Pop CD 200 Items

Source ⧺ WE Move finds Garcia reinventing her Mercury Prize-nominated album, Source, through new collaborations with several artists and producers, including; Dengue Dengue Dengue, Georgia Anne Muldrow, DJ Harrison and Moses Boyd. The reworked tracks retain the inspiring musicianship and blend of jazz and other influences found on the original, whilst also moving in a more beat-driven, electronic direction. The full track list is included below.



Garcia’s critically acclaimed debut album, Source, released in August 2020, is included in this year’s Mercury Music Prize shortlist. Garcia will perform at the awards ceremony, broadcast live on the BBC on 9th September.

With nine solo soundscape albums to his credit, Motzer is widely known for his distinct textural electro-acoustic guitar voice utilizing looping, bowing, electronics, and prepared techniques. He appears on stunning collaborations with credits on over 100 albums, not the least of which is the historically important album King Britt Presents Sister Gertrude Morgan, where Tim’s cinematic textures led to features in Miami Vice, True Blood, and several independent films. He was inspired, quite handily, to perform and record all parts of these evolving compositions, including vocals – a first in his career. Mellotron, guitars, bass, prophet synth, optigan, wood flute, cymbals, drums, reed organ, electronics, drum machine, and toy keyboards all flow together in a lush and mysterious way, psychedelic at times, transcendent and futuristic at others.

Definitive reissue of Nancy’s debut album Includes the bonus tracks, “The City Never Sleeps At Night” and the previously unreleased “For Some”. Newly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin. Vinyl pressed at RTI. Q&A with Nancy and GRAMMY®–nominated reissue co-producer Hunter Lea. CD housed in a digipak and featuring a 28-page booklet

“Dumb stuff, as Lee used to call it. Dumb doesn’t mean stupid. It means human and understandable. It was the sound of three guitars, drums, and bass. It was simple, very, very simple. I can still see the room, the studio. With Carol Kaye, Glen Campbell, Donnie Owens… I can still see them all sitting there and chunking away. I guess simple was the best way to explain it, uncomplicated.” – Nancy Sinatra

The 1966 debut million-selling debut LP, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, “These Boots Are Made for Walkin’” and “So Long, Babe,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood and more. The catchy and jangly pop hooks performed by the famed Los Angeles session musicians, The Wrecking Crew and Billy Strange’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “The City Never Sleeps At Night” and the previously unreleased “For Some.”

2nd cd with 15 rare and spec.tracks

Welcome to Roseville, the 7th studio album by Har Mar Superstar. Sean Tillmann’s latest collection of songs is career defining culmination of life and musical experiences that were heavily influenced by 70s AM gold artists including Todd Rundgren, Elton John, Carole King, David Bowie, Paul McCartney, Genesis, Hall and Oates, Meat Loaf, Dory Previn, and ELO. The album came together in the late months of 2020 and is the first true collaborative effort of the whole touring band. It was distance recorded by all of the members in their home studios and the band’s home base, Mid City Studio, in Minneapolis. It has been described as an “existential homecoming” that chronicles Tillmann’s return to life as a Minnesotan over the last 5 years.

Most of the album was produced by bandmates Aaron Baum and Ryan Mach. John Fields (Jonas Brothers, Andrew WK, Har Mar’s 2004 album “The Handler”) returned to Team Har Mar producing “Solid Ghost” and “Hearts Have Misspoken”, and Ryan Olson (Poliça, Gayngs, Swamp Dogg) dropped in to produce “Patchwork Prisms”. Texas musical legends in the making Kam Franklin (The Suffers) and Jackie Venson (one of the greatest guitarists alive) popped by to elevate “Another Century” into a soul duet masterpiece. Denver Dalley (Desaparecidos) and T. Macey Taylor (Bright Eyes, Jenny Lewis, Amanda Shires) appear on “Where We Began” which they helped write on the road while supporting Afghan Whigs a few years back. The band is Nelson Devereaux, Jake Baldwin, Adam Hurlburt, Ethan Elseth, Aaron Baum, and Ryan Mach, and everyone had a hand in co-writing to help make this album a united, genre hopping masterpiece.

The whole album is a cohesive journey designed to be listened to front to back, but each track is strong enough to stand on its own.

Billie Eilish has revealed details on her highly anticipated sophomore album. The 16-track studio album, titled Happier Than Ever, will be released via Darkroom/Interscope Records on July, 30 Continuing the tradition on from her multi-Grammy Award, record-breaking debut album When WE ALL GO TO Sleep, Where DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother Finneas who produced the album in Los Angeles.

