MUSIC

Kendra Morris's 2025 board-game concept album 'Next' quickly became a fan favorite, toping several year-end lists and cementing it's place as one of the most creative album campaigns. Now six months after the record's release, Karma Chief is thrilled you bring you a 45 featuring a fan-favorite tune from the record and a brand new dub remix. 'Flat Tire,' the album's announcement track, tips its hat to old reggae from the 60’s. Inspired by the records Kendra's parents would bring home from trips to Jamaica, the tune brings you a catchy, bouncy chorus you just can't get out of your head. 'Flat Tire' was recorded with all vintage gear and tracked through a Tascam 388. It also features Ray Jacildo, collaborator of The Black Keys, Yola, on piano and organ. The B-side of the 45 features a dub remix of 'Flat Tire' by the one & only Paul Cherry. "As soon as we recorded 'Flat Tire,' Terry and I agreed immediately that there should be some sort of dub remix… the tune was made for that," Kendra says. Terry threw out Cherry's name and they agreed he was the man for the job. The final product perfectly echoes classic late 60s dub by building from of the basics of the song...stripping the production down further, playing up the reverb and adding echoes, pauses and delays in all the right places.

Original 2xLP Remastered by Bob Weston pressed on maui blue vinyl

Never-Before-Released Live Studio Album pressed on orchid purple vinyl

all 3 LPs are packaged in a triple LP gatefold jacket with printed inner sleeves

After finishing American Don with (Steve) Albini, we were nearing the peak of interpersonal tensions that would eventually wash us overboard. I (Eric) became convinced we lost the true essence of the songs in the recording process. It was not a unanimous decision to record with Steve. We wrote the album entirely on guitar loops and Team Storm & Stress wanted to go further in the studio with Pro Tools, which felt related to both what we were doing and where we were going. Steve had just finished building the magnificent A room at Electrical and Damon insisted we would record there for the drums. He never budged on it. As soon as we got there we realized all the songs, which were written in stacks of overdubs on our pedals, would only allow for mono guitar recordings. We worked around this by performing the songs to a single loop and overdubbing all the guitars later allowing for a full stereo field to match the glorious bombast of Steve’s drum recordings. This approach

dramatically changed how we played. While it allowed for magic moments of improv (Peter Criss intro), once the album was done, it sounded bloated and the performances sluggish. With increasing certainty I was sure the sound of the Akai Headrush, and the tempos it set for Damon was the heartbeat of these songs. Ian agreed.

In an audacious last ditch hail mary, I had the idea to call Greg Norman (who worked for Steve!) and asked if we could secretly come to his studio in S. Chicago *road hot* after our next shows and re-record the album LIVE. It was an enormous gesture that could’ve never worked, but miraculously everyone agreed to do it and we gave it a try. Greg captured us at our most fiery hot personally and professionally. The tempos are faster and no one is holding back with anything to lose. These true live tapes show the songs exactly as we played them on the road where they were developed between June of 1999 and July of 2000. Now, 25 years later, the Greg Norman tapes have been dusted off, baked, and transferred to digital. With the aid of modern restoration tools, and the expertise of Sir Bob Weston, we were able to re-mix and master these recordings for the first time.

Jim Jarmusch and Anika first crossed paths at the Sacred Bones 15th Anniversary celebration in 2022, where both Anika and SQÜRL performed. Jim was immediately struck by Anika’s performance, while Anika admired Jim as a mentor who had stayed true to his unique vision throughout his career. This mutual respect led to a creative collaboration, which culminated in the haunting soundtrack for Jarmusch’s film Father Mother Sister Brother.

Jim first invited Anika to record a cover of Jackson Browne’s “These Days,” inspired by Nico’s iconic version. This fully arranged track, prepared by Anika and featuring the Kaleidoskop string quartet, was recorded in Berlin and appears as a bonus track on the album as “These Days (Berlin Version).” Jim later mixed a more minimal version of the song, adding several electric guitar tracks. While in Berlin, Jim revealed to Anika that the only preexisting track in the film would be Dusty Springfield’s “Spooky.” Anika, who had performed a live version, suggested they cover it. The stripped-back version they created featuring just vocals, upright bass, finger snaps, and a distorted organ riff was chosen to open the film’s credits.

