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From the perspective of people who categorize music by genres and types, Evan Shornstein, better-known under his production moniker Photay, has created lots of different kinds of sounds over the past decade. There’s the Hudson Valley-raised, Los Angeles-based multi-instrumentalist composer’s quasi-IDM and electronic almost-pop tracks with the occasional vocal; the improvised organic and and experimental music sessions he participates in alongside new age giants, Laraaji and Carlos Niño; the diaspora electronic folk-jazz he makes with veteran musicians from all over the globe; and the disco and house adjacent records he tag-team DJs with Brooklyn producer Cesar Toribio and engineer Phil Moffa (who also masters all of Photay’s records — and those of dance-music dons around the world). But if you’ve listened closely to Shornstein’s prodigious output, you know that separating and classifying the work is actually contrary to the energy of Photay music. That what on-the-surface may lazily appear as differences, is actually brought together by a shared sonic warmth, a hardware pastoralism at play. Whatever category he engages, Photay makes outdoor music under the spell of the elements, for the purpose of different human movements — some physical, some spiritual, some emotional, some philosophica.

Mutant, in partnership with Hollywood Records and 20th Century Studios are proud to present the premiere physical release of John Paesano's score to Kingdom of the Planet of the Apes.



Paying homage to Jerry Goldsmith's iconic original Planet of the Apes score, while embarking on a wholly original sonic journey into this unexplored era of the series chronology. Paesano has crafted an incredible musical odyssey, full of wonder and powerful emotional passages.



Paesano has been quietly producing some of the best genre scores of the last decade. His music for the Daredevil TV series, Marvel's Spider-Man video games and The Maze Runner trilogy if films have all led to this in some way. With Kingdom of the Planet of the Apes, he has crafted a beautiful and sweeping score for a massive dystopian world inhabited with nuanced and delicate characters. And he does so while respecting the source material and the legacy of the franchises that loom large. It's a tightrope that Paesano deftly walks with well-earned confidence.

“I am OBSESSED with the 80s. I love the loud neon colours and fashion and the kinetic energy of the music. It’s uplifting and bittersweet with a ton of keyboards, what’s not to like?” reasons Morgane when asked what it is she likes about the decade. This exuberance is brightly reflected in the mirror ball synthpop of her third album released at the end of September. It is her second long player to appear on vinyl after the release of Between The Funk And The Fear debut on the Polytechnic Youth label.

Morgane was the keyboard player in Stereolab between 1995 and 2001 during which time they released Emperor Tomato Ketchup (her favourite) and Dots And Loops. As a teenager though she first played the drums, then guitar and bass. She only learnt the keyboards one month before joining the group. “They gave me 40 songs to learn, it was a baptism of fire”.

After leaving Stereolab, Morgane first moved to New York for nine years; she’d always planned to move to America having spent a lot of time there with her parents and of course those space-pop pioneers. The warmer weather of LA enticed her though and you can hear its pulse in Day-Glo Chaos. The album’s thumping heart is pumped by the city’s night sky and when asked she cites three particular albums as her favourites: the oddball analogue electro of Jacno’s 1979 debut; John Carpenter’s ‘Escape From New York’ and The B-52’s ‘Cosmic Thing’. There’s also a strong nod to the playful computerised harmonies of Yellow Magic Orchestra whilst she’s somewhat partial to the synth prog of Yes and Soft Machine. “I actually created a synth on Ableton Live named after Rick Wakeman’. I should create one after Mike Ratledge next!”

Throughout her work (but especially on this record) you can hear the influence of computer games. “I’m an avid gamer and have been one since I was a teenager and fell in love with my Commodore 64”. Though not a fan of Hotline Miami or the GTA series (“too violent”) she liked Hang On and loved Outrun which she used to play a lot on her Sega Master System. “I just got the soundtrack reissue from Data Disc and it is beautiful” she enthuses.

You’ll see and hear such influences on the lead single from the album ‘Midnite Rogue’ the video to which pays (im)perfect juddering homage to such arcade culture. Car tyres glued to sticky tarmac, French pop music lost in the air. The title was inspired by a Fighting Fantasy book which she adored as a kid. “I love the idea of this entity causing mischief during night time”, she beams. It’s not hard to see why.