Billie Eilish has also teased her forthcoming single is coming this Thursday, April 29 at 9AM PT.

Billie Eilish has fast become one of the biggest stars to emerge since the release of her debut single “ocean eyes,” and continues to shatter the ceiling of music with her genre-defying sound. Fast forward from her humble breakout in 2015, Billie’s album When WE ALL Fall ASleep, Where DO WE GO? debuted at No. 1 on the Billboard 200 in the U.S as well as 17 additional countries around the world upon release, and was the most streamed album of 2019. When WE ALL Fall ASleep, Where DO WE GO? was written, produced and recorded entirely by Billie Eilish and brother Finneas in their childhood home of Los Angeles. Billie Eilish went on to make history as the youngest artist to receive nominations and win in all the major categories, at the 62nd Grammy® Awards, receiving an award for Best New Artist, Album of the Year, Record of the Year, Song of the Year, and Best Pop Vocal Album. Billie Eilish is also the youngest artist to write and record an official James Bond theme song, ‘No Time To Die.’ Most recently, Billie Eilish was nominated for four additional awards at the 63rd Annual Grammy Awards in 2021, and took home both Record of the Year for 'everything i wanted,' and Best Song Written For Visual Media for 'No Time To Die.'

Recorded in the spring of 2010 and then mysteriously abandoned by Prince before its release, the statement album Welcome 2 America documents Prince’s concerns, hopes, and visions for a shifting society, presciently foreshadowing an era of political division, disinformation, and a renewed fight for racial justice. The album features some of Prince’s only studio collaborations with the bassist Tal Wilkenfeld, drummer Chris Coleman, and engineer Jason Agel, with additional contributions from New Power Generation singers Shelby J, Liv Warfield, and Elisa Fiorillo and keyboardist Morris Hayes, who Prince also recruited to co-produce the album.

The Avalanches are set to commemorate the 20th anniversary of their debut album ‘Since I Left You’ with the release of a deluxe edition this June.

Released in Australia in 2000, and in the US and UK in 2001, ‘Since I Left You’ was hailed as a boundary-pushing release comprised of over 900 individual samples.

The forthcoming deluxe release – out June 4 – features a plethora of additional bonus tracks, including previously unreleased and fresh remixes by the late MF Doom, Black Dice, Leon Vynehall, Sinkane and Carl Craig to name a few. The CD version will also include some of The Avalanches’ remixes of Belle & Sebastian, Manic Street Preachers, Franz Ferdinand and more.

Nicolas Jaar and Dave Harrington return after announcing they were parting ways at a show in 2014 in the Brooklyn Masonic Temple. Their debut album Psychic from 2013 was lauded as a modern classic almost immediately after release.

Since, Nicolas Jaar has been incredibly prolific releasing no less than four albums through his own Other People label including a soundtrack to cult classic Sergei Parajanov film The Color Of Pomegranates, created original soundtracks for 2015’s Dheepan and 2019’s Ema, co-produced tracks on FKA Twigs (Bleep album of the year 2020) Magdalene and worked on material under the A.A.L (Against All Logic) moniker with the likes of no wave legend Lydia Lunch.

Working with multi-instrumentalist Dave Harrington on the DARKSIDE project, Nicolas Jaar’s production takes in heady psychedelic influences from prog and drone genres. Layering his entrancing vocals over the pulsating rhythm section on tracks such as ‘Lawmaker’ and ‘I’m The Echo’ that draw on the sun drenched psych of contemporary West Coast bands like Moon Duo and Wooden Shjips. Elsewhere we encounter the extended ‘Inside Is Out There’ with percussion heavily indebted to Can drummer Jaki Liebezeit and heavily treated vocals sat low in the mix. “From the beginning, DARKSIDE has been our jam band. Something we did on days off. When we reconvened, it was because we really couldn’t wait to jam together again”.

A harmonious return from the prolific duo, filtering an array of influences into their own expertly crafted sound.

