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Putting into perspective the incalculable impact and pioneering significance of the best-selling album of all time – Michael Jackson's Thriller – has never been easy. Though Thriller lays claim to mind-boggling statistics that serve as reminders of how pervasive and indispensable it remains to music snobs and casual listeners alike, its essence always traces back to the greatness, power, and scope of the music. Now, as it celebrates its 40th anniversary, the record that reimagined pop; united audiences; made strides towards achieving racial equality; established the video as an artistic and commercial format; and taught the world how to dance sounds even more invigorating than it did during the advent of the Walkman. Mastered from the original analog master tapes, pressed at RTI, and limited to 40,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33rpm LP set does for Thriller what Jackson's unforgettable appearance on the "Motown 25" TV special in 1983 did for his career: It makes the music personal, human, desirable, relatable, imaginative – the definition of cool. This extraordinary reissue does so by presenting the songs in lifelike fashion, zeroing in on the fundamentals with laser focus, and magnifying the brilliance of the production, arrangements, and vocals in ways that let everyone experience Thriller as if hearing the album for the first time.

Surpassing the sonics of earlier reissues and pressings, Mobile Fidelity's 180g LP set strips away prior limitations and provides a clear, dynamic view of a landmark that crashed through every conceivable barrier and permanently transformed music, culture, and society. The expanse and depth of the soundstage, range of detail, percussive textures, air around the vocals, and natural decay of notes come through with demonstration-grade realism.

The gorgeous packaging of the Thriller Ud1s pressing befits the album's select status. Housed in an open-ended slipcase, the set features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, this reissue exists as a curatorial artifact meant to be preserved and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

Given that no album released during the past four decades even approaches the magnitude of Thriller, everything about it remains important. Numbers – even the "40" tied to its anniversary – don't even tell half the story. The 1982 blockbuster has sold more than 34 million copies in the U.S.; globally, it has moved upwards of 70 million units. Thriller dominated the 1984 Grammy Awards, winning a record-breaking eight trophies and sweeping every major category. It repeated the feat at the American Music Awards. Seven of its nine songs were released as singles; each charted in the Top 10. Perhaps most astonishingly, Thriller topped the Top 200 Albums chart for 37 weeks during a 59-week stretch. Fast forward 24 years, and the album was the biggest-selling catalog title of 2008.

The record's unimpeachable accolades and archival standing help provide another frame of reference. Acclaimed upon arrival, Thriller topped The Village Voice's comprehensive Pazz & Jop poll in 1983. Included in both the Library of Congress' National Recording Registry and the Grammy Hall of Fame, Thriller was ranked by the Rock and Roll Hall of Fame at No. 3 on its Definitive 200 Albums of All Time. Rolling Stone named it the 12th Greatest Album of All Time. Time deemed it "the greatest pop album of all time." The Independent called it "the most inspiring album of all time."

Thriller proved as influential as it did inspiring. Its unparalleled success, dazzling style, and sleek architecture changed every facet of culture and entertainment. The reverberations echoed throughout society. Thriller crossed over to mainstream channels and white audiences with a degree that no Black musician managed in decades (if ever); prompted MTV to give Black artists a widespread platform; elevated choreography and dance to higher-level artforms; shattered long-standing racial boundaries; and reconceptualized music via a genre- and color-blind blend of fleet pop, funk, disco, soul, and rock sent up with cinematic panache, oversized ambition, and dynamic energy.

Its effect on multitudes of subsequent artists cannot be overstated. Thriller opened up a new galaxy in which Prince soon strolled. It's the same universe that Usher, Maxwell, and Jamiroquai joined in the ‘90s and that contemporary headliners like Beyonce, Justin Timberlake, and Bruno Mars orbit today. Their style-blurring identities, R&B-rooted foundations, and interdisciplinary approaches directly link to those on Thriller. Notably, the album's first single – "The Girl Is Mine," a duet and co-write with Beatles legend Paul McCartney – captured the record's unwillingness to cater to a specific race, generation, class, or style. Eddie Van Halen – at the time, the world's premier rock guitarist – performed a similar bridge role by supplying the electrifying solo on "Beat It."

Jackson, Quincy Jones, and company do the rest. Drop the needle on any track on Thriller and the insatiable desire to move takes hold. So do sensations of familiarity, pleasure, fun, and soulfulness. Be it the breathless, bass-laden swagger of the Moonwalking "Billie Jean"; horn-accented, post-disco slide of the gossip critique "Wanna Be Startin' Somethin'"; rousing tempo of the lush, sequin-adorned "P. Y. T. (Pretty Young Thing)"; gentle balladry and liquid vocal phrasing of "Human Nature"; vivid hybrid of funk-disco and horror-film drama of the title track; or streetwise strut and rhythmic fantasia of "Beat It," Thriller never lets up.

Sacd

Surpassing the sonics of earlier reissues and pressings, this hybrid Sacd strips away prior limitations and provides a clear, dynamic view of a landmark that crashed through every conceivable barrier and permanently transformed music, culture, and society. The expanse and depth of the soundstage, range of detail, percussive textures, air around the vocals, and natural decay of notes come through with demonstration-grade realism. Put simply, this reissue makes the phenomenon that is Thriller eternal.

