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Introducing John Coltrane 'Now Playing' on Translucent Blue Vinyl - Uncover the brilliance of jazz legend John Coltrane through a tracklist uncovering rich gems, such as the iconic "Giant Steps", the soulful "Naima," demonstrating Coltrane's virtuosity and innovation, the enchanting melodies of "My Favorite Things, Pt. 1" and the tender ballad "I'll Wait and Pray" as the perfect start or continuation of your musical journey

We are delighted to bring you the follow up to the successful 'The Bristol Punk Explosion (1977-1979) album released in November 2023 - a twelve-track compilation entitled 'The Bristol Punk Explosion Vol 2 (1977-1981).'The sleeve notes are written by Tim Williams author of the 1977 Loaded Fanzine. Tim talks about the transition from Soul to Punk, the demise of Prog Rock and the fashion culture that sat seamlessly alongside the music. There are three previously unreleased tracks never before available on vinyl. The Cortinas were the first. They played the Roxy Club, released two singles on Mark Perry and Miles Copeland's Step Forward label, graced the front cover of Sniffin' Glue and recorded a Peel Session. Taking their cue, bands like Social Security (the first band on Heartbeat Records), The Pigs (whose 'Youthanasia' single was released by Miles Copeland's New Bristol Records), The Media, 48 Hours and Private Dicks gave Bristol one of the strongest provincial early punk scenes. The area of Barton Hill gave us The X-Certs, who by 1978 could already pull audiences of five hundred into Trinity Hall. Though we did not realise it at the time, they effectively bridged the gap between the late 70s Bristol scene and what our American cousins like to term the UK82 bands. In time bands from the suburbs of Bristol started to appear on the scene, Misdemeanor (who were managed by the late Dennis Sheehan U2's tour manager for thirty plus years), Apartment from Downend (whose photo adorns the front cover) and Noiz Boiz from Weston Super Mare, the seaside town just down the road. This compilation is designed to give all fans of Punk a snapshot of what Bristol Punk was all about during that period. We close side Two of the album with The X-Certs Clash infused /reggae single 'Together' and follow it with one of Bristol finest Roots reggae bands Talisman and their single 'Wicked Dem'. The punky/reggae party had truly started as we move into the 80's Bristol Stylee! Bristol Boys Make More Noise!

"Bloom is the 1997 album by Crustation, who were formed by Ian Dark, Stig Manley and Mark Tayler. All three were quiet connected in the fertile Bristol trip hop community - they played in bands with Portishead's Adrian Utley during the Eighties and regularly hung out with Massive Attack and Smith & Mighty. With just one album, their debut full-length record Bloom, Crustation became a legendary secret in the galaxy of trip hop music. The charming female voice of Bronagh Slevin, spacey, dreamy atmospheres, sleepy beats: all we love in downtempo music. The album features artwork co-designed by Stanley Donwood, who has created all the artwork designs for Radiohead with Tom Yorke. For the first time since its original release, Bloom is being reissued and is available as a limited edition of 750 copies on translucent purple coloured vinyl. The vinyl package includes an insert."

Bloom by Crustation With Bronagh Slevin, released 23 May 2024, includes the following tracks: "Close My Eyes ", "Reverie ", "Falling ", "Life As One " and more.

This version of Bloom comes as a 1xLP in a(n) Deluxe Sleeve packaging. This release comes with (a) Insert(s).