Call for Winter II: Resonance is the new album from Daniel Herskedal and the second album, as part of his solo project Call forWinter. A musician and composer who is meticulously crafting a sound of his own blending Tuba, bass trumpet with classical,world and improvised music, Call for Winter II :Resonance is a profound statement, aptly titled, depicting his expansive vision,ambition as much as the influence of the stark, breathtaking expanse of the Norwegian valley and landscape—an ever-presentmuse in Herskedal's work. Following the thematic and sonic footsteps of his first "Call for Winter" album, which expanded upon"The Mistral Noir" from his 2015 album "Slow Eastbound Train," Herskedal dives deeper in "Resonance." Here, he layers hissignature instruments with even greater emotional gravity and artistic conviction, crafting a soundscape that is both expansiveand introspective.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

In 2007, Céu debuted her self-titled album, becoming one of the select Brazilian artistsnominated for an American Grammy in the World Music category and is widely regarded as one of the most in_¼éuential Brazilian artists of her generation. With now six albums to her credit, Céu has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival, Coachella, Roskilde, Rock in Rio and Lollapalooza. She is renownedfor her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil and Emicida. Recorded in the USA, the album features musical production by Céu as well as Brazilian musician and producer Pupillo (drummer of Naçao Zumbi) and American multi- instrumentalist and arranger Adrian Younge (co-founder of Jazz Is Dead). Recorded at Linear Labs Studio in Los Angeles, Novela is Céu"s sixth studio album. It was captured live on tape, in a dynamic moment that demands total presence. A number of artists feature on the record: American MC and songwriter LadyBug Mecca, Franco-Senegalese singer and songwriter anaiis, American singers Loren Oden and Jensine Benitez, American DJ and producer Frankie Reyes, French artist Hervé Salters (General Elektriks) and Brazilian national treasure Marcos Valle. In Novela, ancient technologies, healing, creaminess, bolero, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides emerge. Throughout the record, there is a reaffirmation of the author"sfearlessness, committed to her time, in the complexity and beauty of creative work. Always keeping the diversity of Brazilian music on the horizon.

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

Die Felice Brothers unterschrieben bei Conor Obersts (Bright Eyes) neuem Label Million Stars (via 15 Passenger) und veröffentlichen das neue Werk "Valley Of Abandoned Songs", eine Zusammenstellung mit 13 unveröffentlichten Songs aus den Sessions zu ihren letzten beiden Studioalben "Undress" (2019) und "Asylum On The Hill" (2023), die beide in einer Kirche aus den 1870er Jahren in Quartettbesetzung aufgenommen wurden.

A selection of 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double LP. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. This first volume in the series “Cumbia Cumbia Cumbia!!!” comprises 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. This is complemented by a selection of cumbias recorded by the label Discos Tropical, which sold most of its catalog to Discos Fuentes in 1990. Discos Fuentes concentrated on recording cumbias played on the accordion and by orchestras and ensembles. The label produced a prodigious number of albums devoted to cumbias between 1962 and 1979, which served to define ambiguous stereotypes, rooted as much in authenticity and modernity as in demure sensuality and joyful nostalgia. “Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

This album takes you back to Colombia of the 50s and 60s. In those days, the tropical music of the Caribbean and Pacific coasts took over the country's mainland music scene by storm. One of the key figures during this period was Edmundo Arias. Together with Lucho Bermúdez and Pacho Galán, Arias is seen as one of the ‘big three’ composers of Colombian tropical music.

He was a rather introverted person who avoided being in the spotlight at all cost, leading to his work being less known than his contemporaries. With this album we hope to highlight the amazing legacy Edmundo Arias has left us. Think of big bands with sharp dressed musicians playing the finest cumbias, porros and other tropical sounds in fancy ballrooms on a hot evening in Medellin or Bogota.

Liner notes:

Edmundo Dante Arias Valencia was born in Tuluá, Valle del Cauca, on the 5th of November 1925. He came from a family of musicians. His father, Joaquín Arias Cardoza was a band leader and composer who taught his children to play music. Arias learned to play many instruments such as the guitar, bass, bandola (pear shaped string instrument related to the mandolin), tiple (12 string guitar), clarinet and saxophone. He proved to be a very talented musician and together with his father and his older brother Ricaurte he formed the ‘Trio Arias’. The family lived in different cities across Colombia depending on where they found work. When his father died unexpectedly in 1948, Edmundo and Ricaurte had to support their family working as musicians. In 1951, Arias decided to move to Medellín, in those days the heart of the Colombian music industry and the city where the most important record companies and the best musicians were based. It didn’t take long before Arias made a name for himself as a musician, composer, arranger and band leader for Colombia’s leading labels at the time; Zeida, Ondina, Silver and Sonolux. For the latter, he would eventually become the artistic director. Over the years, he wrote hundreds of songs, recorded many albums with his own orchestras or with the Orquesta Sonolux and collaborated with a countless number of musicians, often uncredited.