It all started at 16, going to the music Brit School, starting off as a drummer playing all kinds of genres before picking up a guitar as well as piano, realizing he had everything to make music. Within a year, he had released the raw, lo-fi and lush ‘bcos u will never be free’ filled with synths, guitar and gentle melodies. Releasing it all on Soundcloud, it was picked up by Tyler, The Creator and this led to a collaboration on the track “Boredom”, which is the opening to Tyler’s ‘Flower Boy’.

Rex Orange County’s recent album ‘Apricot Princess’ is the sound of falling in love. Over 10 sickly-sweet songs, Surrey-born musician Alex O’Connor encapsulates those butterflies-in-your-tummy feelings with lashings of jazzy piano and tales of tripping head-over-heels for someone. It is utterly joyous.

Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, [extra life] is true and pure - in a way I haven't felt about music in a really really long time."

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their Bays studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their Bays studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their Bays studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Following the release of the dreamy and bewitching darkwave debut single "Mirror Twin", Harsh Symmetry announces the release of a full-length debut Display Model on Fabrika Records, home of Selofan, Lebanon Hanover, and She Past Away, whose own Doruk O?ztu?rkcan mixed and mastered the LP. With a vocal style reminiscent of Cocteau Twins collaborator Cinder (This Mortal Coil, Cindytalk), and Ian McCulloch of Echo & The Bunnymen, Harsh Symmetry's Julian Sharwarko is the epitome of old-school and post-punk and goth, capturing a vision that perfectly matches his sound, while physically resembling his music forebears to the point where he looks like he just stepped out of a copy of Smash Hits circa 1983. Hailing from Sacramento, California, Sharwarko's love of music began at the tender age of 8, with parents who influenced his early music tastes by playing the music of Siouxsie and The Banshees, The Birthday Party, Iggy Pop, Depeche Mode, and Bauhaus.

The long-awaited LP of the English version of the Fuji TV drama "Long Vacation" soundtrack!

An album in which the songs used in the play are sung in English, including the 90's R&B classic "Deeper and Deeper". In addition, "Minami-Piano Piece of Senna" played by Toshifumi Hinata (piano competition theme song for main character Hidetoshi Sena) and an instrumental track are also included. Produced by Daisuke Hinata.

Pressed on 180g

“It’s taken a long time for me to feel good about myself,” says Andreya Triana of the journey
to her third album. “As a musician, as a woman, it’s difficult getting to that space. It’s really
wonderful where you reach that time of having more good days than bad.”
That sense of celebration is what drives ‘Life In Colour’, Andreya’s most confident, instinctive
and heartfelt work to date; a record that celebrates love, freedom, independence and
womanhood.
“‘Life In Colour’ is about stepping into my womanhood and being like ‘OK, I know this space.
Let me try some s**t. I know it’s going to be hard but I know it’s going to be OK’. I just
wanted to put some good energy out there.”
The first taster of that sweet release was teased with lead single ‘Woman’ - a soulful pop
anthem of self-love, tracking Andreya’s life from awkward teen to mighty queen, from
memories of heartache and trauma to triumph.
“You know when you’re feeling so uncomfortable in yourself and you just want to be
swallowed up into a hole in the ground?,” Andreya recalls of her youth. “This is about moving
on from being a victim to a place of strength, to feeling like a superhero.
“Anyone who has gone through difficult times like I have, should know that it’s absolutely
possible to get to a good place. It doesn’t define who you are or your future. You have to
fight like hell every day to move forward but anything is possible. We’re all full of so much
goodness. Don’t lose sight of that.”
The lyric video is a tribute to Andreya’s mother, grandmother, the strong females of her life
and the many sacrifices that women make day-to-day, generation after generation.

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.

Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.

Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

For Record Store Day 2022 Morcheeba have recruited Orbital, Gui Boratto, Kutiman and Voyou to remix four tracks from their latest album 'Blackest Blue' which was released in May 2021. This is the second of a series of 12" remixes being released especially for RSD, the first 'Blazed Away - The Remixes' sold out in 2019. This year 'Blackest Blue - The Remixes' includes British giants of electronic music Orbital switching up the signature Morcheeba 'chill' vibe of 'Namaste' to an electronic drum and bass dancefloor stomper whilst producer Gui Boratto's remix of 'Sounds Of Blue' is a progressive Electronica/Chill House masterclass! Morcheeba's global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name with a discography spanning three decades. With at least 12 gold and platinum discs & over 350m all time streams, Morcheeba continue to create their own unique sound, a laid-back mix of fusion, funk, and blues with the sweet, fluid vocals of Skye Edwards.

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label.The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

1980s New York was where modern dance music took its first steps; a phoenix rising out of the ashes of disco’s over-exposure and demise. The underground scene was the very opposite of the celebrity-sprinkled commercialism of Studio 54 – “Lofts & Garages” looks at how the Spring label, with its brand new 1980s subsidiary Posse, reacted to the new movement.

As an independent New York label, it was perfectly placed to understand new trends in the clubs; it worked with some of those who would go on to define the dance music of the era, and for a glorious summer tracked the important early work of Arthur Baker, Maurice Starr and Michael Jonzun. These began their careers with productions that included Ritz, Glory and Blaze – records that sounded perfect for 12-inch singles and mixed electronic instruments with a real feel for the dancefloor.

Label mainstays Fatback were always searching for a new groove and kept an eye on the floor. Their final single for the label, ‘Spread Love’, was remixed by Morales and Munzibai. Fatback’s Bill Curtis and Gerry Thomas also produced the sought-after boogie single ‘Get Up An’ Dance (Dance With Me)’ for Mynk.

