Cerca:t street

Im Mai 2021 veröffentlichten Adam Duritz und Counting Crows „Butter Miracle: Suite One“ und erhielten begeisterte Kritiken. Nach der Veröffentlichung von Counting Crows’ Butter Miracle, Suite One folgt nun das vollständige Album Butter Miracle, The Complete Sweets!. Das Album besteht aus den 4 Titeln von Suite One sowie 5 neuen Titeln.

Im Mai 2021 veröffentlichten Adam Duritz und Counting Crows „Butter Miracle: Suite One“ und erhielten begeisterte Kritiken. Nach der Veröffentlichung von Counting Crows’ Butter Miracle, Suite One folgt nun das vollständige Album Butter Miracle, The Complete Sweets!. Das Album besteht aus den 4 Titeln von Suite One sowie 5 neuen Titeln.

ESSENTIAL ITEM

Contemporary Belgian techno powerhouses Charlotte de Witte and Amelie Lens come together on a groundbreaking new “One Mind” EP.

Between them, this pair have very much refined the sound of techno over the last few years. Both hail from Belgium, and both came up through the clubbing scene with their own unique interpretations of techno and its many different nuances.

Charlotte de Witte, a global techno icon and founder of the KNTXT label, has released numerous EPs with a focus on acid and techno, blending in trance and ambient into compelling club cuts. With millions of fans, she also has a history making presence in underground clubs, at electronic music festival main stages like Tomorrowland and Ultra, and crossover festivals with her recently completed production tour "Overdrive". She’s also been crowned DJ Magazine’s World’s Number 1 Techno DJ five years in a row. Through KNTXT, she innovates with ventures like the archival Époque label, immersive pop-ups and spontaneous street parties. Poised for a groundbreaking 2025, she remains at the forefront of revolutionizing the electronic music landscape.

Amelie Lens, the leading figure in modern techno, is known for her exceptional productions and performances. Beyond music, she is a proud mother, record label owner, and activist. She founded Exhale and LENSKE, two globally recognized labels and event platforms celebrated for their inclusivity and unique on-site experiences. Exhale focuses on nurturing fresh talent, signing its youngest artist at just 16 years old. Amelie made history as the first woman with a residency in Ibiza and is now collaborating with Vogue Collective, becoming the first techno artist to do so. Her strong relationships with top designers like Chanel further highlight her creative vision beyond music. From festival appearances at the biggest festivals in the world to performances at iconic venues like The Sphere in Las Vegas, Amelie consistently pushes boundaries, shaping the future of electronic music.

To enhance the unified concept of the EP, both Amelie and Charlotte’s voices are subtly layered into the tracks, together, as one.

The brilliant 'One Mind' kicks off with rock solid, earth rattling kicks and intimate vocal whispers that draw you in close. Flashy, strobe lit synths soon electrify the groove and ensure hands will go skywards as acid lines bring extra drama. 'Where Do We Go' is another fantastic, turbocharged and acid-laced trance-techno gem with high-speed drums and synths racing along under icy spoken words that bring spine tingling sensuality.

This is a super coming together of two of modern techno's most potent creative forces.

First-time vinyl reissue of cult UK dance classic.

One of the cult acts of the heyday of London clubland in the early 1990s, the Ballistic Brothers consisted of later-X-Press 2 members Ashley, Rocky and Diesel, alongside David Hill and Uschi Clansen. After the success of underground smash ‘Blacker’ and ‘vs. Eccentric Afros Vol. 1’, The Ballistic Brothers returned with the second volume of their sampledelic good times with ‘Vol. 2’. The group came armed with years of dance floor expertise, and record making acumen, and delivered a further 8 tracks of good time funky grooves.

The opener ‘Delancey Street…The Theme’ paid tribute to their Camden-based record label and was an immediate anthem, while ‘Goodvibes…Goodnight’ was an irresistible mash-up. Elsewhere are jazz, funk, reggae influences and images of the streets of New York.

A vital snapshot of a very unique place in time, specially remastered for this Acid Jazz release, set in a spined sleeve for the first time, with a beautiful expansion of the original artwork

This London-based crew follows up their recent and acclaimed Akyio project with a 12" that dives deep into the vibrant rhythms of Brazil. The original is by the unique Samba De Matuto Leao Do Norte De Maragogi and was recorded by DJ Tudo. Kolago Kult offers a mix that is packed with Latin swagger, organic percussion and jumble of hand drums while the late Master Tiao adds his vocals to this samba-inspired street sound. Kolago Kult then steps up with two psychedelic remixes that are packed with heavy and dubby rhythms and many layers of percussion. A truly global journey, this one.

Grammy-nominated Canadian ensemble BADBADNOTGOOD present the latest edition of Mr Bongo’s iconic Brazil 45 boxset series.
Hailing from Toronto, the band, which now consists of Alexander Sowinski, Chester Hansen and Leland Whitty, made its name by crossing genres and developing a distinctive amalgamation of jazz, hip hop and psychedelic grooves. Their rise to the forefront of their scene has led to collaborations with icons such as Tyler, The Creator, Kendrick Lamar, MF Doom, Samuel T. Herring (Future Islands) and Ghostface Killah. With a penchant for an earworm hook, their sound takes cues from across the globe, both past and present, not least from the wealth of music that has emanated out of Brazil over the last 70 years.