Together with Lucho Bermúdez and Pacho Galán, Edmundo Arias is seen as one of the ‘big three’ composers of the tropical music of Colombia. But despite the fact that Arias was renowned, very little is known about his personal life. He was a humble man who preferred to work in the background and avoided being in the spotlight at all cost. He declined interviews and kept away from public life. On some live performances of the orchestra that carried his name, Arias asked one of his musicians to pretend to be him, so that he wouldn’t have to come on stage. You might think that Arias was shy or anti-social, but this was not the case. Most people he worked with described him as a very jovial, good humoured person and enjoyed working with him.

His invisibility in public life belied how present he was behind the scenes. If he wasn’t working on his own productions, he was regularly collaborating with other musicians. Arias had his hand in the work of many of his colleagues and was a mentor for young artists. Some even say that in those days all the musicians in Medellín had worked with Arias in one way or the other. He had a strict working regime: composing, arranging and recording at night while sleeping during the day. He was also very productive. The story goes that on one occasion, he wrote arrangements for a 16 piece band in just a few minutes while the band was recording another song. His hard work and productiveness resulted in hundreds of compositions and many records that carry his name.

Edmundo Arias’ career ran over 6 decades until his death on the 29th of January 1993. Over the years, he left us a huge legacy. The songs on this record are a selection of his work during the 50s and 60s. Many see this period as the absolute highlight of his career. We picked out the songs we consider to be the most outstanding recordings from this period. The title of this compilation Guepa Je! is Colombian slang often used in cumbia to express joy or to celebrate. A free translation would result into something like ‘yeah’, ’let’s go’ or ‘groovy’. I guess this title says enough. Enjoy the music. Guepa Je!

Electric Lady Studios: A Jimi Hendrix Vision is the latest in-depth project from Experience Hendrix, encompassing 5 LP / 1 Blu-Ray of previously unreleased music Jimi Hendrix recorded at his newly created recording facility in 1970. The deluxe box set offers 39 tracks (38 previously unreleased) that were recorded by the new-look Experience (Billy Cox on bass, Mitch Mitchell on drums) at Electric Lady Studios between June and August of 1970, just before the legendary musician’s untimely death the following month.

The project also includes 20 newly created 5.1 surround sound mixes of the entire First Rays Of The New Rising Sun album plus three bonus tracks “Valleys Of Neptune,” “Pali Gap,” and “Lover Man”. The Blu-ray includes the critically acclaimed, full-length documentary Electric Lady Studios: A Jimi Hendrix Vision. The film chronicles the creation of the studio, rising from the rubble of a bankrupt Manhattan nightclub to state-of-the-art recording facility inspired by Hendrix’s desire for a permanent studio. Directed by John McDermott and Produced by Janie Hendrix, George Scott and McDermott, the film features exclusive interviews with Steve Winwood who joined Hendrix on the first night of recording at the new studio, Experience bassist Billy Cox, and original Electric Lady staff members who helped Hendrix realize his dream. The documentary includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel” and “Dolly Dagger” by recording engineer Eddie Kramer. The 5LP’s were pressed on audiophile grade vinyl by Quality Record Pressings and the box set includes an extensive booklet filled with unpublished photos, Hendrix’s handwritten song drafts, and comprehensive liner notes.