Others featured include one of the most distinctive voices in dance music, Fonda Rae, with her single ‘Live It Up’, released here in its rare radio edit; veteran soul man Lonnie Youngblood with his gospel-influenced ‘Sing A Song’; Detroit dance pioneers C-Brand’s ‘Wired For Sound’ and Body’s ‘Have Your Cake’, which has an early mixing credit for dance music legend Timmy Regisford.

These records may not have all worked on the floor of the Paradise Garage, but they were part of the energy that was given off by that and the rest of New York’s vibrant post-disco era.

The Midnight are thrilled to be announcing their new full-length studio album Heroes – due out September 9th via Counter Records. Along with the news, the band is releasing the celebratory new single “Heartbeat” – a rousing and electrifying track that helps set the tone for the album, which was written during isolation by the band’s Tim McEwan and Tyler Lyle. Heroes represents a clear sonic shift for the duo, who have expanded their lineup to include three live musicians – Lelia Broussard on bass, Royce Whittaker on guitar, and Justin Klunk on saxophone and synth – with both Broussard and Whittaker working alongside them on the new LP which was produced by McEwan and mixed by Ingmar Carlson (Tate McCrae, Disclosure, Carly Rae Jepsen).

Heroes is also the third in a trilogy of albums that started with 2018’s Kids – which reached #1 on the Billboard Dance/Electronic Chart – and was followed in 2020 with Monsters. “…for me, Kids is self-knowledge, Monsters is self-love, and then Heroes is empathy,” said Lyle. “I got into depth psychology and this idea of etiology, the way a human forms,” he said about Heroes, adding that “the world doesn't get better but we do. We grow into ourselves. We grow into our voice.”

You can hear this shift in the new songs which are more visceral and warmer. For a band that started as a synth-heavy duo, they have come a long way – creating fully realized arena worthy songs. From new single “Heartbeat” with its Van Halen-inspired synth leads, echoing drums, layered vocal chants and an explosive chorus to last month’s single, the propulsive guitar-laden “Change Your Heart or Die” – Heroes ushers in The Midnight’s next era with some of their biggest and boldest songs yet.

While taking a huge sonic step forward on Heroes, the band’s music still possesses the dramatic and nostalgic streak they’ve become known for since their 2014 debut in EP Days of Thunder. The new LP also reflects the confidence they’ve gained in their songwriting thanks in part due to their expanded live lineup. The band’s vivid sound is well-suited to full rock instrumentation, and the five-piece has cemented that in front on massive sold-out crowds this past year in 1-2k-capacity venues, up from 500-capacity clubs in 2019 and looking ahead to selling out London’s 5k-person Brixton Academy and similar sized venues in 2022.

Heroes is an album of songs about togetherness and trials won by love.

Nyctinasty is the third studio album by Grout/Grout, originally released in 2019

For polymath artist Wesley Joseph, writing a song is like shooting a film. He sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc_far beyond just getting a catchy melody down on tape. Music and filmmaking are Joseph's two great loves. Film came first_he started making DIY videos at age 12 to entertain himself and his friends growing up in a small UK community_but when he moved to London to study it, the energy he discovered in the city demanded to be captured in song, resulting in his 2021 debut Ultramarine, a distinctly cinematic collection of avant-R&B and soulful future-pop shot through with moments of surprising aggression and an intriguingly complex postmillennial aura. Since collaborating with the likes of Jorja Smith and Loyle Carner, he returns with Glow, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production_not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty_it's a stunningly beautiful work that makes it clear Joseph's on the path to becoming a worldchanging talent. As on previous projects, Joseph is providing his own visual accompaniments for Glow, creative directing its artwork and directing its first video. "cold Summer" finds Joseph singing from a supervillain's perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino gangster comedy shot in Kazakhstan. It's usually hyperbole to call an artist as young and new as Joseph "visionary," but it's undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. Glow is one of the deepest and most satisfyingly cinematic listening experiences of the year_and Wesley Joseph is just getting started.

The work of Illinois-born, Toronto-based artist Meg Remy, U.S. Girls has evolved in recent years from the coarse 4-track fidelity found on her early recordings to more luscious and unabashed works, packed with fiery pop sensibilities. Half Free is the next step in this impressive progression, an honest and lyrically jarring exploration of emotions, drenched in a bath of raw beats and loops that have become the hallmark of her work with producer and frequent collaborator Onakabazien. Other album guests include Slim Twig (DFA), Ben Cook (Fucked Up, Young Guv), Amanda Crist (Ice Cream) and Tony Price.

- Composed by Carter Burwell - 140 gram Black Vinyl - Manufactured in Czech Republic A frequent collaborator of THE Banshees OF Inisherin writer/director Martin McDonagh’s, Academy Award®-nominated composer Carter Burwell previously worked on three of his films, starting with In Bruges. He also worked on Seven Psychopaths, as well as his Oscar-nominated score for Three Billboards Outside Ebbing, Missouri, their last collaboration.

For THE Banshees OF Inisherin, McDonagh already had, for one section of the film, a piece in mind that’s performed by a Balinese gamelan ensemble – mostly metallic instruments. Taking that inspiration, Burwell weaved gamelin instruments alongside the score’s three main instruments: the celeste – a keyboard that plays bell sounds, the harp, and the flute to create the film’s highly-acclaimed score.

