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Exciting News for Roulette Fans!

It's been quite a journey since the release of the album "Now!". Over the years, Roulette shared several singles digitally, each one a piece of our evolving musical story.
Now, as anticipation builds for our upcoming summer single "Love's The Drug", we believe it's the perfect moment to gather all our recent hits into one special collection.

Introducing the brand-new EP, "From Now Until Today". This EP brings together all the singles released since "Now!", capturing the essence of Roulettes latest musical explorations. And because fans deserve something truly unique, we've included a bonus track that you won't find anywhere else-exclusively available on this EP.

Available in both CD and vinyl formats, "From Now Until Today" is more than just a collection; it's a reflection of the journey and a gift to our incredible supporters.
Thank you for being a part of our story. We can't wait for you to hear it.

- Ltd. Col. 12": (Red Vinyl)

Morgan Wade was feeling the urge to simplify after a period of relentless touring and intense media scrutiny during the last couple of years. Every time she sat down with her guitar, new songs just started pouring out. 'They were just coming to me left and right', Wade says. The Virginia-born singer-songwriter made a choice to return to the basics for her new album 'Obsessed', a solo-written, stripped-down 14-track collection produced by her touring guitarist Clint Wells that showcases Wade at her rawest and most vulnerable. 'I really wanted to get back to doing what I used to do', she says. 'Just make this whatever I wanted it to be'. Wade's third album and follow-up to 2023's 'Psychopath', 'Obsessed' puts the focus on Wade's storytelling abilities and singular voice. She writes with incredible force about the ache for home and the emotion of being reunited with loved ones, of feeling dangerously preoccupied with someone, and of being in situations that society might consider outside the norm. On 'Obsessed', Wade also does a thorough examination and inventory of her journey as a person, not sparing any ugly details when she's been the one at fault. It's a fearless look into the life of one of country music's most exciting talents, arriving right as she's hitting her stride. This is a x14 trk double black LP Vinyl & standard CD. Marketing activity across all media outlets.

The funkiest release on the HDH label and last album from Detroit soul group Chairmen of the Board saw a concerted movement away from harmony soul towards the psychedelic funk-rock sound of Funkadelica.

This record features backing from Parliament-Funkadelic musicians Eddie Hazel (guitar) Bernie Worrell (keyboards and organ), Billy “bass” Nelson (bass) and Tiki Fullwood (drums) who all give the music an enthusiastic funk injection. Reissued on 140g black vinyl with newly mastered audio from Phil Kinrade at AIR Studios, an obi strip and a printed inner featuring a liner note from “Soul Trilogy” author Stuart Cosgrove, enjoy this limited edition 50th anniversary release of Skin I’m In – brought to you with SOUL by Demon Music Group. Get on down with the get down…

Blue and green split vinyl with black splatter. Thotcrime, the intercontinental commotion causers seem to have stuck the landing with their intensely non-conventional cybergrind style. Solid instrumentals, chiptunes, synths, and some absolutely furious vocals all come together create something beautiful under the blipping, glitching anger that's itching to scream out under the very chantable melody.

The Family is the second studio album by Seattle based band Satchel, which was formed by vocalist Shawn Smith and drummer Regan Hagar after their previous band Brad (which also featured Pearl Jam guitarist Stone Gossard) went on hiatus. In total, the band released four studio albums, of which their 1996 second album The Family is considered as their best. It was co-produced by Stone Gossard. The Family is available on black vinyl and includes a 12-page booklet.

Wie eine Rauchwolke haben sich Stoned Jesus über die Karpaten erhoben und sind nicht nur die härteste, sondern vielleicht auch die wichtigste Rockband, die aus der Ukraine hervorgegangen ist.

Vor der Erstkommunion von Stoned Jesus war der sympathische Frontmann Igor Sydorenko nur ein weiteres bekanntes Gesicht unter den lokalen Progressive-Rockern. Aber nachdem er seine alte Flamme für den Metal inmitten einer stürmischen Zeit in seinem Privatleben wieder entfacht hatte, machten sich Igor und seine zwei neuen Bandkollegen auf die Suche nach weiteren krachenden Höhepunkten.

