs from the recent deluxe editions released for Atlantic Crossing and A Night on the Town. Songs include an alternate version of the B-side "Rosie" and a cover of the Bee Gees' "To Love Somebody" recorded with the influential Stax Records house band, Booker T. & The MG's. The flip side features five previously unreleased session outtakes from Foot Loose & Fancy Free and Blondes Have More Fun. Highlights include a cover of the Motown classic, "You Really Got A Hold On Me," and the unreleased tracks "Silver Tongue" and "Don't Hang Up".

A tender and sweeping story about what roots us, Minari follows a Korean- American family that moves to a tiny Arkansas farm in search of their own American Dream. The family home changes completely with the arrival of their sly, foul-mouthed, but incredibly loving grandmother. Amidst the instability and challenges of this new life in the rugged Ozarks, Minari shows the undeniable resilience of family and what really makes a home.

Minari already won several awards at Sundance Film Festival, Alliance of Women Film Journalists, Boston Society of Film Critics, Denver Film Festival, Florida Film Critics Circle, Los Angeles Film Critics Association, North Carolina Film Critics Association and appeared on over 30 critics’ year-end top-ten lists, including first place on two lists and second place on four.

Emile Mosseri is an American composer, pianist, singer and producer based in Los Angeles. He has scored films and series including The Last Black Man In San Francisco, Kajillionaire, HBO’s Random Acts of Flyness and Season 2 of Amazon’s Homecoming. Emile is a member of the indie-rock band The Dig.

“In some respects, Trust is a simultaneous documentation of progression and regression. A homecoming of sorts, influenced by the interim where we developed our skills as producers and our skills as artists. Armlock, as a vehicle, seems like returning full circle to where we started.”

Trust, out June 2, 2021, is the debut release of Australian duo, Armlock. It’s a nuanced record that explores trials felt in personal growth, from resentment to submission to complacency. A quiet, thrashing gem of songcraft, the record makes as much use of the intimate, empty space as it does of its layered, heavy instrumentals. Each one of these songs conjures a summer storm of internal conflict, with the angst and uncertainty that comes with realizing that you’re finished growing, and rather than feeling a sense of ease you’re left restless and discontented.

Multi-instrumentalists Simon Lam and Hamish Mitchell met studying jazz together at Monash University in Melbourne. While rehearsing standards for a small ensemble in 2010, the two discovered their mutual hatred of the genre, opting to explore experimental, song-based electronic music. Alongside Solitaire Recordings owner, Dan Rutman, they went on to form the group I’lls, releasing four records in five years, and, later, the two went on to form Couture. Simultaneously, Lam (along with his cousin Chloe Kaul) found success with the synthpop group Kllo, amassing over 100 million streams on Spotify and critical acclaim from Pitchfork, The Guardian, GQ, NME, NYLON, and Stereogum. Lam’s solo project Nearly Oratorio (also on Solitaire Recordings) has achieved acclaim in its own right, as has Mitchell’s work as a producer and designer for artists like Jack Grace.

With their first release as Armlock, the duo maintains the depths of I’lls’ electronic soundscapes but brings the warmth of analogue instruments with Lam’s clear, disillusioned singing up front. He sounds both heartfelt and dejected in equal measure, with a dispassionate coolness that synergizes with the vulnerability of his lyrics. Live, the duo are backed by a reel-to-reel tape, with Mitchell on guitar and Lam singing, bridging their electronic past and indie present.

Death Waltz Recording Co. is thrilled to bring you BenDavid Grabinski's directorial debut Happily on vinyl. Happily is a dark, twisted romantic comedy full of surprises (and one dead body). It's the kind of film you do not want to read reviews on as you should go in with no spoilers and fresh eyes.

Spot varnish gatefold sleeve with liner notes by writer/director BenDavid Grabinski & composer Joseph Trapanese and featuring a download of the entire score, plus nine bonus cuts not on the physical format.

BenDavid Grabinski (Are You Afraid Of The Dark?) pulled in a stellar cast, including Joel McHale, Natalie Morales, Kerry Bishe & Natalie Zea, who are having fun with his script full of intriguing turns and snappy dialogue.