Bill MacKay and Drag City are delirious with pride to announce the discovery of a new territory: Locust Land, a record which seeks to reflect the nerve-shredding consciousness run amok in our world today - and somehow allay it with sound. Bill"s music is a visceral crackling where it meets the air, and Locust Land can"t help but reflect its era more than any other in his discography. It"s been five years since the release of Fountain Fire - but in the interim, Bill has barely stopped moving, collaborating with artists across the spectrum, including cellist Katinka Kleijn, banjo player Nathan Bowles and keyboardist Cooper Crain. He"s also contributed to recordings by Steve Gunn, Ryley Walker, Bill Callahan & Bonnie Prince Billy (Blind Date Party), and Black Duck (on their self-titled record featuring Douglas McCombs and Charles Rumback). Forget five years - how"d he even get Locust Land squeezed out of his temporal lobes? Bill"s sense of music as art is constantly modulating - lifting off from where it is found and naturally migrating to some other place. Sometimes, that"s elsewhere - others, it"s simply to be found deeper inside the starting point. And so, the action of moving on informs the landscape of Locust Land. This manifests in several different ways. A restless energy and urgency is repeatedly felt - in the driving momentum of "Keeping in Time," "Glow Drift," and "When I Was Here" - while a dogged persistence radiates from the tone colors and percussion of "Oh, Pearl." Mating a dirge-like desolation with sparkling guitars, "Radiator" adds darkness and depth. The sense of searching, displacement and longing in vocal tracks "Keeping in Time," "Half of You," and "When I Was Here" speak literally to the tumult of current vibrations. Within the arrangements, there"s also departure from previous norms - in addition to the brilliant guitar work for which he is known, Bill plays a variety of keyboards, from piano to organ to synth, extending his music with the available voicings, while enriching the sound field without abandoning his signature brevity. For fans of his singing, and following in the recent tradition of Fountain Fire as well as his collaboration with Nathan Bowles, Keys, Locust Land expresses with an increased vocal presence - and heightened engagement, with Bill"s words and melodies drawing us closer. Also different: on his previous solo recordings, Bill played every sound. Here, he has invited other illustrious Chicagoans to join him: Sam Wagster (The Father Costume, Mute Duo) plays bass on three songs, two of which feature the percussion playing of Mikel Patrick Avery (Natural Information Society, Jeff Parker, etc.). Additionally, Janet Beveridge Bean (Eleventh Dream Day, Freakwater) adds otherworldly vocal textures to the elegiac "Neil"s Field." Whether played alone or with companions, this music projects the strength of a universal collective. Even with a piece that might earlier have passed for blissful pastorale, Bill displays some declamatory motives. The reverie which opens the album, "Phantasmic Fairy," embodies both transcendent and desperate moods, with Bill"s ineffable slide guitar playing afloat, with organs and synths, in a dream state suffused with a sense of foreboding - a requiem, perhaps for the days of unencumbered bandwidth? On the other side of the album, the strength to continue to hope appears in the lifting melodicism/exoticism of the album-closing title track, leaving the listener with the sense of having achieved a hard-won space - a place of personal contemplation and dissent, one that everyone on the planet deserves to visit every single day on earth. With cover art also by Bill MacKay (the third of his albums on Drag City to feature his work), Locust Land stands as a thoroughly personal statement from Bill to everyone everywhere.

Bill MacKay and Drag City are delirious with pride to announce the discovery of a new territory: Locust Land, a record which seeks to reflect the nerve-shredding consciousness run amok in our world today - and somehow allay it with sound. Bill"s music is a visceral crackling where it meets the air, and Locust Land can"t help but reflect its era more than any other in his discography. It"s been five years since the release of Fountain Fire - but in the interim, Bill has barely stopped moving, collaborating with artists across the spectrum, including cellist Katinka Kleijn, banjo player Nathan Bowles and keyboardist Cooper Crain. He"s also contributed to recordings by Steve Gunn, Ryley Walker, Bill Callahan & Bonnie Prince Billy (Blind Date Party), and Black Duck (on their self-titled record featuring Douglas McCombs and Charles Rumback). Forget five years - how"d he even get Locust Land squeezed out of his temporal lobes? Bill"s sense of music as art is constantly modulating - lifting off from where it is found and naturally migrating to some other place. Sometimes, that"s elsewhere - others, it"s simply to be found deeper inside the starting point. And so, the action of moving on informs the landscape of Locust Land. This manifests in several different ways. A restless energy and urgency is repeatedly felt - in the driving momentum of "Keeping in Time," "Glow Drift," and "When I Was Here" - while a dogged persistence radiates from the tone colors and percussion of "Oh, Pearl." Mating a dirge-like desolation with sparkling guitars, "Radiator" adds darkness and depth. The sense of searching, displacement and longing in vocal tracks "Keeping in Time," "Half of You," and "When I Was Here" speak literally to the tumult of current vibrations. Within the arrangements, there"s also departure from previous norms - in addition to the brilliant guitar work for which he is known, Bill plays a variety of keyboards, from piano to organ to synth, extending his music with the available voicings, while enriching the sound field without abandoning his signature brevity. For fans of his singing, and following in the recent tradition of Fountain Fire as well as his collaboration with Nathan Bowles, Keys, Locust Land expresses with an increased vocal presence - and heightened engagement, with Bill"s words and melodies drawing us closer. Also different: on his previous solo recordings, Bill played every sound. Here, he has invited other illustrious Chicagoans to join him: Sam Wagster (The Father Costume, Mute Duo) plays bass on three songs, two of which feature the percussion playing of Mikel Patrick Avery (Natural Information Society, Jeff Parker, etc.). Additionally, Janet Beveridge Bean (Eleventh Dream Day, Freakwater) adds otherworldly vocal textures to the elegiac "Neil"s Field." Whether played alone or with companions, this music projects the strength of a universal collective. Even with a piece that might earlier have passed for blissful pastorale, Bill displays some declamatory motives. The reverie which opens the album, "Phantasmic Fairy," embodies both transcendent and desperate moods, with Bill"s ineffable slide guitar playing afloat, with organs and synths, in a dream state suffused with a sense of foreboding - a requiem, perhaps for the days of unencumbered bandwidth? On the other side of the album, the strength to continue to hope appears in the lifting melodicism/exoticism of the album-closing title track, leaving the listener with the sense of having achieved a hard-won space - a place of personal contemplation and dissent, one that everyone on the planet deserves to visit every single day on earth. With cover art also by Bill MacKay (the third of his albums on Drag City to feature his work), Locust Land stands as a thoroughly personal statement from Bill to everyone everywhere.