ercury Rev take you on a swan dive into the mystic: a rapture of ballad-dreams and emotional memoir at the crossroads of The Dharma Bums, Pet Sounds and Side Three of Electric Ladyland. A profound, transcendant trip from the psychedelic explorers who brought you Deserter's Songs.
David Fricke In upstate New York, deep in the seam between the Catskills mountains and the Hudson Valley, a richly swelling, spellbound sound emerges, eddying and flowing like the local Esopus Creek, or in the slipstream of the grander Hudson river, carrying the flotsam and jetsam of our hopes, dreams, fears. A sound composed of organic and electronic; guitars, keys, brass, strings, woodwind, drums - and a voice of incantations, tapping streams of consciousness that similarly eddy and flow.
Spiritually, literally, psycho-geographically: where else does Mercury Rev’s ninth album Born Horses spring from? This cascade of gleaming, glistening psych-jazz-folk-baroque-ambient quest that searches its soul but can never truly know the answer? A sound and vision linked to their exalted past whilst quite unlike anything they have created before?
The answer is somewhere between the homes of founder members Jonathan Donahue (the hamlet of Mt Tremper) and Grasshopper (the town of Kingston), in their veins and brains of their now-legendary tapping of musical cosmology, and the vital presence of new permanent member Marion Genser (keys), plus long-term ally Jesse Chandler (keys) and guests Jeff Lipstein (drums), Martin Keith (double bass) and Jim Burgess (trumpet). A place that feeds off the levitating mood of their last album, 2019’s expansive tribute Bobbie Gentry's The Delta Sweete Revisited, and the instrumental psych explorations under the names of Harmony Rockets and Mercury Rev’s Clear Light Ensemble, and the spiritual guidance of avant-garde artist Tony Conrad and Beat poet Robert Creeley, to whom Born Horses is
dedicated.

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

• The return of the award-winning 2009 release • Available on CD and limited-edition translucent red LP • On tour throughout 2024 Since 1999, the GRAMMY-nominated southern rock band NEEDTOBREATHE have quietly emerged as a dynamic force in music, from independently releasing their first album in 2001 to finding themselves playing arenas and receiving nominations for multiple Dove Awards, Grammys, and Billboard Music Awards. After releasing two successful albums, Daylight and The Heat, on Atlantic Records, the band their third album, The Outsiders, in 2009. The record quickly put them on the map, peaking at #20 on the Billboard 200 and at #2 on the Hot Christian Albums charts. The first single, “Lay ’Em Down,” reached #4 on the Hot Christian Songs chart, and other tracks crossed over to Triple A (“Something Beautiful” #12) and the Alternative charts (“Hurricane” #29). AllMusic gave the album four stars, claiming it “offers up another collection of sweeping, reverent rock songs [and] flirts with touches of roots rock and traditional gospel, from the title track's powerful Southern stomp to the sheer power of Bear Rinehart's voice." The Outsiders won the Dove Award for Rock/Contemporary Album Of The Year, and “Lay ’Em Down” landed honors as Rock/Contemporary Recorded Song Of The Year.

Two years later, the band would be on tour as the opening act for Taylor Swift’s Speak Now world tour, as well as performing alongside acts including Tim McGraw and Train. Since the release of this landmark album, NEEDTOBREATHE have reached arena-sized proportions, headlining iconic venues such as Bridgestone Arena in Nashville, TN, and four sold out shows at Red Rocks Amphitheaters in Morrison, CO. The band most recently performed at the 2024 CMA Awards in Austin, TX, with Jordan Davis, whom they also recorded an episode of CMT Crossroads with. Now, over fifteen years since The Outsiders was released and brought the band to greater heights, NEEDTOBREATHE are re-pressing the long sold-out record for the first time ever on translucent red vinyl.

Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.

Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.

On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.

This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.

Remastered with refreshed artwork.

Erste Vinyl-Neuauflage dieses fantastischen Albums von 1981 von Marcos Valle, eines der bedeutensten Künstler der brasilianischen Musik. In Brasilien aufgenommen, nachdem er Ende der 70er Jahre in den USA gelebt hat, brachte Valle sein angeborenes Talent für Arrangements und seine vielfältigen Einflüsse auf diesem unwiderstehlichen Album zusammen. Gäste sind u.a. Sivuca, Chicago's Peter Cetera, Robson Jorge und Joses Azymuth Roberto Bertrami. Valle ist einer der wenigen Künstler, die man sich nicht entgehen lassen sollte, wenn man auch nur das geringste Interesse an brasilianischer Musik hat. Ob Sie nun Bossa Jazz, Samba, Psych Folk oder Soul mögen, Valle hat mit Sicherheit ein großartiges Album für Sie aufgenommen. Ende der 60er Jahre hatte er bereits genug qualitativ hochwertige Platten veröffentlicht, um sich einen Platz unter den besten brasilianischen Songwritern aller Zeiten zu sichern, aber seine Karriere war glücklicherweise noch nicht zu Ende, und er veröffentlichte in den folgenden Jahrzehnten weiterhin erstaunliche Musik. Mitte der 70er Jahre ließ er sich in Los Angeles nieder, weil er es leid war, unter der brasilianischen Militärdiktatur zu leben, und begann, mit so talentierten Künstlern wie Leon Ware oder Chicago zusammenzuarbeiten. ,Vontade de rever você" (1981) ist sein erstes Album nach der Rückkehr nach Brasilien und zeigt all die musikalischen Einflüsse, die er während seiner Zeit in den USA erhalten hat, insbesondere Boogie, Soul und Funk, mit hervorragenden Mitwirkenden: Sivuca, Peter Cetera aus Chicago, Robson Jorge und sogar José Roberto Bertrami von Azymuth am Rhodes. Das Eröffnungsstück ,A Paraíba nao é Chicago" ist Marcos Valles eigene Interpretation von Leon Ware's ,Baby Don't Stop Me" und macht deutlich, dass das, was er in LA erreicht hat, nun auch in Brasilien ankommt. Dies ist ein unverzichtbares Album für Boogie-Liebhaber. Hören Sie sich den unwiderstehlichen Groove von ecados de amor, (Valles eigene Komposition, die allerdings zuvor von Cristina Camargo aufgenommen wurde) oder elhos surfistas querendo voar" an, und Sie werden schnell feststellen, dass dieses Album zu den solidesten Leistungen in seiner gesamten Diskografie gehört. Selbst wenn das Tempo im Midtempo gehalten wird, wie beim abschließenden Stück ao pode ser qualquer mulher", schaffen es Valles Songs, die Tanzfläche mit seiner sehr gut gelungenen Mischung aus brasilianischen Klängen und funkigen Rhythmen zu erschüttern.

