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NEW REPRESS IN HARD CARDBOARD SLEEVE + OBI + INSERT WITH LINER NOTES
+ RESEALABLE OUTER SLEEVE.

Killer unreleased US album from 1972. Originally from Louisville, KY, Leslie’s Motel line-up included several members from The Oxfords as well as Blues Project drummer Roy Blumenfeld. They played explosive, bluesy hard-rock with powerful vocals and stunning guitar / organ, in the same vein as early Allman Brothers or Ten Years After.



Remastered sound from the original master tapes, insert with liner notes and rare pictures.

• The Love Affair was formed in 1967 (originally as the Soul Survivors) and burst onto the UK charts in January 1968 when ‘Everlasting Love’ reached # 1. Featuring lead singer Steve Ellis’ distinctive vocals, this was followed by four more Top 20 hits, three of which were Top 10, including ‘Rainbow Valley’ (# 5), ‘A Day Without Love’ (# 6) and ‘Bringing On Back The Good Times’ (# 9).
• Side One of this album features all five hits (including a re-mastered version of ‘Everlasting Love’) plus the single unreleased at the time, ‘Time Hasn’t Changed Us’, after which Steve Ellis left the band.
• Side Two features six highlights from Steve Ellis’ solo career, starting with two favourites by Ellis, the band he formed with Zoot Money, produced by Roger Daltrey. Next up are covers of Jimmy Webb’s ‘Evie’, and also ‘Rainy Night In Georgia’. Taken from Steve’s 2018 album, ‘Lonely No More’ and ‘Cry Me A River’ both feature Paul Weller as co-writer, performer and co producer.
• The inner sleeve features liner notes by Steve Ellis and photos and memorabilia from his own collection. The record is pressed on 180g gold vinyl.

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

LTD. LOSER EDITION

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

Limited edition cloudy clear vinyl. Combining processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Kramer's The Blue of Distance is an audio dissertation on the role technology plays in our relationships to geography and nature, unspooling into an examination of memory and longing across seven sections that layer filmic minimalism over churning electronic soundbeds. Half of the suite was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter, creating a subtextual dialogue between the two extreme settings. Kramer, who was born in 1990 and grew up alongside the internet, uses her music to explore nature in the actual and the virtual world, through direct experience and facsimile alike, focussing and blurring the line between the two. "Looking back at my videos of that summer-- which is where the processed audio came from-- I tried to remember what it had felt like to be there," she recalls, "thinking about questions of reality versus imagination; physical versus digital; and the ways in which memory shifts through our minds and technology." The title The Blue of Distance was derived from Rebecca Solnit's book A Field Guide to Getting Lost, referring to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance. "If we were to go up to the mountains that appear blue from far away, we would see that they weren't actually that color." she says. "This beauty is made possible because of their distance," much in the same way that the splendor of a lush season is only fully realized in the throes of a bleak one, and the joy of an event can only be felt when it has long since been consigned to remembrance. R.I.Y.L Kaitlyn Aurelia Smith, Philip Glass, Steve Reich, Josiah Steinbrick, Emily Sprague

RECORDED LIVE ON THE BAND’S 30TH ANNIVERSARY TOUR. LIVE AT THE FORUM, LONDON, DECEMBER 2006. INCLUDES THE CLASSICS ‘EVER FALLEN IN LOVE’, ‘ORGASM ADDICT’, ‘WHAT DO I GET?’, ‘HARMONY IN MY HEAD’, ‘WHY SHE’S A GIRL FROM THE CHAINSTORE’ AND TRACKS FROM ACROSS THE BAND’S EXTENSIVE BACK CATALOGUE.

NEVER BEFORE ON VINYL.

PRESSED ON RED VINYL.

LIMITED TO 1,000 COPIES WORLDWIDE.