repare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. “You'll Be There For Me” / “When You're Gone” is the fourth release. “When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann

" Inspired by a lifetime of listening to jazz + woodshedding, Andrew Bird on his new album Sunday Morning Put-On presents his take on the Great American Songbook. Andrew Bird Trio features Ted Poor (drums) & Alan Hampton (bass), and transcends nostalgia, pushing his limits as an improviser. Replacing saxophones with violin solos, and showcasing Andrew's signature vocal prowess, the Trio reimagines jazz standards completely live in southern California’s legendary Valentine Studios. "

Long awaited re-release of The Mary Onettes second studio Album, Islands. The Swedish Dream-Pop pioneers first released Islands in 2009 on legendary Labrador records. Now a limited edition LP version is coming on Welfare Sounds & Records. This gorgeous transparent vinyl is a must have for the serious record collector.

The quest for the transcendent is writ large throughout rock lore and legend, with the desire for
connection beyond this earthly plane indivisible from the electric charge of heavy amplification, This is
a mission fully understood by two skilled purveyors of their craft, Spell and Pøltergeist, who join forces
here on a seven-inch mission, utilising the psychic forces of sound and fury to forge a portal to other
dimensions.

London outfit Kassian continue their broadly- evolving yet highly detailed journey through and beyond sound towards something ever more expansive. Their second release for !K7 Records comes in the wake of creating a dedicated hardware-forward studio in a Northeast London container complex, where they have the freedom to interlink their machines. This renewed focus brought them to Supercontinent EP, named for the ancient geological era when Africa and South America were joined as Pangea.

A reformulation of rhythmic ideas inspired by South= African Amapiano and South American Baile Funk governs the two hemispheres of the record. The pair examine and deconstruct dancefloor material, eschewing 4/4 for interlocking shaker patterns, searing acid lines, cracking breakbeats, and vocal samples in Zulu and Brazil Portuguese.

The immediacy of the restless rhythm and bass-led funk of “Yena” (the word Yena translates to ‘he/him /man’)forms a sweet spot where double-time and half-time can coexist. “Yami” (‘mine’ in Zulu) is a slinkier proposition which sheds prominent percussion in favour of a weighty, fluid, acid-informed bassline undulating from below.

An ascending percussive riff marks the arrival of “Pulgueiro”, followed closely by break beats and the nostalgia of distinctly British acid electro; it is an intentionally future-forward retelling of a vintage sound, replete with a mind-melt breakdown of rave pads.

A dubbed-out groove dominates the bottom-heavy “Sistema” – a groovy, steady roller that chugs and propels and chugs with head-nod hypnotism through an intricately minimalistic approach.

The artist Dennis Busch (James Din A4, Joyride, Pop Dylan, Pastor Fitzner, etc.) returns after over 12 years of electronic abstinence under his pseudonym James Din A4 with his new album Ins Licht (Into the light) on David Rauer's label Blubbernugget.

Hedonistic dissociative techno tracks meet twisted, light-drenched house anthems and are gently, yet brutally transformed into a multi-dimensional state of pure euphoria in dream-like sequences and abstractions. Here you can dance like nobody is watching and at the same time put your innerspace time travel on autopilot. This is a record as energetic as a Hi-Frequency crystal. It's 2024. Welcome to the age of I AM.

Musik & Artwork: Dennis Busch
Master & Cut: Loop-O

12'' / Red transparent Color Vinyl

Pain Beurre and his Intergral Transform brings a tribe long tune, morphing into Trance... or putting you into trance anyway...

CED "deadline" tune is a CC Atom incision in something more rockn'roll with a cool breakbeat drop...

All in one it's a thinlace of acid melodies and progressives structures... lightening sound !

Mastering : Stefan ZMK, Cut Simon the Exchange, Pressing Vinyl de Paris

2024 repress.

Nearly 10 years out of print, recut and remastered from the analogue tape masters from Alchemy's pristine mastering work; focusing and enriching every finite detail into pure analogue bliss! This remastered edition features epic reworks of cv313's now classic, "Seconds To Forever" released back in 2010.

