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The original single from Escape From New York finally gets an official reissue. Originally released in 1983 ‘Save Our Love’ was released a year before ‘Fire in My Heart’ and sets out their highly effective fusion of New Wave, Disco, Italo and Post Punk. Featuring Jaki Graham and D.C Lee on backing vocals, the 12” also includes an instrumental mix and cult classic ‘Slow Beat’ (Dance Mix). Escape From New York were short lived and disbanded in 1984 following the release of ‘Fire in My Heart’, ultimately buckling under the pressure of commercial expectations for their innovative brand of pop music. Fast forward to 2023 and history has been kind and these singles are now regarded as being pioneering classics.

Elena Tonra of Daughter goes Solo and says:

„Although the record is written for someone, a lot of the time it’s about the space without that person in it. In every scenario, there’s either the person in memory or the noticeable absence of that person in the present moment. I suppose it is a break-up record, however I do not talk about the relationship at all, and he hardly features in the scenes. He is only felt as a ghostly presence."

On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he also delivers, with a warm and moving voice, the texts of three poetesses from the past. Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and "Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and 19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-1859) and Renée Vivien (1877-1909).

Heavyweight soul providers Fat Freddy"s Drop take flight once again with their third full-length release Blackbird.Featuring nine tracks, Blackbird was written and recorded at Bays, the band"s own studio, which was one of the last vinyl pressing plants in New Zealand and then an apostolic church. Fitchie says, "What you hear on the album is the sound of Bays; the room itself, the vibe of the place and the performance we can get out of the band in there."

The solo album from one of the artists from the foumous "My Pussy Belongs To Daddy" compilation from 1957. Hot and kinky grooves for warm and pleasurful winter nights by the underground exotica femme fatale Faye Richmond.

Highly anticipated follow up LP to her two EPs! Janet Jackson meets The XX meets Massive Attack.

The follow-up to 2014’s Singles. The Far Field has string and horn arrangements by Patrick McMinn and is the first Future Islands record to feature live drums from member Michael Lowry. Blondie’s Debbie Harry makes a guest appearance on “Shadows.”

The band began writing the album last January, and later in the year, performed the songs at a series of secret shows under fake names. They recorded the album with producer John Congleton (Sleater-Kinney, David Byrne, St. Vincent, Cloud Nothings) in Los Angeles at Sunset Sound (where artists like the Beach Boys and Prince have recorded).

It’s two years since Connectivity (2021) smashed into the top 40 and debuted at #1 in the UK download chart, propelling the fiercely independent voice of Grace Petrie from critics’ choice to the main stages of major festivals across The UK and Ireland, Australia and Canada.

For a seasoned road dog who spent almost 15 years clocking up tours with the likes of Billy Bragg, Frank Turner and Hannah Gadsby, the Covid lockdowns were like a cage for Petrie and when restrictions lifted, she hit the road harder than ever, armed with her most searing and successful record to date, and determined to make up for lost time. Sell-out headline tours across the UK, Australia, Canada and New Zealand followed, with audiences from Melbourne to Toronto mesmerised by the ferocity of her socially urgent lyricism and the barnstorming power of her live show. But travelling the globe hasn’t diminished her laser focus on the political issues plaguing the UK, with two more Prime Ministers, endless blunders and evermore division seen since she last swapped microphone for pen and paper.

Now the songwriter is back - stronger, older and a whole lot angrier than ever before. As right wing ideologues trade in suspicion and cynicism, tearing communities apart against a backdrop of crumbling public services, the ordinary folk of Britain continue to suffer the consequences of corruption and individualism.

From within this maelstrom of despair comes Build Something Better - the new, uncontainable album from Grace Petrie.

Recorded raw and unflinchingly with folk-punk legend Frank Turner in the producer’s seat, Build Something Better is a return to blistering protest form for Britain’s most relevant political songwriter, a decade after being hailed as “a powerful new voice”, (The Guardian) and “a millennial’s Billy Bragg” (Huffington Post). In a world that seems to make less sense than ever, these are songs made to both holler along to from the crowd barrier and to tear up with on a lonely latet night train. A record for everyone whose broken heart beats for, and whose boots stomp in time with, the hope a brighter tomorrow.

