MUSIC

release date June 7th. Formed in 2018 by Takujuro Iwade, film director and drummer Kaya Koike and Mayumi Sakurai with the theme of " Lovers Rock from the other side," Love Wonderland performs reggae with a unique interpretation influenced by psychedelia and synth-pop.

The Best Twilights LP compiles tracks from three demos released between 2019 and 2024 and reflects their full spectrum from electronic dub to pop tinted reinterpretation of their peers.
Considered as the best kept secret of the Japanese dub scene, they continue to grow at each live performance with faith and passion.

Love Wonderland's main aspiration is to keep their motto alive.

Mastered by Krikor Kouchain and limited to 400 copies.

HOMESHAKE (always in all caps) is Peter Sajar's baby and in the Shower ishis first proper full length after releasing a couple of cassettes to "cool blog critical praise". In the Shower contains ten songs that are best described as slow, sexy, R'n'B influenced indie pop. The music and vocals really are rightfully steamy and the album art work is wonderful and serene. It's going to be an instant classic.

Long time friend of the label and Stones Throw alumni ‘Rejoicer’ joins forces with longtime collaborator, fellow Apifera band member and renowned pianist Nitai Hershkovits to present a new moniker and concept piece “Cinema Royal” - a delicate yet audacious album that quietly commands attention. Having previously collaborated on works for Raw Tapes and beyond, this body of work exists more on the modern classical plain with splices of ambient and jazz woven into the musical fabric of the compositions.

Led by piano, the album features a dizzying array of orchestral, percussive and traditional string instruments from around the world- flawlessly combined in a way that might sound contrived, but just fits effortlessly..

The fact that it’s such an easy listen distracts from its complexity. Synthesisers cozy up to Afro beat indebted drums , East Asian zithers swim amongst classical string arrangements whilst Ethio- jazz keys dance atop restrained but irresistibly funky drum machine patterns. Inspired to create a cinematic energy they saw the essence of Fellini in their album cover choice, striving to create an album that could exist as a film score.

The album exudes a sense of ease, a feeling of lightness that speaks to the virtuosic abilities of the players.The sense of fun is infectious and the playful improvisation is energising. Conceptually inspired by a simple drum loop and single take via the piano the two exist working in a deeply involved flow with collaborations from friends to enhance the initial piano melody.

Speaking on the process, Nitai remarks, “Cinema Royal emerges from years of collaborative writing and recording. Our initial experience with a complete one piano take on a drum loop was in Flying’ Bamboo, a collaboration with MNDSGN and animator Felix Colgrave that garnered millions of views on YouTube. Nearly a decade later, we revisited this unique method of improvising a single piano take throughout the album. We love Emahoy Tzegue, Ennio Morricone, Nino Rota, Lalo Schifrin and lots of music from the ECM catalog. There’s a lot of Africa, too - from Ebo Taylor, Pat Thomas, Felt Kuti, and Ghana high-life, to more niche stuff from the Awesome Tapes from Africa’s catalog “

Rejoicer and Nitai have a rare synergy and have channeled it to create something that speaks without words, or rather - whispers, and in this quiet exclamation we are drawn in to listen closer and closer. 