The first track is a reshape by intrusion, dubbed out live in the mix from the original 8 channel analogue tapes as to summon the spirit of King Tubby. There's also two beautiful remixes from the brilliant Rod Modell (DeepChord). Those touched by his recent output will have a lot to love here. Gorgeous plumes of sound envelope the listener into near hypnosis, subdiving deeper than even the original work could. Sublime and beyond gravity, another exquisite excursion transmitting from the other side of the galaxy. Pressed onto 150 gram crystal virgin blue wax. Tip!

repress !

Coby Sey steps out with his remarkable debut album 'Conduit'. "'Conduit' is a statement of intent, reaffirming my dedication to transcend the tangible through music – it’s my way to continue and contribute to the musical lineage laid by those before me, locally and worldwide." - Coby Sey

repress !

Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.

Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers merging in a unique musical blend.

Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu Genea's hometown, Napoli, becomes a true place of encounter.

You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.

Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté", where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song, giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic, deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multi-textured instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’ Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.

Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions, they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to unexpected musical journeys.

First record from Shrui-Khan solo. A full EP bringing 3 pityless bangers, on a red transparent plate.

A new legendary Hardcore producer to my point of view, oldschool pure sound !

Transcendental outernational funk and psychedelic jazz from mystery L.A.- based collective Sun Atlas

Little is known about Sun Atlas. The group members are hidden behind masks and costumes to keep their identities secret and to put the focus entirely on the music and oneness. A sense of community and universal spirit as an alternative to idolization and individualism is heavily reflected in their eclectic musical style.

The sound of Sun Atlas is mystical and cosmopolitan, combining afrobeat, cinematic soul, spiritual & ethio jazz with space sounds, hiphop-breaks and a garage funk vibe.

Their cryptic first 45 single "The Mystic Parade" b/w "Grand Theft" sold out immediately after release and has often been mistaken for either "lost" hiphop samples, 70s habibi funk or another project in disguise from the inner circles of the Mocambo, Big Crown or Daptonefamilies (which it is not).

Return To The Spirit picks up where Sun Atlas' first single leftoff, with everyone wondering where the journey might lead. With the door to a colourful universe opened, the full-length format gives time & space for further exploration.

The ltd.first vinyl edition comes in black vinyl in a deluxe handmade tip-on sleeve.

Making his Dekmantel debut with a flourish of symphonic, transcendental techno, Sepehr takes us into a fictional metaphysical zone he calls the Genesis Domain. Over the past 10 years NYC-based Sepehr Alimagham’s versatile club music practice has taken in techno, D&B, electro, EBM and acid on a suite of scene-leading labels. This new EP builds on the pseudo-spirituality he explored on recent LP Fall From Grace with an exploration of an imagined space “where your reality can be reinvented at any given moment.”

On the A side, the title track sets the pace with a throbbing, sparkling-yet-spooky trip that allows a touch of trance into the mix, while ‘Delicate Senses’ explores snappier broken beat rhythms and edgy atmospherics with a distinctly moody outlook.

The mystical electro shades of ‘Twisted Solstice’ and ‘Planet Lonely’s melancholic 4/4 pastures strike a note between contemplative introspection and anthemic main stage energy. ‘Queen Of Demons’ is the consummate EP closer, leaning on brooding low end and snaking, intricate beats with a healthy dose of shimmering beauty up top.

Consistent with his versatile approach since day one, Sepehr proves any blend of tempos and rhythms can be folded into his vivid, evocative sound world — the results will always draw you in close until his vision becomes yours.

2025 Repress

Broc Recordz is thrilled to announce the imminent release of our latest album, Cosmos Giants!

This cosmic fusion is the result of an epic collaboration between maestro Janko Nilovic, JJ Whitefield of the Poets of Rhythm, and Igor Zhukovsky of the Soul Surfers. Together, they've crafted a musical universe where genre boundaries blur, giving way to a transcendent sonic experience.

Immerse yourself in a musical journey where funk, psyche, and soul intertwine to create something truly magical!

With this new project, their fourth full-length work, Tupperwear completely departs from the "stylish" electronics and trends to delve into a profound exploration of the fundamentals of music.
It involves a quest or even a game through the extrapolation of geometry into various musical parameters, encompassing classical aspects like pitch, timbre, rhythm, intensity, etc., as well as noise, textures, or the implicit mathematics in natural or irrational elements.
Pentagonono delves into cosmology and nature. It is a musical approach without prejudices to basic numerology that unveils the universe, the harmonic scale, the number e, and logarithmic spirals. The golden ratio (phi) and the omnipresent number pi are also explored. Geometric shapes, proportions, and divisions of vibrating elements are transmitted through the air, internalized by humans, and transformed into music.
Following in the footsteps of previous sound explorers from various spatial and temporal origins such as Gamelan music with its infinite polyrhythmic replication, Psychedelia, Serialism, Musique Concrète, Bach, or J Dilla, this album presents itself as a materialization of ideas and concerns that, while already present in the band's musical understanding, are now brought to the forefront as if it were a vital manifesto.