Als es 2014 zum ersten Mal erschien, waren selbst Stoned Jesus von The Harvest überrascht. Nachdem die Band nach nur zwei Alben bereits den Gipfel des Stoner Metal erreicht hatte, wollte sie sich auf ihre progressiven Rockwurzeln besinnen. Mit seinen synthielastigen Passagen und dem verwobenen Gitarrensolo sät "Silkworm Confessions'' definitiv diese Saat aus. Aber während es sich stark an die Sci-Fi-Erzählung des Albums anlehnt, kommt "Here Come the Robots" mit einem so aggressiven, eingängigen Riff aus dem Tor gestürmt, dass es vom Alt-Rock-Radio programmiert worden sein könnte.

Wie eine Rauchwolke haben sich Stoned Jesus über die Karpaten erhoben und sind nicht nur die härteste, sondern vielleicht auch die wichtigste Rockband, die aus der Ukraine hervorgegangen ist.

Vor der Erstkommunion von Stoned Jesus war der sympathische Frontmann Igor Sydorenko nur ein weiteres bekanntes Gesicht unter den lokalen Progressive-Rockern. Aber nachdem er seine alte Flamme für den Metal inmitten einer stürmischen Zeit in seinem Privatleben wieder entfacht hatte, machten sich Igor und seine zwei neuen Bandkollegen auf die Suche nach weiteren krachenden Höhepunkten.

Als es 2014 zum ersten Mal erschien, waren selbst Stoned Jesus von The Harvest überrascht. Nachdem die Band nach nur zwei Alben bereits den Gipfel des Stoner Metal erreicht hatte, wollte sie sich auf ihre progressiven Rockwurzeln besinnen. Mit seinen synthielastigen Passagen und dem verwobenen Gitarrensolo sät "Silkworm Confessions'' definitiv diese Saat aus. Aber während es sich stark an die Sci-Fi-Erzählung des Albums anlehnt, kommt "Here Come the Robots" mit einem so aggressiven, eingängigen Riff aus dem Tor gestürmt, dass es vom Alt-Rock-Radio programmiert worden sein könnte.

Tokyo female group Gallhammer was formed in February 2003 by Vivian Slaughter (bass/vocals), following her passion for the primitive work of Swiss legends Hellhammer & other metal, punk & crust acts. The band's debut studio album, 'Gloomy Lights' swiftly followed the year after, leading to a deal with Peaceville Records for the release of the 'Ill Innocence' (2007) & 'The End' albums, before the band folded.

Having become somewhat of an underground sensation in the years prior, the aptly-titled 2011 release, 'The End', was to become the farewell opus for Gallhammer. The album was recorded at Void)))Lab in Tokyo in mid-October 2010 & evolved further from the foundations of 'Ill Innocence', with an album of disturbing & dark drone music with a hypnotic bass & drum combination mixed with the band's raw black metal & punk origins. To further enhance the Gallhammer sound circa 2011, there was also the introduction of saxophone performed by Vivian, who at the time described the overall album direction as "strange & psychedelic experimental sounds of doom".

This edition of 'The End' is presented on black vinyl & appears on the format for the very first time.

FIRST TIME ON VINYL! AVAILABLE IN A BROWN & WHITE COLORED VINYL PRESSING IN A GATEFOLD JACKET WITH OBI LIMITED TO 1000 NUMBERED COPIES.

Memphis Rap legend Project Pat released his third studio album Layin' Da Smack Down in 2002 on CD and Cassette via Loud/Columbia/Hypnotize Minds. Following up Mista Don't Play, Project Pat spits rapid-fire street tales of the dirty south over DJ Paul and Juicy J's signature Three 6 Mafia bangin' 808 beats. From rowdy club tracks to smoother pimp tales and true-to-life stories of being incarcerated, Project Pat delivers another Hypnotize Minds North Memphis classic. The album also contains the single "Choose U" which would be reworked in 2007 for UGK's "International Players Anthem." Get On Down in partnership with Sony Music's CERTIFIED is proud to present Layin' Da Smack Down for the first time on vinyl. Pressed on colored vinyl packaged in a gatefold jacket with a printed insert and numbered OBI limited to 1000 copies.