Beatmakers, musicians and record collectors at their core, the influence of Brazilian music on BADBADNOTGOOD’s productions is clear to see, with previous collaborators including Arthur Verocai and Tim Bernardes. It seemed only right then, to hand them the reins for the next edition of our signature boxset series. As ever, the brief was simple, compile a selection of your favourite Brazilian cuts from the country’s rich musical makeup. A captivating collection of sought-after tracks crossing genres, decades and tempos, offering a glimpse into BADBADNOTGOOD’s eclectic tastes, whilst exploring ever further the richness of Brazil’s musical history.

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Gold nugget vinyl, limited to 350 copies. Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Hackney singer-songwriter Mychelle debut album Good Day is set for release on April 30 via FAMM (Maverick Sabre/Jorja Smith).  In her own words "This album is inspired by the music I love to listen to, with lyrics that helped me release what wasn’t serving me.‘Good Day’ is my way of saying goodbye to the chapters in my life that created bad days.I’m incredibly grateful for every single person who played a part in bringing ‘Good Day’ to life, and for those who continue to help push it further. I’ve really enjoyed the entire process.Thank you, and have a ‘Good Day’. Raised in Stoke Newington, Mychelle grew up surrounded by music and first picked up a guitar at 10. Years later, she overcame her shyness through busking—spending over four years performing on London’s streets, where her raw and soulful delivery caught the attention of FAMM, leading to her signing.
Since her debut The Way (2021), Mychelle has released standout EPs, including Closure (2021), Someone Who Knows (2022), It’s Not You, It’s Me (2023), and Me & Gaz (2024). Her collaboration with ENNY on Forbidden Fruit has nearly 2.5 million plays, proving her ability to connect deeply with audiences. Having performed at Montreux Jazz Festival, Boardmasters, Deershed, and Michael Kiwanuka’s tour, Mychelle will soon join Jorja Smith on her UK & ERIE tour and take the stage at Across The Tracks and Mad Cool Festival in Madrid, promising an exciting summer of live performances. Beyond music, she thrives in movement—whether on the basketball court, football field, or running track—infusing energy and passion into everything she does. Good Day marks a bold new chapter, showcasing her evolution as an artist and her unwavering trust in her craft.

Thug Life: Volume 1 is the only studio album by hip hop group Thug Life, started by rapper Tupac Shakur, it was released on September 26, 1994 by Interscope Records. The group featured Big Syke, Macadoshis, Mopreme, The Rated R and Tupac Shakur. Among the notable tracks on the album are “Bury Me a G”, “Cradle to the Grave”, “Pour Out a Little Liquor” (which also appears on the soundtrack to the 1994 film Above the Rim), “How Long Will They Mourn Me?” and “Str8 Ballin'”. The album was originally released by Shakur’s label Out Da Gutta Records. Due to heavy criticism on gangsta rap at the time, the original version of the album was scrapped and re-recorded with many of the original songs being cut. The album only contains ten tracks because Interscope Records felt many of the other recorded songs were too controversial to release. It has been said that 2Pac created two other versions of this album, with many of the songs still remaining unreleased. Urban Legends/UMC will reissue Thug Life: Volume 1 in 1LP 180 Gram black vinyl on 22nd November, 2019.

"The album was created in this back and forth of snapshots - we made most of the decisions impulsively without much questioning. That takes a lot of trust." — Violeta García & Hora Lunga

"I'll Wait For You In The Car Park", the first full length collaboration between Argentinian cellist, improviser and composer Violeta García and Swiss musician and composer Hora Lunga, is a work of extremes. Drawing from the realities of life on two continents, and embodying moods ranging from stoic desire to violent bursts, the album enciphers so-called ordinary moments from everyday life into an alluring collection of musical scenes. Seemingly inconspicuous moments are condensed into a tale of synchronicity: colliding time zones and seasons, metropolitan rhythms raining down onto a glacier's ice field, exploring places through street view, the serendipity of loitering at a kiosk. As such, "I'll Wait For You In The Car Park" brings documentary film essays to mind that carefully observe the private and everyday occurrences.
Violeta García and Hora Lunga crossed paths by chance in 2023 and began discussing and sharing music shortly afterwards. What started as a loose exchange of ideas, sending back and forth sketches and demos between South America and Europe, grew into several studio sessions in 2024. Being sucked into a "quite extraordinary flow", the two musicians recorded, arranged and intervened on a level playing field, using the studio as a playground to record musical layers and interweave them with field recordings and audio notes gathered over the course of a year. Speaking a kindred musical language, they quickly realized how their ideas clung to each other like two familiar souls, complementing, intertwining and merging. From gauzy and eerie textures, musical miniatures floating through time, howling and screaming strings, to tumbling and thundering basses – the sound of the ordinary shapes a body that vibrates, writhes and breathes.

Violeta García is a cellist, improviser and composer from Buenos Aires, Argentina. Based in Spain, she tours a lot with her band Blanco Teta. She is a performer in many art forms, including free improvisation, contemporary and trans-media experimental repertoire in violoncello and electronics and collaborations with dancers, film makers and visual artists. After years of studying classical and popular music on violoncello and, later, contemporary composition and improvisation, Violeta has developed her own musical voice needed to emerge beyond outside specific genres.