International Anthem is proud to present 'Step on Step', a double LP collection of home recordings marking the de-facto eponymous debut album by enigmatic producer, arranger, and composer Charles Stepney (1931-1976). The music that makes up Step on Step was created by Stepney alone, in the basement of his home on the Southside of Chicago, sometime in the late 1960s and early 1970s, before his untimely death in 1976. A Chicago born and bred arranger, producer, multi-instrumentalist and songwriter, Stepney is known for his work with Earth, Wind & Fire, Deniece Williams, and Ramsey Lewis, and as a staff producer for Chess Records in the 1960s, where he was an essential creative force behind seminal recordings by Rotary Connection, Minnie Riperton, Marlena Shaw, Muddy Waters, Howlin Wolf, Terry Callier, The Dells, The Emotions, and many more. In the decades since his passing, the presence of his name in liner notes and on vinyl labels has become a seal of quality for record collectors, music historians, and aficionados, while his sound has been used by countless samplers in the hip-hop world including Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. But in comparison to the post-mortem renown of his sound, or the music he created and the artists he supported while he was alive, Stepney is a greatly underappreciated figure… a genius relegated to the shadows. One of the signature elements of his “baroque soul” sound is the epic, expansive, orchestral expression of his horn and string arrangements (in many cases brought to life by members of the Chicago Symphony Orchestra), as heard on Minnie Riperton’s “Les Fleurs,” or Marlena Shaw’s “California Soul,” or Terry Callier’s “What Color Is Love.” Hence making it even more special that his de-facto debut LP Step on Step, which sees its first wide release nearly five decades after his death, is a collection of stripped-down 4-track tape recordings featuring Stepney, alone, performing all instruments with minimal means. It is, as said by Chicago culture historian (and author of Step on Step liner notes) Ayana Contreras, “the uncut funk,” an unprecedented depiction of an imbued composer imagining and conceiving music (some of which would eventually become massive studio productions) in its primal state. Step on Step features 23 tracks, most of which are original compositions by Stepney that were never again recorded by him or any other artist. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun,” with lyrics by Richard Rudolph). And in addition to the wordless croons of Stepney original and early single “Daddy’s Diddies,” Stepney’s actual voice is heard on a couple occasions across the album, testing microphones and inputs on his tape machine. All of the otherwise unrecorded, previously unnamed original compositions contained on Step on Step were given their titles by Stepney’s daughters Eibur, Charlene, and Chanté Stepney, whose voices are also heard throughout the album, telling stories and sharing memories about their father. The Stepney Sisters, who produced this album over many years, have long been engaged in efforts to celebrate their father’s legacy and bring his work into brighter light. They’ve cherished the tape reels left behind by their father in the basement of their home, transferring the audio on multiple occasions, and originally compiling the recordings for an ultra-limited CD on their own DIY label (The Charles Stepney Masters) in the early 2010s. “We always talk about how we were trying to develop this and would go to different people and they would go ‘what is this raw stuff…’ It was just the first level of something that became something really great,” says Chanté. “To get this type of intimate look into an artist’s process is really unknown and unheard of… so I just really appreciate the opportunity to give this. I am very happy for my Dad that we’re able to share this with the world in this way, with this amount of respect.” This new double LP collection on International Anthem presents “a genuine, beautiful, deeply emotional and personal effort by three women to reconnect with their father and validate their own memories of his passion and brilliance,” says label co-founder Scott McNiece. And it’s a long-overdue fulfillment of Stepney’s unsatiated plan to release a solo album – which he once vowed to his daughters that he would do, and that he would name it: “Step on Step.”

‘The surrealist, psychedelic brain-burps of notorious all-caps-tweeting wind-up-merchant Louis Johnstone aka Wanda Group. Twenty-six congealed morsels of spur-of-the-moment sound-art executed with genuine economy of means, namely… a phone. An impulsive, scatter-brained trip into the inner circles of regional weirdness, secreting a creeping unease which really gets under your skin. Fragments of aural rubble haphazardly cohere into galvanising spacial tones and textures, punctured by Johnstone’s garbled Essex rantings. The long-distance stare of warbled tape loops is abruptly fractured by a drunken sing-along in a care home for the elderly. As hallucinogenic takes on the utterly mundane, there’s an obvious kinship with Lambkin’s nocturnal, straight-to-dictaphone sound-pieces. Dan Johannsen’s splintered classical collages on that PIG tape and the suburban soliloquies of Regional Bears alumnus Russell Walker also feel closely aligned.’ (All Night Flight) With an A4 riso insert.

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: said perpetrator, he who answers to the name Mac DeMarco, has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip, and pretty much on his own. This Old Dog makes for his fifth in just over half a decade - bringing the total to 3 LPs and 2 EPs. According to the DMV, MacBriare Samuel Lanyon DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks.