-3rd album from veteran rap duo Dillon & Batsauce. Dillon on the raps & scratches, Batsauce on the beats. ('On Their Way' - 2018, 'Self Medicated' - 2020).
-Produced entirely by Batsauce, guest features include Grand Puba, Kool Keith, Quelle Chris, Reef the Lost Cauze, Headkrack and Jay Myztroh of Stono Echo.
-Atlanta, GA + Jacksonville, FL album release parties booked for end of July + Northeast Tour Run scheduled for August.
-Batsauce has been producing hip hop and soul for 20+ years with multiple albums on labels BBE (Barely Breaking Even) producing for his wife, soul-singer, Lady Daisey + Galapagos4 where he produced multiple projects for Qwazaar of Typical Cats. He is 1/3 of the group, 'The Smile Rays' (which includes Lady Daisey and Paten Locke). He's also done extensive work with Akrobatik, Mr. Lif and even has multiple songs with George Clinton!
-Dillon is an Atlanta, GA based MC/DJ who has been releasing records for 20 years, 10 of those years was running FULL PLATE, the label he started in 2013 with Paten Locke (RIP). Dillon has worked with many of Hip-Hop's elite from the old school to the true school such as Chuck D, Diamond D, Count Bass D, Kool Keith, Greg Nice, Grand Puba, Homeboy Sandman, J-Live, Quelle Chris, Sadat X, Ras Kass, Stacy Epps, Planet Asia, eLZhi, Slimkid3 of The Pharcyde - and the list goes on!
-Classic black, standard weight vinyl in full-color jacket w/ matte finish. Includes Download Card.
Underground hip-hop veterans, Dillon and Batsauce have been making unorthodox rap music together for nearly 20 years with a simple formula: Batsauce makes the beats, Dillon writes the songs, and whatever happens, happens. After carving out their own lane with a catalog of EPs and LPs over the past 2 decades, the duo has finally slowed down enough to ask themselves, 'What Have We Done'?
Is the title of their latest effort rhetorical or meant to be an actual question? If so, Dillon and Batsauce probably don't want to know the answer. They probably don't want you, the listener, to think too much about it either. Instead, 'What Have We Done' is an invitation to experience the trials and tribulations, the small wins and the big losses of being aging independent artists in an increasingly cut-throat world for music makers.
But Dillon & Batsauce aren't the only ones on this joyride, we also hear from a well-curated crew of characters they've befriended along the way, from bonafide legends like Grand Puba and Kool Keith to modern day rap heroes, Quelle Chris & Reef the Lost Cauze. The end result is a collection of songs that runs the gamut from personal to aspirational to...delusional. Whether it's 'too much' or 'not enough', the answer to the question, 'What Have We Done' remains open to interpretation. Perhaps it’s not a question at all, but merely the naturally visceral reaction when career creators look back at a life lived on the edge.
Track Listing: 1. What Have We Done (Intro) 2. Mind Made 3. Quiet as a Library 4. Eddie Farah 5. Make History 6. Cannonball feat. Grand Puba 7. Banana Peels 8. Accolades feat. Reef the Lost Cauze & Jay Myztroh 9. Wakin' up Hungry feat. Headkrack 10. Goin' Viral 11. Ready on the Left feat. Kool Keith 12. What Are We Doing (Interlude) 13. Watercolors feat. Quelle Chris 14. Speak Easy 15. Isiah Thomas 16. Rock Bottom 17. Yoga Flame

Released in 1971 on Impulse and recorded with two different ensembles, Thembi marked a departure from the slowly developing, side-long, mantra-like grooves Sanders had been pursuing for much of his solo career. Instead, it offers an intriguingly wide range of relatively concise ideas resulting in something of an anomaly in Sanders' prime period. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Released in 1971 on Impulse and recorded with two different ensembles, Thembi marked a departure from the slowly developing, side-long, mantra-like grooves Sanders had been pursuing for much of his solo career. Instead, it offers an intriguingly wide range of relatively concise ideas resulting in something of an anomaly in Sanders' prime period. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

HLZhas comes correct with his debut solo single on Utopia Music.