Join Buzzcocks as they celebrate the 30th Anniversary of the band’s formation in front of a ravenous London audience. Recorded in December 2006, and never before released on vinyl, ‘30’ captures the band on excellent form, performing twentyeight songs from across their back catalogue, including the seminal late ‘70s hits and highlights from the rest of their career. Still wired, still buzzing with punk energy and still playing loud, fast and unapologetically, this is the sound of a band on unstoppable form, led, as ever, by the inimitable combination of Pete Shelley and Steve Diggle.
This red vinyl edition promises to be a must-have for die-hards and collectors, and a brilliant primer for those not yet in the know.

his is the first vinyl re-issue of Marc Almond’s 4th solo album, “The Stars We Are”, since the album’s original release in September 1988. This re-issue is a limited edition double vinyl that couples the original album with a second record that compiles together all the Bsides of the associated singles as well as two first-timeon-vinyl extended versions of album tracks ‘The Stars We Are’ (Full Length Version) and ‘These My Dreams Are Yours’ (Through The Night Mix). The final extra track included is Marc's solo version of ‘Something’s Gotten Hold Of My Heart’, which after the album’s original release, was re-recorded with the 1967 hit song’s original singer Gene Pitney, creating a duet that became a UK #1 single for four weeks in early 1989.

“The Stars We Are” was the first of two albums recorded for Parlophone and was Marc Almond’s return to a highly infectious and chartable pop. The first single ‘Tears Run Rings’ confirmed the revitalised, unabashed pop that characterised the record and reached #26 on the UK Singles Chart. The album was recorded with an assembled band ‘La Magia’ which comprised of former Willing Sinners members Annie Hogan, Billie McGee and Steve Humphries as a core unit. The album is a shimmering arc of musical textures, compulsive melodrama and euphoric uplift. As well as further
singles ‘Bitter-Sweet’ (UK#40) and ‘Only The Moment’ (UK#45), the album contains an homage to goth sensibilities in ‘Your Kisses Burn’ a duet with Nico (her last ever studio recording) as well as an extravagant mini-operetta, ‘Kept Boy’, a duet with cult chanteuse
Agnes Bernelle.

Contains sleeve notes from celebrated cult poet and biographer, Jeremy Reed.

Nach Dear Esther und So Let Us Melt, veröffentlicht Black Screen Records im Januar 2021 nun den nächsten Soundtrack von Jessica Curry auf Vinyl. Diesmal ist der Soundtrack in Zusammenarbeit mit Blood & Truth-Komponist Jim Fowler entstanden und erinnert an einen wunderschönen Mix aus Disney-Musik und einem Ballet von Tschaikowski. Der Soundtrack erscheint als limitierte Doppel-LP auf audiophilem schwarzem 180g Vinyl (45RPM) und wurde von John Webber in Londons Air Studios gemastert. Das Artwork stammt vom Zeichner Nathan Anderson und ist inspiriert von sowjetischen Raumfahrt-Plakaten. Natürlich kommt auch dieser Soundtrack mit einem gratis Download Code und Liner Notes der Entwickler.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Issued in 1967, “We Are Paintermen” was the only Creation LP released during their original 60s incarnation, and then only in Germany. With the exception of “Making Time” and “Try And Stop Me”, this release features the 2016 stereo mixes of Creation classics “Through My Eyes”, “Biff Bang Pow”, “Can I Join Your Band?” and “Painter Man” (as later covered with huge success by Boney M).
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Alongside the “We Are Paintermen” LP, “How Does It Feel To Feel” rounds up the remainder of the recordings they made with Shel Talmy. This LP features the 2016 stereo mixes of Creation classics “How Does It Feel To Feel” (both the UK and US versions), “Life Is Just Beginning” and “Sylvette”. The last 60s lineup of The Creation, which featured future Face and Rolling Stone Ron Wood, is represented by all four sides of their two single releases.
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

a A1. How Does It Feel To Feel UK version


[d] A4. How Does It Feel To Feel [US version]

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

The fourth 10-inch EP from the 10th anniversary of U Know Me Records series comes from Immortal Onion. The album consists of 5 pieces. For those missing live concerts there are 2 songs taken from the band's performance on 8th of August at Jassmine club in Warsaw. The B-side starts with a rework of the song called "Leaving", originally composed by Hania Rani (who often performs with 2 members of Immortal Onion). The next song ("Zu Hause") was created especially for this album as the result of the band's experiments with electronics. The EP closes with a rework of "Eye Tracking" - a song from "XD Experience Design - made by Kadrych.