Joseph Trapanese's score (Tron: Legacy, Straight Outta Compton) is a moody, mysterious piece of work, full of space, quiet, contemplative moments but with an unnerving sense of dread below the surface that gives just the right amount of unease whilst listening.

Composed by Joseph Trapenese
Artwork by We Buy Your Kids
Manufactured in the Czech Republic

Liz Phair announces ‘Soberish’, her highly-anticipated new album and first collection of original
material in eleven years. Produced by Phair’s longtime collaborator Brad Wood - known for helming
Phair’s seminal albums ‘Exile In Guyville’, ‘Whip-Smart’ and ‘whitechocolatespaceegg’ - ‘Soberish’ is
released via Chrysalis Records.
Almost thirty years since her peerless debut album ‘Exile In Guyville’ was released (voted #56 in
Rolling Stone’s 2020 list of the 500 Greatest albums Of All Time), Phair returns with a new record that
will both intrigue and satisfy her long-standing fans and introduce her to a smart young audience
whose contemporary heroes have been reading from Phair’s playbook since they first picked up a
guitar.
Liz Phair has achieved the kind of status in her industry rarely bestowed on recording artists. Her
albums in the 1990s were central to the indie rock canon of the day. Her image was featured in
countless magazines, early Apple commercials and Gap ads. Her eponymous album for Capitol
Records in 2003 took Phair in a pop direction that ruffled some critics’ feathers but nonetheless went
gold, galvanizing a host of new fans, particularly among young women who fell in love with hits like
‘Why Can’t I’ and ‘Extraordinary’, tracks that were featured in several major films and TV shows,
including 13 Going On 30, Raising Helen and How To Deal. Liz has picked up two Grammy
nominations and a spot in Pitchfork’s Greatest Albums Of The 90s, with over five million record sales
to date (including three US gold albums). She sang ‘God Bless America’ at the opening game of the
Chicago White Sox World Series victory in her hometown in 2005.
‘Soberish’ is a portrait of Phair in the present tense, taking all of the facets of her melodic output over
the years and synthesizing them into a beautiful, perfect whole. She’s at the top of her game in the
recording studio, drawing upon years of experience in television composition to weave through the
songs daring and unexpected sound design. With Brad Wood’s exquisite engineering and masterful
production, the result is a wholly fresh yet satisfyingly familiar sound that challenges on the first listen
and seduces with each subsequent play through. The earworms are strong with this one.
Phair says, “I found my inspiration for ‘Soberish’ by delving into an early era of my music development,
my art school years spent listening to Art Rock and New Wave music non-stop on my Walkman. The
English Beat, The Specials, Madness, R.E.M.s Automatic for the People, Yazoo, The Psychedelic
Furs, Talking Heads, Velvet Underground, Laurie Anderson, and the Cars. The city came alive for me
as a young person, the bands in my headphones lending me the courage to explore.”
None of the arrangements on Soberish are traditional songwriting standards but the hooks are so
catchy, the imagery so compelling, that the listener is drawn effortlessly along with the music. There
are the off-kilter, unexpected guitar chords listeners will recognize as her signature style, a mainstay
from her earliest work; the instantly knowable choruses of her most pop-friendly songs of the early
2000s; the frank lyricism and storytelling that has opened doors for countless women picking up
guitars and attempting to speak about their experiences.
Phair shares insight into the meaning of her title: “‘Soberish’ can be about partying. It can be about
self-delusion. It can be a about chasing that first flush of love or, in fact, any state of mind that allows
you to escape reality for a while and exist on a happier plane. It’s not self-destructive or out of control;
it’s as simple as the cycle of dreaming and waking up. That’s why I chose to symbolize ‘Soberish’ with
a crossroads, with a street sign. It’s best described as a simple pivot of perspective. When you meet
your ‘ish’ self again after a period of sobriety, there’s a deep recognition and emotional relief that
floods you, reminding you that there is more to life, more to reality and to your own soul than you are
consciously aware of. But if you reach for too much of a good thing, or starve yourself with too little,
you’ll lose that critical balance.”