“The score to Banshees is, like its slow simmering conflict, delicate and nuanced and heartbreaking all at once,” said Mondo Creative Director Mo Shafeek..” It takes small steps backwards and forwards like crashing waves on a lonely island, strings and woodwinds dancing with one another, in a waltz. The whole score plays like a dance between two overlapping voices - occasionally harmonizing, but never connecting. Occasionally beautiful, but always a bit melancholy.”

Wewantsounds is delighted to announce the reissue of Ammar El Sherei's superb instrumental album “Oriental Music” from 1976. Here, the iconic Egyptian musician and composer revisits six classic compositions by another Egyptian legend, Mohamed Abdel Wahab, in his own hypnotic way. This series of great Arabic music reissues, started with the Fairuz and Ziad Rahbani album reissues are curated by Lebanese-born Arabic music expert Mario Choueiry from Institut du Monde Arabe in Paris. This reissue has been newly remastered and comes in its beautiful original artwork.

The late musician and composer Ammar El Sherei is one of Egypt's musical giants. Born in Upper Egypt in 1948 into an upper middle class family (his paternal grandfather had been an MP during King Fouad's reign and his eldest brother became the Egyptian ambassador to Australia) El Sherei moved to Cairo with his family when he was five and attended a special school for the blind (he had lost his eyesight in his early childhood). A child prodigy with a unique gift for music, he got noticed by his teachers who recommended him to the Hadley School for the Blind in America so he could perfect his studies by correspondence. El Sherei then quickly learn piano, oud and composition with unparalleled ease. Once he got his BA in English literature from Cairo's Ain Shams University, he decided to become a musician against the will of his family. He began playing accordion in the Cairo bars and clubs and started making a name for himself on the Cairo scene. El Sherei got his first taste of success when he managed to place a song with famed Egyptian singer Maha Sabry. This was the start of a long series of hit he composed for many established Egyptian artists. From then on, his ascension was meteoric and he went to to become a very successful composer for films and TV series especially. A true innovator who didn't hesitate to bring some western influences to traditional Egyptian music and was one of the musicians responsible for ending the lengthy song trend of the 70s. He embraced modern instrumentations and was asked by Japanese keyboard maker Yamaha Corp. to help develop new electronic keyboards that could handle quarter tone. Early in his career El Sherei recorded albums for Soutelphan, including "Oriental Music" celebrating the music of another Egyptian legend, composer Mohamed Abdel Wahab, who had co-founded Soutelphan. Here he masterfully interprets six classics from the Master including "Ana Wehabieby" (aka Ana Wa Habibi), "Ya Wabour Koly" and the classic "Ahwak" made famous by such talents as Abdel Halim Hafez or Fairuz. Using early electronic keyboards like the Steelphon S900 or the Farfisa as seen on the album cover, El Sherei creates beautifully hypnotic instrumentals that blend together traditional melodies with modern instrumentation, adding jazz and pop elements in the mix. Achieving cult status over the years with Arabic music collectors and vinyl diggers, "Oriental Music is now a sought-after album which command high prices on the international scene. Wewantsounds is delighted to make this unique album available on vinyl for the first time since it originally came out in Egypt in 1976.

Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You / I Just Can’t Explain It.” The single was recorded at the famed Kay Bank Studios (where groups like The Trashmen, Vaqueros, Readymen, Castaways and many, many more laid down tracks) but received very little airplay. Their second single featured “Echo” as the A-side, and it’s equally as fun, bringing a ? and The Mysterians-esque farfisa beat behind a driving, delightfully fuzzy bass and guitar. Like their first single, it didn’t go anywhere. The lack of budget really hurt the band, and with too many bills to pay, they weren’t able to recoup on recording costs. Poof… it ended up sitting on the shelf.

The remnants of their unfinished album can be heard here, along with unreleased material, a cover of the Hollies’ “Have You Ever Loved Somebody,” and three of their limited release singles, “All I See Is You/I Just Can’t Explain It,” “Peace Man/Tomorrow,” and “Because I’m Free/Sunshine.” Catchy yet complex, tune out and turn on to this unsung Twin Cities garage-psych treasure and prepare to Step Outside Your Mind.

About:

Coming off her first Number 1 single at country radio with "Somebody Like That" & 2021 ACM's New female artist nominee, Tenille Arts is set to release her third studio album, Girl To Girl. Catapulting into the project is the Dave Pittenger produced lead single,"Back Then, Right Now” which has amassed 8.8M streams on Spotify to date. Tenille continues to deliver magic with the 13 track album while stepping into stardom on a major tour this summer through January 2022 with Lady A. Features include Matt Stell & Callista Clark.

Pioneers, that’s what we call them. Not properly a giant team, but a bunch of forward thinking producers. In the heyday of the italo disco there was some forward thinking, a new way to address the club scene. 1985 is the golden year and if you want to get to the core of the synth-pop experience look no further ! This previously unreleased compilation collects a series of unbelievable tracks. An outstanding vision featuring la crème de la crème of the early 80s scene. All the way from electro wizard Alexander Robotnick to the astonishing performance of vocalist Mya Fracassini, through the French connection of Bigazzi brothers of Mon Bijou.