Soul Jazz Records new ‘Cold Wave’ is a new collection of current electronic artists who have all been shaped by the early European cold wave artists of the late 70s and early 80s. This is the first release of Soul Jazz Records’ new Cold Wave overview and a second volume will be released just four weeks later. These first artists created new electronic musical landscapes as well as pursuing a stubborn D-i-y aesthetic, often releasing material on cassette and pioneering use of lo-fi technology, primitive drum machines and home-recording techniques. As part of this continued evolution today many of the artists featured here also self-release their own material, run labels, publish fanzines, or are part of wider musical collectives. Aside from the first electronic, no wave, and post-punk artists cited as influences – Suicide, Patrick Cowley, The Normal, Martin Hannett, Laurie Anderson, Public Image – this new generation of artists also show an exquisitely open source of electronic and disparate influences, everything from Underground Resistance to Purcell, from Scientist to New Beat and more besides. Most of the featured artists are based in Europe and include Krikor, Dissemblance and Vqoa from France, De Ambassade from the Netherlands, Moisture from Sweden, Kreidler from Germany, Celine Gillian and Carcass Identity from Belgium. One exception is FIT Siegel out of Detroit, connecting the electronic pathways of Europe to the Motor City. All of the bands featured here make distinctive contemporary music out of the 80s roots of the first cold wave movement. This first edition of Cold Wave comes in two vinyl editions – a one-off pressing orange Colored Vinyl edition and a black vinyl edition. Both come as heavyweight double vinyl housed in bespoke individual inner sleeves and the limited edition first pressing of this album comes with its own free pull-out fanzine on the groups featured. The CD edition comes with artist booklet/fanzine and slipcase. All editions are printed in special dayglo colour finish.

“Rone & Friends” has the musical colour of Rone’s friendships, of his crushes for a few additional less expected guest voices, but also inevitably of his own personality. With a strange year 2020 where borders and concert venues have closed, Rone felt the need to come closer to his artist friends and to reshuffle his creations with their voices as the new beating heart. The new collaborative album includes voices by Georgia, Yael Naim, Casper Clausen (Efterklang), Flavien Berger, Jenny Beth, Dominique A and many others. On the surface, Rone’s latest album, ‘Room With A View’ seemed to mark his return to solitary, contemplative instrumental electronica productions akin to his debut album ‘Spanish Breakfast’. In reality, the show of the same name, which took place over a week in the prestigious Théâtre du Chatelet in Paris, is the result of a permanent collaboration with fifteen dancers of the Ballet de Marseille and the avant-garde dance collective “La Horde", which fed into all the decisions made around the album campaign. The albums’ artwork is unequivocal in this regard. The health crisis in March 2020 forced the closure of the theatre and paralysed the development of this unique show at the crossroads of disciplines, which, up until then, was met with both critical and commercial success.

Pioneers of the British music scene, ‘Blackest Blue’ will be the band's 10th studio album in a discography that spans three decades. 2020 saw Morcheeba unable to tour or perform live, which gave Skye Edwards & Ross Godfrey “time to write songs and really get to hone them,” as Godfrey puts it. “There weren’t so many pressures so we could really take our time getting the songs right,” adds Edwards. The result of this time is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop & soul - into one cohesive record that dives deep into the soul of the band’s genre-mashing musical heritage. As usual, the band didn’t approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba. Edwards’ lyrics are primarily focused on positivity and overcoming personal adversity that lies within. ‘Sounds Of Blue’, is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop. The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). “ 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. The past year has been one of introspection for the duo, as they take stock of their renewed global fan base and look forward to being able to play the new album live in the not too distant future. “This was the first time since I was a teenager that I’d spent a year off the road and I enjoyed the tranquility, although I missed playing my guitar in far off lands,” says Godfrey.

Still sealed.

Roosevelt captures the beating heart and soul of dance music on forthcoming album!

“Polydans” is Marius Lauber’s (known internationally as celebrated producer, DJ, songwriter, and electronic musician Roosevelt) hotly-anticipated 3rd album (out Feb 26, 2021 via City Slang / Greco-Roman). The album serves as a kind of love letter to dance music, with Roosevelt embracing his own musical history and his love of the multi-faceted nature of the genre, and reconnecting with the intimate nuances that can make dance music feel truly alive.

After taking a 4-piece live band around the world playing over 100 live shows and performing at numerous festivals tied to the success of his second album ‘Young Romance’, Marius decided to take some time to sit in his studio, reflect on his meteoric
success in the pop music world (including becoming an in-demand producer, collaborating with Classixx and Washed Out and remixing artists like Rhye, Glass Animals, Chvrches and Charlotte Gainsbourg) and refocus himself on his musical roots. Hearkening back to the intimate clubs he’d DJ in, he sought to unearth the beating heart of dance music, where passion and excitement is woven into the intimate nuances of the genre, and the physical relationship between the DJ and those on the
dancefloor. Playing almost every instrument on the record, Roosevelt created ‘Polydans’ by swirling together the spirits of 80s synth, disco, analogue, Yacht rock, and delirious dancefloor euphoria with amazing results.

