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Larkin Poe"s new album "Bloom" sees the dynamic sister duo venturing further along on their evolving musical journey with a collection of songs that resonate with introspection, authenticity, and a profound connection to their roots in American music. Produced and largely co-written by Megan, Rebecca, and Tyler Bryant, the album marks a significant evolution for Larkin Poe, reflecting a synergy that extends beyond mere musical partnership. Already hailed for the sincerity of their songcraft, the Lovell sisters now place an even greater spotlight on their gift for storytelling, delving deep into personal narratives with universal themes of self-acceptance and individuality against a backdrop of contemporary blues and rock influences. With their distinctive blend of masterful instrumentation and soulful harmonies, each track unfolds like a chapter, with lyrics that wind deeper and deeper towards the heart of Larkin Poe.

2025 Repress

Returning to TRIP after last year's fantastic 'cheerful pessimist' EP, Vladimir Dubyshkin presents 'budni nashego kolhoza', an abstract portrait of the 'everyday life of a collective farm.' On these driving, iridescent tracks Dubyshkin is as self-assured as he is unhinged. He advances with a controlled intensity - taunting vocal cuts loop and spiral over pulsating, muscular rhythms that seem moments away from derailing. It's a gripping descent into delirium, dragged ankle-first by Dubyshkin.

This collection features sixteen of the most renowned salsa and Latin soul singles released on Fania Records, and its subsidiaries, between 1964-1978, making it the perfect introduction to the legendary catalog. It celebrates the trailblazing label’s 60th anniversary, and iconic artists Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Celia Cruz and more. Archival images and new liner notes, in English and Spanish, by New York-based music historian Aurora Flores are also included.

Following the huge acclaim of Matt Berry’s 2021 album The Blue Elephant (“A sonic odyssey” – Uncut) – as well as last year’s one-off album of library music collaboration with the KPM label (“another string to Berry’s impressive bow” – Prog magazine) – we present Heard Noises, Matt’s eighth studio album with Acid Jazz, out 24 January.

We’re hugely excited to offer a beautiful label-exclusive gatefold edition on Psychedelic Swirl colour vinyl, alongside the standard version Sky Blue LP, as well as corresponding soft-pack CD and retro Cassette.

Out now, lead single ‘I Gotta Limit’ finds Matt trading lines with Kitty Liv (Kitty, Daisy and Lewis) as a man after a second chance with a woman impatient with his pleading. With a song structure inspired by Sly Stone, in a little over three minutes ‘I Gotta Limit’ crams in a plethora of musical ideas on an instantly catchy song which is part Northern Soul, part psych.

In contrast to The Blue Elephant’s dizzying trip through an idiosyncratic love of British Psych, Freakbeat, Acid Rock and late ‘60s pop, Heard Noises finds Matt heading for a looser, Californian psychedelia through his love of the trippier sounds of space pop and rock, and his ear for an eerie, haunting melody.

Once again, the album is testament to Matt’s exceptional musicianship, production skills and songwriting prowess. Almost every instrument is played by Matt including guitars, bass, a variety of keyboards (acoustic and Wurlitzer pianos), synthesizers and organs (including Moogs, Vox, Farfisa, Gibson, Eminent organs) and Mellotron.

He is joined by long-time collaborator, neo-progressive drummer Craig Blundell, and guests including Pokerface’s Natasha Lyonne and back with Matt is The Shins/Fruit Bats’ Eric D. Johnson (acoustic guitar, autoharp and backing vocals on ‘Why On Fire?’, ‘To Live For What Once Was’ and ‘Snakes That Slide’), Phil Scraggs (lap steel guitar on ‘To Live For What Once Was’ and ‘Snakes That Slide’), Rosie McDermott (vocals on ‘Sky High’) and the S. Club 60s Choir (featuring Matt’s mum).

In many ways Heard Noises could be considered the perfect distillation of the extraordinary breadth of musical ideas across Matt’s albums to date.

"When it travels, the voice is a double agent, a trickster, or a dubious guru, but when it pauses for a recording, it's historical, capturing a mood or an emotion for all time. I didn't expect that I would hardly recognize the people who made Salt — myself and Hessel Veldman — a year and a half after recording it, but this is where I find myself now, so I'll say a few words about this temporary prosopagnosia.

