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Arlo’s second single available for the first time on 7” vinyl.

Hailed by The Guardian as “the hopeful new voice of her super-sad

generation” Arlo Parks released her second track in January 2019.

At the time of release Arlo told Clash Magazine:

"When I look at my generation I see a kaleidoscope of dejection, passion and

anxiety – there’s this strange mix of sadness and intimacy that saturates

Generation Z. 'Super Sad Generation' was inspired by the time my friends and

I sat on the green at sunset, half wine drunk and ugly crying for no reason in

particular."

Lifted from the Super Sad Generation EP ‘Paperbacks’ took its inspiration from

Space Song by Beach House and Changeling by DJ Shadow.

The British songwriter captures the specifics of being young and messed up

like no-one else" - Noisey

2022 repress

This limited edition set contains the original LP (green vinyl) plus a 10 track bonus LP (amber vinyl) and a bonus 7” (red vinyl) with 2 previously unreleased tracks.
Remastered and pressed on colour vinyl with a reworked sleeve by original designer Andy Royston
Including the singles Boy Meets Girl, So What; Should The Bible Be Banned; Keep An Open Mind Or Else & This Nelson Rockerfeller.
Originally released in 1989. The Enraged Will Inherit The Earth is a musical molotov cocktail that’s a mixture of power chords and virile, virtuous lyrics.
The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit the Earth is a powerful weapon that didn’t get enough of a user base to make its intended impact. If the question was ever proposed, “can art be a weapon?” I think this album answers with a bold and resounding “yes.”

F. Scott Fitzgerald’s The Great Gatsby was a work so filled with ambition, yearning, and inner contradictions that it came to represent the condition of a nation itself. Yet, at its core, the slim novel tells a story about people and, more often than not, their inability to communicate and connect with one another — forever running on parallel tracks until tragedy finally twines them together. The color green (often in the form of the faded sodium lit dock of Daisy Buchanan) comes to represent longing and unrequited love in an era (the Roaring Twenties) of decadence and spiritual vacuousness. Green is Gatsby’s North Star, simultaneously pointing backward and forward through time toward some unattainable, impossibly balanced version of his own life.

Nick Waterhouse, a century later but once again in the ’20s, takes the color blue as his hue of choice on Promenade Blue. In Nick’s musical and lyrical world, blue is a refraction of his life and memories — shadowing a deep, spiritual San Francisco that fostered his musical vocabulary but has now been stamped out irrevocably; evoking the endless tours, marathon recording sessions, and highs and lows of success he’s experienced in his decade-long career; conjuring romances that were doomed, loves that lingered, and hope for future days of parity and partnership; summoning spirits of people who have gone but permeate his mind forever. That’s the world of Promenade Blue — one that is vivid and magnetic, buoyed by both light and density due to Nick’s newfound collaboration with producer Paul Butler (Michael Kiwanuka, Devendra Banhart). It’s not Gatsby’s New York in the 1920s, it’s Waterhouse’s California in the 2020s. Nick makes that crystal clear throughout the record but particularly on “Santa Ana (1986),” where he wryly sings, “Not from New York / And I never was / I’m from California.” With that, he answers all questions about place and setting…but as anyone who’s ever listened to a Waterhouse record knows: time, though clearly pegged to the dawn of this new decade, is a more malleable concept. Where he is is clear. When he is varies.

We can try as hard as we can to make sense of Promenade Blue, but in reality, context isn’t really needed because the music on the album is so damn magnificent. In no uncertain terms, it represents Waterhouse’s finest hour as a writer and bandleader — leveraging the musical partnerships he has built over many years to put something forth that is so fully realized and felt that it sparkles beatifically, reverberating with energy, heart, creativity, and vibe from start to finish. Nowhere is this more evident than on the album’s opening track, “Place Names,” perhaps the most remarkable song in the Waterhouse catalogue.

