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Zwei Jahre nach seinem hochgelobten Cover-Album "Taped Heart Sounds" schlägt Jesper Munk ein neues Kapitel auf: Mit wohlgereiften Eigenkompositionen kehrt er jetzt zur Freude aller treuen Wegbegleiter:innen endlich auch wieder als Komponist und Texter zurück. Sein neues Album klingt melancholisch und swingend. Moderner Neo-Soul, vom Jazz geküsst, dazu Chanson, R"n"B, bluesy Crooner-Balladen und zarter Indie-Pop bis hin zum Slow Wave, sind die Eckpfeiler, die "Yesterdaze" wohl am besten beschreiben.

Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.

Blu’s music has been championed by outlets like XXL, Pitchfork, Okayplayer, HipHopDX, and more. In recent years, he has been interviewed by Billboard, Complex, LA Weekly, Noisey, Red Bull Music Academy, and more. Blu has collaborated with prominent artists like The Roots, Logic, Miguel, MF DOOM, Madlib, Anderson .Paak, Lupe Fiasco, Freddie Gibbs, Aloe Blacc, Roc Marciano, Slum Village, 9th Wonder, and more. Classic 2014 album on gatefold 2LP vinyl, now available after years out of print. Good To Be Home features guest appearances by Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, Chace Infinite, Cashus King, and more. L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip-hop renaissance in the process. With his cool Cali demeanor and undeniable lyrical talent, Blu drew praise from fans and tastemakers alike, launching a remarkable career that continues thriving to this day. His first ever double album, the 2014 masterpiece Good To Be Home is an essential part of this story. An unapologetic celebration of Los Angeles music and culture, the album takes listeners on a vivid journey through Blu’s storied stomping grounds. With sweeping strings and hypnotic bass lines supplied by producer Bombay, Good To Be Home features a host of West Coast hip-hop luminaries, including Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, and more. A cohesive collection with 20 tracks and no filler, this classic release is now available again on vinyl after years out of print.

It is summer dawn . . . and you are alone. Here is music for your strange mood. The piano starts the first track, slow tempo beat, a strict beat, a swinging beat. Lillemor—here minor harmonies give the tune a rural, romantic feeling of some place in Spain or France. The tempo changes to medium fast—the flute solos. Light phrasing contrasts beautifully to the earthy, swinging beat of the rhythm section and the repeating piano figures. The trombone adds a new color, a counterpoint of sound and phrasing, backed by the pulsating beat of this wonderful rhythm and the driving piano. Summer dawn . . . This music has more to offer, because it shows the personality of Sahib Shihab at its best. Sahib is a universal musician who reflects musical experiences in jazz since the end of the thirties. He lived through the important periods of modern jazz with his heart and mind wide open toward everything that was good music, regardless of being termed "Mainstream", "Bop", "Cool", "Westcoast", "Eastcoast", "Hard Bop'', et cetera. When you listen closely to his music, you will find traces of all these, but they are immersed in his deep musicianship and his true jazz personality. Sahib Shihab's background reads like the record of a master of advanced studies. Furthermore he played and collaborated with the coolest jazz musician of that period. Above all let's name Budd Johnson, Theolonius Monk, Tadd Dameron, Milt Jackson, Dizzy Gillespie, Illinois Jaquet, Elmer Snowden, Luther Henderson, Larry Noble, Fletcher Henderson, Roy Eldridge. In his early professional years, Sahib was heard mostly on alto sax; later, more often on baritone sax and flute. Today, his name is inseparably connected with these two instruments. The unity of his jazz performances is not alone bound up with the com¬positions and the arrangements of Sahib Shihab, though in their understated simplicity they have a melodic beauty that is seldom found in jazz of today. The rhythmical subtleties add to the overall qualities of being relaxed vehicles for free-blowing, but there is an immediacy that you hear and feel every moment when listening which defies analysis. The playing of the rhythm section helps greatly to promote the sense of flux and contrasting constant renewal that makes listening to this record so invigorating an experience. Well, this is no surprise, with Kenny Clarke as the nucleus of the rhythm group. Kenny 'Klook' Clarke is a major figure and contributor in jazz, one of the founders of modern jazz, and is ranked as one of the all-time great drummers. He influenced a whole generation of musicians with his playing, though living in Paris since the middle of the fifties somewhat dimmed his name to the general American public. Nevertheless, his name alone will assure a connoisseur to expect top class musical experiences. Talking of the rhythm section we have to name Jimmy Woode's bass, which together with Kenny's drumming, is the driving force for the group and the reliable harmonic anchor for the improvisors. By the way, Jimmy has been with the Duke quite a while, and this alone is an award for extraordinary craftsmanship and artistry. The good sounding rhythm with its full-bodied color is also a result of the added bongos of Joe Harris, who manages to stay out of the way of the players—a quality not often found with drummers—but his playing is felt through the set. There are two members of the group not yet mentioned. Two Europeans, pianist-composer-arranger Francy Boland from Belgium, and trombonist Ake Persson from Sweden. Francy Boland this time is a sideman, though normally he is a leader of recording sessions, both as composer-arranger and as musical director of the band. In the fifties he was in the States writing arrangements for different name-bands, such as Basie and Goodman. In Europe, he is famous for his swinging modern big band arrangements; and his inventiveness as a writer is reflected in his piano playing. He has the talent of using the right dynamic approach every moment, thus making his playing helpful to soloists and interesting for listeners as well. Ake Persson has been Scandinavia's out-standing trombone player for about ten years. There are only a few trombonists in Europe who might match his talents at times, but they lack the consistency of his playing. He is impressive, whether playing in a big band, or whether main soloist in his own small groups. American musicians love the sound of his slide trombone and his easily flowing romantic improvisations, so he often joins American name-bands as they travel in Europe. The music speaks alone . . . , we said it before. You have your soul to feel the beauty, to follow lines and structure, and to enjoy the spiritual excitement. Whether you enjoy the flowing, easy sounding theme of "Please Don't Leave Me", or the climaxing piano solo in the same piece—the bass solo in "Waltz For Seth" or the swinging baritone sax—listen to the first bars of this solo and pay attention to Kenny. Whether you listen to "Campi's Idea", (named after Gigi Campi, the well known Cologne jazz enthusiast who organized this recording) with the romantic flute solo of Sahib, the interesting tempo changes, the piano comping, the moving trombone solo; or to the up-tempo "Herr Fixit", with the cooking Kenny and humorous, driving flute solo, you know that these six musicians where in the right mood, in the right stimulating surroundings to feel what we all feel when it's: SUMMER DAWN.