Incubus released their critically acclaimed studio album "Morning View" on October 23, 2001 and was celebrated by fans and the music industry alike. The album went double platinum and spent 60 weeks at number 2 on the Billboard 200.

Now the band is releasing the re-recording of the highly acclaimed double album entitled "Morning View XXIII".

"About 23 years ago, we rented a house by the sea to start an art experiment. The unfamiliar and expansive surroundings helped us find the FLOW state we had been longing for, and the songs that became known as 'Morning View' have since become an integral and important part of our lives," says Brandon Boyd.

"That album helped make our little art experiment called 'Incubus' a way of life, and here we are, some 23 years later, ushering in a new phase of its existence. 'Morning View XXIII' is a re-recording of the 2001 album and is the result of our desire to honor that legacy, but also to reinterpret it as musicians who have played these songs night after night with much love over the last 23 years. See you on the road soon!"

The music industry, once revered as a realm of artistic expression and creativity, has gradually transformed into a breeding ground for commercial nonsense. The rampant commercialization of music has resulted in an environment where genuine talent often takes a backseat to profit-driven motives. It’s high time we unmask and challenge the prevailing commercial bullshit that plagues the music scene today.

In the midst of all this commercial nonsense, it’s essential to recognize that there is a thriving underground and independent music scene where authenticity and creativity still flourish. Listeners can play a vital role in reshaping the music industry by supporting independent artists, seeking out diverse sounds, and rejecting the homogenized offerings of major labels.

To combat the commercial bullshit in the music scene, we must prioritize artistry over profit, diversity over uniformity, and creativity over conformity. Only by championing these values can we hope to revive the music industry as a bastion of authentic expression and genuine talent, free from the shackles of commercial exploitation.

Composed by Jim O’Rourke and pieced together by Jim together with longtime collaborator and trumpeter Eivind Lønning at Jim and Eiko Ishibashi’s home in the Japanese mountains, this engrossing new album blows brass wails and tense fanfares across O'Rourke's manipulated Kyma tapestries for a deep, captivating trip into the aether.

Eivind Lønning has been sharing ideas with O'Rourke for several years: the duo collaborated on music for the Whitney's 'Calder: Hypermobility' exhibition, and Lønning played trumpet on O'Rourke's brilliant 2020 album 'Shutting Down Here'. For this new work, Lønning headed to O'Rourke and EIko Ishibashi's home studio in the Japanese mountains, where he teased unfamiliar, alien textures from his trumpet to open the labyrinthine three-part composition. O'Rourke took the material and subsequently funnelled it through his Kyma system, transforming it into a swirl of sound that hums alongside Lønning's original takes. The album was composed, mixed and mastered by O'Rourke, with everything's based on Lønning's virtuosic performance.

The album begins by cautiously introducing us to its sonic palette: wavering, bird-like horn wails that O'Rourke contorts around quiet synth oscillations and computerised swarms. Lønning's spittle-drenched blasts are given the spotlight, but O'Rourke's manipulations - often gentle and illusory, and sometimes utterly lacerating - lift the sounds into completely new territory. When Lønning begins to turn rhythmic cycles using the trumpet keys, popping with his mouth to compliment its leathery timbre, O'Rourke replies with dense, hallucinatory drones, juxtaposing unstable electronics with Lønning's breathy, sustained notes. All these sounds coalesce into a dizzy vortex, but O'Rourke is careful not to overwhelm the senses, dropping to near silence as the first act transitions into the second. O'Rourke pelts Lønning's vertiginous wails, steadily mutating them into Xenakis-like stabs until they sound like cybernetic strings and icy tones that extract the tension from Lønning's brassy harmonics.

The third act is more screwed, with O'Rourke allowing Lønning's improvisations wail into cathedral-strength reverb, accompanying the sound with glassy penetrations and throbbing subs. Here, Lønning sounds as if he's heralding the arrival of a celestial being, piercing the atmosphere with bright, sustained tones and muted, jazzy flourishes. O'Rourke hangs back, carefully spinning the notes into naturalistic fibres and orchestral drapery, before he allows the electronics to subside completely and the trumpet to echo into the imposing negative space.

'Most, but Potentially All' is a dumbfounding piece that shifts the dial on contemporary experimental music; dizzyingly complex but never showy, it's the kind of record you can spin repeatedly and hear something different each time. As an exploration of the trumpet, it's a unique expression, and as a progression of electro-acoustic compositional techniques, it draws a deep trench in the sand, setting a new standard.

