MUSIC

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.

Even in this age of near-total Internet accessibility, Charlie Megira is a modern mystery. A casual search turns up little aside from a few cryptic articles. His brief career unfolded during a changing of the guard in the music industry, opening on the death of the compact disc and ending just prior to Spotify’s IPO. For an artist like Megira, living far away from a major music outpost, there was more chaos than structure for his recordings to exist and find an audience. This collection is the first attempt at putting the pieces together, compiling a life’s work of an artist whose spark almost shined unto the world.
His was a music both familiar and entirely alien at once. It touches on corners of darkness, an isolation both lonely and sweet, all wrapped in a cold glow that draws the listener into each note, each melancholy melody triggering unrecorded experiences. His various projects put out music which began as a junction point between Link Wray’s surf guitar and the theatrical psychobilly of The Cramps, took a turn towards goth-inflected post-punk, and towards the end of his career would sojourn back into his earlier musical fascination with late 1950s and early 1960s rock ‘n’ roll.

The Israeli guitarist recorded seven albums worth of material in 15 years during his all-too-brief 44 trips around the sun.Tomorrow’s Gone collects 24 of these tracks for a double album journey across his career, accompanied by a lavish booklet that documents his tragic existence. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones.

Sun, sea, and surf rock converge with dreamy hypnagogic pop on 'Dmaot,' the enchanting sophomore album by the guitar-wielding, vocal-harmonising trio, Rasco. Named after Charlie Megira's acclaimed track "At the Rasco" and influenced by iconic artists like The Cramps, Beach Boys, Elvis, April March, and others, Rasco carefully extracts the essence and distinctive sound of sixties surf and garage bands and distils them into a modern and distinctly Mediterranean context. Blending ethereal vocal harmonies with irresistible guitar riffs, Rasco skillfully creates a one-of-a-kind sonic blueprint that sounds like something you dreamed of hearing at Twin Peaks infamous Roadhouse. Electric guitarist Eden Atiya and bass guitar Gaya Wajsman first crossed paths in a smoky cave in Jerusalem, eventually teaming up with drummer Itay Hamudi to form Rasco. Their self-titled debut album, characterised by catchy guitar riffs entwined with mysterious, ethereal vocals, sung in Hebrew, garnered attention and playlistings from the likes of acclaimed pianist, singer, and composer Hania Rani, and Spotify’s editorial team. Rasco’s hypnotic guitar and vocal-heavy sound have earned the group coveted opportunities to share the spotlight on stage alongside global psych bands such as Altin Gun, Boom Pam, and Messer Chups. The trio’s musical journey has taken them on tour in Germany and led to their billing on Cologne's famed c/o pop Festival, solidifying their place in the contemporary psych and surf rock scene. 'Dmaot' (Tears) represents a significant evolution from Rasco's debut, showcasing a darker, and denser side with a shift towards the shoegazing sounds of the '80s. The album, produced by multi-instrumentalist Uri Brauner Kinrot, leader of Boom Pam, pioneers of today’s resurgence in Middle Eastern surf rock and now labelmates on Batov Records, packs a heavier punch while maintaining Rasco's signature hypnotising power. The album delves into dreamlike landscapes, capturing the essence of different scenarios. "Layla" conjures hazy night-drives into the mountains, whilst "Nahar/Rau" reflects prophecies in rivers, birds, and sand. "Suzi Suzuki" is an ode to Japan, and "Louisa" pays homage to Hamudi's Grandma. According to Eden, there's a prevalent theme of "nostalgia for something you've never experienced." Similarly, “Sleeping Sea”, hints at the omnipresent power of the sea, even at its stillest, with its brooding hammond chords and almost C&W guitar, paints memories of Chris Isaak’s “Wicked Games”. 'Dmaot' also explores the dichotomy between life in the city and life in the countryside. Eden notes, "It's definitely something to define our songwriting by - the mix between electric heavier sounds and mystical, nature-inspired lyrics”. Commencing with a chime-like guitar motif before the first heavy wave of shoegaze-like tremolo hits, “Layla” alternates with an almost Lynchian pre-chorus, whilst the song earworms its way to your brain. “Nahur Rau” almost screams “garage rock anthem” with it’s clap-accompanied beat group rhythm, and fuzz guitar riffs, but the energetic delivery is balanced by Rasco’s laidback style. It would be remiss to omit mention of the group’s incredible cover of Tears For Fears’ “Head Over Heels”, that seamlessly connects The Smiths, Julee Cruise and the B-52s, in the group’s own haunting style. Rasco is a genre-defying trio that transcends the boundaries of surf rock and psych, creating a mesmerising blend of sound and emotion. 'Dmaot' is a testament to their evolution as artists and their ability to weave a tapestry of sonic landscapes into their own world.

Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku). Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds.

Greasy Mike is back with LP number four! Another rambunctious array of wigged out mayhem! Don't worry, there aren't any silly jokes on this record. It's all music with a wiggle and a giggle. In fact, it's 14 frantic flippers fraught with frivolous fun-filled frolics. All good clean fun. Featuring: Pat & the Wildcats, Bobby Bunny & the Jackrabbits, Jim Doval & the Gauchos, Johnny Beeman, Diablito, Adolphus Bell & the Up Starts, The Apollos, The Royal Jokers, Lue Renney, The Zanies, Hank Mankin, Sid Ramin, Jim Backus and Friend, and The Fabulous Continentals.

When Greasy Mike returned from his travels in East Asia he brought back sixteen slices of sizzling spices in a sleazy Szechuan sauce... he may be greasy but he's certainly not greedy - all are shared with you here! No artificial flavourings required, this is raunchy rott n' roll with a rambunctious mix of sweet, sour n' saucy - tasty treats from our friends in the Orient!