Over the past tne years, MxPx have sold well over a million records in the US. PANIC features their trademark sound, while adding more mature themes lyrically. The first single, "Heard That Sound" is being played all over the west coast. This track is also the lead off track on this years Warped Tour compilation

After 2 years of relentless touring in support of their critically acclaimed debut album, Thee Sacred Souls return with "Lucid Girl", the lead single from their forthcoming sophomore album, Got a Story to Tell. Backed by a heavy beat and lavish arrangement, singer Josh Lane-displaying a soulfulness beyond his years-sings an empowering tale of a girl who has the clarity to put her needs before prospective suitors. B-side features "Losing Side of Love."

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022's Pigments_icy and warm, stripped-down and grand, familiar and otherworldly_and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing_driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard's musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn's audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans-reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast-raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo's first release, Pigments. "Pigments was one of the best projects I've ever made," Richard says, "and the furthest I've ever been pushed as an artist." The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. "I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks," he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, "Oh, this is the next album." Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn's piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track "Life in Numbers," Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

The release will be available on super ltd edition black and clear vinyl, including download code.
Up In Her Room are delighted to bring you the latest offering from Uruguay’s Las Cobras!
Emerging from the Uruguayan city of Canelones in 2017, Las Cobras introduced themselves with their debut album, 'Temporal', a 9-track release that quickly became a reference point in global psychedelia after signing with London’s Fuzz Club Records. A couple of years later, the duo—Leandro Rebellato and Sofia Aguerre—expanded to include Dario Macarín and Diego Mercadal, releasing their second album, 'Selva'.
In their debut, Las Cobras blended proto-punk and shoegaze with hints of afrobeat and Tropicalia. With 'Selva', the band amplified these elements, showcasing their evolving sound. Notably, their track "Al más Allá" is featured in the Amazon Prime series "La Cabeza de Joaquín Murrieta."
For their third album, 'Cárcavas', the band explores the concept of the cárcava—a scar on the earth symbolizing a period of desolation. Teaming up with London label 'Up in her Room', they present a darker, more chaotic record that reflects the tumultuous years they've endured. Most tracks were mixed by James Aparicio (Depeche Mode, Spiritualized, Throw Down Bones Grinderman), lending the album a sharper, more defined sound. Las Cobras continue to delve into their sonic palette, incorporating electronic drums, Latin percussion, penetrating synthesizers, and fuzzed-out guitars, all from a more stripped-down perspective.
Black butterfly for example is an espectrum of a lost friend. Like a ghost...Always in orbit. Diving into darker places... Traveling through the universe...

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

Ten years after the release of his last project, Jaco returns with a 12-track solo album, signed to Stone Milk Records. Reflecting his last five years of travel and creation, this album bears witness to major transitions. A Brazilian singer-songwriter, Jaco offers a collection of nuanced, musically rich songs, where his poetry takes us into a gentle dream world. Imbued with a certain melancholy, we also find the joyful aesthetic influences of his world music project La Macchina Volante. Triste Alegre echoes the paradoxesoftheworldandofeachindividual,asoothingandoriginaljourneyofferedbythisartist-philosopherfullofmythsandtangents.

Modern progressive rock band DILEMMA presents its third full length album, ‘The Purpose Paradox’. This concept album, spanning over 60 minutes, is released on CD, double LP and via all streaming platforms, and distributed internationally by Butler Records, a division of V2 Records.

It features 9 brand new tracks ranging in length from 4 to nearly 16 minutes. The sound showcases a broader side of DILEMMA — louder, faster, more technical, more progressive. With new frontman Jermain van der Bogt (Wudstik), the vocals have become rawer and more varied. Almost six years after the previous record ‘Random Acts of Liberation’ the band sounds reborn.

Like its predecessor, ‘The Purpose Paradox’ was produced by drummer Collin Leijenaar, who, together with the famed music wizard Rich Mouser (The Mouse House, LA), was also responsible for the mix and mastering. Thanks to their unmatched ears, the result is an audio experience that DILEMMA has worked on with great pride over the past years.

As said, ‘The Purpose Paradox’ was written and produced like a concept album. Because let’s face it, you’re either a progressive rock band or you’re not. But seriously: the story of ‘The Purpose Paradox’ revolves around a man named Neon. Someone like us in the here and now. During his quest for connection and fulfilment, he finds support from an unconventional guide named Electra. She points out to him that sometimes the things we look for are the things that found us first. Will Neon’s heart glow again when he discovers the outer light? Or does the greed of the corporate machine known as The Hand succeed in extinguishing his inner fire? Can Neon’s secrets be deleted? And will he, in the end, arrive in the comfort zone of allies in the raw, rainy city he once left behind?

Still just 19-years-old, Toby Lee is already a three-time winner of Young Blues Artist of the Year at the UK Blues Awards - yet the virtuoso guitarist is only getting started. Praised as a remarkable talent by the likes of Jools Holland and Joe Bonamassa, 2024 represents a big breakthrough year as Toby releases his first album of all-original material ‘House On Fire’ on October 4th via 100% Records. As you’d expect from someone that The Times hailed as, “One of the best guitarists in Britain,” his six-string talents dazzle throughout with a rich tapestry of scorching leads, evocative melodies and swaggering grooves. Yet his vocals have come on leaps-and-bounds, his maturity and emotional expression providing a voice strong enough to front a band regardless of his guitar skills. His songs and stylistic scope have expanded too, with a set that moves seemingly effortlessly between classic blues jams, punchy hard rock, intimate acoustic moments and a modernist approach to classic soul and Stax-style R&B. It’s all played with a winning combination of youthful abandon and undeniable accomplishment. Toby Lee’s talents have been recognised by an array of legends. When he was 10, a get well soon video that he made for BB King went viral, leading to an invitation from the blues legend’s family to play at his club in Memphis, while the late Bernie Marsden was an early mentor and champion. He subsequently shared the stage with the likes of Buddy Guy, Joe Bonamassa, Slash, Billy Gibbons and Peter Frampton, while enjoying other high profile moments, such as starring in a West End production of ‘School of Rock’, performing with McFly on ‘Tonight at the London Palladium’ and featuring in ‘The Ellen DeGeneres Show’. Toby has now exceeded 500 million views on social media. His ability has been recognised with numerous endorsements. He has been a Gibson artist since the age of 10, and a recent highlight came when he helped launch Gibson’s custom Jeff Beck ‘YardBurst’ 1959 Les Paul Standard alongside fellow guests including Jimmy Page, Johnny Depp and Graham Coxon. Blackstar Amplification issued his own signature amp, the St James Toby Lee 50 6L6 head and cab, and he is also endorsed by D’Addario Strings.

Still just 19-years-old, Toby Lee is already a three-time winner of Young Blues Artist of the Year at the UK Blues Awards - yet the virtuoso guitarist is only getting started. Praised as a remarkable talent by the likes of Jools Holland and Joe Bonamassa, 2024 represents a big breakthrough year as Toby releases his first album of all-original material ‘House On Fire’ on October 4th via 100% Records. As you’d expect from someone that The Times hailed as, “One of the best guitarists in Britain,” his six-string talents dazzle throughout with a rich tapestry of scorching leads, evocative melodies and swaggering grooves. Yet his vocals have come on leaps-and-bounds, his maturity and emotional expression providing a voice strong enough to front a band regardless of his guitar skills. His songs and stylistic scope have expanded too, with a set that moves seemingly effortlessly between classic blues jams, punchy hard rock, intimate acoustic moments and a modernist approach to classic soul and Stax-style R&B. It’s all played with a winning combination of youthful abandon and undeniable accomplishment. Toby Lee’s talents have been recognised by an array of legends. When he was 10, a get well soon video that he made for BB King went viral, leading to an invitation from the blues legend’s family to play at his club in Memphis, while the late Bernie Marsden was an early mentor and champion. He subsequently shared the stage with the likes of Buddy Guy, Joe Bonamassa, Slash, Billy Gibbons and Peter Frampton, while enjoying other high profile moments, such as starring in a West End production of ‘School of Rock’, performing with McFly on ‘Tonight at the London Palladium’ and featuring in ‘The Ellen DeGeneres Show’. Toby has now exceeded 500 million views on social media. His ability has been recognised with numerous endorsements. He has been a Gibson artist since the age of 10, and a recent highlight came when he helped launch Gibson’s custom Jeff Beck ‘YardBurst’ 1959 Les Paul Standard alongside fellow guests including Jimmy Page, Johnny Depp and Graham Coxon. Blackstar Amplification issued his own signature amp, the St James Toby Lee 50 6L6 head and cab, and he is also endorsed by D’Addario Strings.

Twenty years ago, mclusky released their third album, The Difference Between Me and You Is That I"m Not On Fire via Too Pure. In the years since, their legend has only grown, proved by their recent sold-out tour dates. Alternative Press described them as "a smash up between the scabrous rock noise of the Jesus Lizard and the jagged rhythms and open spaces of Gang Of Four". Originally produced by the late, great Steve Albini, this reissue has been remastered by his close friend and Shellac bandmate, Bob Weston and is pressed on 180gram black vinyl.

Ken Boothe released his album Blood Brothers in 1976 but was picked up by Trojan Records two years later to be distributed internationally. The album features some of his more laid-back and mellow style, as can be heard on “Walk Away From Love”, “Mamy Blue” and “Love Don’t Love Nobody”. Blood Brothers also features several cover versions of Bob Marley Classics, including “No Woman No Cry” and “I Shot The Sheriff”.

Ken Boothe released his album Blood Brothers in 1976 but was picked up by Trojan Records two years later to be distributed internationally. The album features some of his more laid-back and mellow style, as can be heard on “Walk Away From Love”, “Mamy Blue” and “Love Don’t Love Nobody”. Blood Brothers also features several cover versions of Bob Marley Classics, including “No Woman No Cry” and “I Shot The Sheriff”.

Blood Brothers is being reissued for the first time since 1978 and is available as a limited edition of 500 individually numbered copies on orange coloured vinyl

Atlanta native Stefan Ringer steps up for a solo release on Bristol’s Black Acre, tracing a lineage of sonic references into an unmissable four-track EP. From radiant, soulful house to wonky machine funk, Soulflow is a distillation of cultural and personal narratives, tracing the evolution of his sound over a number of years. As an influential force in Atlanta’s dance music community - and with a strong connection to the sounds of Detroit - Stefan’s music reflects a genuine love for the underground. He held a residency at the legendary Sound Table with Ash Lauryn until its closure, runs the beloved monthly party Kudzu, and has spent years committed to his craft as a producer, DJ, promoter, and label manager. Tying the threads between an ever-expanding pool of sounds, his approach to production looks beyond the restraints of formal genre, and instead towards community, offering new sonic frameworks for others to soundtrack their own personal journeys. Black Acre has, since its inception in 2007, focused on strains of electronic music that mutate across different styles, and as such, Soulflow touches on a number of subcultural moments. As the name suggests, the title track is an uplifting, 101 groove of stripped back soul, driven by Stefan’s vocal treatments. ‘What’s Your Sign’ heads into hazier territory for an angular cut of minimal hypnotism. Taking a trip further into Stefan’s musical heritage with a nod to mid-2000s dubstep, ‘Cleanse’ is a half-time stepper adorned with glistening keys and improvised melodies that flawlessly embodies the cross-pollinated spirit of the genre, continuing the lineage of what occurred before with a sincere appreciation. Rounding things off is ‘Body Know’ - born from an experiment with a bass guitar and beat-boxed percussion - that fuses echoed vocals with a driving, analogue funk. Soulflow offers an honest portrayal of Stefan’s musical story, honing in on its past to build an expansive vision of its future. As he summarises succinctly: ‘This collection offers a glimpse into my journey thus far, with the anticipation of more to come.

2025 Repress

For Fuse's fifth release, Brussels' Altinbas returns for a whirlwind of meditative and harmonious techno. Solidifying his identity of focused yet vibrant club music, the Fuse resident and label co-curator offers his second contribution 'Sustain' as a dancefloor-enveloping take on modern techno. Known for rich chords, whipping pads, and dry percussion, Altinbas proves once again that his touch as a producer revolves around balance and calculated effect.

'Trail of' kick starts the EP with flourishing synthwork and a taste of dub as has become the Belgian artist's signature. Dotting toms as rhythmic accents and a low to the ground shaker make for a swaying introduction with an infectious groove. Breaking things up in the second track, 'Life Force' presents Detroit style chord stabs and playful rhythmic work. With a mental synth at the foundation, the track presents 909 drums to reinvigorate atmospheric synths that make 'Life Force' a subtle hybrid of classic club genres. With a wink at Fuse's heritage and a peak into its future, Altinbas' focus on enduring music can be felt throughout 'Sustain' and truly understood in the Brussels club. As a fitting follow up, 'Purpose' opens the B-side with illuminating chords and rounded sound design and a pulsating low-end. With almost a lighthearted tone, the record fits across genres and rooms, claiming movement instead of mood as its sole medium. The title track 'Sustain' proves just that - a melodic sequence and progressive arrangement make for an intensely euphoric closing. Evolving melodies, opening filters, and big but calculated buildups sum up Altinbas's work for Fuse's fifth release on the new label. The record brims with warmth and yet it finds its way on darker dance floors with ease, providing a refined style of music that belongs only to him across the international scene.

Earlier this year we were excited to announce the return of one of our most beloved bands of recent years: New Street Adventure. To mark the 10th Anniversary of their debut album ‘No Hard Feelings’, on 4 October we are releasing a special, limited edition olive green colour vinyl reissue. The release will coincide with an extensive UK tour.

‘About eighteen months ago, someone asked if I had a spare vinyl copy of ‘No Hard Feelings’. I checked the shelves, and found my own copy and no more. I checked Discogs and saw that it was changing hands for far more than an 8-year-old album should be. Released in the pre-vinyl-revival years, its limited original pressing means that demand is now out-stripping supply – a measure of just how good this record is. With that in mind Nick Corbin and I hatched a plot for a 10th Anniversary reissue, and here it is!

I loved New Street Adventure. They were smart, looked great on stage, and in Nick was one of the best front-men and songwriters I have ever worked with. With their own ecosystem of self promoted gigs, they created their own audience, and for a while it looked like a major label deal was in the offing. Eddie Piller had wanted to sign them from the first time he met Nick, and when the big deal didn’t happen, he was still there for the band as they became an Acid Jazz act in 2013.

There were endless back-and-forths on how the album should sound (and some despair that it wasn’t quite sounding as good as it should have). Then Mitch Ayling came on board to produce the final mix. He brought out the songs, lifted the playing, delivering the shiny finished recording that took its place as one of the finest moments in the Acid Jazz catalogue. Nick’s songs now sparkled. As his love of soul shone through, his politically and socially aware lyrics showed a rare, wry observational gaze that was turned on 21st Century life. From the warnings against populist hatred of ‘On Our Front Doorstep’, to the hopeless ennui of ‘Foot In The Door’, and the day-to-day pursuits of being in your twenties in a big city. Through it all shines a passion – sometimes coming out as anger – that drives the music. It is of course encapsulated in ‘The Big A.C.’, written about the night that Nick’s dad took him to the 6Ts Allnighter at the 100 Club, which brought him into the world of Northern Soul. It’s a classic that nails the feeling of excitement as well as anything written.

The album was released late in 2014 and for those who want a vinyl copy – even the CDs cost a fair penny now – we have prepared this special 10th Anniversary Edition on transparent olive-green coloured vinyl. The inner sleeve is illustrated with never-before seen photos from the archive, both candid and by early band supporter Dean Chalkley, and has sleeve notes by Nick and myself. Nick is taking New Street back on tour this Autumn, and it you would be foolish (once more) to miss either the tour or the record.’

Centricity Music recording artist Jordan Feliz quickly became a household name when his first radio single “The River,” the title track from his critically-acclaimed debut, became a smash hit. Spending an unprecedented 12 weeks at No. 1, the chart-topping single was named ASCAP’s “Christian Music Song of the Year” and garnered Feliz his first RIAA Platinum® certification. Thanks to his charismatic vocals and signature blend of soulful pop, each of his seven subsequent radio singles has landed in the Top 10 with “Witness,” “Glorify” and “Jesus Is Coming Back” notching three more No. 1’s for the singer. In addition, the California- native has been nominated for five Dove Awards, taking home the trophy for 2016’s “New Artist of the Year,” and has amassed nearly 500 million lifetime streams. Along with his heartwarming children’s hardcover book, Beloved, and his headline tours, Feliz has also shared stages around the country with some of the biggest names in Christian music, including TobyMac, Michael W. Smith, For KING & COUNTRY, Matthew West and Crowder.

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022’s Pigments icy and warm, stripped-down and grand, familiar and otherworldly and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard’s musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn’s audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans–reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast–raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo’s first release, Pigments. “Pigments was one of the best projects I’ve ever made,” Richard says, “and the furthest I’ve ever been pushed as an artist.” The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. “I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks,” he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, “Oh, this is the next album.” Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn’s piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track “Life in Numbers,” Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

17 unreleased, exclusive tracks on here! For Fans Of: The Menzingers, Against Me!, Alkaline Trio, Sincere Engineer, Fat Wreck Chords, Lookout Records. 20 Years Of Dreaming And Scheming is 17 unreleased songs from all across the Red Scare expanded universe. We've got some new faces, some Red Scare regulars, some beloved alumni, some guest artists, and even some inactive bands that reformed to give us a new track. Because it's our 20th birthday, we're doing a buncha parties and PR around the milestone, but most importantly, we have these 17 songs. Assembling this has been a labor of love and a heartfelt paean to the punks. We love y'all, and these songs are for you. Sure, there's a couple stinkers in the bunch, but most of them are RAD, and you can only hear these tunes right here. Dreamin' and schemin' indeed

Mwandishi is one of Herbie Hancock's first departures from his traditional jazz sounds. The album which was recorded in a single session on New Year's Eve is a much more spacier effort compared to his earlier works, created by Hancock's us of electronic effects devices. His sextet is the most progressive ensemble he played with and he took the next step in the future of jazz. The music on Mwandishi is beautifully atmospheric and the long tracks leave plenty of space for improvisations by the group. A fantastic recording with sonic layers of earth, existence and expression.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

This year is set to be another vivid chapter for Rarefied, whose special brand of Dubstep has stretched the genre into outer-national and psychedelic headspaces with transmissions from Soukah, T.A.R and Sibla.

The newest artifact from Primer is par-for-the-course. Four tracks that weave field recordings from windswept bogs, worldly sample digging from molding phonographs found in dusty basements, and loose rhythmic constructions that are a mongrel blend of contemporary rap, Croydon Dubstep, and Brainfeeder.

From the ghostly oud playing that graces across the homespun percussion of 'Nowhere and Nothing', the refracted horn sections of 'Drowned' to the shimmering addendum of 'Tal pt.II, Primer chalks a fine line between headphone moments and dance floor material. Ultimately, the melodic, hypnagogic fragility of 'I Had a Faraway Dream' is an especially poignant curtain call for Rarefied's first record of 2019.

The Congos were formed by Cedric Myton (born 1947 St Catherine, Jamaica) and Roydel ‘Roy’ Johnson (born 1943 Hanover, Jamaica), around the mid-seventies, a time when the Rasta message coming out of Kingston and other pockets of the Jamaican Island was at its most prominent. Cedric Myton’s singing career began back in the rocksteady era in Reggae’s musical story.

He formed the ‘Tartans’ group taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis. They cut ‘Dance All Night’ (1967) and ‘Coming On Strong’ (1968). The line-up reduced to a two piece, Cedric and Devon Russell, when tracks like ‘What a Sin Thing’ and ‘Short Up Dress’ were cut. This line-up became the Royal Rasses, Cedric formed The Congos, on meeting Roydel Johnson. Roydel previously sang as a member of Ras Michael and the Sons of Negas, cutting such tracks as ’Go To Zion’ (1973). As we can see Cedric’s and Roydel’s Rasta roots were firmly in place by the time they had formed The Congos sometimes called ‘The Congoes’.

The Congos possess what all bands look for,that unique sound that draws the listener to them.Lead singer Cedric Myton’s style and phasing, with his distinctive Falsetto voice makes this just the case.Built on a foundation of classic rhythms and with the aid of then Producer, Lee Perry, the groups statement of intent was laid down with one succinct message. The Congos mighty 1977 ‘Heart of the Congos’ album, is quite simply one of the best reggae albums ever recorded.

Producer Lee Perry had wanted to record a classic Jamaican vocal group in his newly built Black Ark Studio. The voice of Watty Burnett was added at the time to cover baritone vocal duties. The studio after various changes in equipment etc. was finally finding its way. A sound built in Lee Perry’s back yard in Cardiff Crescent, Washington Gardens, Kingston, but existing until then in Mr Lee Perry’s mind. The album they cut would be the defining group release to come out of The Black Ark studios, when the vital elements, vibes, musicians, songs and singing would gel to form ‘Heart Of The Congos’. Come the time of it’s release 1977, Lee Perry was in dispute with Island Records and opted to release the record on his own ‘Black Art’ label. Without the high-profile push of a major label, the record undersold and caused a split between producer and band. Under different circumstances maybe this album would be sitting in thousands of homes alongside the Bob Marley, Culture, Burning Spear releases. Cedric Myton went on to release albums with the French arm of the CBS label and Roy Johnson records and tours as Congo Ashanti Roy.

Cedric Myton the central force carries on the mantle of the Congos and we at Kingston Sounds are proud to pick up the story with another set of vocal statements, which sees Cedric cut some of his finest tunes. Helped along by another reggae legend Brent Dowe, lead singer of the Melodians (Rivers of Babylon), over some classic 1970’s rhythms. Yet again we find that magic formula of strong statements working alongside classic rhythms making the balance work. The Rasta message is still strong on modern classics like ‘King Rastafari Is His Name’, ‘Rasta Congo Man’ and the injustices of the world dissected in tunes ‘Some A Thief’, ‘Watch & Pray’ and the prophetical, ‘Citizen Of The World’.

Once touched by magic it does not fade away, but resurfaces as it has with what we believe to be some of the Congos most heartfelt and meaningful set of songs ...... Let the feast begin.

2024 Repress

The unassuming maestro of techno music Donato Dozzy returns to Tresor Records on its 30th year with a new EP entitled 124.

The record follows a majestic appearance on the Tresor 30 anniversary compilation and his expert devotion to the Roland TB-303, Filo Loves The Acid. True to form, 124 meddles sharp rhythmic minimalism and diverse textures, each track pushing at the epiphanic threshold as the boss of Spazio Disponibile allows his deeply intuitive productions to take effect.

messy kafka world introduces a frenetic and concentrated atmosphere of rhythmic forces, hallucinatory and euphoric in effect. Its dizzying staccato loops are given structure by strengthening beats and bleak synthetic pillars. synthi chase emits radical powers, as buzzing rhythms and monotone synths make raw gestures towards altered states. It shares a kindred spirit with cassiopeia 36, seen in particular through its determined and primitive pulses, nested within wobbling wood percussion and nervous synth repetitions. wooden dolls don’t cry stamps a warm groove, its tempered percussion taking centre stage as shimmering melodic loops threaten spiralling feedback.

These dark, hypnotic tracks are flawlessly programmed to cast mesmeric momentums onto club floors and into loosened limbs. 124 represents Donato Dozzy ever-expanding his powers and musical freedom. His innate groove and inventive sound design push minimal and serene techno with a substantial weight and voice that sets him apart from others.

The highly anticipated follow-up to Thee Sacred Souls's breakout 2022 self-titled debut, Got A Story To Tell, features 12 all original new songs, a soaring statement of exquisite craftsmanship from this young band from San Diego whose story grows bigger by the day. Recorded and produced by Gabriel Roth at Penrose Recorders, in Daptone’s Riverside, CA studio, and written in the throes of supporting their 2022 album, which was met with significant excitement and major touring that brought them across the world. What swirls together on Got A Story To Tell is an appreciation of decades of soul music, and beyond - a sound and feel that is timeless, lived in, and very much in the now. Album opener “Lucid Girl” champions independent women, set to some of the toughest sounding drums and bass the band has yet to put to tape. “Waiting On The Right Time” slinks with a touch of slow-burning psychedelia. A plea for empathy punctuates “One and the Same,” with Lane singing: “We’re one and the same, I feel one day / We learn to live with each other / In love, not fear / Just for a moment, why can’t we be together.” “On My Mind” is a sweeping orchestration, with Lane navigating the complexities of finding happiness while balancing the good with the bad. The album is punctuated with strings and squelching guitar, trundling piano, pops of conga, horns - it makes for a thrilling, layered listen that rewards with multiple spins.

Following up on his fantastic full length from a couple years ago, Adriano Mirabile continues to bring forth that down tempo and mid-tempo organic house mood and chillout lounge atmosphere blend with his productions. Side A we get the original Traumfänger tracks showcasing all that we've loved from the get about what Adriano brings to our imprint. Side B offers up two reinterpretations courtesy of Aus Music recording artist, Lee Jones, and Stasis Recordings mainstay, Sanderson Dear. Both take the chillout and bump up the pulse a bit with their techy flare.

After almost 2 years in development, Manata’s debut LP - The Golden Age, is by far the most challenging project we had worked on until this day.

This 9 track double vinyl represents perfectly what our vision is through music and what we aim to do as a label. In this album you will dive into Joao’s biggest influences between house and techno, a journey which will take you back to the golden era of electronic music. As you slide into the tracks, you can notice how the album goes from light to dark, with disc 1 delevering a more housy and groovy vibe, and disc 2 beeing more dark and energetic. Reachable to all ears and dancefloors is how we classify this golden nugget.

Features Unreleased Studio Sessions, Alternate Versions, Live Recordings, Rarities, And 36-Page Book With New Photos & An Extensive Conversation Between Joni & Cameron Crowe

Sourced From Original Stereo Reels, Nagra Film Recordings, Multi-track Tapes, Radio Airchecks & Cassette Tapes

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified HEJIRA 1976, the gold-certified double-LP DON JUAN’S RECKLESS DAUGHTER [1977], her collaboration with Charles Mingus entitled MINGUS [1979], and live album SHADOWS AND LIGHT [1980]. Channeling the thrill and excitement of these records, she delves even further into this season on JONI MITCHELL ARCHIVES, VOL. 4: THE ASYLUM YEARS (1976-1980), due October 4th.

Available as a 6CD, 4LP (featuring Joni's personal favorites from the 6CD set), and digitally, this comprehensive and essential set spans one of the most prolific periods of her storied career. It boasts powerful live tracks from her time in Bob Dylan’s Rolling Thunder Revue during 1975 and 1976 Tour of the United States. It pulls back the curtain on the music by showcasing early recordings and alternate takes from the respective sessions for HEJIRA, DON JUAN’S RECKLESS DAUGHTER, and MINGUS. It covers the Bread & Roses Festival as well as the Anti-Nuclear Rally. Finally, VOL. 4 chronicles her 1979 tour, even showcasing two tracks from that year’s Tour Rehearsals. Not to mention, it showcases her versatility and adaptability, housing collaborations with everyone from Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.

Vol. 4 culls the previously-unissued material from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Newly mixed tracks came from multi-track tapes, while a handful of hi-res digital tracks have been sourced from the Bob Dylan Archives.

Each version includes a book with never-before-seen photos and liner notes comprising a deep dive discussion between Mitchell and longtime friend Cameron Crowe. As part of their candid conversation, she shares intimate anecdotes, memories, and stories from that five-year creative run.

Four years after their Discrepant debut - 'OOOO' -, Lisbon-based travellers Jibóia return to the fold with another offering of globetrotting psychedelia with 'Salar'. With the core trio of Óscar Silva, Ricardo Martins and Mestre André augmented by a stellar parade of collaborators on various roles, 'Salar' further expands on the transglobal visions by now pretty trademarked by the band. Intersped among shorter vignettes for drums, saxophone and bass, each of the more fully fleshed tracks casts a guest to elevate Jibóia's music to uncharted realms - both in a mystical and geographical sense.

Opener 'Selar' summons the cello of songstress Joana Guerra for a skewed dialogue with Silva's guitar, propelled by Martins' drums and percussion and André's electronic textures into 4 minutes and 20 seconds that feel epic - if there was any psychedelic numerological symbolism needed. On 'Solar', Silva's non-western plucking rides on for Yaw Tembe's trumpet to veer in a multitude in directions, while the mysterious 'Sitar' conjures the voice of moroccan musician Ayoub El Ayadi for a contemplative nighttime prayer. Elsewhere, guitarist Rui Carvalho aka Filho da Mãe injects dissonant guitar lines unto 'Sarar's pummelling dance and Pedro Augusto's electronics hover below the shapeshifting dynamics of 'Sonar', among mesmerising keyboard lines. 'Salir' featuring Daiyen Jone enchanted flute brings the album to a close at its most reflective, all crepuscular synth lines and reverbed handclaps.

The highly anticipated album from LAWRENCE is finally here and 15 years after the CD release for the first time available on vinyl!!!

Hamburg based DIAL and SMALLVILLE owner Peter Kersten aka LAWRENCE is one of the most valued and highly regarded artist's in the modern dance music community with a long history of releases on Nova Mute, Kompakt, Ladomat, Spectral, Ghostly, Mule and of course his own imprint DIAL. UNTIL THEN, GOODBYE kicks off with a special 'intro' version of a fan favourite FRIDAY'S CHILD followed by the introspective ambient piece SUNRISE. GREY LIGHT remarks the electronic style of DRUTTI COLUMN while JILL is purely sweet slow house music. The album shifts towards more acoustic driven material with songs such as FATHER UMBRILLO and TODERHAUSEN BLUES…don't fret purists as LAWRENCE hits back with his classic signature sounds with the likes of IN YOUR EYES, SLEEP and SUFFER. LAWRENCE leaves us with a whisper in the most beautiful of ways. The atmospheric ambient tune DON'T FOLLOW ME, the ebb and flow of the piano driven A NEW DAY and the title track leave the listener in a state of bliss. Dare we say, this is one of LAWRENCE's most daring and diverse albums to date…not necessarily a 'concept' album per say but definitely showcases his gift for provoking a remarkably diverse range of musical influences and styles.

London's, Master Peace strikes again with an EP of five new high-energy tracks, continuing his thriving musical journey to deliver this follow up to his debut album How To Make A Master Peace which was released in March 2024. How To Make A(nuva) Master Peace includes the soon-to-be summer anthem `Home', a genius collaboration with US artist Wale that channels an uplifting, nostalgic summer vibe. On the remaining tracks, he draws on a wide range of influences from rock, indie sleaze, electro-pop and more to deliver a fresh, dynamic sound that demonstrates his commitment to bringing something new to the alternative music scene. Master Peace's latest offering further cements his recognition by The Ivor Novello Awards as a Rising Star in the UK new wave indie scene, following what has already been a momentous year for this artist on the up.

‘Leon’ is the highly anticipated fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon’s signature storytelling and a unique blend of organic genre alchemy, ‘Leon’ is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him. Featuring production by Ian Fitchuk (Beyonce, Noah Kahan), Daniel Tashian (Kacey Musgraves), and Tyler Johnson (Harry Styles, Miley Cyrus), Leon describes the album as “somewhat of a self-portrait… I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”



Quote from Leon:
“‘Leon’ has been a long-time coming. I started writing pieces of it as far back as ‘Gold-Diggers Sound.’ They didn’t fit what I was trying to do with that album and I tried moving on. But I couldn’t shake them because they’re part of me. And, if I’m honest, also because I think this is some of my most excellent work yet.In many ways, Leon has been in the works since my childhood. This record is about simpler days. It’s about time spent in my beloved Fort Worth and the experiences that made me the man I am today. It’s soulful music in the truest sense - it’s imbued with my soul.I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”

RARE & PREV. UNRELEASED PSYCH-FUNK AND GARAGE ROCK !!!