Twelve years ago, when I moved to the Netherlands from Japan, I made a piece called How to Lose Your Voice. It was a YouTube hit because people wanted to learn how to actually lose their voices, though I doubt they found what they were looking for in the video. But I mention it because it's like a diary for me: my voice simply isn't the same now as it was then.

I wonder where my voice has gone.

I just listened to a radio interview with a woman who had her larynx removed.

About fifteen minutes after listening to her new voice, altered by the use of a voice prosthesis to make her audible, the interviewer played a recording of her pre-surgery voice. Of course, I was curious to hear it, and although it was immediately obvious that the gentle ease of her first voice was gone, this new voice, with its raw, gravelly sound, was even more intriguing because of its determined power to express that which needed to be expressed.

When Hessel and I first listened to the Salt in its entirety, I said in astonishment, "who wrote this?"
Marianna Maruyama, sure, but this artist goes by more than one name. Many voices spoke through me in this album. You might even recognize one of them as yours."

The Diary Of Alicia Keys', released in 2003, was her multi-award winning, multi-million selling, second album. According to The Times, it is the album 'that secures her place in musical history' and is home to the billion streaming 'If I Ain't Got You', as well as the mega-hit 'You Don't Know My Name' and 'Karma'. A x15 trk, double, Black LP Vinyl. Promo & marketing activity across both releases..

Canadian DJ and producer Marie Davidson releases her latest single “Contrarian,” made in collaboration with Pierre Guerineau and Soulwax via their DEEWEE label. An all-out onslaught of raw circuitry and electronics, “Contrarian” might just be one of Davidson’s finest club cuts to date.

Earlier in the year, Davidson debuted on the legendary DEEWEE imprint with her single Y.A.A.M. (Your Asses Are Mine), reuniting the Belgium powerhouse Soulwax, who previously reworked Davidson’s acclaimed “Work It” anthem

her wittiest and most biting" - DJ Magazine
“raving under surveillance capitalism” - Pitchfork (8.1)
"funny and wonderfully weird." - Bandcamp (Album of the day)
"reaches new heights" - CLASH 8/10
“packed with party-ready bangers” - The Quietus (Album of the week)
“takes on the big room to take down big tech.” - Resident Advisor (RA Recommends)
“a rallying call for a more humane digital future.” - The Skinny ****

Marie Davidson’s album City Of Clowns, effortlessly weaves through crunching techno straight out of 90s Detroit, fired-up circuitboard breakbeats, and skewed club cuts - a body of work which continues the use of her music as a tool to navigate her place in the world, as an artist, as a woman, and as an entertainer. As high concept as it is open-hearted, she pushes the boundaries of electronic music to digest the most urgent questions of our time – and the result is disarmingly human.

“Contrarian" is an all-out onslaught of raw circuitry and electronics and might just be one of Davidson’s finest club cuts to date.

Limited to 500 copies

On the Mixbone EP, two tracks from Eric Copeland’s 2017 record Goofballs get reworked by five of leftfield electronic music’s heaviest hitters. The Goofballs LP finds the Black Dice founding member conducting hectic, dancefloor-oriented experiments; The Vinyl Factory called it a “mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle.” Mixbone capitalizes on this direction with remixes that recontextualize and reshape the propulsive energy of the original songs into wholly different forms.

New York techno powerhouse and Allergy Season boss Physical Therapy contributes two aptly named takes on “Mixer Shredder” – the “Tegel Mix” churns with industrial EBM low-end, and the breakbeat and wubby bassline make the “Gatwick Mix” unmistakably English. NHK yx Koyxen remixes Eric for the second time, with a jittery and woozy electro interpretation of “Neckbone.” Cooper Saver, best known for his Far Away parties in Los Angeles, turns in one of the most unexpected remixes, keeping it 4/4 and creating what sounds like Shep Pettibone making acid house.

Coming off of her 2017 EP on Technicolour/Ninja Tune, Machine Woman decided to remix both tracks. With “Neckbone,” she adds a barely-discernible robotic narrative vocal, allegedly about Ryan Gosling. “Mixer Shredder,” on the other hand, travels from hissy lo-fi techno into something quite tranquil and beautiful. And with previous releases on 1080p, Freakout Cult, and Wania, Vancouver’s LNS channels the melodic electro tones of classic Bleep-era Warp, like a lost track from LFO or Drexciya.