About the album, G says: "I thought about releasing my own album a lot growing up. I would sit in the lounge room holding Dad's record collection in my hands in awe. I was intrigued, I wanted my own. It's a big moment, I'm super stoked to drop my debut. Some of these songs I've had for years and it's time to get them out. I'm excited for this step to be accomplished and to tick it off the list. I'm pretty excited for what's to come next too..."

Soul Sugar drop their own reggae version of Marvin Gaye’s "I Want You". French outfit Soul Sugar – the brainchild of Guillaume “Gee” Metenier – deliver yet another soulful reggae 12”, this time a cover version of Marvin Gaye’s 1976 classic "I Want You". Jamaicain native Leonardo Carmichael sings lead vocals and legendary drums and bass duo Sly & Robbie add their flavor to the mix, with two versions on side B. Marvin Gaye’s single "I Want You" was a big step forward for his sound & vision and marked a change in direction – from hip Motown Soul to a more sultry, Disco sound. Marvin's vocals are notably intimate and the lyrics are more explicit, more personal. An original soul classic, "I Want You" is memorable for its unique combination of lush harmonies, a mesmerizing groove and the apparent sexiness of the theme itself. Soul Sugar's Discomix version combines a smooth mixture of reggae, soul and funk over beefy bass lines, designed for heavyweight sound systems. Sly & Robbie, rhythm duo known for their studio work on countless reggae classics since the 1960s deliver their version, taking us back to the golden age of Reggae, the days when it was typical for Jamaican musicians to record their own versions of American soul tunes ... Ace producer Jahno dubs the mix live and direct to tape, from his very own ' N.O.F Studio'.

Limited to 100. Dead Astronauts are one of the leading acts in the Synthwave & Synthpop scenes, blending the lines of Darkwave, Goth and Post-Punk. Previously composed of two members, Jared Kyle and Hayley Stewart, Hayley left to focus on her solo work (Mecha Maiko) and Dead Astronauts was reformed. Florence Bullock then took on the female lead, replacing Hayley in 2019. As a silent member and Record Producer, Slade Templeton (of Crying Vessel, Influx Studios) stepped in to help bring their new sound to life in 2019 and 2020 and round out the band. Dead Astronauts have regrouped and reworked the style they were known for, to become something modern, edgy, new and improved. Dead Astronauts are back and ready to ignite that flame in their fanbase that has been waiting, asking for more!

Instant is the trio of Bernd Schöll (Bass, Vocals, Rhythm), Mike Hauer (Guitar, Synth, Percussion), and Marion Siekmann (Vocals) from Munich, Germany. They formed in 1980 after meeting through mutual friends attending the local art and graphic design school. The trio were dissatisfied with their surrounding musical environment. Inspired by the Velvet Underground, Kraftwerk, and Giorgio Moroder, they set out to create their own brand of Neue Deutsche Welle fusing Dada, disco, and Krautrock.


Over the course of 2 weeks in Summer 1980 the band teamed up with local producer Mario Strack to record 6 songs. These would make up their debut eponymous album that was originally self-released on 10” vinyl in 1981. They utilized a simple set up of guitar, bass, and keyboards, plus the BOSS DR-55 Dr. Rhythm drum machine. Metal scraps clanging appear on the tracks “Do Not” and “Optimate Minimum”, and a washing machine was sampled on the track “Joyboy”, which features Marion reading from the appliance’s instruction manual. The A-side features 4 tracks in 11 minute, while the B-side hosts 2 songs in the same stretch of time. “Charade” features no wave saxophone accompaniment from Kai Taschner of Munich New Wave band Luna Set. Marion’s vocals are between Nico’s Teutonic chill and Alison Statton’s (Young Marble Giants) playfulness, while Bernd takes a monotone approach. Lyrics for “My Boy” and “Everybody's Gotta Mutate” were adapted from ‘Rotwang’, a fragmented novel written by Tim Hildebrandt, one of the brothers famous for illustrating the works of Tolkien.


All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the original jacket design, which features a neon red screen-printed drawing of a cut-out doll family on a stark white background. Each LP includes a postcard insert with lyrics.

Eighteen sacred psychedelic suppositories from the laboratory of Mad Scientist and scalpel happy pop mutilator Jean-Pierre Massiera. Including the rarest and most sought after fuzz funk, spooked surf and interplanetary prog from “The French Joe Meek” and all his schizoid split-personalities and freakish friends - The Maledictus Sound, Chico Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus himself.

Let us introduce you to some old friends of ours... Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like we’re flicking through the imaginary LP racks in the record shop from A Clockwork Orange or perhaps congratulating the runners up in a Halloweeen fancy dress competition but for the previously uninitiated you have just been ordained into the congregation of the many split personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the nine headed monster as he mutates and shape-shifts back through time to his humble beginnings in a Buenos Aireian province ravaging and pillaging the music of the European people for his own twisted benediction along the way.

This might, as intended, sound a little bit dramatic but if there is one single ingredient that gives the eccentric JPM his distinct flavour it’s a large dollop of drama. Add sprinklings of szichophrenia, shock, myrth and macabre and you are on the way to a B-movie broth with an acquired taste, that has, like all the best cheese, taken over thirty years to mature to perfection. Like all the best monsters, from the Centaur to the Minotaur to Dr. Jeckyl and Mr. Hyde his split personality is the key to his infamy and the secret of his blood sucking success!