Say hello to Down & Wired Vol. 7 as Perfect Toy Records unleashes yet another instalment in its long-running compilation series! Once more, the label provides a delectable selection of obscure funk and soul-influenced psychedelic and garage rock tracks to delight even hardcore collectors of both genres.

And make no mistake, there is plenty to discover among these eleven tracks. At the funkiest end of things, Function's Free Style morphs from West Coast psychedelia to country funk to swamp rock and back again in its sub-three minute length, Dandy King provide psychedelic funky-soul and The Whiz Kids take a heavy dose of funkiness with them into psych-rock territory – sample fiends watch out for the fat twenty-second drum break towards the end of the latter! Purer psychedelia can be found in the offering from Third Stone while Würzburg band Prisma provide all-out epic psych-rock carnage. And if rock carnage is your thing, you'll be feeling the dirty garage rock onslaught of The Comin' Generation and a previously unreleased cut by Synod - soon to be a 45 single on Perfect Toy. That just leaves The General Store, The Soul Society, The Vestells and another unreleased cut from The Villagers (from whom the label will be dropping more unreleased material soon!), to close the circle by adding a heavy dose of garage soul.

A worthy successor to the previous volumes, Down & Wired Vol. 7 is once again accompanied by an insert containing detailed information and photos of the bands and a download code is also included with every vinyl LP.

This release documents the coming together of two fallible musical instrument systems and their creator-operators. In June 2023, Graham Dunning's Mechanical Techno and Sam Underwood's Acoustic Modular System took a train journey to Galerie Paradise in Nantes, France. Following a period of exploration, points of cohesion, jeopardy and happenstance were exploited to create these nine unruly pieces that appeared initially on the ultra-limited vinyl release on the gallery’s record label. Now they celebrate a new pressing of Beaux Timbres on Accidental.

Using innovative methods, they create abstract, rhythmical and textural experimental soundscapes. Graham uses an extended turntable: a regular DJ turntable with numerous sensors, modified vinyl records and synthesizers creating irregular rhythmic patterns. Sam presents his Acoustic Modular System: a device for creating acoustic sounds with bellows, feedback and chaotic sequencers.

Back in 1981 HAZE were a band consistently touring the south west of England, rocking shows from Torquay, Exeter and slightly further beyond, their release, recorded to campaign to save milk bottle tops for the local disabled school, did quite well.

On the record is a few classics, a cover of Johnny Cash, a cover of ABBA, a cover of… Azymuth? Yep, the trio from Rio made an impression on Tony Ridley as he took it to the band to include on their record.

For 43 years their version hasn’t even graced youtube, and with only 3 wants at the time of writing on discogs this version truly did get lost along the way. Now PANORAMA unearth this gem in their trademark 7inch format, from Rio to Torquay - HAZE knew how to jazz funk.

PANORAMA Records is a newly established label based in London, is dedicated to rediscovering and showcasing musical gems with a fresh approach. With early support from notable DJs such as Gilles Peterson, Patrick Forge, Rainer Trueby, Mr Bongo DJs and Zag Erlat from My Analog Journal. Their unique take on Jazz and Funk from the further afield has shown they will become trailblazers in the reissue game for a long time.

Red & Yellow Splatter Vinyl. Dan Reeder is a multi-faceted artist, recently championed by boygenius. He is Oh Boy Records longest signed artist, and was personally signed by the legendary John Prine himself. Reeder is releasing a collection of songs titled,Smithereens, an eclectic mix of songs, many recorded and played on gear he built. A true DIY maestro, Dan seamlessly assumes the roles of producer, mixer, mastering engineer, and visual artist, imbuing every facet of his artistry with his distinct touch. His musical stylings often draw comparisons to the likes of Blaze Foley, Bon Iver, Sufjan Stevens, and Ween.

Their first EP "Higher" on Toy Tonic last year reached no. 1 of BEATPORT House music charts and this follow up probably will be similarly successful as it has the same high quality of music and dancefloor catchiness every DJ dreams of.

The new "Everybody Knows" EP consists of four extremely groove infected house music tracks that connect the good things of 1990ies house with the indie disco of the 2000s. Think of Daft Punk in the studio with Kerri Chandler and LCD Soundsystem and you got the sound!

Dutch house wizzard Lars Dales (who also runs HEIST records) and keyboarder and super producer Lorenz Rhode (recently worked also with Purple Disco Machine) connected through their mutual love for dance music. After years of having worked together on several projects, such as the Dam Swindle liveshow, they finally got around to making more and more music together to release their amazing tracks under the name of SOUND SUPPORT: A perfect name because these tracks really support every DJs set ... they fill dancefloors in seconds and make people go mad.

Off the back of "electrifying" (Rolling Stone) performances across Australia's premier festivals throughout summer, proud Yorta Yorta, Dja Dja Wurrung, Kalkadoon and Yirendali woman & multi-award-winning Naarm/Melbourne-via-lutriwita/Tasmania artist MISS KANINNA is thrilled to announce her internationally-anticipated debut EP KANINNA, out 20 September via Soul Has No Tempo. Spanning hip-hop, rap, R&B and pop with touches of Amapiano, Afrobeats and Middle Eastern influences, the EP features her latest single 'Push Up', plus "the left-right goodnight" (triple j) combo of her debut 2023 singles 'Blak Britney' & 'Pinnacle Bitch' which spurred her meteoric rise with far-ranging support from Apple Radio 1, BBC Radio 6, KEXP, KCRW and triple j, who crowned her with the J Award for Unearthed Artist of the Year 2023.