Throughout Swiss composer and musician Hora Lunga's work, the focus lies is on exploring boundaries, both musically and in terms of performance and content. Above all, genre designations lose all meaning, as the music always takes place within a dramaturgically conceived overall framework. In recent years, his projects have ranged from pop music productions to experimental works and sound performances, as well astheatre and film productions. His ensemble WIRREN consists of up to fifteen performers.

Jan Akkerman (b. 1946) stands apart as a singular figure in the realm of rock and beyond. A Dutch guitarist of unparalleled versatility, he earned international acclaim in 1973 when he topped the prestigious Melody Maker readers’ poll, surpassing icons like Eric Clapton (2nd), Jimmy Page (5th), and Carlos Santana (10th). His fame, however, has never defined his artistry. For Akkerman, it’s always been about the music—any genre, as long as it resonates. He’s a lifelong improviser who approaches each performance as a new adventure. Akkerman first rose to prominence with Focus, a band that embodied the grandiose instrumental rock spirit of the 1970s. Long compositions, dazzling technique, and adventurous arrangements made them a cornerstone of progressive rock. Despite the accolades, Akkerman remained true to his calling. When asked about his success, he has always brushed it aside, preferring to let his guitar do the talking. Side 1 of this record captures Akkerman’s stunning performance on July 10, 2011, at the Nile Hall in Rotterdam. Here, he showcases his ability to take listeners on a sonic journey. The mellow “Tranquilizer” offers a relaxed groove, followed by the heartfelt ballad “You Do Something to Me,” unfolding emotion without words. In “Piétons”—a gospel-tinged blues—trumpeter Eric Vloeimans delivers a fiery solo before the leader propels the piece into uncharted territory. Side 2 brings us back to an earlier moment, recorded in July 2005 at the Paul Acket Paviljoen in The Hague. “Streetwalker” delivers a funk-driven explosion featuring alto saxophonist Benjamin Herman, while “The Zebrah” sends Vloeimans soaring into the musical stratosphere, only to have Akkerman reignite the piece with blistering guitar lines, his band driving forward like a well-tuned Mercedes on an open highway. Akkerman’s live performances are as unpredictable as they are electrifying. Whether sharing the stage with legends or newcomers, his spontaneous creativity makes every concert unique—a master class in musical freedom. Jan Akkerman remains a touchstone for guitarists and fans alike, an authentic improviser whose name still elicits one universal response from any seasoned Dutch rock enthusiast: “He’s the best guitarist in the world.” The North Sea Jazz Concert Series includes officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records are captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk. For all recordings it’s a first time ever release on vinyl!

Wielding an ethereal croon and masterful whistle crafted from a lifetime chasing lizards through the Ozark hills, Nick Shoulders is a living link to roots of country music with a penchant for the absurd. Combining his family's deep ties to regional traditional singing with his years of playing to crowded street corners, Nick has sought to forge a hybridized form of raucously clever country music; born of forgotten rocky hollers and bred to confront the tensions of the 21st century South. As evidenced by his surreal album art and anachronistic songwriting, Nick’s creative output is steeped in the complicated history of his beloved home of rural Arkansas, but crafted as a conscious rebuke of country music’s blind allegiance to historical seats of power and repression. With a kind word and a mean yodel, Nick hopes to put the ‘Try’ in country.

A cry out against the withering void of listless Americana, Okay, Crawdad, is the fledgling full-length album from Nick Shoulders and company. A two-step laden dose of indignation, loss and profound elation, the album is inspired as much by the chaos and decadence of south Louisiana as it is the rural sounds of yesteryear from which it sprang. Despite a pandemic-inspired relocation to his home in the Natural State, New Orleans and its community helped meld the forces at play on the album; pitting an adherence to tradition and refusal to conform against each other with grand results. Embracing the mania of the podunk zeitgeist while seeking to enfranchise the meek, Nick Shoulders is here to stay.

// We hope to be among the damned who refuse to have faith in their masters and who do everything to escape the cameras in the streets. Those damned are the enemy within and it's vital for our masters to twist the meaning of their words to undermine their convictions. Political opponents are rioters. The defenders of the ZADs are ecological-terrorists. Those who denounce genocide are against peace. //War is peace. //Freedom is slavery. //Ignorance is strength. //Evil is good and good is evil. //Darkness is light and light is darkness. At the end, everything is noise or at worst, chatter.. We love you.

// We hope to be among the damned who refuse to have faith in their masters and who do everything to escape the cameras in the streets. Those damned are the enemy within and it's vital for our masters to twist the meaning of their words to undermine their convictions. Political opponents are rioters. The defenders of the ZADs are ecological-terrorists. Those who denounce genocide are against peace. //War is peace. //Freedom is slavery. //Ignorance is strength. //Evil is good and good is evil. //Darkness is light and light is darkness. At the end, everything is noise or at worst, chatter.. We love you.

“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?

So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.

For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.

In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.

So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.