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.
1978's No Accommodation for Lagos, Tony Allen's third solo album, is an effortless Afrobeat masterpiece. The Afrika 70 band floats through two of Tony's heaviest and most churning compositions.
With this album, we start to hear Tony Allen's unique style of Afro-Funk that he would explore for decades to come as a solo artist - it is groove-focused, a rolling meditation on rhythm.
The first track, "No Accommodation for Lagos" is one of Tony's most pointed and churning songs, recorded in a chaotic period following the army raid of Fela's compound. There is a seriousness to the funk, a real burning purpose in the performance of every instrument, from the horns to the shekere. Tony's performance is supercharged - he clearly showed up to the studio that day with a fire in his heart. The followup track, "African Message," is an Afrobeat compositional staple. Tony sits back in the cut through most of the supremely funky track until about seven minutes in, when he steps into the spotlight to express himself fully - his emotions, his frustrations, his convictions - in a fiery duet between his drumkit and his voice. The percussionists coalesce around him in support, lifting Tony up as he gives it his all.
Tony Allen was a musical and compositional visionary, and this album finds him beginning to explore that vision outside of Fela's immense gravitational pull. They are the start of a new era in Tony's fruitful career as a solo artist, opening the floodgates for his distinctive Afro-Funk sound and laying the foundation for the next generation of Afrobeat musicians to come.

One of the essential ‘global’ albums of 2019 gets its first pressing on ‘kimono blue’ vinyl.

Ahead of the release of their second album and their collaboration with cult Japanese kimono label Nakai Shoten, Minyo Crusaders come with a limited edition of their classic debut album.

Since their 2020 collaborative EP with Frente Cumbiero amassed almost 1m listens on Spotify plus over 1m views for the lead video on both Facebook and Twitter, the band’s popularity has soared.

Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that's both contemporary and timeless. On Introducing... -- his debut solo album produced by The Black Keys' Dan Auerbach, co-released on Easy Eye Sound and Dead Oceans -- Aaron melds mid-`60s soul with Auerbach's particular sensibilities (`Over You'), songs with a message in the key of Gil Scott-Heron (`Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop (`Have Mercy'). The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and colead singer of Durand Jones & The Indications, but he's more than a revivalist act. "I didn't want Introducing... to be an exact recreation of an era or a style," Frazer says. "I'm excited to keep breaking some of the expectations around what exactly I'm supposed to be artistically and musically, or what this scene as a whole can be." On Introducing..., Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. Introducing... is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.

In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recordi ng the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rootedin American blues traditions. Cut withFrench and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon , this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of inde terminate origins. (Jason Ankeny, AMG)

Revelatory reissue of Barney Wilen’s ambitious jazz-fusion journey, Moshi (1972), presenting the legendary French jazzman and Miles Davis-sideman’s wildly ambitious effort fusing recordings of Pygmy tribes with African rhythms and stellar avantjazz leanings, sounding little like anything before or since its release. (boomkat)

Super rare and long out of print, the ground-breaking 1972 album from saxophonist Barney Wilen receives a reissue treatment of the highest order. Complete with a 20-page booklet and a never before seen DVD chronicling Wilen’s trip to Africa, this one is sure to be a delight for fans old and new. The deepest spiritual jazz grooves meet field recordings from the Upper Volta and b eyond, whilst psych rock influences collide with hypnotic and shamanistic percussion work. Truly one of the most out -there jazz records we’ve stocked for a long time! (bleep)

Originally issued by the seminal imprint Saravah in 1972, and among the most uncategorizable and sought after artefacts of the French avant-garde, Barney Wilen’s Moshi is nothing short of a masterpiece - long holding a coveted spot in the hearts of adventurous listeners and record collectors alike. A wild unkept cultural collage. A series of sonic experiments. A spiritual, psychedelic pilgrimage into the unknown - darting from one continent to the next, each of its tangents building toward a more optimist world view through ordered sound. Its scope remains as difficult to understand today as it was when it was released. Now brought back into the light by Souffle Continu, this is a moment to be celebrated far and wide. (Soundohm)

Deluxe reissue with additional artwork & remastered audio. 20-page booklet including rare pictures, sheet music & original liner notes. Bonus DVD with exclusive artwork of Caroline de Bendern’s movie « à l’intention de Mlle Issoufou à Bilma » documenting this incredible african journey.