RODUCT DETAILS The previously unissued soundtrack to the 1964 noir, You’re Not From Around Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo’s bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of alienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You’re Not From Around Here lives in a universe of moral ambiguity. Packaged in a replica of the original octagonal film canister, replete with rusted and glimmering varnishes alike, debossed logoture, and 36" x 27" fold out movie poster.

This is the story of two sisters who nurtured a dream for half a century and never let it die. Vicki and Ronni Gossett launched their musical career as teenagers in Whittier, California in 1966. They called themselves the Female Species. Members came and went; their base of operations moved to Las Vegas, back to LA, and over to Nashville. Along the way their sound transformed from garage rock to lounge to country-pop, the only constant being an innate mastery of hooks and harmony. These ladies had it. Along the way, they crossed paths with The Carpenters, Paul Revere & The Raiders, The Judds, and seemingly half of the industry's power players, rebuffing all untoward advances, focused always on their craft. In the 1980s they became staff songwriters for music publishing companies in the hit-making business. Relentless pushing landed them a once in a lifetime audition before the court of RCA’s top executives — the kind of new talent showcase that almost never happens after 30. Vicki and Ronni were by then in their 40s. Tale of My Lost Love is the whole story from beginning to end of two sisters who gave everything to their dream, yet never made a single record... until now. Sometimes great music just isn’t enough to break through — until it is. Numero Group is thrilled and proud, at long last, to introduce Female Species.

Provocative post-punk from Israel's undercover goth prince. Megira's lone album with the Modern Dance Club showcased a grimier, more driving vision of his brand of trashy no wave. Spread across 31 tracks and two LPs, Love Police schizophrenically mixes industrial soundscapes, surf ditties, hardcore, swamp pop, bubble grunge, screaming, ecstasy, and enough fuzz to warrant a needle check.

Isolated at the rural fringe of Northern California, Bailey’s Nervous Kats took Shasta County by storm in the early '60s. Combining surf, rock n' roll, exotica, and R&B, the Kats were a teenage dream draped in Magnatone amplifiers and crisp white polo tees. Their self-titled—and only—LP came at the dead end of the band’s run, issued on Orville Simmons' one-shot Emma imprint in 1965. The mid-century modern LP of your dreams.

It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring female on the album jacket for best results. Exotica! The soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. Be it mosquito-bitten torch singers, landlocked surf quartets, fad-chasing jazz combos, mad genius band leaders, D-list actors, or a middle aged loner programming bird calls into a Hammond, Exotica was always more concerned with what geography might sound like over who was conducting. Captured across three albums (or three compact discs) are 48 (or 54) curious examples of the short-lived genre’s reach, each summoning their own sonic visions of Shangri La, bringing their versions of the Pacific, Africa, and the Orient to the hinterlands of America. Technicolor Paradise is where one makes it, after all.

Back in 2016, producer Seth Applebaum released two EPs that marked the inauguration of the band Ghost Funk Orchestra. ‘Night Walker’ and ‘Death Waltz’ were conceived as one-man-band, reel-to-reel tape recorded experiments that would bring together elements of all the sounds that Seth most adored at the time: tape-saturated drums, gratuitous spring reverb, surfy guitar, Latin-style percussion, odd time signatures, and Spanish-language female vocals. Initially released only in the digital domain and on a short run of cassette tapes, these two EPs that defined the early era of GFO are now finally available together on a single LP via Colemine Records. The tracks have been lovingly remastered by Doug Krebs. We invite you to take a dive into the humble beginnings of a project that has continued to grow, shape shift, and accrue new and exciting sounds for its sonic palette.

During the 60's and early 70's, Singapore had one of most vibrant and interesting music scenes in Asia and even the world, and this compilation presents undeniable proof of it. Focusing exclusively on the female presence on the scene (be it as solo singers, backed by other bands or as band leaders) "Singapore Nuggets. The Ladies", presents such and amazing collection of songs many will be shocked by the sheer genius of this ladies.
 
Ranging from Naive Pop to Fuzzed out Garage (and more!) all within the confines of Pop Yeh Yeh, the fresh, colorful, local sound of 60's Singapore in which western influences, Chinese, Arabic and Indian sounds were mixed by the locals to create a wonderfully idiosyncratic style. A must!

Before the Khmer Rouge took power in 1975, unleashing a horrifying genocide, Cambodia had one of the most vibrant and exciting music scenes in Asia. With a mixture of traditional Khmer music and a myriad of western genres (from French and latin music, to rock-and-roll , rhythm-and-blues, surf, psychedelia, soul and many more) the few pre 75 Cambodian recordings that survived -most of them were destroyed- are enough to make anyone with a taste for good music shocked by the amazing quality of the sounds created during those golden years.
 
Gathered in this amazing album are some of the most talented and unique musicians from that amazing era with an explosive collection of tracks sure to blow the mind of the listener. A celebration of some of the best music ever made.

Ali Farka Touré is well known as one of the most influential and talented guitarists that Africa has ever produced. His legacy and impact are hard to overstate. Ali’s sound merged his much-loved traditional Malian musical styles with distinct elements of the blues, singing in the local languages of Fulfulde, Tamasheq, Songhay and Bambara. The result was the creation of a groundbreaking new genre, now well known as the ‘desert blues’, earning him three Grammy awards, widespread reverence and the nickname of the ‘African John Lee Hooker’. Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend. Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.” The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all.”

Who do we become when we live our dreams? It's all here - the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows.