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for the first time on vinyl limiited to 1000 coies incl. Download Code!

Singer-songwriter Amos Lee draws inspiration from soul music, contemporary jazz and 1970s folk artists such as James Taylor. The Philadelphia native honed his songwriting skills while waiting tables and bartending after graduating from the University of South Carolina with a degree in English. He eventually landed some high-profile gigs as an opening act, including an extended tour with pianist/vocalist Norah Jones, whose bassist, Lee Alexander, agreed to produce Lee's first album.
With Alexander's help, Amos Lee released his self-titled debut on Blue Note in 2005. The album won Lee a small following for his blend of acoustic funk, folk, and light jazz. Norah Jones herself plays the piano on two tracks; "Keep It Loose, Keep It Tight" and "Colors".
A notable debut like Amos Lee deserves the Analogue Productions reissue treatment. This beauty was cut by Bernie Grundman in Los Angeles from the master tape, and is now pressed at 45rpm on two glorious sides of 200-gram vinyl by Quality Record Pressings, makers of the world's finest-sounding LPs. QRP is noted for deep-black backgrounds and pristine clarity. If you're already familiar with Amos Lee, get ready — you've never experienced it with such lifelike sonics and premium richness. This is how all vinyl should sound.
The songs on the album incorporate themes of folk, soul, gospel and jazz. Amos's style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.

My Back Was A Bridge For You To Cross, Anohni’s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, Anohni addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016’s Hopelessness, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. “Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago.” Anohni’s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. “I learned with Hopelessness that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On “It Must Change,” Anohni soulfully describes systems in collapse with a note of compassion for humanity: “The truth is I always thought you were beautiful in your own way // That’s why this is so sad.” Anohni’s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. “We’re not getting out of here // No one’s getting out of here // This is our world,” she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that Anohni has held space for in the presentation of her own work. Elsewhere, the album artwork states ”it’s Time TO Feel What’s Really Happening”. In some ways it feels as if she is reaching across her life’s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. “I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning.”

Debut single available on 7” vinyl.

Mercury Prize and Brit Award winner Arlo Parks first came to the attention of

music press with her debut single ‘Cola’. It’s a breath-taking, tender, poetic

and confessional introduction to an artist just eighteen at the time of its

release.

The then London based singer demonstrated soul beyond her years and with

'Cola' the submissive tones of her powerful voice are laid atop slow guitar

melodies that beckon you to stop what you're doing and just listen. The track

is written about bad love - in Arlo’s words, "Cola is a reminder that betrayal is

inevitable when it comes to pretty people that think flowers fix everything".

‘george’, an ode to poet Byron was released in 2019 just weeks before signing

to Transgressive Records and set Arlo on the path to being one of the most

critically acclaimed artists of the year.

Woo-hoo! Two of the best Italian rare grooves ever are finally back on 7’’ for the first time since their original French release on the format! Both are from that most iconic film soundtrack of the Italian 70s (the LP is now a holy grail for collectors), Armando Trovajoli’s score to Dino Risi’s anthology sex comedy Sessomatto (1973) starring Laura Antonelli and Giancarlo Giannini. In the title track the influence of Manu Dibango’s afro-funk hit “Soul Makossa” is filtered through, and enriched by, an exquisitely Italian approach, with a sweet ’n’ groovy funk base (the terrific mid-song drum break has been a DJ favorite for decades) over which Edda Dell’Orso seductively laughs and repeats the words ‘sesso’ and ‘matto’ again and again. The wild and fun electronic samba “Kinky Peanuts” on side B is a wonderful example of ‘strange incredible music’, with infectiously quirky Moog themes and runs.

Switching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights
Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of
2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different
ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid
the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape
Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly
with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to
be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to
three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor
bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under
threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the
backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a
contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The
Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was
written through three years of cold winters, sweaty summers and a period where the world stood still during the
pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view,
abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes
felt like an impossible obstacle. Ultimately, though, this would provide unexpected inspiration and influence the sound
and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new
surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages,
challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new
place.

All tracks written, produced, arranged and performed by Atelier - Jás Miszewski & Alexander Inggs
Mastered by Mathias Schober, Artwork by David Kochs , Cover Photography by Alexander Inggs
A&R: Mathias Schober & Thomas Herb

For more than a decade, Bert Dockx has been one of the most prolific and versatile musicians in Belgium. A masterful guitarist, gifted songwriter, and innovative composer, crossing boundaries between avant-garde rock, customized blues, and instrumental jazz, with bands such as Flying Horseman, Dans Dans, and Ottla, singing in his native Dutch as Strand, or solo under his birth name, and now as the Bert Dockx Band. Ghosts is his fifteenth (!) album on the Ghent-based label Unday Records. Two years after the crash, Bert Dockx presents his new Bert Dockx Band and Ghosts, an album of rebirth and transgression, one of many firsts. Dockx never dedicated this much time to meticulously crafting each song. For the first time, he entrusts a finished record to a complete outsider. Never before has he reached out so far into the outside world. The relaxed and positive atmosphere during the recordings is magnified in what Dockx calls 'my best guitar playing ever', and the deep, powerful use of his voice in its natural range. 'I had fun making this album,' says Dockx, 'and I really hope it shows'. 'There's no escape now/ I'm inside of the storm', Bert Dockx sings on his new album, the first with the Bert Dockx Band. 'I smile, I cry/ I die, I'm born/ I'm in love'. Ghosts is the culmination of a two-year odyssey, from hitting rock bottom to flourishing into new heights. An album of rebirth and transgression, a record of milestones and many firsts. Never before has Dockx turned so deep inside in order to reach out to a world beyond himself. The album is mastered by US producer Philip Weinrobe. Weinrobe previously worked with Arianne Lenker, Indigo Sparke, and Kings of Convenience, and is praised by Dockx for his 'infallible intuition and great inventiveness'. This occasion marks the first time he hands over a finished record, permitting an outsider's perspective during the final mix.