The rework of "Leaving" will be released only on vinyl and won't be available on streaming services.

Strictly limited edition - 300 hand-numbered copies. The first hundred will be released on red vinyl and copies from 101 to 300 as classic black ones.

The album was created with help of trusted people, who also worked on "XD Experience Design" - graphic design by Martiszu, mix by Envee (except the last song mixed by Maciej Stendek) and mastering by Eprom.

Tim Gick's already-warped patchwork editing of the entire Crazy Doberman output thus far turns increasingly glitched out across the splattered quiltwork of a nine track LP on Aguirre. Any coherent sense of time departs early on the A-side; kicked off with the familiar sound of the Dobes' synth throb and Love-cry woodwinds on top of completely fried electric guitar squiggling, all suspended in spiritual foam; then battered to bits on the greasy flat top of the record's b-side.

Ringing modular synth sirens evoke alarmingly huge Southern watersnakes swimming on top of Oconee river. Total trip zone across two sides: brownouts in the sequence of events, dubby fadeouts, and bright jump cuts in space. Teases of cartoon barrlehouse tickling on the keys of a farmhouse piano and tape melt psychedelia. The recording session in Athens, Georgia was a total "CHUGFEST" recalls Frank Hurricane, the Appalachian juggalo folkie king, who joined the session with the Lafayette, Indiana crew. The presence of Hurricane's own "Life is Spiritual" mirth bulworks the record with a muddy, barefoot hippy hopefullness, steadying the log flume through the notcturnal psychic murk toward the holy morning dew. (J. Russ)

Ecstatic Meditations’, the follow up to 2016’s acclaimed debut solo outing ‘Interludes’, features six beautifully crafted new tracks leading with an edit of the 20 minute album opener and lead track ‘Journey In Ecstasy’. An adventurous deep listening experience, the new collection was recorded, mixed and mastered by Furse at his electronic studio on the Margate coast.
A sonic tapestry of sound that takes inspiration from the likes of Alice Coltrane, Laraaji, Eno and Steve Reich together with a new found appreciation for Japanese environmental music composers such as Akira Ito and Yasauki Shizimu. The result is an intense yet playfully refreshing take on ambient and electronic music.

The thirteen song album has been remastered at the hallowed Abbey Road Studios in London from the original 1/4’ analog master tapes, and the vinyl processed with a new half speed lacquer cut to ensure the highest quality audio possible.
The bonus LP is a collection of outtakes of nearly every album track, including never before heard pre-production demo recordings, alternate mixes and arrangements, live material, an Archers of Loaf cover, as well as a newly recorded version of the album track ‘Caretaker’ which was recorded in 2019 on the literal last night in the house Stevenson grew up in, ten years after the song was originally written there.
The album features liner note essays written by musicians Julien Baker and Lucy Dacus who drew early inspiration for their own music and songwriting from the album. Also contributing liner notes are Pitchfork, NPR and Stereogum writer Nina Corcoran, as well Packaging: LP Deluxe edition, stoughton tip-on jacket gatefold w/ download card

This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017

This material is the last concert he has gave. It took place at Cave12 on 02.02.2017.

We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker.

fter this listening, we felt invested in having to make this archive public.

Recorded 02.02.2017 at Cave12, Geneva by Benjamin Ephise

Edit by Stephen O'Malley & Carl Michael von Hausswolff at EMS, Stockholm.