Superior Viaduct and our new artist label, W.25TH, are proud to continue to be the home for Cindy Lee with the physical release of the celebrated album Diamond Jubilee. Universally praised, shortlisted for the 2024 Polaris Music Prize, and already hailed by Pitchfork as the 3rd best album of the 2020s, anticipation and conversation around the record has been high. Cindy Lee is the performance and songwriting vehicle of Patrick Flegel (who previously fronted influential indie group Women). Over several albums, Flegel has combined delicate melodies and sheer beauty with moments of experimentation. With Diamond Jubilee, Flegel's undeniable songcraft comes to the foreground, embracing a more instant connection and accessibility. Timeless tales of love and longing, surrounded by sticky hooks, take the listener on an unforgettable journey.

Superior Viaduct and our new artist label, W.25TH, are proud to continue to be the home for Cindy Lee with the physical release of the celebrated album Diamond Jubilee. Universally praised, shortlisted for the 2024 Polaris Music Prize, and already hailed by Pitchfork as the 3rd best album of the 2020s, anticipation and conversation around the record has been high. Cindy Lee is the performance and songwriting vehicle of Patrick Flegel (who previously fronted influential indie group Women). Over several albums, Flegel has combined delicate melodies and sheer beauty with moments of experimentation. With Diamond Jubilee, Flegel's undeniable songcraft comes to the foreground, embracing a more instant connection and accessibility. Timeless tales of love and longing, surrounded by sticky hooks, take the listener on an unforgettable journey.

A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across 17 open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid. A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’. Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Gagnebin-de Bons and an aptly penned foreword from Sonic Boom.

Super sweet sleepover core from the turn of the millennium. When not at the mall or elementary school, Jessica, Ayden, Janet, and Mary created a suburban Spice World all their own, singing, dancing, and making videos in anticipation of a global pop takeover. Summer 2000 expands their home-burned Y2K CD-R Stardust, encapsulating girl group R&B, trip hop, Eurofunk, and pool party heartbreak into a revealing portrait of millennial girlhood. Party til 2, sleep til 1, come on baby let's have some fun.

Mac DeMarco’s debut full length, 2, released in 2012, cleaned up the songwriter’s warped take on soft rock and brought it to a broader audience. Given DeMarco’s affinity for keeping things lo-fi — 2 was the first time he’d bothered to record demos — it’s revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like “Annie” and the Lennon-esque “Sherrill.”

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2023, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer 'What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving.Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices' Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard's vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the "classic line-up" trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It's arguably Pollard's strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It's like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline ("Knock 'Em Flying" and "Key Losers"), but as with anything in Pollard's orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that "less is more" is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard's collage-styled visual art. Arena anthems in miniature ("158 Years of Beautiful Sex") bash up against eerie piano laments ("Universal Nurse Finger") without any time to breathe, acoustic lullabies that sound like a Midwestern summer's twilight ("Look It's Baseball") segue into monochromatic post-rock ("Maxwell Jump"). The euphoric joy and obtuse melancholy in Pollard's voice is so palpable on the album's standout, "Dayton, Ohio - 19 Something & 5" (which has since become a live staple), that it's impossible to find a more autobiographical yarn in his catalog. The album's closest analog is 1993's Vampire On Titus, as it contains that album's prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout construct a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

The second of Louis Wayne Moody’s trilogy of mid-century noirs, 1966’s runaway adventure They Move In The Night follows the escapades of “The Kids”—teenage siblings Cara and Applejack Seaworth—as they set out across America by thumb, rail, and bicycle in search of their long lost father—”The Man.” Hunted by the F.B.I., P.T.A., C.T.A., animal control, and a wicked grandmother dead set on claiming their inheritance, The Kids must come to grips with their orphaned reality and an unyielding future.Discovered after spending 58 years on a dusty shelf in the Louis Wayne Moody Pictures vault, this previously unissued soundtrack contains a backpack’s worth of grieving guitars, somber surf, and haunting hiss, zipped tight with the teeth of abandonment, dashed dreams, moral ambiguity, fate, tearful goodbyes, and lukewarm diner coffee. Because the long arm of society nips at their heels... They Move In The Night.