“Balances '80s-inspired synth, disco, driving beats and cinematic textures into a musical amalgamation that simultaneously manages effervescence and heft.” - Billboard on “Sign”

“Strobe-lit and expansive cut that locks into an insistent groove and periodically explodes into bright colors.” - Stereogum on “Echoes”

Kiesza’s 2014 Island Records debut ‘Sound Of A Woman’ saw her top charts globally with the smash single ‘Hideaway’. In support of the record she toured the world & collaborated with countless frontline artists. 2020 marks a rebirth following a life-changing car crash in 2017 Kiesza spent 2 years in recovery. Like a Phoenix Kiesza returns launching her own independent record label, Zebra Spirit Tribe. Kiesza will regenerate with her own unique brand of pop music and artistry. Kiesza’s sophomore album “Crave” is an uplifting 80s inspired pop record full of songs that make you want to sing and dance.

Housed in a sturdy LP-sized full-color cardboard slip-case and includes a hardback full-color book with discs in papersleeves

Blue sticker affixed to the shrinkwrap: 'The Beatles Anniversary EDITION..."

Blu-ray audio: Dolby Atmos - 96kHz/24bit DTS HD Master Audio 5.1 - 96kHz/24bit High Res Stereo, 1080p23.98 - Aspect Ratio 16:9 - All Regions

Hidden video on blu-ray: Navigate to track # 2 ”Something” on disc menu, press navigation arrow to the right and select the appearing video link.

The second album of Sault follows their debut "5" which came out just three months prior to this one. Heads all over the world were still in awe of "5", when all of a sudden "7" dropped. Now, by the end of 2020, they are four critically acclaimed albums deep into buiding their own legacy.

“We present our first ‘Untitled’ album to mark a moment in time where we as Black People, and of Black Origin are fighting for our lives. RIP George Floyd and all those who have suffered from police brutality and systemic racism. Change is happening… We are focused.” - Sault

Birthed at the turn of the ‘80s, synth and wave music has remained a constant force over the last four decades, with a recent spike in interest in the sound offering further proof of its’ timeless, out-of-this-world quality. It’s against this backdrop that Dutch DJ Interstellar Funk presents his celebration of the style, “Artificial Dancers – Waves of Synth”.
A bumper compilation bristling with obscure and hard-to-find gems, the set sees the Artificial Dance label founder joining the dots between synthesizer and drum machine-driven tracks in a variety of subtly different styles. It’s the result of hundreds of hours spent digging through dusty old records, tapes, and the Bandcamp accounts of DIY musicians who have been active since the sound’s first boom in the early 1980s.
The 11-track set draws on tracks made and released at different times over the last 40 years, with the earliest cut committed to tape in 1978 and the most recent in 2018. While the tracks date from the ‘80s, ‘90s, noughties and 2010s, the showcased cuts are united by a primitive but futuristic quality that makes dating them difficult. In many cases, it’s hard to tell which tracks were made in the early 1980s and which were conjured up in 21st century studios.
As you’d expect, highlights are plentiful with a number of the most unknown or sought-after cuts appearing on vinyl for the first time. In this category you’ll find the Human League’s odd but inspired early number “4JG”, a near mythical 1982 live version of Liasons Dangereuses’ “Dias Cortas” (previously only available on a VHS video) and Chris and Cosey’s “Hybrid C”, a brilliant mid-’90s cut plucked from their CD-only album “Skimble Skamble”. You’ll also find a rare demo version of Clan of Xymox’s Dutch darkwave classic “Stranger”, which became a club smash across Europe in 1983.
Interstellar Funk has also chosen to showcase tracks by a range of DIY producers and lesser-known artists. These include Californian band Batang Frisco, who self-released a sole private press album in 1986 (their contribution, “Sewing Machine”, is dedicated to founder member Bill DiMichele, who passed away this year), Matthias Schuster’s Im Namen Des Volkes project – which contributes the previously unreleased 2014 track “Alles Ist Gewinn” – and Zahgurim, a short-lived early ‘80s act who reunited in 2018 to record their first new material since 1983.
If that wasn’t enough to set pulses racing, the compilation also showcases a solo track by sadly departed Psyche member Stephen Huss. Nobody is quite sure when Huss recorded “Infinity Sign”, but we can confirm this is the first time that one of his solo productions has ever appeared on vinyl.