Mastered by Denis Blackham

Vinyl cut by Andreas Kauffelt ar Schnittstelle, Berlin

Artworks by Franz Graf, Mika Vainio Archive, Oslo and Cm von Hausswolff collection,

Cave12 / Editions Mego co-release

Océane Colom ist eine Selfmade-Künstlerin, wie sie bisher eher nicht im Buche steht. Als Suzane macht die junge Singer-Songwriterin aus dem französischen Avignon seit 2017 Musik und seit letztem Jahr mit Songs wie "SLT" oder "Il est où le SAV?" zunehmend im internationalen Rahmen auf sich aufmerksam. Meistens mit einem Minikeyboard komponiert, handeln ihre Songs von Gender-Pluralismus, sexualisierter Gewalt, aber auch von der ökologischen Krise oder der Allgegenwart sozialer Netzwerke. Musikalisch geht es ähnlich facettenreich zu: Den Charme französischer Chansons verbindet sie spielerisch mit ansteckenden Dance-Beats und Electro-Synths, zu denen sie in ihren ebenso kecken wie kreativen Videos im blau-weißen Outfit tanzt, inspiriert von Bruce-Lee-Filmen, Elvis Presley und den Farben von Louis XIV.

Abbey Lincoln, often remembered for her seminal work with Max Roach, was a powerful performer and indeed one of the greatest Jazz voices of all time. "Straight Ahead" stands as one her best albums. Lincoln is matched here by a ultra-stellar line up including Jazz masters such as Booker Little — trumpet, Julian Priester — trombone Eric Dolphy — alto saxophone, bass clarinet, flute, Walter Benton and Coleman Hawkins — tenor saxophone, Mal Waldron — piano, Art Davis — bass, Max Roach — drums, Roger Sanders and Robert Whitley — congas. "Straight Ahead" is the perfect combination between Lincoln 's strong "Afro-Blue" tone singing, conscious lyrics and angular modern Jazz arrangements. Recorded in New York in a one-off studio session held on February 22, 1961 and released by Candid Records in the same year, the album includes highlights such as Oscar Brown jr's "When Malindy Sings", Thelonious Monk's "Blue Monk", Billie Holiday and Mal Waldron's "Left Alone" and "African Lady" a Randy Weston composition based on lyrics by the great writer Langston Hughes.

This album from the late 60's features Eddie Boyd backed by some of the best British blues musicians of the time. Player on this album include John Mayall, Tony McPhee, Peter Green, John McVie (Peter and John later known for their involvement with Fleetwood Mac) and Aynsley Dunbar - one of rock's most definitive drummers having played with John Mayall's Bluesbreakers, the Jeff Beck Group, Frank Zappa, and Journey before joining Jefferson Starship for three albums. The album was produced by the legendary Mike Vernon.

Blues singer and harmonica player Brian Knight (1939-2001) is counted as one of the initial members of The Rolling Stones. Co-founder of Brian Jones first band together with Ian Stewart and Dick Taylor (later Pretty Things) among others. Musical disagreement with Jones, who fancied Bo Diddley and Chuck Berry while Knight was a Muddy Waters follower, led to his departure from the group - later to be replaced by Jagger and Richards. He formed his own "Blues By Six" band, frequently with Charlie Watts on drums, and spent the following years touring and playing London clubs. In the seventies he continued with Bradford-Knight Blues Band. Always a high profile act on the English blues circuit Knight has performed with many known artists through the decades, as Rick Wakeman, Peter Green, Paul Jones, Zoot Money, Ronnie Lane, Charie Watts, Chris Farlowe...and many more. After two successful decades of touring and performing he finally got to record his debut in 1981on the independent label PVK Records. The album is a mix of standard blues and rock numbers as traditional "white blues", sometimes reminding of early British R&B from Cyril Davies or Alexis Korner. It features Dick Heckstall-Smith (Colosseum) on sax, Peter Green on guitar and Stones own Charlie Watts on drums

The Danish quartet Yung returns with their second full-length Ongoing Dispute, their first with PNKSLM Recordings (ShitKid, Hollow Ship, Les Big Byrd etc). Arriving 5 years after their acclaimed debut A Youthful Dream on Fat Possum, Ongoing Dispute finds Yung leaping forward, with stronger and more confident songwriting and a broader sonic palette. After the receiving the attention of Pitchfork, NPR, Stereogum and more with the debut, Yung took a step back after returning home following multiple tours around the world and after reassessing themselves and the band they started working on what would become Ongoing Dispute, delivering on the early promise and firmly establishing themselves as one of the premier bands in their genre.