Beyond these covers, much of the film’s score was born out of improvisation. Jim and Anika spent hours improvising together, leading to a second round of recordings in Berlin, where Anika played Wurlitzer and electric guitar and Jim contributed affected electric guitars. Upon returning to New York, Jim shaped these recordings into the short, evocative instrumental pieces that became the film’s score. The very final touches were completed during a residency Jim and Anika spent together in Paris via the Pompidou Center.

The music for Father Mother Sister Brother is an experimental, collaborative soundscape, not meant to center around or define a single character. Instead, it’s atmospheric, like the air invisibly surrounding the characters.

It just goes to show that a 3.5 score on Pitchfork doesn't matter in the end. Not that the taste-making site would review anything with less popularity than Charlie XCX these days but if it did (and they dared still give low scores) then in twenty five years time rest assured that the album will be getting a luxury reissue. That's basically what's happened with Tristeza's lovely shimmering post-rock album Dream Signals In Full Circles back out after twenty five long years.

Hard Texas funk from the celebrated San Antonio scene. As Abe Epstein was tracking West Side brown-eyed soul groups on General McMullen Blvd., Mickey Foster and his biracial Soul Generation band were answering James Brown's call to get on the good foot just south of the River Walk. Collected here are a dozen of their swaggiest and crook-legged instrumentals, a mood building survey of the band's 1969-'77 run, including the paper hit knee-wobbler "Iron Leg." Chop up your next sample here.

Trapped on Nantucket island over the winter of 1976, a set of original songs poured into Willie Wright's cover-heavy set. Tales of Wright's native roots, straight life, his abandoned four children, and the many women he had known flooded his loose leaf notebook before finally being set to tape in New York the following spring. Tracked with George "Buzzy" Bragg and Herry Jensen (of Skull Snaps and Jimmy Castor Bunch fame, respectively) in one day with minimal overdubs, Telling The Truth was, and would remain, Willie Wright's brightest and most inspired moment. Sold from the trunk of a car and from a handful of resort stages, the humble album disappeared into the collections and garages of Nantucket tourists, taking what was left of a near-30-year career along with it. Available for the first time since 1977, this expanded edition of Telling The Truth gathers Wright's lone 45 and only original composition from his first LP to tell the definitive Willie Wright story. The deluxe LP edition includes a replica 7" of his cover of Curtis Mayfield's "Right On For The Darkness" (with his original "Africa" on the flip), while the CD takes that same single and shrinks it to a portable 4.72" record that actually plays!

Jad Fair of cult lo-fi pioneers Half Japanese has a discography that stretches across decades and countless collaborations. In the 1990s, he worked with his favourite bands—Daniel Johnston, The Pastels, Sonic Youth, Teenage Fanclub, and Yo La Tengo—cementing his reputation as one of underground rock’s most prolific and unpredictable figures.

Originally released in 1998 on Matador, Strange But True pairs Fair with Yo La Tengo for a set of wildly inventive songs whose lyrics were drawn from outrageous tabloid headlines. The result is a playful, off-kilter, and genre-hopping record that captures both Fair’s irreverent imagination and Yo La Tengo’s restless versatility.

Unavailable for years, this cult favourite now returns thanks to Joyful Noise and Bar/None, bringing back a lost gem of the ’90s indie underground. Equal parts oddball and inspired, Strange But True is a reminder of a time when indie rock thrived on eccentricity and freedom.

As Green-House, musicians Olive Ardizoni and Michael Flanagan engage human nature and the natural world through joyous, dynamic synthesis. Overlaying frequencies and expressions like camouflage, their deeply layered collaborative process begins with either artist; Ardizoni is often drawn to melody, Flanagan to harmonics. The power lies in how their ideas helix together, achieving a depth greater than the sum of its parts. For their first LP with new label home, Ghostly International, Green-House grows and refines their vivid instrumental songcraft with uncharted, genre-defying freedom and movement, a more active, percussive, and emotion-filled energy, marked by flowing bodies of sound and sweeping vistas. Hinterlands tunes into the beauty of the world with defiant, radical sincerity.