Slip case with 3 mini jackets + 1 gatefold mini jacket + 48 page perfect bound book

Vier Jahre nach der Veröffentlichung seines letzten Albums „Starboy“ kündigt The Weeknd sein neues Album „After Hours“ an, welches am 20. März erscheinen wird. Nach den zuletzt veröffentlichten Hitsingles „Blinding Lights“ (#1 der Singlecharts) und „Heartless“ war es nur eine Frage der Zeit, bis das neue Album in den Startlöchern steht. „After Hours“ ist sowohl digital als auch physisch als Standard CD, Vinyl und als MC erhältlich.

Released ahead of 1995’s The Gold Experience, the first album credited to Prince’s infamously unpronounceable symbol, The VERSACE Experience (PRELUDE 2 GOLD) was a gift to attendees of the designer’s collection at Fashion Week in Paris. Produced at the time as only a very limited edition promotional cassette, it featured remixed versions of future favorites “Pussy Control,” “Gold” and “Eye Hate U” as well as rare and commercially unreleased selections by The New Power Generation and Prince’s jazz-fusion project Madhouse. The rare promotional cassette went on to be incredibly sought after, with one copy setting a record as the highest priced cassette every sold, fetching over $4,000. It was recreated as a limited edition cassette release as a Record Store Day exclusive in April 2019 and was one of the most popular releases.

Hand-picked 60s she-pop from UK Philips, Fontana and Mercury, including many titles new to CD.

Limited Edition. The original album remastered for the first time,. Includes 3 new 2019 songs : “Bloody Bloody Border", “Roadies Rules” & “Clandestino” featuring Calypso Rose (2019 version). 6 page digisleeve packaging, booklet, 1 CD.

• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• CD in a UV coated Digipak with over sized fold-out booklet and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

The debut full- length album from Lafawndah, ANCESTOR BOY, releasing on 22nd March 2019 via her own label imprint CONCORDIA, is a bracing statement of intent, heralding an artist unbound in scope, scale, and intensity. It simply must be heard. The debut full- length album from Lafawndah, ANCESTOR BOY, releasing on 22nd March 2019 via her own label imprint CONCORDIA, is a bracing statement of intent, heralding an artist unbound in scope, scale, and intensity. Having in her prior self-titled and TAN EPs upturned geography, in ANCESTOR BOY Lafawndah digs deep to unravel geology, mining emotions of the deep pastand future. The album's physicality is elemental; its memory, mineral. It is a becoming- of- age story for a people yet to come, created out of a need to find the others. In the middle of the album's sonic and lyrical onslaught is the desire to share the uncertainties of growing up when you don't belong anywhere. Crafted with the aid of fellow travelers Nick Weiss, ADR, and L-Vis 1990, ANCESTOR BOY's maximalism- it's overflow of detail, of feeling, of ideas-serves to amplify a frequent lyrical motif: the sensation that one body, one lifetime, isn't big enough for what you're feeling. The record is pregnant with memories shared across more than one mind, recalling the storytelling antagonisms of Nina Simone at her most strident and unpredictable. Inresponse, the rhythmic aggressions of her music have grown even more determined and psychedelic, drawing a line in fire between Jimmy Jam's turnt industrialism on Control and the furious unease of Red Mecca-era Cabaret Voltaire. With a palate equal parts chrome and dirt, ice and depth, Lafawndah's finesse with song architecture imbues the LP with an uncanny addictiveness: anthems loaded with trap doors. ANCESTOR BOY imagines a pop music that is neither imperial nor local, but a freedom of movement; a residue, perhaps, from the album's nomadic creation between Los Angeles, Mexico City, New York, London, and Paris.

3 disc in 8 panel softpak with 12 page book PRINCE IN CONCERT: RAVE UN2 THE YEAR 2000 (2000) Prince promoted the release of Rave Un2 The Joy Fantastic with the In Demand Pay-Per-View concert Rave Un2 the Year 2000, which aired on New Year’s Eve, 1999 and featured special guests like Maceo Parker, Larry Graham, George Clinton, and Lenny Kravitz. The DVD of this concert was released as a standalone release in 2000 and features 23 tracks plus 4 “bonus groovez.” Tracks from across Prince’s career are featured including hits like “Let’s Go Crazy,” “Purple Rain,” “U Got The Look,” “Raspberry Beret,” “Gett Off” and “Kiss” and more rare tracks like “She’s Always In My Hair,” “The Christ (originally “The Cross” from Sign O The Times) and “Nothing Compares 2 U” plus cuts from Rave Un2 like “Baby Knows” and “The Greatest Romance Ever Sold.” In addition guests for the special contribute songs like Lenny Kravitz performing “American Woman” and “Fly Away,” The Time contributing “Jungle Love” and “The Bird,” Cynthia Robinson and Gerry Martini joining Larry Graham for a Sly And The Family Stone reunion with covers of “Everyday People” and “Higher” and more.

This special edition contains the CD with a 56-page A4 harback book.

November sees the release of Merrie Land, the second album from The Good, The Bad & The Queen, a band comprising of Damon Albarn, Paul Simonon, Tony Allen and Simon Tong. The Good, The Bad & The Queen began life as the acclaimed 2007 album of the same name, a heartfelt tribute to London described by The Observer in a 5 star review as –“One of the most surprising and magical records for which Damon Albarn has ever been responsible”.

The record traced a journey from the English music hall tradition to West Africa and Afrobeat, zigzagging through the West Indies and its reggae and dub, back to England and London's punk scene, all the while taking in a strand of British beat music from the '50s right through to Britpop. The result was a record specific to a place and mood but with a background that was geographically wide-ranging.
Now the four musical storytellers are back with a new studio album titled ‘Merrie Land’.

Produced by Tony Visconti and The Good, The Bad & The Queen was completed in London and Wales this year, during the current ongoing period in which the UK is preparing to leave the European Union, ‘Merrie Land ’is a questioning good-bye letter, a series of observations and reflections on Britishness in 2018. Even though it has been over 10 years since the band last released a record, the timing could not be more apt – there could not be a more perfect band to untangle the optimism, disorientation and confusion in the atmosphere today.
With ‘Merrie Land’, the band taps into a creative symbiosis of past and future, drawing inspiration from their shared glittering musical histories and wrapping the hybrid results in a brilliantly postmodern yet thoroughly British package.

The album sees the band’s focus move beyond London with a beautiful and hopeful paean to the Britain of today - an inclusive Britain - and the possibilities of the future. In the band’s own words, Merrie Land is a ten song lament of Anglo-Saxosentialism marking the reluctant end of a relationship, and about picking up the pieces and seeing what can be salvaged. The band set a beautifully muted palette and lustrous finish to bring out a mood that is bruised yet unapologetically defiant and optimistic, and carries the underlying message: we will survive.
In times of metaphysical trauma, the people need to forge ahead and wear armour. Here it is, set to the mood music of a nation about to be broken yet undefeated.

Turning the mirror on herself, Marie Davidson arrives on Ninja Tune with Working Class Woman”, an album that is sure to be heralded as one of the most self-reflective recordings yet from the Montreal-based producer.

Building on the dancefloor-minded trajectory of her breakthrough LP Adieux Au Dancefloor, released via Veronica Vasicka's Cititrax imprint circa 2016. With “Working Class Woman”, Marie Davidson proves that once again that she can roll acidic new beat basslines and sleek, sexdrops tekno laced with sharp-edged vox like no one else. This super strong selection is sure to take pride of place within the collections and listening habits of anyone into DFA and Regis, Not Waving (with whom she recently collaborated) SOPHIE and GAIKA.

Working Class Woman reshapes Marie Davidson's sharp-edged Italo Disco, proto-industrial and electro influences into new modes of cyberpunk coldwave control, proof that looking inward can project a more expansive vision out into the world.

Red vinyl.

produced by Rick Rubin & Paul Epworth

Patrice Bart Williams, also known as Patrice, is a singer,composer, producer and director from Germany and Sierra Leone. His career took off in 1999 with the release of the Lions EP. In 20 years, he has released a dozen albums. His music is a blend of reggae, soul, punk, folk and hip-hop. Over the years, he has established his own unique style. He settled in Jamaica in 2020 and decided to build a studio in the middle of the forest. This atypical location became a meeting place for artists and inspired Patrice to explore new territory. The "Super Sundays", live concerts held on the studio rooftop, were attended by artists such as Richie Spice and Jesse Royal. In 2022, Patrice unveiled the Super Album, an unplugged best of where he reinterpreted his greatest hits including 'Soulstorm', 'Hippies With Guns', and 'Burning Bridges'. Patrice returns in 2023 with a new album entitled '9', marked by rebirth and the symbolism of the colour blue. This album is the result of seven years' work, a veritable introspection into the depths of his emotions. "I was born on the 9th, the day my grandfather passed away. The notion of rebirth has always been present in my life, from my very first day. For my ninth studio album, I took the time to withdraw, to rebuild myself. The last seven years have been devoted to self-discovery, and it's this inner journey that has given life to this album." - Patrice

LASERDISC!

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.