The Danish quartet Yung returns with their second full-length Ongoing Dispute, their first with PNKSLM Recordings (ShitKid, Hollow Ship, Les Big Byrd etc). Arriving 5 years after their acclaimed debut
A Youthful Dream on Fat Possum, Ongoing Dispute finds Yung leaping forward, with stronger and more confident songwriting and a broader sonic palette.
After the receiving the attention of Pitchfork, NPR, Stereogum and more with the debut, Yung took a step back after returning home following multiple tours around the world and after reassessing themselves and the band they started working on what would become Ongoing Dispute, delivering on the early promise and firmly establishing themselves as one of the premier bands in their genre.

If you can feel a chill in the air it must mean there's more arcane sorcery being cooked up in the Blind Allies labs. This Latvian label are surely providing some of the strongest strains of pitch-black underground electro from lesser known operators in the machine funk catacombs. On this new various artists 12", White Mane Horse and Deputy Bender fire off sleek and sinister rhythms while UHU has a little tongue in cheek fun behind the veil of icy whispered vocals and nervy bleeps on "No Body Knows Electro". Theory Of Noise sound taut and robotic, Olloy keeps things plush but noirish, Rnbws fires off a high-definition sound and Theory Of Noise returns for the simply brilliant "Mission".

The music of CARM features horns in roles typically reserved for drums, guitars, and voices, while also escaping the genre categorizations reserved for music featuring an instrumentalist as bandleader. It is not jazz or classical music, nor is it a soundtrack. This is contemporary popular music that features a sound normally used as a background color and texture as the unabashed lead voice. According to CARM, aka CJ Camerieri, "It started with the question: `What kind of record would my trumpet-playing heroes from the past make today?' I believe they would want to work with the best producers, beat makers, song-writers, and singers to create new, truly culturally relevant music, and that's what I sought to do with this project." Produced in Minneapolis by Ryan Olson ( Polica , Lizzo ) and featuring collaborations with Sufjan Stevens , Justin Vernon ( Bon Iver ), Yo La Tengo , Shara Nova , Mouse on Mars , Francis and the Lights and many others. It is a completely unique sound that additionally serves as a survey of the collaborations that have come to define the artist's career thus far. Says Vernon, "I truly believe there isn't a more accomplished brass player in the entire world of music. And this is way more than a 'horn' record. It's a discovery of new heights with what is possible in creating music." The album begins with an orchestral brass choir of french horns, which quickly gives way to a piano sample from Francis, as Stevens and Lupin combine voices over a lush bed of horns to sing "Song of Trouble." The album bookends with the same piano sample used as a springboard to an iconic lyric by Vernon in the album closer "Land." Between these two generation-defining artists we have upward sweeping melodies and fanfares reminiscent of Ennio Morricone . The acutely original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in "Already Gone" give way to the virtuoso sound of Nova's voice. A more experimental path emerges before the strings from yMusic bring us back to the piano sample that started the record. Instead of recycling well-trodden sounds, CARM offers a respite for those seeking an original voice.

When Ajax Tow travels in his Pop Western landscapes, you can be sure there’s always a perfect 70’s road trip soundtrack. Italians cowboys meeting the legendary Miriam Makeba in Rennes suburbs... For his 3rd album The Soul Vegetable Orchestra, Ajax Tow is bringing us on a ten tracks sonic adventure, where many inspirations and references collide. The succession of tracks inspires many feels and moods from sipping a good old bourbon, dance in the kitchen, or gallops though the plains of Napoli.

We can found the influence of Danger Mouse paying hommage to the late Ennio Morricone (Roma, 2011), a cinematic side of Shawn Lee and Misha Panfilov, from music library à la Jean-Claude Vannier to the Band Voilaa, a little glimpse of pimped Ninja tune, a Reworked organic Mo’Wax vibe, all mixed up and spiced up with a Tricky style.