“Danceable” might not be the first word one thinks of when describing Eric Copeland’s solo releases. But in a manner not dissimilar to the way Black Dice shaped the parameters of experimental music, the remixes here expand the limits of what the club can and should look like.

An accomplished musician and songwriter, Ray Charles was considered the creator of the soul music genre, a unique R&B forerunner to rock ‘n roll and other musical offspring. During a career that spanned some 58 years, Charles performed a total of more than 10,000 concerts, and starred on over 100 albums, many of them top sellers in a variety of musical genres. On this compilation you will find twenty four of his greatest hits. With “Georgia On My Mind”, “Hit The Road Jack”, “I’ve Got A Woman”, “I Can’t Stop Loving You”, “I’ve Got News For You” and many more.

Though 潘PAN is an entirely new artist - new outlook, new message, new material and name - you may have met the woman herself before. Back in the mid-‘10s, the Taipei-born rapper went by the moniker Aristophanes. After performing a career-changing feature on ‘SCREAM’, taken from Grimes’ celebrated NME Album of 2015 ‘Art Angels’, Aristophanes went on to build a cult fanbase, releasing her debut mixtape ‘Humans Become Machines’ two years later and then her distributor went bust during covid. Signed to Transgressive she re-released her mixtape followed by Reborn and Ghosts EPs earlier this year.

Across a constantly morphing sound palette that moves from metallic, apocalyptic beats to delicate nods to the traditional music of her Asian heritage, via heavy, industrial moments, spacious soundscapes and much more, the thread is Pan’s utterly mesmeric vocal. Performing in a mix of Mandarin and English, she explains that having the two languages to play with is “like featuring another artist who has a different way of describing things”.

Across the releases, confident sexual expression mixes with tenderness, empathy and a particularly feminine sort of strength to create a world that Pan hopes will transcend language and connect her audience via something more innate. “The music is a place to feel safe,” she says. “The message that I want to carry through these two EPs and the album is to demonstrate the strength of accepting your own situations. When you can’t make things right but you’ve done your best, sometimes it’s really hard to admit that to yourself. It takes strength to do that. I use lots of sexual metaphors, but I feel like it’s more about the female need to be seen and heard. I want to build something more delicate and layered and connected to our life experience - to the trauma and the pleasure and the growth.”

In the time since she last stepped into the spotlight, the musician has experienced her fair share of all these things. Now, it’s as an entirely evolved artist that she returns with a new collection of music that revels in it all: the trauma, the pleasure, the growth and the long-awaited rebirth of 潘PAN

Limited edition 180g audiophile pressing
This outstanding LP contains all of Ray Charles' top-10 Billboard hits between
1953 and 1959 for Atlantic Records, a seminal period in the legendary career of
one of the most influential musicians of the 20th Century.

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

Kacy Hill, US-Singer/Songwriterin, Produzentin und ehemaliges American Apparel-Model mit sechsstelligen Followerzahlen bei Instagram und Spotify, veröffentlicht ihr viertes Album BUG auf Nettwerk. Es folgt auf das 2017er Debüt "Like A Woman" auf Kanye Wests GOOD Music sowie zwei Alben im Eigenvertrieb. Das 10-Track-Album auf ockerfarbigem Vinyl enthält die Singles "No One", "Listen To You" und "You Know I Love You Still" sowie Kollaborationen mit Nourished By Time und Donna Missal.

Eine Zusammenstellung sorgfältig ausgewählter Tracks, von Alternativ-Versionen zu den in den 1970er Jahren veröffentlichten Originalversionen, sowie einige unveröffentlichte Stücke, die den Geist der klassische T.Rex-Besetzung zur Schau stellen. Mit Anmerkungen des Schlagzeugers Bill Legend. Limitierte Pressung auf farbigem Vinyl, in Orange und Blau. Verpackt in einem farbigen Gatefold-Sleeve mit bedruckten Innentaschen.