This is why Jean-Pierre Massiera is (un)commonly known for two key periods in his career which, like a worm, can be split down the middle and thrive and flourish independently. To cut a long story short Massiera is, above all, a lover and purveyor of musique fantastique, and is willing and able to hijack whichever stylistic vehicle that passes him buy in order to do feed his lust. In the earlier part of his career he honed his sordid craft amongst psychedelic circles in Nice and Quebec. From late 1972 onwards he moved to Antibes and started a disco revolution and became an in demand cosmic record producer... For years prog rock obsessives and disco aficionados have wondered if there was two unrelated freak merchants called Jean-Pierre Massiera, but, in this rare instance, exploito-maniacs from both sides of the cosmic coin are united by the work of this singular, single handed monstrous music manufactory!

Another way to dissect the Histoire De JPM would read like a fantastic comic book. He started off as a musical scientist who was affected by chemical fallout in World War Two - he spoke to Jesus, went crazy and became a mad scientist. He then created a strain of mutant piranha fish which gave birth to a world of horrific monsters who assisted him in his murderous merriment. In the end he finds a giant egg and finally makes contact with aliens… That would be the end of chapter one and this is the era that we will focus on for this compendium In the worldly, derelict, laboratory of Dr. Jean-Pierre Massiera we are surrounded by decaying fish fins, test tubes, fuzz pedals, echoplex units

"San Francisco Bay Area bon vivants with an impressive pedigree and playful meld of loopy Syd Barrett flights of fancy; sparse Young Marble Giants-styled quietness & minor-key New Zealand sub-underground dissonance..."—Dynamite Hemorrhage fanzine.

Heady power pop trio Portable Radio announce the release of their debut eponymous LP on March 12th 2021 on Crimson Crow Records. Lead track and first single Hot Toddy, out in February, introduces the album with its ethereal brooding pop arrangement. Some years ago, the world started to go weird – and that’s when the then duo, Portable Radio, decided it was as good a time as any, to start making first steps. Phil … and Mof … shared some messages and a love of melodies, and as a gift to friends and those feeling the weight of everything, recorded a version of Brian Wilson’s gorgeous opus, ‘Love & Mercy’. The result was enough for them to start writing songs, and the blueprint for Portable Radio was born – hope, empathy, fun, love, and mercy.

Just when you thought you had Kasper Bjørke figured out he comes back with another great musical surprise. His new album Puzzles, which will be released April 5th on hfn music, follows two recent collaborative EPs on Live at Robert Johnson and Mule Musiq as well as his second Kasper Bjørke Quartet neoclassical/ambient album Mother on Kompakt.
Puzzles is Kasper’s love letter to the sound of early 2000s New York - merged with his Scandinavian sense of producing songs that goes beyond conventional club music; combining disco tinged instrumentations mixed with elements of 80s funk, jazz and contemporary pop songwriting, creating something familiar yet, something very fresh and innovative at the same time.
The album includes collaborations with a wide range of musicians and vocalists. From California based indie-disco troubadour Woolfy (DFA, Rong, Permanent Vacation etc.) to the Icelandic dream-folk trio Systur aka Sísý Ey (who also featured on Kasper’s 2014 single Apart, where the Michael Mayer remix became a timeless club anthem), as well as other longtime collaborators and artist friends: Toby Ernest, Jacob Bellens, WhoMadeWho’s Tomas Høffding on bass, Posh Isolation affiliate Frederik Valentin on guitar and the young, rising jazz star Oilly Wallace on saxophone and flute. Essentially, the majority of Puzzles is played and recorded live, including the drums by Rasmus Littauer (School of X, MØ). Many of the songs emerged from chord progressions written during studio sessions between Kasper and Toby - which Kasper then produced into a colourful and effective album, rooted in an expressive live feeling far from programmed patterns.
Puzzles is a new step for Kasper as a producer and artist, showcasing his ability to move and flow freely between genres and expressions, however still deeply rooted in his love and affection for the classic disco groove - which is only natural after more than two decades as an active DJ.
Another piece has been added to the musical puzzle of Kasper Bjørke

Single sided Limited edition. Vinyl is close to NM.

Today, internationally acclaimed interdisciplinary artist Hyd, nee Hayden Dunham, announces her first solo musical project, along with the announcement of her self-titled EP that arrives November 5th via PC Music. More disclosure than debut, Hyd’s four-track offering lets us feel the heat that’s been building underneath, calling us back down to earth. Written on an island formed from underground volcanic eruptions 15 million years ago, the EP is produced by A. G. Cook, Caroline Polachek & umru. The EP follows Hyd’s robust career as a sculptor and conceptual artist. Deeply enmeshed in the art world and music communities, she has dedicated her practice to reinventing systems - systems of communicating, systems of sexuality, systems of interacting with our environments. Her large-scale sculptural practice, where she creates fluid, transformative art installations, has been exhibited in museums and galleries across America, Asia and Europe. Past works include GEL, a vapor that travelled through the air vents of Andrea Rosen Gallery in NYC, and 7 Sisters, a seven-act performance at MoMA PS1 that incorporated dance, music, poetry, video and scents, with additional exhibitions and performances at Fondation Louis Vuitton, Paris, the Irish Museum of Modern Art, Dublin, etc. Apart from appearances on A. G. Cook's recent Apple LP, "No Shadow" marks the first time we've seen Hayden step out musically since Hey QT, the enigmatic and controversial project she created in collaboration with A. G. Cook and Sophie. The EP cover and singles’ artworks were photographed by renowned artist, Torbjørn Rødland, whose images are saturated with symbolism, lyricism and eroticism. The graphic design identity is by Bureau Borsche, celebrated for their work with clients including Balenciaga, Supreme and The Face, among others. Creative direction by Hyd and Jordan Richman.