For true drum & bass enthusiasts, Emilio Dimitri akaHLZ's name should already be on your radar. These tracks offer creativity and integrity, pushing the boundaries of his own respected style within the genre and nodding to times past with a modern update.

"Black Core" kicks things off with its icy break workouts, featuring raw, rasping drums with an industrial edge. It's not a high-speed roller but rather a sneaky creeper that satisfies those who want intricate beats backed with nightmarish overtones.

With "Arcane,"HLZtakes us on a journey of pure pressure in the way he knows best, stepping rhythms, stabbing yet gut-punching bass design, working in tandem with groovy tablas, clever fx builds, topped with lush euphoric pad work, 170 in the truest form.

Eine neue Kraft erwacht. Sie dehnt die Grenzen des Bewusstseins aus. Sie verschlingt alles, was sich ihr in den Weg stellt. Sie läutet die "Reaperdawn" ein. IN APHELION könnte der ultimative Extrem-Metal-Adrenalinstoß sein. Es ist die euphorische Black-Metal-Idee des Gitarristen und Sängers Sebastian Ramstedt (bekannt als Gitarrist und Songschreiber von Necrophobic). Dunkler, seltsamer, epischer und progressiver als von den Bewunderern seiner Arbeit erwartet, ist dieses neue Ventil für dunklen, künstlerischen Ausdruck entstanden, der fest mit der Bösartigkeit des nordeuropäischen Black Metals verbunden ist, aber gleichzeitig eine tiefe Verbundenheit mit dem klassischen, traditionellen Heavy Metal und der schwarzen Magie der psychedelischen Wiederholung aufweist. Basierend auf einer Kernbesetzung, bestehend aus Ramstedt (Gitarre/Gesang), Schlagzeuger Marco Prij (auch Cryptosis), Rhythmusgitarrist Johan Bergebäck (Necrophobic) und Bassist Tobias Cristiansson (Necrophobic, ex-Grave...), haben IN APHELION den kompromisslosen DIY-Weg eingeschlagen, um ihren aktuellen Status als neue Century Media Band zu erreichen. Die Atmosphäre von "Reaperdawn" ist ein wirbelnder Strudel aus obsidianem Funkeln und schillerndem Ruß. IN APHELIONs meisterhafte Mischung aus obskurer Blasphemie und grandiosem Old-School-Gestöber hat eine neue Potenz-Ebene erreicht, da Songs wie der imposante Opener "The Fields In Nadir" und das hymnische "When All Stellar Light Is Lost" den Black-Metal-Ethos weiter unterwandern; mit übermenschlichen Blasts und schädelrasselnden Thrash-Passagen, die einige wahrhaft euphorische und inspirierende Wogen der melodischen Bosheit untermauern.

First Aid Kit neu bei Sony Music: nach den beiden Independent-Alben "The Big Black & The Blue" (2010) und "The Lion's Roar" (2012, beide Wichita Recordings) veröffentlichen Klara (21) und Johanna Söderberg (23) mit "Stay Gold" ihr drittes Album nun bei Columbia Records. Die Söderberg-Schwestern stammen aus dem Stockholmer Vorort Enskede, wo sie 2007 damit begannen, eigene Songs zu schreiben. Bereits ein Jahr später nahm sie das The Knife-Label Rabid Records unter Vertrag, bei dem im selben Jahr die Debüt-EP "Drunken Trees" erschien. Der Re-Release der EP beim Indielabel Wichita Recordings 2009 enthielt zusätzlich eine Coverversion des Fleet Foxes-Stückes "Mountain Peasant Song", mit dem First Aid Kit 2008 bei YouTube für Furore gesorgt hatten.

Nachdem den beiden mit dem Debütalbum "The Big Black & The Blue" der Einzug in die Top 30 der schwedischen Charts gelungen war, schafften sie gleich mit dem zweiten Longplayer "The Lion's Roar" den internationalen Durchbruch.

Die erste Single aus "Stay Gold" (VÖ 6. Juni) heißt "My Silver Lining".