Diese neue (!) Compilation vereint klassische Radiosessions der TVPs, den Meistern des DIY-Post-Punk und Indie-Pop. Die Doppel-LP enthält zwei BBC-Sessions aus den 80er Jahren, die bei John Peel und Andy Kershaw aufgenommen und ausgestrahlt wurden, sowie ein sehr rares WMBR-Set von 1992 mit Coversongs von Buzzcocks, Raincoats und Daniel Johnston sowie bisher unveröffentlichten Songs (und als digitaler Bonus die WFMU-Session von 1993). "Catchy hooks and schoolboy wit are in abundant supply." Pitchfork Die großartigen DIY-Fähigkeiten der Television Personalities und ihr liebenswertes, klappriges Auftreten haben sie auf so manchen subversiven Trip geführt, sowohl auf Platte als auch bei Live-Auftritten. Aber es war das Radio, das sie zum ersten Mal der Welt vorstellte, in einem Wirbelsturm wiederholter Airplays. John Peel ließ Außenstehende überall in TVPs alternative Welt eintauchen. Und auf dem Höhepunkt des Punk parodierten sie bereits die neue Revolution, ihre Single ,Part Time Punks" wurde zu einem Peel-Hit, und die Nachfrage nach weiteren Songs führte schließlich zu einer Session im Jahr 1980. In den 80er Jahren war Daniel Treacy so zu einem begnadeten Geschichtenerzähler gereift, der die moderne Welt aus seinen eigenen, verschwommenen Blickwinkel beschrieb. Seine Songs waren liebenswert, sofort identifizierbar und witzig, klare, scharfe Beobachtungen von oft magischer Tiefe. Treacy wurde zu einer Inspiration und unverzichtbaren Alternative des üblichen (auf der Insel nicht soo schlechten) Radioprogrammes, eines Mediums, das die TVPs zum Ende der 80er Jahre so gut wie aufgegeben hatte. "Tune In, Turn On, Drop Out" fängt den Weg dieses Pilgers ins Pop-Nirvana ein, ein psychedelisches Wunderland, das von dunklen und grüblerischen Momenten gezeichnet ist. Gehört wie durch ein knisterndes, Vintage-Transistorradio, welches vielleicht sogar unter dem Kopfkissen versteckt ist, so dass diese Skizzierungen der Gesellschaft ganz nah und intim Daniel Treacy's Psyche zeigen. Limitierte Doppel-LP, klassisch schwarzes Vinyl, Linernotes, gratis DLC mit Bonustracks!

"Saltburn is the 2023 black comedy psychological thriller film written, directed, and co-produced by Emerald Fennell. The film stars a student (Barry Keoghan) at Oxford University, who finds himself drawn into the world of a charming and aristocratic classmate (Jacob Elordi), who invites him to his eccentric family’s sprawling estate for a summer never to be forgotten.

The film became one of the most-streamed films upon its streaming release on Amazon Prime Video in December 2023. It received critical acclaim and several accolades, including nominations for two Golden Globe Awards and five BAFTA Awards.
The music was created by Anthony Willis, who previously scored Fennell’s Promising Young Woman among others. Saltburn is available on black vinyl and includes an insert. "

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

This record _produced by Bomp's Greg Shaw_ is the result of pure teenage exuberance!! Garage punk at its best that transports you back to either 1984 or 1966! Produced by Greg Shaw, "All Black and Hairy" was originally released in 1984 on his label Bomp!, resulting the only LP ever recorded by the band in their short career. Unavailable for over a decade now we are thrilled to reissue this essential `80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Includes a booklet with notes by band member John Hanrattie and rare photos.

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

2024 Repress

Loftsoul Re-works, a new running series for the renewed Loftsoul Recordings, is focused into genre-straddling playing style from Soul and Jazz to Dance Classics. It's a deliciously deep groove with trademark for some soulful dance floor action.

This record _produced by Bomp's Greg Shaw_ is the result of pure teenage exuberance!! Garage punk at its best that transports you back to either 1984 or 1966! Produced by Greg Shaw, "All Black and Hairy" was originally released in 1984 on his label Bomp!, resulting the only LP ever recorded by the band in their short career. Unavailable for over a decade now we are thrilled to reissue this essential `80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Includes a booklet with notes by band member John Hanrattie and rare photos.

In April 2023, scores of artists spanning genres & generations came together with Willie Nelson to celebrate the legend's 90th birthday for a once-in-a-lifetime event at the Hollywood Bowl in Los Angeles. This double LP on black vinyl, is the second volume of highlights from these two legendary shows. Artists performing songs from every era of his unparalleled seven-decade career include Willie plus The Avett Brothers, Edie Brickell, Rosanne Cash, Sheryl Crow, Rodney Crowell, Emmylou Harris, Warren Haynes, Daniel Lanois, Lyle Lovett, Jack Johnson, Jamey Johnson, Booker T. Jones, Kris Kristofferson, Lukas Nelson, Particle Kid, Orville Peck, Margo Price, Nathanial Rateliff, Keith Richards, Snoop Dogg, George Strait & Dwight Yoakam.