Vinyl closer to NM

Manchester based singer-songwriter Francis Lung releases his second album Miracle on 18 June through Memphis Industries. Recorded at the idyllic Giant Wafer studios in rural Wales in early 2020, and finished from his home studio, Miracle represents a period of introspection for Francis. Reflecting on struggles with mental health, substance (ab)use, and relationships, the record finds him facing his demons head-on, a cathartic process which largely contributed to his decision to give up alcohol.Despite its serious subject matter, Miracle is far from austere in sound, marrying the cinematic, dreamlike quality of Francis"s earlier music, both solo and as a member of Wu Lyf, with the pared-back charm of great singer-songwriters like Judee Sill, Jeff Tweedy and Elliott Smith (of whom Francis is a noted fan; he co-organised an Elliot Smith online tribute concert in June 2020, a fundraiser for LGBTQ+ charities which featured Smith covers by Marika Hackman, Blaenavon, Marissa Nadler and others). A series of musical interludes act as emotional, or aesthetic bridges between songs, suspending the listener in Francis"s universe for the album"s duration. Inspired by the Hauntology movement, these interludes are wistful and evocative, almost eerie, complementing the reflective tone of the record.Miracle was produced by Francis in collaboration with Brendan Williams (Dutch Uncles, Matthew Halsall, Kiran Leonard) and Robin Koob (who co-arranged and performed strings), and the opportunity to take creative control was one he relished. "I"m quite bad at delegating" he admits, noting that he played every instrument except strings on Miracle. The result is a cohesive, deeply personal record, which is as vital as it is vulnerable. "I don"t want to be defined by my anxiety, my depression or any history of substance abuse," Francis says, "but I do want to reach out to other people who have had similar experiences, especially if it"s in a way that helps them feel a little better. To me, this music is celebrating healing as...

In 2024, a new chapter unfolds in the history of one of the true pioneers in the electronic music genre - the Tromsø duo, Bel Canto.

The upcoming album, 'Radient Green' expected before the summer, brims with creative and musical abundance. It sounds fresh and new while drawing from the unmistakable sonic landscape of the band's remarkable musical treasury, which includes mega-hits like 'Shimmering, Warm & Bright' and the Spellemannpris-winning 'Magic Box,' to name a few.

The journey has been long, with many notable names contributing to the process, including Gilles Martin, who co-produced the band's first two albums, Erik Ljunggren, and Matias Tellez, who has mixed the new album.

It's been 22 years since Bel Canto last released an album, but now it’s finally due.

Mel Williams, Larry Davis, Peggy Woods, Arthur Wright & His Orchestra, Jackie Day, The Brilliant Korners, Wally Cox, Jimmy Bee, Gene & Gary, Vernon Garrett, Johnny Copeland, The Other Brothers, Mary Love, Z.Z. Hill

Japanese pressing. Vinyl is close to NM.

Putting into perspective the incalculable impact and pioneering significance of the best-selling album of all time – Michael Jackson's Thriller – has never been easy. Though Thriller lays claim to mind-boggling statistics that serve as reminders of how pervasive and indispensable it remains to music snobs and casual listeners alike, its essence always traces back to the greatness, power, and scope of the music. Now, as it celebrates its 40th anniversary, the record that reimagined pop; united audiences; made strides towards achieving racial equality; established the video as an artistic and commercial format; and taught the world how to dance sounds even more invigorating than it did during the advent of the Walkman. Mastered from the original analog master tapes, pressed at RTI, and limited to 40,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33rpm LP set does for Thriller what Jackson's unforgettable appearance on the "Motown 25" TV special in 1983 did for his career: It makes the music personal, human, desirable, relatable, imaginative – the definition of cool. This extraordinary reissue does so by presenting the songs in lifelike fashion, zeroing in on the fundamentals with laser focus, and magnifying the brilliance of the production, arrangements, and vocals in ways that let everyone experience Thriller as if hearing the album for the first time.

Surpassing the sonics of earlier reissues and pressings, Mobile Fidelity's 180g LP set strips away prior limitations and provides a clear, dynamic view of a landmark that crashed through every conceivable barrier and permanently transformed music, culture, and society. The expanse and depth of the soundstage, range of detail, percussive textures, air around the vocals, and natural decay of notes come through with demonstration-grade realism.

The gorgeous packaging of the Thriller Ud1s pressing befits the album's select status. Housed in an open-ended slipcase, the set features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, this reissue exists as a curatorial artifact meant to be preserved and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

Given that no album released during the past four decades even approaches the magnitude of Thriller, everything about it remains important. Numbers – even the "40" tied to its anniversary – don't even tell half the story. The 1982 blockbuster has sold more than 34 million copies in the U.S.; globally, it has moved upwards of 70 million units. Thriller dominated the 1984 Grammy Awards, winning a record-breaking eight trophies and sweeping every major category. It repeated the feat at the American Music Awards. Seven of its nine songs were released as singles; each charted in the Top 10. Perhaps most astonishingly, Thriller topped the Top 200 Albums chart for 37 weeks during a 59-week stretch. Fast forward 24 years, and the album was the biggest-selling catalog title of 2008.