Since 2020, across a catalog of acclaimed releases via the scene-creating Los Angeles imprint, Leaving Records, the duo has pursued a curiosity in environments, reaching for innate and faraway spaces by way of organic and synthetic instrumentation, high-definition sound design, and “idiosyncratic melodies crafted with the patient and methodical hand of a gardener,” writes Pitchfork. Green-House doesn’t fit neatly into any single category. Ardizoni and Flanagan aren’t aligned with New Age ideologies or spirituality, and the ambient tag feels increasingly limited given all that’s going on in their songs, which skew closer to the realms of IDM or even modern classical on their new album. What remains inherent is an open sense of wonder, “the idea of legitimizing certain emotions within music that often aren’t taken seriously in art, like happiness and joy,” says Ardizoni, whose eclectic personality shines through even without lyrics.

They welcome influences from all over; moments on Hinterlands evoke hypnagogic folk, tropical synth-pop, pan-flute mountain music, jazzy lounge, film scores, library sounds, and other forms of paradise-world-building. The duo simply makes the music they want to hear, earnestly dreaming of idyllic settings, their hope borne of necessity.

Like any artist living in Los Angeles, the 2025 wildfires disrupted any semblance of normalcy in creative life. However, they give careful consideration to how ever-looming environmental and political anxiety may relate to the project. “There's freedom in music, not requiring nuance in order to share an emotion or a fantasy or a utopian ideal with others,” Ardizoni says. “I'm an anarchist and an artist. I don't have to explain that. I can just put the emotion in and hope that it can be used as a tool, to be comforting or inspiring for people.”

As their third LP, Hinterlands is notably fuller, bigger-feeling than past work; brimming with kaleidoscopic guitar lines, bubbling synth textures, and an orchestral radiance that often registers as more than just two people. They bring up biomimicry — learning from and adapting alongside nature — as a formative notion. “When we’re talking about mimicry, it is also like projecting yourself as being larger in a certain way, in a sonic sense, sounding like a full band, but also as people, interconnected with a broader world,” says Flanagan. “This record is us letting go a little bit as well, giving ourselves the freedom to just write and see what happens, to let the music grow naturally.” Ardizoni adds, “We try to utilize what’s right in front of us, just being in an urban environment and making do with what's there in order to continue to foster that connection we have to the natural world.”

Ardizoni and Scott Tenefrancia shot the images that appear within the droplets of the LP’s artwork on a trip to Yosemite and the Inyo National Forest; Flanagan later magnified the scenes through the water with macro photography, using the droplets as a series of lenses. The striking visual serves as a fitting metaphor for music that straddles the organic and the digital — a collection of auditory microcosms developed through imaginative fusion.

It begins in the languid heat of “Sun Dogs”, which nods to the coastal sway of Haruomi Hosono's Pacific album and Paradise View soundtrack with washes of keys, horns, and strings. “Sanibel” is pure shoreline bliss, named after the Florida island a young Ardizoni would visit, growing up on the nearby Cape Coral Island (“my first real experiences as a human exploring nature”). “Farewell, Little Island” borrows its title from the 1987 short animated film directed by Sándor Reisenbüchler, which depicts the drowning of a village by modern technology. The track’s buoyant, spiraling guitar samples, their first time exploring the effect, reminded them of the film’s paper-cut animation and of how the story balances serene splendor with tragedy.

“Dragline Silk” conjures a curious trip. Built on a bed of ascending synth and guitar chords bathed in spring reverb (stemming from their shared love for Jessica Pratt’s latest album) and named after the natural phenomenon of spiders that use static electricity to sail through the atmosphere, the track soars with grandeur. The Hinterland suite is the album’s centerpiece, three tracks traversing wide hilltop terrain, with flute and guitar playfully surveying the scene (“Hinterland I”) before more contemplative strums and astral synth and woodwinds take hold (“Hinterland II” and “III”).