Soul4Real returns to the south with a selection of eleven songs from Malaco, Muscle Shoals Sound Studios and Alarm Records.
There is no doubt that in the 1970s and 1980s, Malaco in Mississippi and Muscle Shoals Sound in Alabama were both highly significant in defining the southern soul sound. Malaco’s Studio had opened in 1967, while Muscle Shoals Sound Studio opened its doors for business in 1969, when four musicians left nearby Fame Studios to go it alone. Alarm Records, meanwhile, based in Shreveport, Louisiana, provides us with four of the tracks on this album.
Independent producers and major record companies sent their artists south to record, taking advantage of both Malaco and Muscle Shoals Sound’s talented array of musicians, writers and producers. Muscle Shoals Sound, in particular, started to receive artists from Atlantic Records from the get-go; R.B. Greaves, Baby Washington, Sam & Dave and Solomon Burke led the way, along with Scotland’s Lulu. The first relesase on their own record label was the timeless “It Hurts So Good” by Katie Love. Meanwhile, Stax (amongst others) sent some of their artists to record at both studios, and Malaco would also lease some of its own productions out to Atlantic. Alarm Records was a smaller set-up which also produced some wonderful records.
This album opens with the only female singer featured – Dorothy Moore. Her exquisite “Girl Overboard” has been justifiably popular on the soul scene for decades. The other ten tracks showcase an array of fine male singers, most of whom (Bobby Bland and King Floyd aside), sadly and perhaps unjustly, never really made the big time. It is the first showing on vinyl for three of the tracks here (previously having only been issued on CD), and Jimmy Jules’ reading of “Having A Little Talk With Love” has never appeared anywhere before. As always, sit back and savour the music!

Description:

Best-selling, 21-track hits set that’s now on vinyl for the first time. Features classic after classic, from early gems including “Fingertips – Pt. 2” to “Signed, Sealed, Delivered I’m Yours,” as well as the timeless No. 1 songs “Superstition,” “Higher Ground,” “You Are the Sunshine of My Life,” “I Wish,” “Overjoyed,” and many more. With rare photos, Braille embossing, full track credits and a celebratory essay.

2024 Re-Edition

Strangelove's personal Inventory of NZ 1980's odd pop; 'Kiwi Animals' recasts the local charts in a parallel universe of misfit melodics, gonzo-tronics & strange waves. Channelling South Pacific voodoo and edge of world melancholia, the album highlights electronic tangents from iconic NZ groups Blam Blam Blam & Headless Chickens. It dredges the cassette revelations of art avante-gardists' Drone & Kim Blackburn, alongside bittersweet moments from Rupert & Norma O'Malley. There's the infectious minimal wave of Ballare and a reprised electro-boogie dance suite (?!) from Tom Ludvigson & Graeme Gash. The furthest depths of Flying Nun's catalog are also plundered- a brilliant earworm from Stiff Herbert and a mysterious "Roger" Knox birthday promo. Mining disparate seams of a local indie label awakening, the various tangents of 'Kiwi Animals' congeal with a future/primitive sensibility and an underlying Antipodean mischievousness…

Yabby You aka Vivian Jackson, as singer, songwriter, and producer, has created some of the greatest roots reggae recordings of all time, many of which are rare and among the most sought-after records by serious reggae fans. Dread Prophecy Crucial Cuts is a killer collection of 10 magnificent Vivian Jackson productions featuring himself as Yabby You, his Prophets vocal group, and his discovery, Michael Prophet, including some extended mixes and dubs via King Tubby.

Limited Edition Pressing of 200 Copies on Neon Yellow Vinyl. 2022's "Land of Kali" album was the first under the Essential Logic moniker for over 40 years and was released alongside a career-spanning boxset "Logically Yours".