When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!

How could Canadian heavy metal band 3 Inches of Blood dial up the intensity even more after their 2004 masterpiece Advance and Vanquish? Well, by bringing in Slipknot drummer Jordy Jordison to produce their next record, and adding a new instrumental line-up of former Allfather lead guitarist Justin Hagberg and former Walls of Jericho drummer Alexei Rodriguez to the band’s unique dual vocalist assault of Cam Pipes on “clean” vocals and Jamie Hooper on “scream” vocals. The result was 2007’s Fire Up the Blades, which, as Hooper put it, was “a faster, more intense version of us.” Which means that albums don’t get any faster and more intense than this one; that the epic lyrics are good enough to have been penned by George R.R. Martin of Game of Thrones fame is just a bonus. Speaking of bonus, for the vinyl debut of Fire Up the Blades (and after consulting the band) we’ve upped the stakes with a 2-LP release featuring an entire side of extra tracks that were released right around the time the album was, including their cover of the Lucifer’s Friend song “In the Time of Job When Mammon Was a Yippie.” All pressed in “Crimson Fire” vinyl housed inside a gatefold jacket with lyrics…limited to 1250 ferocious copies!

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

S
Brand new vinyl reissue to celebrate the 40th anniversary of seminal
album Yelele by Georges Decimus and Jacob Desvarieux, from zouk
pioneers Kassav', includes the massive worldwide crossover hit "Zouk-la
se sel medikaman nou ni"
Whether in concert, or on the radio or TV, the image of Kassav' remains vivid in
the minds of listeners and spectators. The group, founded in 1979 by Jacob
Desvarieux, Georges and Pierre-Edouard Decimus, has become legendary, putting
Guadeloupe and Martinique on the musical map of the world. Touring the world
with zouk, a musical movement introduced and popularized by Kassav', their
albums have repeatedly been rewarded with both gold and platinum discs.
A victim of Covid in 2021, the loss of Jacob Desvarieux leaves a huge void.
The mix of Jacob Desvarieux and George Decimus with Jocelyne Beroard, JeanPhilippe Marthely, Patrick Saint-Eloi and Jean-Claude Naimro has played sold out
concerts in 82 countries. With texts recounting real life in the Caribbean world
their lively music draws on the rhythms of Guadeloupe's gwo-ka and Martinique's
ti-bwa. Transcending the well-defined codes of Caribbean music, they have turned
the 1980s and all the succeeding decades into a fabulous ballroom.
They have been welcomed in Japan and the USSR, where they became the first
group of black musicians to tour. Forty years after the group's creation, their
timeless hits continue to resonate

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".