Hinterlands’ sequencing takes the listener from sea to mountains to somewhere more abstract and fantastical; late highlight “Under the Oak” possesses an otherworldly calm on warbled keys, followed by “Bronze Age”, even more subdued. “Valley of Blue” ends the movement in melancholy, overlooking a blue flower field with swells of synthetic strings and oboe in the style of Final Fantasy (Ardizoni originally called it “Memory of a Chocobo”). These traces of sadness permeate the otherwise effervescent collection, reminders that, behind the wonder, lies often profound worry (after all, Sanibel Island was nearly wiped out in 2022). Green-House makes sense of these feelings through their art, with genuine tenderness and refreshing conviction.

A trio of Kansas City soul sweepers, from the sprawling midwest burg's storied Cavern, Damon, and Forte concerns. Bump and the Soul Stompers' 1970 sweet soul double sider "I Can Remember" was a tail pipe-dragging, low rider classic in the making, had it ever been released. A few years later Jerald "Bump" Scott took his new group to Cavern's subterranean confines to cut the group harmony masterpiece "Living In The Past," but remained unissued prior to Numero's discovery of the Cavern tapes. As disco was cresting at the top of the next decade, Sharon Revoal tracked her James Brown meets James Bond stepper "Reaching For Our Star"—the last 45 released on Marva Whitney's peerless Forte label.

Emeralds, the sophomore long player from Parlor Greens, finds the trio serving up a beautifully curated sampler of what funky organ music can be. On Parlor Greens’ debut LP In Green We Dream, they announced their existence boldly to the welcoming arms of funky instrumental fans around the world. Now, two years later, they’re back to up the ante. Three true masters of their respective crafts: Tim Carman (Canyon Lights, formerly of GA-20) on drums, Jimmy James (True Loves) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Seasoned and soulful pros coming together to make infectiously funky instrumental jams.

Parlor Greens are truly in top form: tour tight and more confident than ever in who they are and where they’re going. The album’s opener, “Eat Your Greens,” kicks the doors off with a Charles Earland-inspired four on the floor beat, with Jimmy and Scone driving the tune down the tracks like an overloaded freight train, it simply cannot be stopped. On “Red Dog,” the group channels the absolute heaviest shade of early R&B with Jimmy’s crunchy guitar paving the way for both he and Scone to take scorching solos. “Lion’s Mane” shows a slightly more sophisticated side of the trio, with nods to one of Scone’s organ mentors, the incomparable Dr. Lonnie Smith. Not to be outdone by his bandmates, Tim Carman shows off why he plays the best shuffle this side of the Mississippi on “Letter To Brother Ben,” a gospel-tinged shuffler.

And while the results are stronger than ever, the mood of this second cooking session was much different. The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for Emeralds weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away.

So with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents…Emer

Big Crown Records is proud to present the instrumental version of El Michels Affair’s 2025 instant classic 24 Hr Sports. The roster of vocal features on 24 Hr Sports is amazing, Clairo, Norah Jones, Florence Adooni, Shintaro Sakamoto, two different choirs, and even singing from the man himself, Leon Michels. The background vocals contributions are amazing; Lady Wray and Kevin Martin from Brainstory to name a few. But alas, there’s a new energy that shows up in the listen when you pair it down to the impeccable musicianship and Leon’s tried and true “Midas Touch” production. Leon plays a ton of instruments across the album and is joined by the regular cast of heavy hitters; Homer Steinweiss, Nick Movshon, Dave Guy, Marco Benevento, Hether, and more. There is even a saxophone solo by the late, great Rahsaan Roland Kirk.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA’s blending their signature cinematic soul sound with influences from Turkish Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls “a carnival of dusty funk and soul.” The EP starts off with the unreleased gem “Messy Grass” whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi’s Qanun dances over. On “Cham Cham” EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season’s “Perfect Harmony.” Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; “Poison Song,” “Uncut Gem,” “Smoked,” and “Progress” are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago’s Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

This Record Store Day 2026, Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshall Allen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl.

The Nuclear War recordings stem from a rare session at Malcolm Catto’s Quatermass Sound Lab in January 2015. The group had assembled in London to rehearse for their performance at Gilles Peterson’s Worldwide Awards, where Allen received the Lifetime Achievement Award and Catto the John Peel Award. With The Heliocentrics’ trademark raw, psychedelic energy as the backbone, the ensemble captured a series of reimagined Sun Ra classics in a spontaneous, one-off studio moment, and these tapes that have remained unheard in Catto’s archive until now.