The record's unimpeachable accolades and archival standing help provide another frame of reference. Acclaimed upon arrival, Thriller topped The Village Voice's comprehensive Pazz & Jop poll in 1983. Included in both the Library of Congress' National Recording Registry and the Grammy Hall of Fame, Thriller was ranked by the Rock and Roll Hall of Fame at No. 3 on its Definitive 200 Albums of All Time. Rolling Stone named it the 12th Greatest Album of All Time. Time deemed it "the greatest pop album of all time." The Independent called it "the most inspiring album of all time."

Thriller proved as influential as it did inspiring. Its unparalleled success, dazzling style, and sleek architecture changed every facet of culture and entertainment. The reverberations echoed throughout society. Thriller crossed over to mainstream channels and white audiences with a degree that no Black musician managed in decades (if ever); prompted MTV to give Black artists a widespread platform; elevated choreography and dance to higher-level artforms; shattered long-standing racial boundaries; and reconceptualized music via a genre- and color-blind blend of fleet pop, funk, disco, soul, and rock sent up with cinematic panache, oversized ambition, and dynamic energy.

Its effect on multitudes of subsequent artists cannot be overstated. Thriller opened up a new galaxy in which Prince soon strolled. It's the same universe that Usher, Maxwell, and Jamiroquai joined in the ‘90s and that contemporary headliners like Beyonce, Justin Timberlake, and Bruno Mars orbit today. Their style-blurring identities, R&B-rooted foundations, and interdisciplinary approaches directly link to those on Thriller. Notably, the album's first single – "The Girl Is Mine," a duet and co-write with Beatles legend Paul McCartney – captured the record's unwillingness to cater to a specific race, generation, class, or style. Eddie Van Halen – at the time, the world's premier rock guitarist – performed a similar bridge role by supplying the electrifying solo on "Beat It."

Jackson, Quincy Jones, and company do the rest. Drop the needle on any track on Thriller and the insatiable desire to move takes hold. So do sensations of familiarity, pleasure, fun, and soulfulness. Be it the breathless, bass-laden swagger of the Moonwalking "Billie Jean"; horn-accented, post-disco slide of the gossip critique "Wanna Be Startin' Somethin'"; rousing tempo of the lush, sequin-adorned "P. Y. T. (Pretty Young Thing)"; gentle balladry and liquid vocal phrasing of "Human Nature"; vivid hybrid of funk-disco and horror-film drama of the title track; or streetwise strut and rhythmic fantasia of "Beat It," Thriller never lets up.

Carla dal Forno resurfaces with the news of plans to release her third album, Come Around , via her own Kallista Records imprint. Now, based in the township of Castlemaine, Central Victoria, the Australian artist returns self-assured and firmly settled within the dense eucalypt bushlands. Dal Forno grapples with ideas of home, disorder and insomnia in the swift pop structures of her DIY/post-punk forebearers such as Young Marble Giants, Virginia Astley, and Broadcast. Three years since the launch of her label, Kallista Records, dal Forno finds stability in Castlemaine (pop. 6,750), her third home city in as many albums. After nearly a decade of moving, recording and touring out of Berlin and London, Come Around embodies a newfound solitude born of/in elemental pop hooks and enlightened songwriting.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque." Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass. The new lp, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "s/t" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "s/t" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

Eiichi Otaki's Masterpiece Album to be Released as 40th Anniversary Edition!

Each Time 40th Anniversary Edition" will be released to commemorate the 40th anniversary of the release of "Each Time", a masterpiece album by Eiichi Otaki, a giant in the Japanese pop world! Each Time" was the sixth original album released on March 21, 1984, and the last full studio album before Otaki's death. It was released at a time when Otaki was attracting a great deal of attention as both an artist and a composer, and was a huge hit, ranking No. 1 on the Oricon Album Weekly Ranking, ahead of Michael Jackson's "Thriller". The album is now being brought back to life after 40 years in three different packages!

Each Time 40th Anniversary Edition" will be released as [the ultimate box set]. An analog vinyl set of 12" + 7" records will also be released at the same time. This is a very rare limited edition release that includes the full 12" album of the [1984 Original Mix] and the 7" single "Fjord Girl / Bachelor Girl" released in 1985.

Each Time 40th Anniversary Edition" will be released simultaneously as a luxury box set, an analog record containing the 12" + 7"

Mal, also known as “Mal of the Primitives”, pseudonym of Paul Bradley Couling (Llanfrechfa, 27 February 1944), is a British singer and actor who obtained Italian citizenship in 1989.After his first steps in Great Britain, it was in Italy that he found great success. At the end of 1965 he was one of the leading artists at the “Piper” in Rome, the most trendy venue in those years for Italian beat.After countless successful records (even in the world of childhood, thanks to the theme song of the TV series "Furia") and after many Sanremo festivals (the most important Italian musical TV show), as a sign of gratitude for the origins of his success in 2019 Mal released the album "Grazie Piper! (Thank you piper!)", accompanied by a video clip shot entirely inside the historic Roman venue.Now, five years after his last release, on the occasion of his 80th birthday, Mal has decided to treat himself to a book and a brand new vinyl, with the prophetic title: "I'm Still Singing"

Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave." “Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.