The tune is a pocket symphony, à la Spector and Wilson, with winding piano lines locking puzzle-like into a whining, weeping string arrangement courtesy of musical blood brother J.B. Flatt. A small cadre of women backing vocalists shout “Never!” and Nick replies “I never cry on cold days / I never mind a trip on the freeway / Because it’s what I know / Never really set for the big change / Learn to let things go / And say blow wind, blow.” The freeways between LA and San Francisco; the memory of spending a teenaged evening in the Vesuvio Café, which looms over the entrance of City Lights Books; the wind ripping through you on a foggy Bay Area morning, cutting into your bones; the pride one takes in his hometown; the distinct life that he has made (or that has made him) — it’s all here in “Place Names” and, honestly, if the album were to end with this one song, Waterhouse would’ve done his service to the 2020s in terms of musical creativity and vitality. Thankfully for listeners, it’s just the beginning.

The album twists and turns from the opening to the close — from swinging, sashaying jazz and blues (“Spanish Look”) to jittering, crystalline doo wop (“Very Blue”) and pure, loose, languid mood music with just a hint of Mulatu Astatke’s Ethiopian modal magic (“Promène Blue”). Most striking, perhaps, is the use of men’s voices as a backing texture, bringing an unexpected thematic unity to many of the songs. Lower-than-low gospel chants and refrains lend both energy and emotional weight to these pieces, conjuring a whole new mythic world for Nick’s compositions. This is a statement album, one to get lost in and rediscover over and over again.

In the Waterhouse catalogue, “Promenade Blue” represents rebirth and reinvigoration as well as a clarity of purpose that elevates it and may one day set it apart as something resembling a magnum opus. It’s his ‘Gatsby’ and it’s also his way of reintroducing himself to a fanbase that has grown by leaps and bounds over the last couple of years. On this record, he paints a mythic picture of his own life — lost in confusion, grating against time, overheated by false memories, being baptized by nostalgia and a vision of the future that is paradoxically both dark and apocalyptic and sparkling with promise. Sounds a lot like America in the 20s to me. Which 20s though? Which color — green or blue? Which author? Try to figure it out for yourself:

“You were smiling at me / Hanging languidly / On your car door window / Very blue / Very green / The ocean breeze / And shuffling trees / Pacific seas.”

“And as I sat there brooding on the old, unknown world, I thought of Gatsby's wonder when he first picked out the green light at the end of Daisy's dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.

Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter — tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning——

So, we beat on, boats against the current, borne back ceaselessly into the past.”

Following last year’s inaugural box set, Power Corruption & Lies is the next Definitive Edition to chronical the history of one of the UK’s most enduring and influential groups

The box which includes an LP, two CDs, two DVDs and a book, features the album remastered for the first time from the original analogue tape masters on LP, and CD. The Extras CD contains previously unreleased writing sessions from New Order’s Manchester rehearsal rooms and the 1982 John Peel Session for the BBC. The DVDs capture New Order live during 1982 & 83 at The Hacienda and Kilkenny, the 1984 Play at Home Channel 4 TV documentary and other rare live & TV performances. Finally a beautiful 48 page hardback book of rare photos and brand new essay from Dave Simpson completes the Peter Saville designed box.

Power, Corruption & Lies was recorded in 1982 at Britannia Row Studios, Islington and produced by New Order.

Bonus Content:

CD:
Power Corruption And Lies - Extras

Writing Session Recordings
1. Age Of Consent *
2. The Village *
3. 5 8 6 *
4. Your Silent Face *
5. Ecstasy *
6. Leave Me Alone *

John Peel Session
7. Turn The Heater On
8. We All Stand
9. Too Late
10. 5 8 6

John Peel Session Outtake
11. Too Late (instrumental rough mix) *

New York demo #1
12. Thieves Like Us*

Writing Session Recordings
13. Thieves Like Us *
14. Murder *
15. Blue Monday *
16. Blue Monday *

Album Session Recording
17. Blue Monday (Instrumental Outtake)
*Previously unreleased