Meghan Parnell (vocals) and Dave Barnes (guitar) are the founding
members of Bywater Call, a powerhouse seven-piece Southern soul,
roots rock band from Toronto, Canada
The band is completed by Bruce McCarthy on drums, Mike Meusel on Bass,
newest member, John Kervin on Keys, Stephen Dyte on Trumpet and Julian Nalli
on Tenor Sax. Bywater Call has received multiple Independent Blues and
Maple Blues Award nominations including Entertainer, Electric Act and Best
Female Vocalist for the 2024 Awards Season. They have toured extensively in
Europe where shows have been praised by Dutch, German and UK media, with
references to Meghan as one of the best female voices in blues and roots today.
In August 2023, the band participated in Joe Bonamassa's thirdKeeping the Blues
Alive at Sea Mediterranean Cruise alongside headliners Blackberry Smoke and
Christone "Kingfish" Ingram, and were invited to perform at the All-Star Jam on
the mainstage with Bonamassa himself. Guitarist Dave Barnes was also asked to
join legendary blues artist Jimmy Vivino (Conan O'Brien's Basic Cable Band) on
stage. On October 24, 2023, Bywater performed a live stream performance for the
famed German TV show and festival Rockpalast. The band's music is an
exploration of life's highs and lows. From intimate ballads that lay bare the
complexities of human emotion to electrifying anthems that demand to be played
at full volume, their catalogue is a journey through the human experience,
incorporating influences from the likes of The Band, The Wood Brothers, Tedeschi
Trucks Band, Otis Redding, Little Feat, Sly and the Family Stone, among others.
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Pressed on heavy-weight 3xLP 180g curaçao vinyl GIANTS is an ambitious video game concept album, meticulously crafted over six years by Tokyo-based record label Brave Wave Productions under the direction of Mohammed Taher. The colossal 98-minute album showcases the talents of legendary composers known for their iconic work on series like Mega Man, Ninja Gaiden, Panzer Dragoon, Sonic the Hedgehog, Final Fantasy, among others. The album is a rich tapestry of new, gameinspired compositions from these celebrated artists, paired with innovative remixes from their classic catalogue as reimagined by their contemporaries. A highlight of the album is its emphasis on collaboration, exemplified by original tracks like Ultramarine_the first collaborative effort from Mega Man 2's Takashi Tateishi with Mega Man 3's Harumi Fujita and Sonic Mania's Tee Lopes. Another standout track, Ronin, marks a historic reunion for the Ninja Gaiden composer trio_Keiji Yamagishi, Ryuichi Nitta, and Kaori Nakabai_collaborating for the first time since their work on the NES Ninja Gaiden titles. The collaborative spirit extends to the remixes as well, such as Final Fantasy series composer Yoshitaka Suzuki's cinematic reimagining of Mega Man 2's Wily Stage, featuring Bayonetta co-composer Takahiro Izutani on acoustic guitars and producing, as well as Celeste composer Lena Raine's tranquil rendition of Panzer Dragoon Saga's Art Thou the Holy One, crafted in harmony with original composer Saori Kobayashi. GIANTS transcends traditional boundaries, featuring a diverse array of genres and styles brought to life by over two dozen talented musicians, making it a celebratory anthology of game music's rich history and evolution, led by Brave Wave's in-house rock band Super Strikers and a legion of legendary game composers.

One look at the axe-wielding marauder (drawn by famed heavy metal illustrator Edward Repka) on the front of this album and you know it’s not for the faint of heart. Canadian metal band 3 Inches of Blood’s musical attack (an appropriate term indeed) featured a unique, dual lead vocal line-up of Cam Pipes on “clean” vocals and Jamie Hooper on “screaming” vocals, with bludgeoning guitars (okay, axes) provided by Sunny Dhak and Bobby Froese (Dhak, Froese, and drummer Matt Wood left after this album to form Pride Tiger). Though this record came out in 2004 on the Roadrunner label, it wears its ‘80s metal allegiances on its sleeve, harkening back to the vein-popping intensity of vintage Judas Priest and Accept. Remastered on its 20th anniversary for an orange and black “ashen dawn” vinyl pressing, with a full-color inner sleeve sporting lyrics. Storm the castle!

This led to her immediate recognition as a banjo pioneer and to her win in 1991 of the Banjo Player of the Year award from the International Bluegrass Music Association (the first female to win an Instrumentalist of the Year award). For the 2024 reissue, the original 8- track, 1" multitrack tapes were transferred at a resolution of 192kHz/36- bit, and remixed and mastered by Matt Coles at
Compass Sound Studio in Nashville.


The album was produced in 1989 by acoustic music icon and frequent Jerry Garcia cohort David Grisman (architect of "Dawg Music," the jazz- influenced breakout fringe of the bluegrass genre) and recorded with a cast of all- star musicians at Dawg Studio in Marin, CA. Players on the sessions included Alison Krauss (fiddle), David Grisman (mandolin), Mike Marshall (guitar, fiddle, mandolin), Matt Eakle (flute), Joe Craven (percussion) and Jim Kerwin (bass).