"Imagine: It’s sometime in the back half of the 19th century, America. You’re sitting in the parlor of your mansion, or in the only room of your shack; things are dusty and smell like sweat and hair, no matter how wealthy you may be. You don’t own a phonograph, and you don’t know who Tony Hawk is, but you have an inkling of how good the word 'shred' is going to feel when it enters the local slang. Suddenly, a tall, elegant figure with beautifully maintained fingernails emerges from some corner of the room, carrying a guitar. He says in a soft voice, 'I have a transmission for you, from the coming few centuries. Would you like to hear it? I figured you wouldn’t have a dongle, so I brought my guitar.' You may be apprehensive, but you shouldn’t be. Shane happens to be an internationally renowned virtuoso of the guitar. Specifically, he’s the kind of virtuoso who is as deep on style as he is on technique. His technical prowess is almost maddeningly complete; aiming paradoxically for the yards-long target called “breadth” he’s somehow hit all of it, 500 arrows piercing every pore of the landscape. He has that much technique not for the sake of guitar worship but to best bring the music forth clearly and in his own hand, like a pearl formed in a specific sea. I know this because I’ve sat next to him in multiple countries and American states and seen him deliver transmissions of that extreme honesty, with that extreme capability. Like Derek Bailey’s 'Ballads,' this record brings you into the room and the breath of a true musician whose mastery does not overshadow his appreciation of the music that inspired it. The title, 'Repertoire,' underscores the beautiful songs he chose to perform, all standards of 20th century musical excellence. The in-time persistence of his blues-walked 'Lonely Woman.' The grand registral descent he performs on 'Pithecanthropus Erectus,' like a rare document of the trip down from Everest. Dig how 'Better Get Hit in Your Soul,' emphasizes the folk blues water coursing through Mingus’s Ellingtonia, how Aphex Twin’s 'Avril 14' and the Minutemen’s 'Cohesion' sound so much older than Cage’s 'Totem Ancestors.' 'Repertoire' puts forth the idea that time is arrangement: time and arrangement are each only as successful as they are faithful to their origins and expansive in their style. Again, lest you fear the alien smoothness some associate with the concept 'virtuoso,' remember here we’re dealing with a time- traveler. His virtuosity is home grown, born of human work rather than some abstract or divine touch; the aim is not to go beyond the realm of human technical possibility but to expand it in the direction of human, meaning, timely. This guy can play anything, and for you, for this record, which sounds intimate and as present as a transmission from a time-traveler, he chooses to."—Wendy Eisenberg

Halocline - a visible layer of water that forms between saltwater and freshwater when there is a rapid change in salinity; they are found in colder oceans, caves, fjords and estuaries.

Malin Lewis is a queer bagpiper, fiddler, instrument maker and award winning composer. One of Scotland's most exciting innovators, Malin melds west coast tradition with a newly invented, self-made bagpipe. Hair tingling, philosophical and dance inducing melodies inspired by European folk traditions, humans, queerness and the universe. Having played in Canada, Europe and across the UK, Malin will release their long awaited debut album Halocline on the 3rd May 2024 with Hudson Records. Halocline began as a New Voices commission for Celtic Connections and was premiered to a sold out Strathclyde Suite, Glasgow Royal Concert Hall in 2023.

"I saw my first Halocline aged fourteen whilst swimming in an estuary in the Isle of Skye. I didn't know what it was at the time but the image has stayed with me ever since. Appearing like a hazy layer of cloud under the water; it floats between two worlds and provides an environment which is home to a unique microbial ecosystem. As a trans person I live in a space in between; this beautiful space between a binary with its own colourful and unique culture."

Malin's unique sound is born from the deep connection that comes with making and composing for their own instrument. Alongside whistle and fiddle, Malin plays a newly invented two octave bagpipe that, when combined with guitar FX pedals, creates a whole new world of sound which is as lively, thought provoking and sensitive.

Halocline - a visible layer of water that forms between saltwater and freshwater when there is a rapid change in salinity; they are found in colder oceans, caves, fjords and estuaries.

Malin Lewis is a queer bagpiper, fiddler, instrument maker and award winning composer. One of Scotland's most exciting innovators, Malin melds west coast tradition with a newly invented, self-made bagpipe. Hair tingling, philosophical and dance inducing melodies inspired by European folk traditions, humans, queerness and the universe. Having played in Canada, Europe and across the UK, Malin will release their long awaited debut album Halocline on the 3rd May 2024 with Hudson Records. Halocline began as a New Voices commission for Celtic Connections and was premiered to a sold out Strathclyde Suite, Glasgow Royal Concert Hall in 2023.