Third installment in the "CONDUCTOR WE HAVE A PROBLEM" series. Features Rome Streetz, Elzhi, Elijah Hooks, Domo Genesis, Russ, Benny the Butcher, Wiz Khalifa, Leon Thomas, Bishop Nehru, and Wiki. On 180 gram black vinyl. CONDUCTOR WE HAVE A PROBLEM, Part 3 is the fifth album by producer Conductor Williams, released on October 31, 2024. It is the third installment in the CONDUCTOR WE HAVE A PROBLEM series, following both the first and second installments, which were released respectively in March and November 2023. The album is also Conductor’s first vocal compilation, featuring guest appearances from Rome Streetz, Elzhi, Elijah Hooks, Domo Genesis, Russ, Benny the Butcher, Wiz Khalifa, Leon Thomas, Bishop Nehru, and Wiki. The Conductor described the album as “a take on deception” and “a play on textures via emotion as sound, anxiety, fear, and joy. These all derive from a similar place, and this album is a journey through it






[f] 6. Ecstasy [Freestyle] (feat. Russ)

In den letzten 24 Jahren war Tunde Adebimpe vor allem als Mitbegründer, Co-Sänger und Hauptkomponist von TV On The Radio bekannt. Die mehrheitlich schwarze Art-Rock-Band überstand zwei Jahrzehnte des unbeständigen kulturellen Wandels und wurde zu einer der beliebtesten, beständigsten und einflussreichsten Gruppen der New Yorker Rockszene der frühen 2000er Jahre. Obwohl Tundes poetisches Songwriting und seine überragende Stimme im Mittelpunkt von TV On The Radio stehen, wird die Band immer eine Zusammenarbeit zwischen einer Gruppe von Musikern sein. Tundes persönliche Geschichte verläuft parallel dazu, er ist eine Art kreativer Polymath. Er ist Musiker, aber auch Illustrator und Maler. Er ist ein ehemaliger Animator und Stop-Motion-Filmemacher (Celebrity Deathmatch). Er ist ein Fernseh- und Filmschauspieler, mit Rollen in Jump Tomorrow (2001), Rachel Getting Married (2008), Spider-Man: Homecoming (2017), Twisters (2024) und Star Wars: Skeleton Crew (2024). Und jetzt ist er auch ein Solokünstler, mit seinem allerersten Soloalbum, "Thee Black Boltz". Das Album wurde von Tunde Abebimpe & Wilder Zoby produziert, mit Zoby als ausführender Produzent, mit zusätzlicher Produktion und Beiträgen von Jaleel Bunton & Jahphet Landis (von TV On The Radio) und anderen. Tunde hatte die Idee zu diesem Album im Jahr 2019, als TV On The Radio eine Pause einlegten. Zwei Jahre später, als sich die Welt von der Covid-Pandemie erholte, begann er ein Notizbuch mit Worten, Illustrationen und Ideen zu erstellen, das er als "Mixtape der Emotionen, die die Musik hervorrufen könnte. Eine Art Gefühlskarte" bezeichnet. Auf diese Weise beginnt Tunde die meisten seiner Projekte, und 2021 begann er, diese Ideen mit Hilfe des Multiinstrumentalisten Wilder Zoby (Run The Jewels), mit dem er sich in Los Angeles ein Studio teilt, in Musik umzusetzen. "Thee Black Boltz" ist kein TV On The Radio-Album. Aber die Aufregung, etwas alleine zu machen, entfachte in Tunde einen ähnlichen Funken wie in den frühen TV On The Radio-Tagen. Der Songwriting-Prozess ist derselbe, aber ohne seine TVOTR-Bandkollegen hatte Tunde "nicht dieses Gerüst, an dem er sich festhalten konnte. Das war sowohl beängstigend als auch aufregend". Das Herzstück des Albums ist sein Titel, eine Anspielung auf Tundes Neigung, über den Zustand des Menschen zu schreiben und zu singen, in all seinen Formen, unter all seinen großen und kleinen Stressfaktoren. Es ist seine Antwort auf das makroökonomische Unbehagen einer Welt nach der Pandemie, die sich auf einen gewalttätigen Autoritarismus zubewegt, und auf die persönliche Trauer, die durch den Verlust der letzten Jahre entstanden ist, insbesondere durch den plötzlichen Tod seiner jüngeren Schwester während der Aufnahmen zu diesem Album. "Thee Black Boltz" ist Tunde's verzweifeltes Festhalten an kleinen Momenten der Freude inmitten der Dissonanz und Traurigkeit, auf jede erdenkliche Weise. "Es war meine Art, mir einen Felsen oder eine Plattform inmitten dieses verdammten Ozeans zu bauen." Tunde schreibt in sein Notizbuch: "Die Funken der Inspiration/Motivation/Hoffnung, die inmitten von (und manchmal als Ergebnis von) tiefem Kummer, Depression oder Verzweiflung aufblitzen. Wie Elektronen, die sich in Gewitterwolken ansammeln und zusammenstoßen, bis sie einen Blitz abfeuern und einen Ausweg erhellen, wenn auch nur für eine Sekunde." Er fügt hinzu: "Außerdem ist es ein guter Name für eine coole Metal-Band, und ich denke, dass die meisten Leute mich als eine sehr coole Metal-Band bezeichnen würden."

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Newly mastered from restored audio fidelity tapes. Comes in digi sleeve with alternate sleeve artwork and includes a rare 8-page booklet. Includes the original version of 'Pop Corn', later a worldwide hit in 1972 . Adds rare single B-side as bonus track. This CD edition also adds exclusive mono mixes to the expanded tracklist.