The album's 12 tunes were all written by Alison and include the first recorded versions of some of her most well- known compositions, including "Mambo Banjo," "Leaving Cottondale," and "Weetabix."
REMIXED AND REMASTERED from 192kHz/36-bit transfers of the original multitrack tapes. LP – features LIMITED EDITION BLACK & WHITE SWIRL + album download code with 3 never- before- released bonus tracks Includes a 4- COLOR BOOKLET with liner notes from Alison Brown, Dave Dennison, and Mike Marshall, plus ARCHIVAL PHOTOS and SESSION DOCUMENTS

Collaboration between Kilbey (The Church) and Kearns (Cactus World News), compiling before unfinished recordigs from late 1990s up to 2016. Initially issued as a 500 run CD available by mail order only in 2016, this is the very first time being released through global distribution, packaged in deluxe gatefold sleeve and containing two unreleased bonus tracks. Kilbey's The Church have returned to a high-profile status with both current albums 'The Hypnogogue' & "Ezra..." being critically acclaimed globally. The two new bonus songs are tracks 11 and 12, which were recorded in 2022. Kilbey and Kearns dive deep into atmospheric soundscapes and vocals and mysterious, yet revealing lyrics as Speed of the Stars. Easy Action will be issuing Steve Kilbey's solo and collaboration albums over the coming years.

From listening to pirate radio recordings, putting on illegal parties and working for one of the UK’s original rave promoters, Greg Hepworth, aka Settle Down, has always had roots in the foundations of UK dance music.

Settle Down’s 30 year journey began when the sounds of Fantazia drifted into his childhood bedroom at the age of 10. After wearing out cassettes of pirate radio recordings and immersing himself in a growing culture, what followed was putting on illegal raves across the South Coast and packing tapes for Dreamscape, before crossing over to Creator and releasing for Metalheadz and Reinforced as 'Ulterior Motive' and reinventing himself as 'Settle Down'.

From fan to facilitator to maker. Voyage is a documentation of Settle Down's 30 year journey through UK breakbeat culture. Presented as a recording of a 90’s rave cassette mix, it chronicles the journey through house, breakbeat, hardcore and jungle and the influences that make up these genres, a love letter to the past and an ode to the vibe.

Voyage will be released on a limited edition mixtape cassette, 12” vinyl and digitally mixed and unmixed single tracks alongside some limited edition merchandise.

THE PINEAPPLE THIEF'S SOPHOMORE ALBUM 'ONE THREE SEVEN' -
NEWLY REMIXED & REMASTERED LP EDITION FOR 2024
'One Three Seven' was the second album to be released from The Pineapple Thief
back in 2001. An excellent entry point into the band's early career, 'One Three
Seven' sees songwriter Bruce Soord deftly balancing accessibility & the heavier
sound for which The Pineapple Thief have become widely celebrated in the years
since.
The Pineapple Thief released their latest album in February 2024, the critically
acclaimed 'It Leads To This'.
This edition of the record is remixed by Bruce Soord & remastered by Steve Kitch,
presented on black vinyl LP

The album, produced by Andrew Holdsworth, is Damian's first full-length solo album in 5 years

Known for his exploration into different genres, the songs on the album range
from folk-rock to power pop, with the occasional Floydian guitar solo. The title,
Limehouse to Lechlade, refers to the navigable length of the River Thames
heading upstream from central London to the Cotswolds. Damian loved his many
years living on river boats, and traveling the River Thames is particularly special
to him. The album has an underlying concept throughout that represents our
ourney through life.
The album is mastered by Tony Lindgren (Billie Eilish, Opeth, Katatonia) and
features a wide range of musicians, 17 in total, including Alex Reeves (Elbow),
Lee Pomeroy (ELO), Michael Buckley (Glen Hansard) and Chris Hill (Jamie
Cullum).

ohn Fahey’s Takoma label is best known for pushing the envelope when it comes to acoustic guitar playing, but in 1967 it released a record that has become one of the true cult classics of the ‘60s free jazz movement. Charles Martin Simon was an aspiring writer whose artist wife died in 1965. When he tried to pick up the torch and become an artist using her art supplies, he was, in his words, “reduced to nothing,” and thus created an alter ego or “psyche fragmentation,” Charlie Nothing. Under that moniker he became most famous for creating “dingulators,” working guitar sculptures made from parts of American cars; in 1967, though, he recorded The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic, an album consisting of two separate saxophone improvisations accompanied only with gong, tabla, and ukelele. Its cover adorned by Nothing’s own hand-drawn art, this record has since become not only something of a “secret handshake” among free jazz fans, but also a classic of outsider art, fitting right next to your Moondog records if not in sound than in spirit. For its first ever reissue in any format, we’ve gone back to the original tapes to present an all-analog release of The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic on black vinyl with the original art intact, offering an unfiltered experience of this man’s cracked genius. A memorable look ‘n’ listen to say the least.