"I saw my first Halocline aged fourteen whilst swimming in an estuary in the Isle of Skye. I didn't know what it was at the time but the image has stayed with me ever since. Appearing like a hazy layer of cloud under the water; it floats between two worlds and provides an environment which is home to a unique microbial ecosystem. As a trans person I live in a space in between; this beautiful space between a binary with its own colourful and unique culture."

Malin's unique sound is born from the deep connection that comes with making and composing for their own instrument. Alongside whistle and fiddle, Malin plays a newly invented two octave bagpipe that, when combined with guitar FX pedals, creates a whole new world of sound which is as lively, thought provoking and sensitive.

Repress!

Influential jazz collective Idris Ackamoor and The Pyramids retu rn with an epic new opus, 'Shaman!', released on 7th August featuring a fresh line-up including original 1970s Pyramids member Dr. Margaux Simmons on flute, Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. The band transitions from the political and social commentaries of 2018's acclaimed 'An Angel Fell' into more introspective themes. "I wanted to use this album to touch on some of the issues that we all f ace as individuals in the inner space of our souls and our conscience," explains Ackamoor. "The album unfolds over four Acts with personal musical statements about love and loss, mort ality, the afterlife, family and salvation."

"It's time. Africa, it's time. It's time that Africa changes. It's time our leaders change. Everything that happens in Africa is extraordinary. We have everything: water, earth, sun, fields of oil, gas. We have all this in Africa, but Africa is still poor. It's time we change our way of thinking. It's time for Africans to take their destiny into their own hands. If not, others will take it." This is the message instrumental guitarist Tidiane Thiam hopes to convey with his new solo album, Africa Yontii, a Pulaar title that translates to "Africa Time." To a casual listener, Thiam's bold statement starkly contrasts with his melodic playing. But a closer listen to Thiam's expressive playing reveals a thoughtful voice that stands out from the crop of contemporary guitarists. "What I should be singing (with words) I'm instead saying with my guitar," he says. Hailing from the sleepy fishing Senegalese fishing town of Podor, home of the great Baaba Maal, Thiam taught himself guitar by playing along to late-night radio broadcasts of Manding music. He soon developed his style, often reworking Pulaar folk themes into his compositions. On Africa Yontii, Thiam's third album for Sahel Sounds, he teamed up with hip-hop beat maker Ndiaye Moctar from studio M.N. Records to provide accompaniment, integrating unexpected elements such as field recordings and electronic sounds. In the liner notes for Africa Yontii, Thiam voices his concerns about the lack of opportunities for Africa's youth and the lonely road that can come with leaving behind loved ones in the hope of a better life. He also sprinkles in a philosophical query about the eroding state of the world alongside two more hopeful, traditional offerings in the form of wedding and river songs. Despite the sometimes heavy subject matter, Thiam's love for his homeland and heritage shines through. Tidiane Thiam's Africa Yontii reclaims the maligned "world music" genre within a sonic space that has long been dominated by others telling the story. As the title suggests - It's time!

High Roller Records, transparent blood-red vinyl, ltd 300, A4 cardboard insert, 425gsm heavy cardboard cover

Immerse yourself in the captivating world of blues with the 'Feelin' Kind Of Blue' LP. Featuring a dynamic combination of soulful melodies and heartfelt lyrics, this vinyl release showcases an eclectic lineup of tracks that will transport you to the soulful sounds of a bygone era. With a mix of original compositions and extended versions, this LP promises to be a timeless addition to your music collection. Get ready to experience the raw emotion and undeniable rhythm that defines the essence of blues music.

7A Records are proud to present Davy Jones’ “Incredible!”. A deluxe reissue of Jones' “lost” ‘80s album, remastered and expanded with bonus tracks. The limited edition gatefold Vinyl release is limited to 1,000 copies. Pressed on 180g transparent blue vinyl, it features extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures by photographer Henry Diltz.

Fuelled by MTV’s re-runs of the original Monkees TV series, “Incredible!” was recorded at the height of mid-‘80s Monkees comeback-euphoria. Given the flurry of activity happening on multiple fronts for the Monkees throughout 1986, especially the grueling demands of their touring schedule, the fact that Davy Jones managed to record a full album amid the chaos is somewhat staggering. “Incredible!” features several songs that could well have reached the Billboard charts, had things played out differently. However, Jones decided to hang on to the album and it ended up being self-released on cassette on his own mail order label. The minimalistic promotion and treatment of the original release belie the considerable studio and artist firepower behind these recordings. This deluxe repackaging allows this chapter in Jones’ fascinating journey to finally more fulsomely shine.