One of the earliest & most influential Electronic albums OF ALL TIME "Audio Fidelity Records... believes Gershon Kingsley is a true genius and a worthy creative compliment to the electronic wizardry of Robert A. Moog, the creator of the Moog Synthesizer." 1969 The Beatles were influenced by him (and sampled his music on their 1968 Beatles Christmas EP). Since 1972, his music accompanies each day's Main Street Electrical Parade in Disney theme parks. Yet Gershom Kingsley (born: Götz Gustav Ksinski) remains a mystery to many, despite being one of electronic music's finest pioneers and earliest exponents of Robert Moog's synthesizer and the possibilities its use bought to music. Newly mastered from restored Audio Fidelity tapes - this reissue sounds incredible! The rare non-album B-side The First Step (The Sea Of Tranquility) has been added to the LP while the CD adds additional mono mixes and comes in the album's alternate cover. Both LP and CD include the rare 8-page booklet that came with initial copies of the Audio Fidelity LP. To repay The Beatles compliment of including one of his songs, Gershom Kingsley covered two Fab Four classics in his own unique electronic style and included them on Music To Moog By: 'Nowhere Man' and 'Paperback Writer'. "First-wave Moog enthusiast and electronic music pioneer...." Electronic Sound - The Electronic Music Magazine, January 2020.

Rindert Lammers' debut album is a heartfelt exploration of gratitude, blending personal narratives with cinematic imagery in a serene and soulful ambient jazz style. Inspired by Japanese cinema and the raw authenticity of YouTube confessions, the album captures a mood of introspection and appreciation. Central to the album is the track "Thank You, Kirin Kiki," which draws from a powerful scene in the film Shopliers. Lammers explains "It's one of my favorites. The Japanese actress Kirin Kiki plays the grandmother of a ‘chosen family’, all of whom have fled or lost their own families in some way. In this scene, one of her last scenes before her (real) death, Kirin Kiki (the grandmother) looks at her family and says, 'Thank You!' twice towards the children and the sea. Kirin Kiki improvised these words on the spot, and it's such a poignant moment in the film, but also indicative of her impending death. I found the gratitude so moving it fit perfectly with the gratitude I found in the voice clip from "Thank You Hiroshi Yoshimura. "The fourth song, "Thank You Hiroshi Yoshimura," opens with a voice clip that acts almost as the protagonist of a film, reflecting on a turbulent time of sleeping in parks and on the streets. This voiceover was inspired by a comment on a Hiroshi Yoshimura video on YouTube that began, “This album reminds me of...” Lammers noticed the deeply personal responses le on these videos, so he recorded various similar YouTube comments from people around the world, initially intending to set them to music. Though much of this idea evolved, this particular voice clip remained a central influence, ultimately inspiring a cinematic journey within the album. "Summer in Shibuya" sets the scene as a trailer, "Opening Credits" introduces the narrative, and "Closing Credits" gently brings it to a close. While there’s a Japanese and Tokyo theme running through the tracks, Lammers doesn’t view the album as a tribute to Japan or Tokyo specifically—he’s never visited and admits to knowing only fragments of the culture. Yet he's drawn to Japanese environmental music and is an avid Murakami reader, seeing Japan as a powerful, visual inspiration in his mind’s eye. In a way, the album is also his “thank you” to the beautiful art that Japan has shared with the world.

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

Contains tracks by Amon Tobin, Two Fingers, and Cujo previously only available to members of The Nomark Club, Nomark’s online subscription service.
NOMARK SELECTS Vol.1 includes the first new Cujo music since the Adventures in Foam album (1996)
A compilation of previously publicly unavailable tracks selected by the members of Nomark's online subscription service, The Nomark Club. The album features work from Amon, Two Fingers and sees the return of Cujo, Tobin's earliest alter ego.

Willie The Kid and producer V Don reunite for the fourth chapter of their acclaimed "Deutsche Marks" series, delivering another masterclass in underground hip-hop. This latest installment pushes their signature blend of gritty, cinematic production and razor-sharp lyricism even further. V Don’s beats are moody and atmospheric, laced with haunting samples and hard-hitting drums, creating the perfect backdrop for Willie The Kid’s vivid, lavish storytelling.

The album features an elite lineup of guest appearances, including The Alchemist, who brings his signature touch to the project, as well as Rome Streetz, Eto, Ankhlejohn, and Tully C, all delivering standout verses. Notably, the late great Abe Linx also contributes, adding a poignant layer to the record. The chemistry between Willie The Kid and V Don remains undeniable, with *Deutsche Marks IV* serving as a testament to their consistency and creativity. This project is a celebration of both their growth and the timeless essence of street rap.

Repress!