This album is also the result of a collaboration with Dan Voisin (Modul-Club, Eighty…) at the production and drums with Rennes city scene musicians who gives a hand on this album: Romain Baousson (Coupe Colonel, Bikini Machine…) on drums, Sax Machine and Racecar (Saxtoys Records) on horns and vocals, Dj Marrrtin (Funky Bijou, Lord Paramour) on beatmaking, Medline (My Bags) on Flûte.

As a special guest, the late and legendary Miriam Makeba appears on “Magic Miriam”. “Feel it” is definitely setting a west coast on the LP with a Jurassic 5 inspiration, accompanied by a spicy rhythm, MC Racecar (Sax Machine) flows and lyrics brings even more energy to the track. On “Movie” and “Silence”. Ajax Tow give us a nice taste of his favorite psychedelic blends, romantic and intimate at the same time, where we found back Fuzz guitar with 60’s Eric Clapton style (Cream era) and Pink Floyd synths Flavors. The cinematic style and first notes of “So What” reminds Air first EP and the beautiful bass of “Melody Nelson”. For the dessert, “Smallville” is a kind of wedding cake with 70’s loops sprinkling that brings us to Phillipe Sarde’s La Grande Bouffe soundtrack, but with a more contemporary feeling.

This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017. This material is the last concert he has given. It took place at Cave12 on 02.02.2017. We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker. After this listening, we felt invested in having to make this archive public.

In order to edit and work on this material, we asked Carl Michael von Hausswolff to do the mixing. At our request, this recording was organized in 4 movements. Stephen O’Malley kindly joined in the pre-edit process that took place on August 24 2020 at EMS Studios, Stockholm. Denis Blackham did the mastering. This process was carried out in collaboration with Rikke Lundgreen.

Artworks by Franz Graf, Mika Vainio Archive, Oslo and Cm von Hausswolff collection

Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastureswith an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith” reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

Southern Lord announce Crush The Machine, the debut EP from West Coast hardcore punk collective D.E.A (Dead End America), formed by the late, great Steve "Thee Slayer Hippy" Hanford of Poison Idea, with current and former members of Queens Of The Stone Age, Eyehategod, The Accüsed A.D, World Of Lies, Ape Machine, and more.

Captured before Hanford’s passing earlier this year, D.E.A's debut shall be released on 7" and digital EP on 30th October (Non-Returnable) Recording details, liner notes from Mark Lanegan and more info below.

Crush The Machine sees the primary writers, drummer/vocalist Steve Hanford and guitarist Tony Avila (World of Lies, Why Won't You Die, Aborted Cop, Here's Your Warning) joined by lead guitarist Ian Watts (Ape Machine, Minmae) and bassist/vocalist Nick "Rex Everything" Oliveri (Mondo Generator, The Dwarves, ex-Kyuss, ex-Queens Of The Stone Age), with additional lyrics and vocals from Mike IX Williams (Eyehategod, Corrections House, Outlaw Order) and Blaine Cook (The Accüsed A.D, The Fartz, Toe Tag).

"A perfectly appropriate title for this 7 inch EP of jack-hammering, oldschool style hardcore tunes released by Southern Lord, written and played by a rogues gallery of real deal music lifers as a condemnation of the criminal Trump administration and republican party, in the same spirit of those by-gone days when Ronald Reagan or George Bush was the crooked, self-serving president of the crumbling United States empire. Never before has there been a more obvious target, as Donald Trump and his mafia family cabinet rape the country while Rome burns. D.E.A. is Tony Avila, Ian Watts, Nick Oliveri, Mike IX, Blaine Cook and the legendary and beloved, late producer and drummer of Poison Idea, Steve "Thee Slayer Hippy" Hanford. Dying shortly before the completion of this record, it stands as a final testament to his genius, one last hot-wired blast of his epic musical brilliance."