DVD 1
New Order - Power Corruption And Lies DVD
Live Shows

The Hacienda, Manchester, 1982
In A Lonely Place
Ultraviolence
Denial
The Village
We All Stand
Senses
Chosen Time
5 8 6
Temptation
Everything's Gone Green
Rosehill Hotel, Kilkenny, Ireland 1983
We All Stand
Leave Me Alone
Denial
The Village
Temptation
Confusion
Age Of Consent
Blue Monday
Everything's Gone Green
Ceremony

TV Sessions

Blue Monday (BBC Top Of The Pops, London, 1983)
Confusion (Countdown – 1983
Age Of Consent (Switch – 1983)
Blue Monday (Switch – 1983)
Thieves Like Us (BBC Top Of The Pops, London, 1984 )

Extras
Your Silent Face (The Hacienda, Manchester, 1983)
5 8 6 (The Hacienda, Manchester, 1983)
We All Stand (Recreation Centre, Tolworth, 1983)
Leave Me Alone (Recreation Centre, Tolworth, 1983)
Love Will Tear Us Apart (Tower Ballroom, Birmingham, 1983)
Ultraviolence (First Avenue, Minneapolis, 1983)
The Village (Uni-Mensa, Dusseldorf, 1984)
Thieves Like Us (Alabamahalle, Munich, 1984)
Blue Monday (Alabamahalle, Munich, 1984)
Lonesome Tonight (Metropol, Berlin, 1984)
Confusion (Metropol, Berlin, 1984)

DVD 2

Play At Home
Channel 4, 1984 documentary made by New Order
Live Show
The Hacienda, Manchester, 1983
Blue Monday
Age Of Consent
Lonesome Tonight
Your Silent Face
Leave Me Alone
5 8 6
Denial
Confusion
Temptation
Thieves Like Us
In A Lonely Place
Everything's Gone Green

Celebrating 45 years of Blancmange, Everything Is Connected (Best Of) is the first collection to be curated by Neil Arthur, tastefully blending a mixture of hits and personal favourites.
" Originally from the UK's post punk DIY scene, Blancmange found success in 1982, long player 'Happy Families' selling Gold in the UK, and its 3 singles becoming international hits. They went on to have 7 Top 40 hits and 70 weeks in the UK album charts.
" Long-standing admirers include Moby, John Grant and Honey Dijon, who states that "British synth pop was hugely influential in the burgeoning house music scene and Blancmange was a big part of that."
" All formats contain the Top 40 hits 'Living On the Ceiling', 'Waves', 'Blind Vision', 'Don't Tell Me' and Abba cover 'The Day Before You Came', as well as recent favourites 'What's The Time', 'Reduced Voltage', and 'Some Times These'.

" The vinyl is being pressed onto special Coke-bottle green vinyl.It features the 10 Blancmange's essential tracks.

Tamara Schlesinger has been making music for 15+ years, first as the leader of the acclaimed alt-folk collective 6 Day Riot and since 2014 as an artist under the name Malka, releasing three brilliant solo records which garnered praise from BBC 6 Music and numerous respected magazines and blogs, and and its music being featured on Hollywood blockbusters and TV series such as 127 Hours, Scream IV and Skins, and across MTV and Netflix. Malka has also featured on the lineups of festivals such as Bestival, Glastonbury and Green Man.

Following a gap of over three years since her last Malka record I’m Not Your Soldier, during which she launched the female and non-binary songwriting/production collective Hen Hoose (who were shortlisted for the SAY Award), 2023 sees the return of her solo project with an astonishing synth-based album - Anatomy Of Sight - that’s Schlesinger’s best body of work to date. It's out 29 September via Tantrum Records.

Record Store Day 2021 Release.
Limitation: 1000 copies.
Still shrink wrapped but opened.
Record is close to near mint.

Take A Picture is Margo Guryan's one and done classic _ one of record collecting's real unheralded masterpieces _ bright, breezy, lightly psychedelic, and utterly cosmopolitan, recorded in New York City no less. Newly restored by Jessica Thompson from the original two-track safety masters, this beguilingly melodic 1968 pop tour-de-force has never sounded better.