Now Essential Logic head honcho and former X-Ray Spex member Lora Logic has compiled an eclectic and ambitious remixed version of "Land of Kali" entitled "Rekalibrated" featuring reinterpretations from noted artists across a multitude of genres and styles including Grammy award winners, living legends and UK Singles Chart toppers. Lora's work with Essential Logic and X-Ray Spex while Punk in DNA and spirit has always pushed at boundaries. Rule-breaking from the start by bringing the sax into Punk while the jerky, irresistible post-Punk Funk of Essential Logic's "Beat Rhythm News" and Lora's solo album "Pedigree Charm" sit comfortably alongside more contemporary records with one ear on the cerebral and the other on the dancefloor. "Rekalibrated" highlights the many strands that intertwine to make Essential Logic and how they may be unfurled. The lead single will be "Alien Boys" remixed by Dave Audé. Dave is a Grammy Award winning remixer and producer, famed for having more number ones than any other producer on the Billboard Dance Club Songs chart. He is responsible for a staggering 132 No.1 remixes on this chart and has worked with artists as varied as U2, Beyonce, Yoko Ono, Faith No More and Madonna among many others. He won his Grammy for his remix of "Uptown Funk" by Mark Ronson and Bruno Mars. Youth, legendary bassist of Killing Joke and producer of The Verve, Pink Floyd and The Orb lends his vastly experienced ears to "Mother Earth" while there are further interpretations from Rave-pop legend Adamski, Scottish Kandy-poppers bis and New Order/Duran Duran collaborators Daybreakers who put their own stamp on the Poly Styrene-penned "Prayer For Peace". Lora has recently been in the spotlight thanks to the recent re-release of X-Ray Spex's lost second album "Conscious Consumer" which features her trademark saxophone lines alongside typically acerbic lyricism from the dear departed Poly Styrene.

The first pressing reaches the Official Record Store Chart No.1 position over Christmas 2023 and quickly sold out. Favourable reviews in Uncut, Mojo and Record Collector alongside a Vive le Rock cover feature helped raise public awareness as well as radio features on Woman's Hour and Craig Charles' 6 Music show. Fans who missed out on the first pressing patiently wait the arrival of a repress.

S.E. Rogie went from running a tailor shop in Sierra Leone to being one of West Africa's most popular artists. He toured around the country, singing his palm wine music in multiple local languages, created his own record label, and was known as the most handsome man in Sierra Leone. He formed the highlife band The Morningstars in 1965. In 1973, he came to the Bay Area to live and expand his base, performing everywhere from local high schools and convalescent homes to festivals and large stages. In his later life he hit the road again and toured the world, eventually passing away while on stage in Russia in 1994. He shared the following songwriting wisdom with his son, Rogee Rogers: "When you write a song, you can be complicated if you want, but your chorus should be that anybody can sing it." These tracks were originally released on his own Rogie label in the 1960s and include solo, ensemble, and Morningstars songs, most of which have never been reissued until now."

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2006’s ‘Starless And Bible Black Sabbath’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what "Brainwashed" had to say upon it’s original CD only release back in 2006 …

“The title track is the meat of the beast, beginning with a minute of booms and gongs reminiscent of a thunderstorm before launching into some slow, heavy Sabbath-esque riffs. Squealing guitar and synth effects accompany the vocals of bassist Tabata Mitsuru, whose voice captures some of the sound and feeling of Ozzy's more than it does the melody. The pace is slower than most AMT fare, but things speed up considerably around the eight and a half minute mark. The group convincingly imitates the Sabbath guitar sound here and the rhythm section is particularly tight, giving listeners something on which to hang their ears or even providing them with a chance to gasp for air during Makoto's guitar explorations. Around the sixteen minute mark, everything comes to a wailing halt before the band returns to the dirge-like tempo that started the song. This pattern continues for the duration of the piece, until a couple of minutes before the ending, when the group makes a smooth transition to acoustic guitar and processed vocals to cool down.

Clocking in at nearly thirty-five minutes, the length alone may tax some listeners. However, the second track, "Woman From A Hell, "provides relief, which with a running time of six minutes is uncommon in the Acid Mothers canon for its brevity. This one condenses many of the ideas of the title track, and accomplishes much of the same evocation of Sabbath, but with the vocals in a more prominent role. The disc comes full circle, ending with thunderstorm sounds much like theones which started the album. Though the title track could have been shortened and perhaps an additional track included, this album remain some of the group's more accessible releases in some time and should please fans old and new alike.