Mark Lanegan
Los Angeles
August, 2020

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Germany Exclusive on Smoke Marble Vinyl, only 1000 copies available. Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

On her third album Welsh Music Prize winner Georgia Ruth returns to her roots. Having moved back to her native Aberystwyth ‘Mai’ was recorded in the town’s Grade-II listed Joseph Parry Hall over the course of one week in Spring 2019. Named after the renowned composer and professor, the room was used as a venue for chamber concerts throughout the twentieth century and offered musicians a view of the sun setting over the castle as they worked.

But despite this setting Mai (meaning May) is an intimate collection of songs written from within the depths of a house during stolen moments. At its heart sits a beautiful and simple setting of Eifion Wyn’s poem – ‘Gwn ei ddyfod, fis y Mel’ (I know it’s coming, month-of-honey).
Mai is a meditation on finding hope and renewal in the seasons, in a world where the certainty of Spring feels increasingly fragile.

The album was produced with Iwan Morgan (Meilyr Jones, Cate Le Bon, Richard James) who also engineered mixed and mastered. Additional parts were recorded at his studio in Liverpool. With improvised strings, pedal steel and saxophone sitting alongside harp, the album presents a sound which is both lush and sparse in turn.

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

This 1975 album was the first solo outing for David Byron, former lead singer for Uriah Heep. It isn’t a big surprise that a good portion of the album sounds a lot like the group that gave him his day job at the time: sturdy organ-driven hard-rockers like “Silver White Man” and “Hit Me With a White One” (featuring the recently deceased Ken Hensley). Take No Prisoners is a solid and consistent solo venture. It’s all there, Heep- styled rockers with a variety of roots rock and soul experiments that blend in well with the other, more traditional material. And “Love Song” proves that Byron could do a straight ballad with surprising sensitivity. Overall, Take No Prisoners is a well-crafted album that will definitely find favor with Uriah Heep fans.

Take No Prisoners is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl. The package includes an insert.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES INSERT
• FORMER LEAD SINGER OF URIAH HEEP
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON PURPLE COLOURED VINYL

The fourth 10-inch EP from the 10th anniversary of U Know Me Records series comes from Immortal Onion. The album consists of 5 pieces. For those missing live concerts there are 2 songs taken from the band's performance on 8th of August at Jassmine club in Warsaw. The B-side starts with a rework of the song called "Leaving", originally composed by Hania Rani (who often performs with 2 members of Immortal Onion). The next song ("Zu Hause") was created especially for this album as the result of the band's experiments with electronics. The EP closes with a rework of "Eye Tracking" - a song from "XD Experience Design - made by Kadrych.

The rework of "Leaving" will be released only on vinyl and won't be available on streaming services.

Strictly limited edition - 300 hand-numbered copies. The first hundred will be released on red vinyl and copies from 101 to 300 as classic black ones.

The album was created with help of trusted people, who also worked on "XD Experience Design" - graphic design by Martiszu, mix by Envee (except the last song mixed by Maciej Stendek) and mastering by Eprom.

Jeremy Gara, drummer of Arcade Fire, releases his second solo album ‘Passerine Finale’ on Invada Records.

The album was mastered by Helge Sten (Deathprod, Supersilent) and composed, produced and recorded by Jeremy over the last three years. ‘Passerine Finale’ is a varied collection of songs and disparate sounds, from arranged static noise to extended melodic drones, improvised and chiselled at, ignoring form or structure, and completed the moment things ‘felt’ something.

The album comes pressed on silver vinyl and is housed in a heavyweight sleeve with digital download card included, with artwork throughout by Jeremy himself.

Jeremy explains: “‘L_06’ - the visual thing, like the song it accompanies, comes from trying to push really simple objects and figures to a place where they hopefully, somehow, become imprinted with a kind of emotional energy - attempting to entwine single note drones and simple straight lines together tightly enough that they dance a little.”

Originally from Ottawa, Canada, Jeremy has been a member of Arcade Fire since 2004. Outside of the band, he has recently collaborated with bandmate Sarah Neufeld and world-renowned dancer and choreographer Peggy Baker on composing music for a large-scale dance production called Who We Are In The Dark and performed it live at various dance festivals. He’s also been touring and performing his solo material across the world since his first album, ‘Limn’, was released in March of 2016.