COEO back on Toy Tonics! The German duo has been part of Toy Tonics since day one. Now they celebrate their return to Toy Tonics with an outstanding EP full of timeless, contemporary house music that also marks their 10th contribution to the label after their first release on the imprint 10 years ago. Their house vibes have been defining the sound of the Toy Tonics label for many years and still now they regularly play the Toy Tonics events around the world. (The Toy Tonics Jams).

On this new EP one more time the boys dive deep into the Italo & Piano House world- getting more electronic than ever. This EP is 100% in the vibe of now. With great piano chord drops that make everybody scream on the dance floor, with horn and synth melodies that you can sing along after you heard them one time only and with classic house beats that are THE sound of today.

The main title “Nostalgia” is inspired by and a tribute to all the intimate and ecstatic moments they were able to share over the years with music lovers on festivals and in clubs around the world. While the piano house theme on the A1 brings you in that festive mood of your last summer festival you have been to with your closest friends, the second track of the EP „Breeze“ takes it on a higher energetic level and combines a funky bass guitar with progressive house elements. Remember that special moment when you were attending your first full moon party in that far away country after you have finished school? That gentle wind blowing through the trees? „Breeze“ could be the soundtrack of that adventure.

On the B side Italo house influenced „Meet me at the cascades“ captivates through an hypnotic approach and unfolds dreamy synth pads and arpeggios to take you on a imaginary journey to your favourite retreat, a place you feel safe.

The EP features 3 original tracks and also a remix by COEO friends Stump Valley. The former Dekmantel artists who now joined Toy Tonics. Stump Valley btw are Francesco and Aleksei. Aleksei also works under the name of Brian de Palma and will release a solo album soon on Peggy Gou’s label Gudu. Stump Valley‘s remix of „Nostalgia“ rounds up the EP with its stand out piano solo and marks the perfect end to an EP that is meant to stay in your head just like all those intense memories which life in general evokes.

UNSURPASSED SPACIOUSNESS, IMAGING, AND TRANSPARENCY: MASTERED FROM THE ORIGINAL TAPES, MUSIC EMERGES WITH NEW DETAILS AND TONES
1/2" / 30 IPS analogue master - Plangent Processed - to DXD to analogue console to lathe

Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman – his first appearance in what would be a long string of collaborations with Mark Knopfler – ensures stunning sonic properties that now come to life like never before.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments – marimbas, acoustic and electric guitars, vibes, synthesizers – further enhance the ambitiousness of the 1982 album.

On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.

It doesn't take long to realize Love Over Gold is like no other Dire Straits album – and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening "Telegraph Road" is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.

Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions colour the sweeping "Telegraph Road" and barren "Private Investigations," which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed "wracking schizophrenia between the heart and the heartless, the loving and the pain."

Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labelling and avoids ageing.

Oasis’ debut album ‘Definitely Maybe’ celebrates its 30th anniversary this August. The fastest-ever selling debut in the UK on release, this seminal album marked the point when Oasis became a cultural phenomenon. Including the classic singles ‘Supersonic’, ‘Live Forever’ and ‘Cigarettes And Alcohol’, its songs sound as fresh and relevant as they did in 1994. Having sold over 6.9 million copies globally, it also sits as the 2nd most streamed album of the 90’s (following Oasis’ (What’s The Story) Morning Glory? at no.1). New 30th anniversary formats released to celebrate this landmark date include a Limited Edition deluxe 4LP and 2CD featuring including the previously unreleased and discarded original recording session from Monnow Valley along with outtakes from Sawmills Studios plus a demo of Sad Song featuring Liam’s vocal - all recently mixed for this release by Noel Gallagher and Callum Marinho. LP formats also include a retail exclusive coloured vinyl format – Digsy’s Dinner inspired “Strawberries and cream” pink and white marble 2LP. All versions feature brand new artwork by the original art designer Brian Cannon for Microdot and original sleeve photographer Michael Spencer Jones, plus new sleeve notes.

The clans of Activision, FromSoftware, and Laced Records have come together to release the majestic music of Sekiro: Shadows Die Twice on deluxe quadruple vinyl.

Set in a fictionalised 16th Century Japan, players take on the role of the shinobi Wolf in trying to protect the young Divine Heir Kuro from the remnants of the Ashina clan. Progression requires a mastery of stealth combat and extreme precision while battling some of From’s most iconic boss encounters to date. No one forgets the first time they bested Genichiro atop Ashina Castle...

The vinyl sets feature 50 tracks by lead composer Yuka Kitamura (Bloodborne, Dark Souls III) and co-composer Noriyuki "α" Asakura (Tenchu series.) The dramatic score features traditional Japanese instruments, orchestral and choral elements, and outlandish, mysterious sounds that transport listeners to a war-ravaged Japan during an alternative history Sengoku period.

Human Worth are proud to present the killer second album ‘Celestial Devastation’ from UK supergroup COWER, featuring members of The Ghost of a Thousand, Petbrick, USA Nails, Yards, The Eurosuite and JAAW, with a portion of proceeds donated to charity. Featuring the musical might of Tom Lacey (Yards, The Ghost of a Thousand), Wayne Adams (Petbrick, JAAW, Big Lad) and Gareth Thomas (USA Nails, The Eurosuite) Cower is a collaborative project of 3 friends celebrating a lifetime of music exploration together. Each bringing their own distinct flavour to this new record, which pushes the boundaries even more than their acclaimed debut ‘BOYS’, exploring further into the realms on gothic darkness, but still with a real kick, highlighting the trio’s noise roots.

Recorded, mixed and mastered at Bear Bites Horse Studio by Wayne Adams, ‘Celestial Devastation’ explores the idea of technology becoming the guiding light in our lives, for better or worse. In the words of the band’s lyricist Tom Lacey “We give up a lot of decision making to the algorithm more and more, so these songs are an attempt to make sense of that. I think that kind of power speaks to certain type of men, they seem to want to try and harness it, make others see it’s value, so this record speaks a lot to tech bros and the weird cult of silicon valley.” Human Worth have pressed up a limited run of ‘Celestial Eco Mix’ vinyl, housed in a gorgeous package designed by Thomas Lacey using MidSommar AI – linking perfectly with the album’s themes. Featuring a super high gloss cover, with additional photographic inserts illustrated by Daniel Holloway. 10% of all proceeds will be donated to Hackney Foodbank, supporting people in crisis or trapped in poverty with compassion and dignity.

LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Red marble LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Søren Skov Orbit's debut album, "Adrift," is at once subtle and profound. The saxophonist and his collaborators have created something quite special and consistently deep. This record may not easily be classifiable, but the most interesting music creeps between the lines

Danish tenor and soprano saxophonist Søren Skov (Debre Damo Dining Orchestra) and keyboardist Peder Vind co-founded the trippy quintet Søren Skov Orbit in 2016 to explore “more jazzy ideas,” as the saxophonist puts it. Joined by a rhythm section steeped in contemporary improvisation and psychedelia, bassist Casper Nyvang Rask, drummer Rune Lohse and percussionist Ayi Solomon of the legendary 80's Ghanaian roots/highlife band Classique Vibes, the Orbit belts out a richly focused helping of broadly African-inspired modern jazz with a hazy sheen.

On the opening “Notifications of Nothingness,” Skov digs in his heels, a steely but languid unspooling of burnished tenor lines atop condensed, quavering piano and the thick footfalls of bass and percussion. As a tenor player, Skov has done his homework and has a kinship with Albert Ayler, Archie Shepp, J.R. Monterose, and the Dutchman Hans Dulfer, but he clearly has got his own robust phraseology and expressiveness. He also cites multi-reedists John Gilmore, Yusef Lateef, and Bilal Abdurahman as, “some of the players I’ve been listening to the most for the last 10-15 years.”

A healthy dose of reverb is present throughout the album, echoing Alton Abraham’s studio wizardry with the Sun Ra Arkestra or the trance-inducing and compressed fidelity of certain Ethio-jazz and Mystic Revelations of Rastafari sessions. Skov notes that, “everything is recorded live at the same time in the same room. I wanted to do it that way in order to catch the dynamics and authenticity of the music.” There is, in fact, a complex teeter- totter between crisp and hazy execution, achieved by a delicately balanced mix that keeps the group’s sound simultaneously advancing and receding. Vind’s phrasing is terse and introspective, a vibrating echo that nudges and reflects on Skov’s brusque tenor in a dance of sonic displacement.

“Orbiting” pits a chunky backbeat and the teetering, taut hand-rhythms of Solomon against an infectious, almost microtonal piano riff, while Skov’s arpeggios are clean and florid as he patiently rises up from under a carpet of funky loops. Following the freer “Reflections of Rif,” “Naration” lilts with a wink at “Footprints” and tugs between up-tempo polyrhythmic drive, clanging keyboard accents, and the innately steadfast keenness of the bandleader. The coupling of Solomon and Lohse is a big part of the group’s detailed energy; as the leader puts it, “Ayi knows everything about regional differences in drum patterns. He is always listening and super responsive, and his and Rune’s dynamics are amazing.” The music both presents a “vibe” and keeps the door open for engaging well under the surface as repeated listens will be extremely rewarding.

Bubblegum XX features features members of Queens of the Stone Age, PJ Harvey, Greg Dulli, Izzy and Duff from Guns & Roses/Velvet Revolver, among other assorted rock luminaries. When Bubblegum was released, Mark chose to let it speak for itself and didn"t have much to say aside from within the small handful of interviews he did at the time. In 2017, he released a book of lyrics and writings called I Am The Wolf and wrote about the album then. Shared here are some of his words about the record. Song favorites include "When Your Number Isn"t Up," and "Strange Religion," a love song I wrote in a Tokyo hotel room. While many of the songs came from a place of dejection and ennui at the end of a tempestuous relationship, "Bombed" in particular came about when, after I had written and recorded it in just a few minutes, I put a microphone in front of Wendy Rae Fowler, my soon-to-be-ex-wife, and had her sing along while simultaneously hearing it for the first time. I loved the result as it reminded me of Royal Trux, a band I liked. When I insisted on using the first and only take of the song, it made her slightly unhappy, but to be fair, that was just one of many things I did that had that effect.

It's difficult to ''label'' the songs of this authoritative and necessary official reissue (after the shameful fake of 10 years ago). ''Zombi'' and ''In the Land of the Zombi'' are two electro disco-funks from 1979, therefore from three years before was born the ''Italo-Disco'' style, certainly more powerful, aggressive and more electronic than the ''Made in Italy'' disco style of the 2nd half of the 70s (Fratelli La Bionda, Pino Presti, Claudio Simonetti, Celso Valli and others.). The creation of the original 7" by Salvatore Ida, great musician and bandleader - to whom this excellent reissue is dedicated - was a sort of game for the authors of the two pieces: Federico Ida and Massimo Ida, were protagonists 4 years before of the Italian progressive rock scene with the sister Silvana Ida, Marcello Surace and Franco Vinci thanks to the immeasurable and acclaimed album ''Apoteosi''. So The Zombies were destined to pair with another easy '79 joke by the Ida brothers: ''Let's Go'' and ''Mustang'' by Sandwich, also reissued on 12inch by Best Record Italy. The Zombies comes out with the original artwork of the time, but in a full embossed picture sleeve and released in the classic black vinyl and on red vinyl with black shades (limited edition with red copies numbered manually (1/250: 2/250 and so on...) What else to add except that: the two long versions of ''Zombi'' and ''In the Land of the Zombi'' were re-edited by Massimo Berardi, always diligent and active, as well as tidy and aware of where he was putting his hands, are fundamental in order to complete this 12" fully remastered by Dom Scuteri.