The 4-track EP features a sinuous take on Ronnie Boykins’ ‘Angels And Demons At Play’ , originally recorded in 1960, a strident version of ‘Where Pathways Meet’ which was originally created for the much- loved Sun Ra Lanquidity album in 1978, and a dense and deep re- work of 1972’s ‘Astro Black’ featuring Bilal’s incredible otherworldly vocals. The title track ‘Nuclear War’ is re-worked into a cavernous groove featuring Heliocentrics vocalist Barbora Patkova.

1983, the 2006 debut album from Flying Lotus, will be officially re-released on vinyl as part of Record Store Day, as well as released on streaming platforms. The album, which was remastered for this occasion, will be available to stream on April 17th, while the physical release happens the following day on RSD. Brainfeeder Records proudly shares the release in a very full circle moment for FlyLo’s own imprint, and the title track ‘1983’ serves as a teaser for the album. A career that includes modern classics such as You’re Dead!, Cosmogramma, and Until the Quiet Comes began 20 years ago with 1983, Steven Ellison’s first LP as Flying Lotus. Made in the comfort of his grandmother’s bedroom, it broadcasts early transmissions from an artist just beginning to test his talents. Those talents are displayed in the music’s style, which draws from J Dilla, jazz, and Brazilian syncopation in a way only he could weave together. The Brazilian influence in particular played a significant role in Steve’s understanding of rhythm, a revelation delivered by a lesson from a street vendor in Copacabana. “It flipped my whole wig,” Ellison says, laughing at the memory. Lessons such as the vendor’s, along with his jazz heritage, interest in soundtracks, and interning at Stones Throw Records, are evident in these sonic collages. Though at its beginning stages, the sound present here is not that of a novice but of a visionary who saw what possibilities lay ahead, something encouraged by the label, Plug Research. “Give us the weird shit,” Ellison recalls them saying. It’s what ended up paying off in the end as 1983 kicked off a run of six studio albums, a body of work that encompasses just one scope of Flying Lotus’ output and influence.

A collection of tracks from the iconic bassist, producer and composer Jah Wobble (P.I.L.) that are from the early 12" singles he released between '83 and '86 on his own LAGO record label.

In 1982 on the West Coast of the United States, this recording captured Bad Brains at the most dangerous and explosive moment in hardcore history. It documents the band’s raw, early energy just as they were breaking out of the Washington, D.C. underground scene and launching themselves onto the national stage.

In March 2025, after 7 years as a live band, Ghost Funk Orchestra finally made their first overseas voyage to tour Europe and the UK. 'Live In Europe' is a document that showcases the eight-piece touring band at the height of its powers. The track list was constructed from two consecutive sold out shows, the first at Jassmine in Warsaw and the second at Paradiso in Amsterdam. It leans heavily on songs from 'An Ode To Escapism' and 'A New Kind Of Love,' while also including a few tracks from 'A Trip To The Moon,' a nod to the early GFO days with the song “Evil Minds,” and even a few brand new tunes. Both shows were professionally recorded, with Amsterdam’s recording being handled by the Abbey Road Institute. Please enjoy this RSD 2026 exclusive album!

It all started in 2018 when experimental musician Raquel Bell released a solo record and was invited by Mike Watt to be interviewed on his radio show - The Watt From Pedro Show. Raquel and Jared Marshall (Primary Mystical Experience) just happened to be in Los Angeles at the time. It was the early days of Galecstasy on the road, and they were somewhat living out of the tour van. Raquel and Jared played experimental music and free jazz together after both of them had played in bands and as solo musicians for many years. Raquel asked Mike Watt if they could do his radio show in person at his house, worried that they might not find a good internet connection while bopping from place to place in the tour van. Watt said yes! Galecstasy then drove out to Watt’s hometown of San Pedro, home of the largest port in North America and the birthplace of The Minutemen.