According to the group's website, Makoto is reviving the Melting Paraiso U.F.O. line-up after a year of recording and touring with the Cosmic Inferno. This is a shame of sorts, since the Cosmic Inferno infused a much-needed vitality to the group that it had lacked since the departure of vocalist Cotton Casino. Yet the reformed Melting Paraiso U.F.O. has the potential to be even better since, if anything, Makoto seems to be the Mother of Reinvention.”

Acid Mothers Temple & The Cosmic Inferno are: Tabata Mitsuru - Bass, Vocal, Maratab - Hiroshi Higashi - Synthesizer, Dancin' King - Shimura Koji - Drums, Latino Cool - Okano Futoshi - Drums, God Speed - Makoto Kawabata - Guitars, Speed Guru

The Tarantino Experience Reloaded extends the tribute to one of the greatest filmmakers of the last 50 years and his uncanny talent.

This LP features Elvis's best tracks from 30 films (1956-1960), showcasing his musical range from ballads to energetic rock.

Original Sun Sound wurde erst 1964 veröffentlicht, sechs Jahre nach Johnny Cashs Wechsel von Sun zu Columbia Records im Jahr 1958, und enthält sowohl seine ersten als auch seine letzten Aufnahmen für das Label. Das frühe 'Wide Open Road' zeigt den Sänger noch unter dem Einfluss von Hank Williams (und ist auch deshalb eine Rarität, weil es die Steel-Gitarre von A.W. "Red" Kernodle enthält, der die Gruppe kurz darauf verließ), aber das sardonische, von Charlie Rich geschriebene 'Thanks a Lot' aus einer seiner letzten Sun-Sessions zeigt, dass Cash niemandem außer sich selbst verpflichtet ist. Auch Cashs eigener Gospelsong 'Belshazah' ist hier zu hören, eine ungewöhnliche Aufnahme, da sein Produzent Sam Phillips normalerweise nur das weltliche Material des Künstlers aufnahm.

- Remastered von den Originalbändern
- Neuauflage zum 60sten Jubiläum
- Enthält Hits wie 'Big River', 'Country Boy', 'Born To Lose' und mehr

- Ltd. Col. LP: (Violett-transparentes Vinyl)

Composer and performer Stina Stjern have for over 25 years been a steady presence in the Norwegian music scene – starting out as a vocalist in the rock band Supervixen while studying jazz in Trondheim, Stjern’s road has been anything but predictable, and has over the years shown a will to experiment and explore new areas in her music making. Her new album ”Vivid Peace Restored” is perhaps her most radical musical statement yet, as the entire album is made using cassette tape. The sound sources vary from found sounds, various instruments and Stjern’s own voice, but there is no hierarchy, the different elements are given equal importance, and through considerate looping, layering, cut-ups, re-arranging the bits and pieces it forms a rich tapestry of sound. This blurring is intentional, Stjern wants us to get lost in her sound world, a place where nothing is forced or overstated. Tape hiss, subtle melody lines, distant location recordings, gentle waves of noise, and voices melt together creating lush soundscapes

Before we pack away the poppers for another year, let Red Laser take you for one last spin on the waltzers.
Tried and tested at our recent road block parties in Manchester, these edits shine a light on four primo-grade Italo face melters. Fervently excavated by Bosco over countless visits to Bel Paese and streamlined for the hydrofoil, with some extra added calories for the club.

Opener 'Destiny' tweaks and shudders under analogue arpeggios, dazzling Strat chops and cosmic bass interplay before dropping into a simply glorious female vocal that, thankfully, gets plenty of airtime before Bosco calls close. A track so close to perfection we had to make it longer.
'Flavio', up next - and half sung in Italian so we only know a bit of what she's on about - is another supreme slice of Italo disco from the upper echelons that Bosco snaffled between glugs of Barolo and a face full of worm cheese. Sure to instigate group hugs, 4AM declarations of love, tears of happiness and huge pelvic thrusts dependant on environment and inebriation.

The tingles continue on side B with another supernova burning bright across the stars. 'Newsin' introduces itself with a joyous marriage of marimba and synth before yet another vocal proves Italians really do, do it better when it comes to writing some of the catchiest hooks and choruses in the universe.
'Lace', featuring the record's only male vocal appearance, has a romantic, proto-goth-new-wave vibe; like if Robert Smith and Richard Butler had a chem-sex love child after a wild night in Baia Degli Angeli.

Not sure who the woman in lace is, but we'd defo like to see her down The White Hotel one night...