Echospace Detroit is the label launched by Rod Modell (Deepchord) and Soultek's Steven Hitchell, two leading lights of the minimal dub techno scene. And as with anything Deepchord, the entire release has an air of mystery to it. Previously, as a near-mythical vinyl pressing with minimal packaging and restricted pressings, everything about Vantage Isle was geared toward the underground, or 'those who know.' However, there's nothing but love of craft driving these grooves, and now a lot more people will finally be able to hear this absolutely brilliant collection of spacial dub wonder on CD. Vantage Isle Sessions consists of a whopping 13 takes of the title track, reworked by Modell and Hitchell in various guises (cv313, Deepchord, Echospace, Spacecho), as well as a guest spot (and first ever remix) from Gerard Hanson (Convextion). Across their 13 versions, Modell and Hitchell manage to take the Deepchord template (analog synths, deep bass, gently throbbing beats, bursts of static and noise, and deep, deep chords) into a surprising variety of directions, akin to looking at the same giant glacier from a helicopter from every angle possible: some are beatless and undulating, some are pulsing and dynamic, some are looking up from under the ice and some are towering overhead. The aforementioned Convextion version is revelatory. It's built on cascading and echoing pieces of the original that are layered like shifting sands, for a distinctly dark and shimmering journey to the bottom of the frozen ocean and back. It's remarkable enough to get all these takes on one basic template to sound somewhat different, given that the source material is really just a skeletal array of sound sheets. Vantage Isle Sessions is for anyone looking for the logical successors to the Basic Channel throne, or just looking for something mellow for those steamy late summer nights. A stone-cold classic of the genre. Don't miss it." -Todd Hutlock, Stylus Magazine/Beatz by the Pound

"Steeped in mystery, Detroit musicians Rod Modell and Mike Schommer (aka Deepchord) are legendary for their hard to find twelve-inch dub techno releases. Their sound is heavily influenced by Berlin dub techno producers like Maurizio, Basic Channel, Chain Reaction, Rhythm & Sound, Blue Train and Pole. While the German sound often has a futuristic metallic edge, Deepchord are known more for the rust and grease, which is part and parcel of those metal parts. Static, analog sounds, deep bass thumps and, of course, deep chords blend in a timeless minimal manner. However, the real gems on this disc are the drifty ambient cuts devoid of beats. This is an excellent album that is on par with the classics from a decade ago!" -Exclaim


"In terms of ambient dub, if Basic Channel is the Father (the source, remote and inaccessible and very powerful) and Pole is the Son (dazzling but ultimately stranded halfway between man and the divine), than Rod Modell’s Deepchord and his Echospace label he run with Steve Hitchell is definitely the Holy Spirit." -Popmatters


"Deepchord’s dub-techno stealthily peels away melody, leaving a bare chassis of beats to ghost-ride down Woodward Avenue. Vantage Isle Sessions, which collects remixes of a 2002 Detroit Electronic Music Festival performance, finds the duo swerving through empty, neon-smeared streets, and recalls Berlin’s Chain Reaction label, minus the anemic minimalism." -XLR8R

"The album scales a magnificent peak in “Spacecho Dub II - Extended Mix” when smeary chords ricochet over a massively deep, bass-heavy pulse, and Hanson's light-speed missile of vaporous propulsion (“Convextion Remix”) is beautiful too.
Long may they run." -Textura

‘Vantage Isle’ is a tremendous achievement that will most likely be held up as a high water mark of the genre for years to come." -Resident Advisor

"My favorite mix is by Convextion (his first remix for another artist). Reedy, distant synth tones sound like a science fiction soundtrack overheard rooms away. An undercurrent of echoes, many difficult to describe, drift in a sonic syrup." -Gridface

"Modell’s music always seems to be in this suspended animation, adrift and afloat in a majestic emptiness." -Dusted Mag

CREDITS:
Written & Produced by Deepchord. Redesigned and Reshaped by Convextion (Gerard Hanson) cv313 (Stephen Hitchell) echospace / spacecho (Rod Modell + Stephen Hitchell)
Additional Mastering, Mixing and Engineering by Ron Murphy @ NSC Mastering, Detroit, USA. Side E/F Remastering and Lacquer cutting by Dietrich @ Complete, NYC, USA. (2018)

First release on Saucy Lady’s own new label Dippin’ Records features double sider smashers. Starting with the A side, cover of Carly Simon’s Why, a classic funk tune produced by Nile Rogers that got a fresh new boogie revamp, produced by Saucy Lady herself and Yuki “U-KEY” Kanesaka.

With a more dance-floor friendly up-tempo treatment, it will guarantee hands up in the air and hips moving round & round ‘n side to side.

Flip side is another heater, a cover of the 80s hit slow jam One More Time by Phil Collins but sped up and turned into broken beats flyness, followed with a deep house remix produced by Daisuke Miyamoto, member of Orienta-Rhythm who’s had numerous notable releases with King Street Sound.

B side ends with an acappella version so you too can play with your own creative version of the classic. With limited vinyl copies, you don’t want to sleep on this.

Early DJ support so far from AtJazz, Dave Lee, Yam Who?, DJ Spinna, and Star Creature label.

DJ Support: Walla P (Voyage Funktastique), Zackey Force Funk, Soul Clap.

Moniquea brings it back to the west coast streets that shaped her. 'Womp In My Spirit' is a direct ode to the California g-funk sound that has also inspired much of her previous output in the modern funk vein – This time it's just in the form of a rap song, co-produced by Moniquea herself & XL Middleton, who is also featured on the track.

Wie so viele Coming-of-Age-Geschichten mit nachhaltigem Eindruck spielt das neue Album der Brooklyner Band Momma in einem bezaubernden und turbulenten Sommer. "Welcome To My Blue Sky" wurde mit der gesamten Band live im Studio aufgenommen und von Bandkollege Aron Kobayashi Ritch produziert. Mit Hilfe des Drummers Preston Fulks gelangen Momma 12 kraftvolle Songs, die die rohe Dringlichkeit des Rock mit den eindringlichen Melodien und straffen Arrangements des Pop kombinieren – eine Dynamik, die aus ihrem Engagement entstand, das direkteste Ventil für ihren emotionalen Ausdruck zu finden. Jeder Track ist zugleich geteilte Erinnerung, gemeinschaftlicher Erguss und fesselnder Reisebericht voller Selbstbewusstsein und Sensibilität. Das Ergebnis ist ein mutiger Sprung nach vorne für eine der kreativsten, kompromisslosesten und einzigartigsten Stimmen im Indie-Rock.

Das fünfte, den Durchbruch für Evan Dando bringende, Lemonheads-Album 'It's A Shame About Ray', wird zum 33-jährigen Jubiläum wieder als Single Vinyl in klassisch schwarz mit der Original-Tracklist nachgepresst (mit Download Card für die zusätzlichen Bonustracks der Deluxe Edition von 2022). Beschrieben von Musikjournalist und Autor Everett True als "Ein 30-minütiger Einblick in das, was es heißt, hart und schnell und locker und glücklich mit gleichgesinnten Kumpels zu leben, angetrieben von einer gemeinsamen Liebe zu ähnlichen Bands und Drogen und Alkohol und Freiheit". It's A Shame About Ray" hatte in jenen berauschenden, sorglosen Tagen des Jahres '92 eine beträchtliche Wirkung. Die Platte fängt perfekt Dandos Fähigkeit ein, die Sehnsucht und Lust der Teenager mühelos in einem zweiminütigen Popsong zu verpacken. Singles wie "My Drug Buddy" und der luftig-perfekte Pop des Titeltracks mögen herausstechen, aber die eigentliche Stärke des Albums liegt in den Tracks dazwischen; das wirklich fantastische 'Confetti' (über die Scheidung von Evans Eltern) und die atemberaubend lässige Akustik-Coverversion von 'Frank Mills' (aus dem Hippie-Musical Hair), eine Version, in der jedes Quäntchen Pathos und Gefühl für die verlorene Generation der 1960er mitzuschwingen scheint. Wenn Evan Dando Zeilen wie "I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet" singt, weiß man erst richtig zu schätzen, wie wunderbar und verlockend Popmusik sein kann. Und dann gibt es da noch den Ansturm von Aufsässigkeit und Unverfrorenheit im wunderbar verkürzten 'Bit Part'; das aufgedrehte 'Ceiling Fan In My Spoon'... das war Jungs/Teenager-Popmusik mit Stil auf einem Niveau mit The Kinks, den frühen Undertones und den Wipers. "Ray sounds revelatory in its restlessness, mixing college pop with country flair and relocating Gus Van Sant's Portland atmosphere to New England." Pitchfork *****½ (Download only adiitional extras: 1 Mrs Robinson 2 Shakey Ground 3 My Drug Buddy (KCRW Session, 1992) 4 Knowing Me, Knowing You (Acoustic) 5 Confetti (Acoustic) 6 Alison's Starting To Happen (Acoustic) 7 Divan. Demo Recordings - Download only. 8 It's A Shame About Ray (Demo) 9 Rockin' Stroll (Demo) 10 My Drug Buddy (Demo) 11 Hannah & Gabi (Demo) 12 Kitchen (Demo) 13 Bit Part (Demo) 14 Rudderless (Demo) 15 Ceiling Fan In My Spoon (Demo) 16 Confetti (Demo))

With Umwelt, room, An’archives releases the first vinyl LP by Japanese singer, songwriter and guitarist, Kotonashiso. An elegant collection of seven slow-moving, free-ranging song forms, Umwelt, room is reflective, pensive, and yet has a great, expansive sense of movement, each song’s parameters feeling almost infinitely flexible.

Born in Tokyo in 1984, Kotonashiso began playing music in 2000. After taking a long break from making music between the years 2005 to 2016, he returned with renewed focus, and over the past eight years, he’s toured Japan and Europe, performing in venues, street performances and open mic events. Currently, Kotonashiso plays either solo, on in three separate duos, with Sou Mori, 泥, and Hideya Kyooka, respectively. He’s not released much music, as yet – a single, “in the cavern”, with Sou Mori, in 2021, and a soundtrack to Hiroki Nakajima’s solo exhibition, Ray, the following year.

All of this gives Umwelt, Room the feeling of a major statement, a debut shot across the void. The seven songs collected here were recorded in 2024, with a guiding principle, for Kotonashiso, being his desire to “imagine the time when people started recording blues and folk songs on analog records,” creating a ghost-like presence in the listener’s room. When talking about the songs on Umwelt, Room, Kotonashiso focuses on a number of concepts, such as prayer, tragedy, ‘the cycle of life’, and the disappearance of the gulf between fantasy and reality.

They’re songs with deep, rich resonance, performed without guile. You might be able to hear, at times, the fragility of fellow Japanese singer-songwriter Hisato Higuchi, or the bluesy touch of Loren Connors in the guitar. However, Kotonashiso’s aesthetic remit is wide, identifying with artists like Bill Callahan, Scout Niblett, Inukaze, and Tomoko Shimazaki, and sharing sympathies with “the psychedelic rock, avant-garde and ambient communities.” Ultimately, though, the pellucid, dream-like songs of Kotonashiso, somewhere between folk, pop and blues, sit, disarmed and lovely, within their own universe.

Almost as soon as Σtella Chronopoulou began writing Adagio, her fifth album as Σtella, she knew the time had finally come to sing in Greek, her native tongue. It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Σtella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Σtella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She wasn’t ready yet, or in a rush. Σtella, after all, grew up in a slow place. During her youth in a relatively rural suburb of Athens, Greece, she and her friends played unfettered in empty streets, not worried about cars or permission, and living felt easy. But in the last decade life has steadily become busier for Σtella, now based in the heart of Athens. She has become one of modern Greece’s most popular musical exports, with three sophisticated, playful pop albums rendered with international élan. After her Sub Pop debut, Up and Away, in 2022, she catapulted beyond three million monthly Spotify listeners. That success was a blessing, but Σtella sometimes found herself pining for the slower pace of her youth. That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing its name from the term for music that’s meant to be played slowly, Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is a 27-minute meditation on love and desire, rest and time. Though the bulk of it is sung in English, Σtella delivers her first two songs in Greek here—“Omorfo Mou,” the one that began on the boat, and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakelariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes. Start to finish, Σtella sounds more at ease and comfortable than she’s ever been on Adagio. These fetching songs will not slow her career or grant her that title track’s wish. But, for half an hour, Adagio adds a measure of warmth to the world, with time loosening its grip even if it doesn’t slow down.● Athens, Greece-based Σtella’s new album Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time.● Features Rafael Cohen and British songwriter Gabriel Stebbing.• Σtella’s breakout hit “Charmed” from her 2022 album Up and Away has nearly 100 million streams, and was recently featured in the hit Max show Industry.• On Spotify, Σtella has 3.4 million followers, 66k monthly listeners.

Introducing the vinyl reissue of "Defective Breakdown" by The Defects, a cornerstone album in the history of Irish punk. Originally released in 1982, this album captures the raw energy and rebellious spirit of Belfast’s punk scene during a turbulent period. Known for their uncompromising lyrics and driving rhythms, The Defects became anthems for youth discontent and anti-establishment sentiments. Fronted by the powerful vocals of Buck Defect, with infectious guitar work from Geoff "Duke" Gilmore, the band brought a visceral sound that resonated with audiences far beyond Northern Ireland. Tracks like "Survival" and "Brutality" showcase their fast-paced, no-holds-barred approach to punk, combining aggressive instrumentals with direct, hard-hitting lyrics. This vinyl edition brings "Defective Breakdown" back to life with enhanced clarity and depth, giving both long-time fans and new listeners the chance to experience The Defects’ iconic sound as it was meant to be heard.

Introducing the vinyl reissue of "Defective Breakdown" by The Defects, a cornerstone album in the history of Irish punk. Originally released in 1982, this album captures the raw energy and rebellious spirit of Belfast’s punk scene during a turbulent period. Known for their uncompromising lyrics and driving rhythms, The Defects became anthems for youth discontent and anti-establishment sentiments. Fronted by the powerful vocals of Buck Defect, with infectious guitar work from Geoff "Duke" Gilmore, the band brought a visceral sound that resonated with audiences far beyond Northern Ireland. Tracks like "Survival" and "Brutality" showcase their fast-paced, no-holds-barred approach to punk, combining aggressive instrumentals with direct, hard-hitting lyrics. This vinyl edition brings "Defective Breakdown" back to life with enhanced clarity and depth, giving both long-time fans and new listeners the chance to experience The Defects’ iconic sound as it was meant to be heard.

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

Soul music has always been in Paul Weller’s blood from early Jam covers of Martha & the Vandellas 1963 classic ‘Heatwave’. Along with other forms of music, soul found its way into Paul’s record collection, nourishing his ears and informing his own songwriting

We don’t need to recap a questing musical career from the Jam to the Style Council and then blossoming into one of the most productive and revered careers of any UK solo artist. Paul has written anthems, standards and a songbook that have always developed from his own feelings.

Whilst Paul has talked about his love of soul music he has, before now, simply been too busy to sit down and curate a collection of his favourite tracks and get it into the record racks.

Ace Records are honoured and delighted to finally release that Paul Weller curated collection which he has aptly titled, “That Sweet Sweet Music”.

This 2-LP set and CD open the curtains on 26 tracks that are some of Paul’s favourite soul records most of which nestle on vinyl in his own collection. He can still recall paying £70 for his copy of Jon Lucien’s 1971 ‘Search For The Inner Self’ 7” at a record shop in Leicester in the 90s. Some of these tracks are soul classics like James Carr’s 1966 ‘Pouring Water On A Drowning Man’ and Brother to Brother’s brilliant take on Gil Scott Heron and Brian Jackson’s ‘In The Bottle’ from 1974. Others are deliciously obscure wonderous gems like the A-side of Blackrock’s sole 1971 single ‘Blackrock “Yeah, Yeah”’, ‘Life Walked Out’ from the same year by the Mist or Syl Johnson’s ‘Black Balloons’ taken from his 1970 album “Is It Because I’m Black?”.

There are plenty of big vocal hitters such as Darrell Banks, Spinners, Joe Simon, O.C. Smith, the Dells and Betty Davis. Whilst the core is vocal soul the music does branch out with Paul selecting a wicked instrumental from the flipside of the Isley Brothers’ ‘Twist & Shout’ from 1962 and the funky jazz of the Headhunters ‘God Made Me Funky’, the A-side of their first 1975 seven-inch.