Take A Picture is Margo Guryan's one and done classic _ one of record collecting's real unheralded masterpieces _ bright, breezy, lightly psychedelic, and utterly cosmopolitan, recorded in New York City no less. Newly restored by Jessica Thompson from the original two-track safety masters, this beguilingly melodic 1968 pop tour-de-force has never sounded better.

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.

Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!

Private Collection' is Karin Park at her purest, rawest and most beautiful essence: an album stripped down to the core of her mesmerizing voice and the haunting sound of the pump organ. An introvert and intimate album that shows her not just as a stellar musician but as a mother, a wife and a humble human being. Karin Park has been referred to as the Scandinavian Nico for her persona, and dark ambient legend Lustmord called her a “force of nature”. However, despite a Eurovision song contest entry, a year of sold out shows as the lead in Les Miserables in Oslo and performances alongside Lana Del Rey and David Bowie, Karin's talents have still remained somewhat under-exposed for the really broad public. This might change now, with a stunning new album and an extensive European tour with A.A. Williams this fall. “This record is very much a journey in solitude that I’ve been longing to make,” Karin tells us about her seventh studio album. Consisting of nine re-recordings – with radically diferent instrumentation – of classic tracks from her impressive back catalogue, as well as the newly written opener «Traces of Me», Private Collection is the quintessential expression of Karin Park’s artistry.

Arising at the forefront of contemporary underground pop, Chicago-based duo GRÜN WASSER shapes the course of minimal electronic music and blurs the boundaries of art, songwriting and performance on their latest full-length Not Ok with Things out October 4, 2019. Vocalist Keely Dowd and producer Essej Pollock artfully bend and reconfigure popular trends in dance music into unconventionally catchy songs and a powerful live show. Their unique mix of hardware, software and sampling coalesce into irresistible rhythms and driving sequences that fuse perfectly with Dowd’s distinctive alto voice, forming music that is as instantly appealing as it is fascinating. With lyrics inspired by personal struggles and social inequality, GRÜN WASSER raises the bar on innovation in modern pop as they arrive on the national stage with Not Ok with Things.

As longtime friends, Dowd and Pollock formed GRÜN WASSER in 2015 out of the rich cultural hub of Chicago. Both had backgrounds in punk and electronic music and together crafted a dynamic live act that fit within a variety of niche genres and scenes. Amidst the hype of GRÜN WASSER’s first album Nein/9 in 2016, Dowd’s alluring stage persona blossomed, while offstage her personal life began to unravel due to alcoholism and resulting depression. Nevertheless, the two began touring the country while writing new material and by late 2017, Dowd was able to get sober just ahead of their self-released follow-up album. On 2018’s Predator/Prey, Dowd candidly spoke out against hyper-masculinity and challenged misogynistic cultural norms. The lyrics of her songs became woven into the live performance, with Dowd often venturing into the crowd and confronting audience members with an intensely honest portrayal of feminine empowerment. Perfectly paired, Pollock’s thumping, experimental beats complement Dowd’s hypnotic vocals and gripping stage presence, making GRÜN WASSER a potent combination of pop and art.

On Not Ok with Things, Dowd deconstructs her alcoholism and protests the gross imbalance of gender roles. This complex mixture of emotions provides a palpable overcast to Pollock’s cold bass lines and brooding synth tones. The lyrics on songs like “Translator” and “Tried Spitting at The Sun” depict a turbulent mind bracing the ups and downs of relapse and recovery, while “Worm” and “Gray/Grey” grapple with the social casualties of addiction. The heavy subject matter is delivered within organic arrangements that often deviate from a typical verse-chorus format, representing the revolving tides of raw emotional expression. GRÜN WASSER’s use of textural samples gives an environmental context, enhancing the composition and revealing influences from hip-hop, house and industrial music. Pollock’s abstract percussion techniques incorporate real-world sounds with high-hat rolls and thick sub bass, adding a gritty undertone to their polished sound design. Swells of backing vocals add highlights of nuanced melody that swirl in and around Pollock’s dense synthwork and precise drum programming. Not Ok with Things is a bold exposition and an inspiring symbol of female resilience in the modern world, giving GRÜN WASSER’s work dimensions beyond the audible.