It’s two years since Connectivity (2021) smashed into the top 40 and debuted at #1 in the UK download chart, propelling the fiercely independent voice of Grace Petrie from critics’ choice to the main stages of major festivals across The UK and Ireland, Australia and Canada.

For a seasoned road dog who spent almost 15 years clocking up tours with the likes of Billy Bragg, Frank Turner and Hannah Gadsby, the Covid lockdowns were like a cage for Petrie and when restrictions lifted, she hit the road harder than ever, armed with her most searing and successful record to date, and determined to make up for lost time. Sell-out headline tours across the UK, Australia, Canada and New Zealand followed, with audiences from Melbourne to Toronto mesmerised by the ferocity of her socially urgent lyricism and the barnstorming power of her live show. But travelling the globe hasn’t diminished her laser focus on the political issues plaguing the UK, with two more Prime Ministers, endless blunders and evermore division seen since she last swapped microphone for pen and paper.

Now the songwriter is back - stronger, older and a whole lot angrier than ever before. As right wing ideologues trade in suspicion and cynicism, tearing communities apart against a backdrop of crumbling public services, the ordinary folk of Britain continue to suffer the consequences of corruption and individualism.

From within this maelstrom of despair comes Build Something Better - the new, uncontainable album from Grace Petrie.

Recorded raw and unflinchingly with folk-punk legend Frank Turner in the producer’s seat, Build Something Better is a return to blistering protest form for Britain’s most relevant political songwriter, a decade after being hailed as “a powerful new voice”, (The Guardian) and “a millennial’s Billy Bragg” (Huffington Post). In a world that seems to make less sense than ever, these are songs made to both holler along to from the crowd barrier and to tear up with on a lonely latet night train. A record for everyone whose broken heart beats for, and whose boots stomp in time with, the hope a brighter tomorrow.

Grandbrothers are Erol Sarp and Lukas Vogel. After meeting at university in Dusseldorf, Erol and Lukas formed Grandbrothers to tie together their respective musical backgrounds and disciplines: Erol is a trained jazz pianist, while by day Lukas constructs synthesizers at Access Music. Together, they create a sound that combines classical composition with modern, experimental production and sound design.

They use use a self-built system of electromagnetic hammers to trigger a grand piano and use it as a kind-of drum machine. In their music there are no synthetic sound sources, all comes from the grand piano.

Kiss Klassics shows no sign of slowing down – putting dance & R&B classics on 45 for the first time ever – here we go for Gusto’s dancefloor banger from 1995 which sampled Harvey Mason’s disco classic “Groovin’ You” which in turn gets the 45 edit treatment by Wales’ one and only Super Twitcher, Sam Tweaks – it’s Tweakin’ Ace!!

Clearing is the elemental debut album from multifaceted PC Music originator Hyd. The record, a tactile masterpiece, cycles through a reckoning following a fiery period of fear, loss and destruction where Hyd chooses softness and a gentle touch to come to terms with the chaos. Clearing embodies a restoration that mirrors the emergence of a Garden - through seed-like vulnerability, the album combines glitching pop-heights with glistening intimacy, exploring the cyclical nature of growth, both personal, in community and in all nature. Featuring contributions from close friends and longtime collaborators Sophie, A. G. Cook and Caroline Polachek, Hyd’s highly anticipated debut is a chrisalyssed amalgamation of healing, nourishment, and a haven for all. Featuring single “Afar”, produced by Caroline Polachek and launched to critical acclaim in July, with support from Mary Anne Hobbs and Lauren Laverne on BBC Radio 6Music, Pitchfork, Notion, Paper Magazine and more.

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

Isao Tomita, also known as Tomita, was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analog synthesizer arrangements. Many of his albums are electronic versions and adaptations of famous classical music pieces. In 1974 Tomita released his second studio album, Snowflakes Are Dancing. The album consisted entirely of Tomita’s arrangements of Claude Debussy’s “tone paintings”, performed on a Moog synthesizer and a Mellotron. The track “Clair De Lune” was used at the 2020 Summer Olympics closing ceremony in Tokyo. The album became a worldwide success and was responsible for popularizing several aspects of synthesizer programming. In addition, it entered the US Top 50 charts, became NARM’s best-selling classical album of 1975 and was nominated for four Grammy Awards, including Best Classical Album.

Snowflakes Are Dancing is available as a limited edition of 1500 individually numbered copies on crystal clear & white marbled vinyl.