〈Captured Tracks〉The biggest seller! Along with masterpieces such as "Salad Days", this is definitely an introductory board for this person! Mac Demarco is a current indie pop cult icon from Canada, known for his activities in Makeout Videotape, sampling Sekito Oshigeo's "The Word II", and the popular split single "Honey Moon" with Mr. Hosono. The 10th anniversary edition of the masterpiece "Rock And Roll Night Club" released in 2012 has been released as an analogue. A masterpiece of psychedelic and addictive indie pop that makes you feel like you're listening to Deerhunter's "Microcastle" cassette demo!

Limited edition gatefold double LP. Includes 12 page booklet of liner notes, photos, band ephemera and other visual miscellanea. Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned — a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown — is presented by Bulbous Monocle as a double LP (gatefold jacket with a twelve page libretto). BM-03 gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest/Sublime Frequencies/Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as: Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening —Mark Davies (2023)”

*per customer 1 copy. The dreamlike encounter between Dean Blunt's experimental refraction and Joanne Robertson's dreamy vocals is a dream come true. A dreamlike encounter between Dean Blunt's refractive experimentalism and Robertson's dreamy vocals, this dream-pop/shoegaze album is a graceful, introspective soundscape that blends lo-fi, experimental, and ambient music in a genre-defying style.

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others. From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio. His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities. Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class. Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

A milestone masterpiece in the history of indie-pop, recommended for a wide range of music lovers! Famous for sampling on Sekito Shigeo's ‘The Word II’ and collaborating with Haruomi Hosono, the demo material from Mac DeMarco's debut album 2, released in 2012, is now available on cassette. A masterpiece that brought the songwriter's distorted approach and preoccupation with soft rock to a wider audience.

Modern Lovers' self-titled debut album, released in 1976, is a timeless exploration of proto-punk and alternative rock. Led by Jonathan Richman, the album captures a minimalist and lo-fi charm, with tracks like 'Roadrunner' becoming anthems of the emerging punk scene. Richman's witty lyrics and stripped-down sound make 'Modern Lovers' a seminal work, influencing generations of indie and punk musicians. The album stands as a testament to the band's pioneering role in shaping the landscape of alternative music.

The entire album is permeated with ethereal, lo-fi sounds, creating a superb ambient/drone masterpiece that is melancholic and introspective, yet filled with sweet, meditative charm!

Brast Burn's Debon -- a classic of Japanese Kraut obscurity originally released in 1975 on Voice Records, now digitally-remastered. Brast Burn are often linked with Karuna Khayal, with many aficionados concluding that they were actually the same band. Whether this is true or not remains an unsolved mystery, but one thing is for sure: Brast Burn's one and only recorded outing left an indelible stamp on those who were to follow. Nurse With Wound's Steve Stapleton thought highly of Debon and included it on his "legendary list" that appeared on the sleeve of his band's 1979 debut album. Featuring orchestrated fuzz guitar, echo-drenched percussion, reverbed bass, zithers, assorted taped sounds and vocals that are simply inspired, Debon is an album that's a must for headphones and for devotees of the likes of Faust and Can. A rare musical experience and a vital addition to any record collection.

Mac DeMarco, the cult-favourite singer-songwriter known for sampling on Sekito Shigeo's ‘The Word II’ and collaborating with Haruomi Hosono, released his third studio masterpiece in three years in 2017 on indie giant Captured Tracks. The demo of his third studio album This Old Dog, released in 2017 on indie giant Captured Tracks, is now available on cassette. It's an accessible lo-fi indie-pop album with psychedelia.

Mac DeMarco’s debut full length, 2, released in 2012, cleaned up the songwriter’s warped take on soft rock and brought it to a broader audience. Given DeMarco’s affinity for keeping things lo-fi — 2 was the first time he’d bothered to record demos — it’s revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like “Annie” and the Lennon-esque “Sherrill.”