GRÜN WASSER fully realizes their singular talent on Not Ok with Things, crafting meaningful pop music with unmistakable passion and evocative style.

Almost four decades since it’s domestic release, Karen Marks’ 1981 single Cold Café has finally reaped it’s deserved international credit to become one of Australia’s most recognised minimal wave recordings. Efficient Space now showcases the Melbourne artist’s brief but entire discography, including two previously unheard demos, all produced with experimental synthesist Ash Wednesday (The Metronomes, Modern Jazz, Thealonian Music). A rarity in the then male dominated industry, Marks found her footing in music, first through rock journalism and then in band management. Formally of Adelaide, newly arrived synth-punks JAB (Johnny Crash, Ash Wednesday and Bodhan X) approached her for representation, subsequently contributing tracks to seminal 1978 snapshot Lethal Weapons and playing the Crystal Ballroom’s opening night.

First issued on the Dot label in 1965, Karen Verros’ recording of ‘You Just Gotta Know My Mind’ is one of the most popular and in-demand tracks ever to appear on Ace Records’ “Girls With Guitars” compilation series. Pressings of the hopelessly rare original exist in two variants, one 20 or so seconds shorter than the other.

This new Ace release features the longer of the two versions. ‘Karen’s Theme’ on the B-side is the ‘You Just Gotta Know My Mind’ backing track, with added freakbeat guitar in place of Karen’s vocal.

An original copy, in the unlikely event one should become available for sale, is likely to carry a hefty asking price. Designed to resemble a small-run mid-60s acetate pressing, rather than a replica Dot label, this very welcome addition to Ace’s catalogue of 7-inch vinyl singles should set punters back about the cost of a bottle of cheap plonk.

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.

Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.

Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!

"Don't Run From The Fire" is Minuit Machine's 5th release. It's a four-track EP. One year and a half after coming back from a one-year hiatus, Minuit Machine keeps on transforming and evolving. From dark electronic, to EBM, the duo reasserts its hybrid identity, always dark wave, but with strong touches of techno and EBM. Don't Run From The Fire talks fear and desire. How love, and feelings in general affect us all as human beings. How we try to run away when we feel in danger. We run away, or we stand still, ready to attack, like a scorpio. We hide how much we're afraid, how much we'd like to hide. It's about control, trying to take control when everything is out of control. When the world around us is chaotic and dangerous. Don't Run From The Fire is about fighting, for who we are, who we want to become. It's about understanding what we truly want and embrace it. Don't Run From The Fire - Remix Edition is a new version of the original EP with 4 additional remixes from Rein, Parallx, Crystal Geometry and Maud Geffray. Ltd transparent green LP!

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

Black Rainbows is a musical project inspired by the objects and artworks collected by Theaster Gates at the Stoney Island Arts Bank in Chicago. Situated at the Great Grand Crossing neighborhoods of Chicago's South Side, Stoney Island Arts Bank is a cathedral to Black Art, a curated collection of Black archives comprising books, sculpture, records, furniture and problematic objects from America's past. As well as being a site for archive, the Arts bank is also a place for convening. Bailey Rae attended The Black Artists Retreat there in 2017 and performed in the space.

Wide ranging in it's themes, Black Rainbows' subjects are drawn from encounters with objects in the Arts Bank. Taking us from the rock hewn churces of Ethiopia, to the journeys of Black Pioneers Westward, from Miss New York Transit Queen 1957, to how the sunset appears from Harriet Jacobs' loophole.

Black Rainbows explores Black femininity, Spell Work, Inner Space/Outer Space, time collapse and ancestors, the erasure Black childhood and music as a vessel for transcendence.