'A Handful Of Memories' is the result of an appreciation upon reflection of Adam's
past experiences, trips with his family, his touring families and friends in some
places that hold special memories for him.
To reflect the personal, minimalist nature of the tracks, no effort was made to
remove any of the pedal noises or enhance the tracks in any way, as Adam
wanted them as exposed and natural as they can be.
The pandemic had a hand in Adam's return to modern classical piano after 25
years. As a highly sought- after touring pianist, Adam played extensively with
Black Sabbath, Ozzy Osbourne, Travis and many others. When the pandemic
started, and the music world paused, he was halfway through a South American
tour with Martin Barre on his 50th Anniversary Tour of Jethro Tull. Forced to leave
his gear in Peru and hurry home before the airports closed, a period of reflection
had started and this album is a result of that.

For the very first time on vinyl: the legendary show in its entirety!Live
music is fleeting
You can't touch it, hold it, smell it or taste it, and what you see and hear one
second is gone the next. Live albums, however, are forever. For those in
attendance, they allow the ability to relive an aural moment in time, and for the
rest of us, it's the ultimate souvenir, a time-stamped milestone that captures an
artist/band as they were. In Savatage's case, "Japan Live '94" captures a crucially
mportant and significant tour for a band that, after experiencing gut-wrenching
tragedy and massive personnel changes, was on undeniably shaky ground but
stood tall, nonetheless. It was the first stop on a trip that ultimately forge onward
to Sarajevo and Siberia - a journey that, 30 years later, has no end in sight.
This double LP marks the first time in audio form that the show is available in its
entirety with all 16 songs.
All songs newly mastered for vinyl. With brand new liner notes and enhanced
artwork including rare memorabilia. 2LP 180g Black vinyl

Second album from the Lightning Seeds, originally released in 1992. Produced by Ian Broudie and Simon Rodgers, the album features hits 'Sense', co-written with long time writing partner Terry Hall and 'Flaming Sword', co-written with Paul Simpson. The album also features 'Life of Riley', which was used as the Goal of the Month music on Match of the Day. A x10 trk album, pressed on standard Black & Blue Vinyl versions.

Damian Wilson and Adam Wakeman's 3rd full-length studio album 'Can
We Leave The Light On
Longer?' containing 10 new songs, features Damian on vocals and acoustic guitar
and Adam on piano, vocals, Hammond organ, acoustic & electric guitars, bass
and percussion. Additional drums and trumpet are provided by Pete Riley and
George Hogg and there's an 18-voices choir.
In line with, perhaps even more than on, their previous albums the songs have a
very personal depth and meaning to Adam and Damian.
Damian is a songwriter and vocalist who's known for his exploration into different
genres and is considered one of the most versatile singers in rock. Adam is best
known as the keyboard and guitar player with Ozzy Osbourne and Black Sabbath,
Adam has also released several albums with his father Rick Wakeman.

Ambitious, smart, and magnetically retro, The Rise and Fall of American
Kitsch will charm you with dazzlingly quirky storytelling, stellar
performances, and an adventurous Americana soundscape
It's nuanced enough that you'll want to soak it in with front-to-back listens, and
fun enough for a road trip soundtrack. With American Kitsch, Karen Jonas is
clearly on the rise.
Full PR plan in place
UK Tour in October 2024

Seit Pharoah Sanders 1964 sein erstes Soloalbum eingespielt hatte, waren sich langsam entwickelnde,
lange, mantra-artige Improvisationen eines seiner Markenzeichen. Insofern fiel das Album “Thembi” 1971
in der Diskographie des Saxofonisten und Flötisten aus dem Rahmen. Denn hier präsentierte er mit einem
hochkarätig besetzten Ensemble in sechs Songs eine verblüffend breite Palette prägnanter Ideen.