2024 Repress

Performed by Nicolas Horvath.


Discover all the beauty of the music from Hayao Miyazaki and Isao Takahata's Studio Ghibli films in this new original production for solo piano!

Based on the official piano scores of the original composer of the Studio Ghibli films, Joe Hisaishi, this album is an initiatory and virtuoso journey into the worlds of Miyazaki and Takahata, performed by pianist Nicolas Horvath, Steinway and Sons Artist, famous for being a first-class interpreter of composers such as Philip Glass, Franz Liszt, Claude Debussy and Eric Satie.

The album contains tracks from all Studio Ghibli films composed by Joe Hisaishi, a complete horizon of the immortal work of the cult animation studio.

The vinyl edition includes 24 tracks on two discs inserted in a sumptuous gatefold sleeve.

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

Debut standalone VHF album by the Elkhorn duo of Drew Gardner and Jesse Sheppard, a tight set of six studio recordings in a variety of moods and featuring a lot of new sound textures. Elkhorn’s prolific stream of releases since 2016 has highlighted their mastery of sprawling long-form, acoustic-driven hypno-jams, with an emphasis on live performance (including on their collaboration with Pelt’s Mike Gangloff on the Shackamaxon Concert album). The Red Valley is a more layered and composed-sounding set, with the duo overdubbing extensively on top of their own dual guitars. Leading off the LP, “Crystal Hummingbird” features one of their signature minor-modal vamps, with layers of fuzz bass, zither, and frame drum providing weight and psychedelic density. “Gray Salt Trail” continues the vibe, with thick fuzz vibraphone supplementing the cinematic palate, leading into the spare side-closer “Black Wind Of Kayenta,” where Sheppard plays electric 12-string and Gardner solos on acoustic guitar. Side two starts with “Road to Chaco Canyon,” a brooding duet that builds momentum with Gardner’s insistent frame drum cadence, dropping down into the quiet string pool of “Inside Spider Rock” (featuring Fern Knight’s Jesse Sparhawk on gloriously swirling lever harp) and the graceful finale “Jackrabbit Hops.”

Das Album "Songwriter" entstand im Jahr 1993 als Cash ein Album mit selbst geschriebenen Songs aufnahm. Jedoch vergaß er dieses Album prompt wieder, als er bei American Recordings unterschrieb und sich daraufhin nochmal einer komplett neuen Generation von Fans als einer der besten Songwriter der Welt präsentierte. Diese (fast) vergessenen 11 Songs des Songwriters wurden nun von seinem Sohn John Carter und dem langjährigen Produzenten von Cash, David Ferguson, überarbeitet.

Das Album "Songwriter" entstand im Jahr 1993 als Cash ein Album mit selbst geschriebenen Songs aufnahm. Jedoch vergaß er dieses Album prompt wieder, als er bei American Recordings unterschrieb und sich daraufhin nochmal einer komplett neuen Generation von Fans als einer der besten Songwriter der Welt präsentierte. Diese (fast) vergessenen 11 Songs des Songwriters wurden nun von seinem Sohn John Carter und dem langjährigen Produzenten von Cash, David Ferguson, überarbeitet.

Marking sixty years of Bossa Nova, and twenty years since Marcos Valle’s first release for Far Out Recordings, what better time to bring back this era-defining classic from the Brazilian master composer?

Throughout his astounding six-decade career, infiltrating pop, bossa nova, samba, delicate psychedelia, jazz and funk, Marcos Valle has consistently shown a dogged determination to transcend the traditions and structures of bossa nova, whilst never veering away from the movement’s inherent, fundamental spirit. To some extent, his epithet ‘the original Rio beach boy’ is a handy one: it reflects the origin and character of his often sun-soaked sound, but expounding his importance in the lineage of Brazilian music, he is more discerningly known as ‘the renaissance man of Brazilian pop’. He is indeed one the very greatest and most important composers, arrangers, writers and performers in Brazil.

Up until Nova Bossa Nova, Marcos Valle hadn’t released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialisation and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out boss Joe Davis and they recorded a track for Far Out’s first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996.

Nova Bossa Nova brought Marcos bouncing back into the 90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene’s growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analogue tape recording: a Marcos Valle album tailor-made for London’s clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in ‘96. The record wasn’t released until ’98, as the original ½ inch tapes were stolen from Far Out’s London studio, meaning parts of the album had to be re-recorded.

Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds.

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024