Tracklist A Spell, A Prayer Black Rainbows Erasure Earthlings Red Horse New York Transit Queen He Will Follow You With His Eyes Put It Down Peach Velvet Sky Before The Throne of The Invisible God

Black Rainbows is a musical project inspired by the objects and artworks collected by Theaster Gates at the Stoney Island Arts Bank in Chicago. Situated at the Great Grand Crossing neighborhoods of Chicago's South Side, Stoney Island Arts Bank is a cathedral to Black Art, a curated collection of Black archives comprising books, sculpture, records, furniture and problematic objects from America's past. As well as being a site for archive, the Arts bank is also a place for convening. Bailey Rae attended The Black Artists Retreat there in 2017 and performed in the space.

Wide ranging in it's themes, Black Rainbows' subjects are drawn from encounters with objects in the Arts Bank. Taking us from the rock hewn churces of Ethiopia, to the journeys of Black Pioneers Westward, from Miss New York Transit Queen 1957, to how the sunset appears from Harriet Jacobs' loophole.

Black Rainbows explores Black femininity, Spell Work, Inner Space/Outer Space, time collapse and ancestors, the erasure Black childhood and music as a vessel for transcendence.

Tracklist A Spell, A Prayer Black Rainbows Erasure Earthlings Red Horse New York Transit Queen He Will Follow You With His Eyes Put It Down Peach Velvet Sky Before The Throne of The Invisible God

Celebrating 10 years of global superstar Ed Sheeran’s second album “Multiply”, styled as “x”. The album was an international commercial success, peaking at number 1 in 15 countries, topping the UK Albums Chart and US Billboard Top 200, and the top 5 in seven other countries.The album achieved multi-platinum status worldwide, and was the best selling album in Australia, New Zealand, Ireland and the UK. The album achieved the status of the most streamed album in the world in 2014 on Spotify, and became the third biggest selling album in the UK in the 2010s. “Multiply” is a testament to Ed’s songwriting and artistry, demonstrating his ability to blend heartfelt lyrics with infectious melodies across a range of musical styles. Five singles were released from the album; Sing, Don’t, Thinking Out Loud, Bloodstream (a Rudimental collaboration) and Photograph. Thinking Out Loud and Photograph have both become timeless classics that resonate with all ages, and continue to soundtrack countless weddings, proms and other heartfelt moments between loved ones. To celebrate the 10th anniversary of the album, we are releasing a CD, black 2LP vinyl and green EcoRecord vinyl and a CD zine with 9 bonus tracks, with inverted artwork. The bonus tracks have never been released on vinyl before, however Make It Rain was released on the Sons of Anarchy, Vol. 4 soundtrack, and the All Of The Stars was released on The Fault In Our Stars soundtrack, but have never been part of an Ed Sheeran release.

Celebrating 10 years of global superstar Ed Sheeran’s second album “Multiply”, styled as “x”. The album was an international commercial success, peaking at number 1 in 15 countries, topping the UK Albums Chart and US Billboard Top 200, and the top 5 in seven other countries.The album achieved multi-platinum status worldwide, and was the best selling album in Australia, New Zealand, Ireland and the UK. The album achieved the status of the most streamed album in the world in 2014 on Spotify, and became the third biggest selling album in the UK in the 2010s. “Multiply” is a testament to Ed’s songwriting and artistry, demonstrating his ability to blend heartfelt lyrics with infectious melodies across a range of musical styles. Five singles were released from the album; Sing, Don’t, Thinking Out Loud, Bloodstream (a Rudimental collaboration) and Photograph. Thinking Out Loud and Photograph have both become timeless classics that resonate with all ages, and continue to soundtrack countless weddings, proms and other heartfelt moments between loved ones. To celebrate the 10th anniversary of the album, we are releasing a CD, black 2LP vinyl and green EcoRecord vinyl and a CD zine with 9 bonus tracks, with inverted artwork. The bonus tracks have never been released on vinyl before, however Make It Rain was released on the Sons of Anarchy, Vol. 4 soundtrack, and the All Of The Stars was released on The Fault In Our Stars soundtrack, but have never been part of an Ed Sheeran release.