• Remastered With 6 Bonus Tracks
• Rare & Previously Unseen Photos
• Extensive Liner Notes
• Limited to 1,000 copies

Although Santana had been famous for his live shows since his performance at Woodstock, the 1977 album Moonflower was his first live release (albeit interspersed with a series of studio recordings). It showcases the best of Santana in the mid-Seventies: the Latin-infused blues/rock, the spiritual jazz fusion, the unstoppable energy of Santana on stage. A cover version of The Zombies' mid-Sixties song "She's Not There" was released as a single and became Santana's first Top 40 hit in over five years.

Rory Gallagher´s musikalisches Schaffen konzentrierte sich auf Blues und Rock in verschiedenen Spielarten. Sein Markenzeichen war seine von ihm
nahezu ausschließlich gespielte, spezielle E-Gitarre. Das renommierte Rolling Stone-Magazin listete Gallagher zu den "besten Gitarristen aller Zeiten".
Diese 12" LP, gepresst in transparentem Vinyl, beinhaltet legendäre Radio-Livemitschnitte aus dem Jahr 1992.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

100's of 1000's, Millions of Billions by Blitzen Trapper, released 17 May 2024, includes the following tracks: "Cosmic Backseat Education", "Cheap Fantastical Takedown", "Planetarium", "Long Game" and more.

"Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.

Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."

"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.

"Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.

Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."

"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.

Soft rock"s seminal band, The Blue Jean Committee, originated from blue-collar Chicago when the now legendary Clark Honus (Bill Hader) and Gene Allen (Fred Armisen) dropped out of sausage school to create the band of their dreams. With the help of famed music manager Alvin Izoff, the band reinvented their hard Chicago-blues image to instead transcend the laid-back essence of California. After studying bands like The Beach Boys, The Blue Jean Committee as able to find their signature sound and rise to the top of music charts. Despite Chicago"s resistance to their "vegetarian" facade and "hippy" vibe, the band became known for creating the quintessential California album. Their debut album, Catalina Breeze, spawned six consecutive hit singles for the band and for a moment it seemed like they would be a long-term fixture on the American musical landscape. However, some relationships are more complicated than they appear on the surface, and nowhere did this ring more true than for Gene Allen and Clark Honus, as their infamous on-stage fight at the Hollywood Bowl Animal Rights Now Benefit and subsequent break-up has since become the stuff of legend. Fans of the "Chicago band with the California sound" can celebrate once more! After over 30 years apart, Gene and Clark were recently reunited for their induction into the Hall of Fame in April 2015.

The ’Rare Mod’ series has been one of the most enduring Acid Jazzcurated comps of recent years. This included the CD Volumes 1-3 and a 3CD Boxset, uncovering a host of lost classics that capture sound of the original Mod scene: Hard R’n’B, Beat & Soul, and archetypal Pop from the 1960s. For the first time, the Best Of… is available on vinyl, with choice selections from across the series, presented in a hip, evocative sleeve, with printed inner, and on orange transparent vinyl. The track-list contains a couple from the legendary Fleur De Lys, as well as a track from their brief billing as ‘Shyster’. Elsewhere, there are several productions from unsung hero and prolific session man Graham Dee, and even a turn from young David Bowie performing with The Riot Squad! An absolute must-have collection of the less-heard tracks from one of the most iconic periods of British music.

Jules Archive is a project founded by Marco Marzuoli and Marco Mazzei in 2016.

By employing various technologies, instruments, and approaches, the duo strives to craft a mysterious and fantastical persona named Jules. Through this persona, they aim to immerse listeners in a dreamlike atmosphere, transcending reality and dwelling in imaginary spatiotemporal dimensions.

Platonic Tales is the second chapter of Jules' journeys, more anthropocentric than the first album Adventures & Explorations (Volume 1), but equally exotic and dreamlike. The musical intention of this record was to rework a set of five (plus one) melodic tape loops, already structured in "song form”, through detailed arrangements. The treatment followed an experimental-pop-oriented production approach.

Recorded entirely at home by the artists, the music on the album features analog cassettes containing loops dating back to around 2016. The remaining arrangements were composed during the 2020 pandemic lockdown.

Several international guests collaborated on the album:

Lino Capra Vaccina, the legendary Italian percussionist/minimalist composer, and Jefre Cantu Ledesma engaged in a musical dialogue on An Ontological Novel.

Andrew Weathers contributed his voice to the tracks A Superior Truth and Exodus.

Christina Vantouz participated in Exodus and concluded the album with a string composition arranged and conducted by Minna Choi, performed by Magik*Magik Orchestra.

Recorded between Città Sant' Angelo (Pescara - Italy, 2016-2020), Francavilla (Chieti - Italy, 2020), and Firenze (2019-2020).