All three musicians sat on Watt’s carpeted living room floor surrounded by incredible records and mementos of music history. Before the live interview began, Watt reached over and held up D. Boon’s guitar and handed it to Raquel. Tears filled her eyes as she strummed, feeling the presence of one of her musical heroes. The Minutemen had influenced most every musician that came across their sound and had immortalized their lead singer, D. Boon as well as their now legendary bassist, Mike Watt. It was in this context that the three of them, Bell, Marshall, and Watt, got to know each other on-air.

Soon after this, in early 2019, Watt brought his Secondmen Trio to play Galecstasy’s music residency at The Grand Star Jazz Club in historic Chinatown, Los Angeles. It was an appropriate second meeting place as the plaza at Sun Mun Way had been the scene of some of the first punk and jazz music in Los Angeles many years before. After the show the three of them agreed to get together again and make a record some day.

They set the date for April 2020 for Watt to travel to Galecstasy’s recording studio in Joshua Tree, California. Nobody knew at the time that the pandemic was coming! Naturally everyone was quite disappointed that the recording had to be rescheduled. But it simply meant that when it did happen it was going to be truly special.

The day finally came In June 2022 and Watt and Galecstasy went into the studio. Primary Mystical Experience had spent time in preparation deciding on which microphones to use, where to place the mics and amps, which compressors, everything was perfectly set in anticipation of the recording session. Raquel Bell had been concocting which synthesizer sounds she wanted for the leads, making detailed notes and settings. The idea was to play completely free - no direction - no bandleader - no songs - nothing decided in advance - just to play in one room together for the first time and see what each musician would bring to the sound. The result of this experimental session is what you hear on “Wattzotica”. Very late that same night the three of them listened back to what they had recorded and a celebration under the desert night sky ensued.

The next morning Raquel awoke and discovered a young rattle snake in a perfect coil taking a nap a few feet away from Watt in the doorway. In that moment she knew that the record was going to be a success. They performed live as a trio for the first time out in the desert at the old Firehouse Outpost later that night.

The music from the recording session was then cut into tracks and mixed by drummer/producer Primary Mystical Experience. Once the record was finally ready it was mastered by Grammy-nominated Joe Lambert Mastering in New York City.

Bruce Haack's "The Electric Lucifer" is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968-69, it's an eminently listenable work where Pop-psychedelia and Moog musique-concrete sounds coalesce.

Originally released in Brazil in 1963 this is Nara Leao's debut album. A marvelous first statement from an artist usually recognized as the Muse of Bossa Nova. A great piece of Brazilian art featuring warm attangements of solid compositional material signed by the likes of Edu Lobo, Vinicius DeMoraes and Baden Powell... and of course Nara Leao's beautiful, soft and super-sensitive vocals.

Beat Records is glad to present GOLDRAKE GENERATION VOLUME 1, the first release of a series dedicated to Italian 70s, 80s and 90s cartoons’ main titles songs. A franchise with roots in Japanese immense cartoons’ production that stormed Italy with a high wave of images, sounds and colours which left a remarkable sign in the period children. Goldrake Generation is dedicated to a musical period deeply rooted in screen emotions which, every time we experience it, generates a chain reaction, this first episode dedicated to music composed for cartoons having Robot as protagonists. Grande Mazinger, Trider G7, Ufo Diapolon, Yattaman and many more, for going back to the origins and to the memories of a wonderful childhood, among the dearest belonging to the Goldrake Generation to which we dedicate the series. This CD presents Universal TV theme songs belonging to former RCA catalogue, a selection by Francesco Piccardo that together with Simone Pellecchia and Claudio Fuiano remastered 13 cues for a great listening experience. Liner notes by Daniele De Gemini, Goldrake Generation mascotte by Jacopo Cigarini, graphic layout by Daniele De Gemini.

Real people music recorded at a Quaker Boarding school in the mid-'70s. Mixing soft psych, vocal jazz, and sunshine soul, Shira Small and her high school music teacher Lars Clutterham created a peerless artifact of outsider magic. Imagination, wonder, the existential dread of Vietnam and math class and getting caught smoking weed in Nixon's America… it's all here. Is your life alright?

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood’s Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin, with new liner notes by Michael Klausman.

A four-piece band based in Tokyo.
Initially playing reggae/dub music, the band gradually developed into an innovative fusion of diverse musical influences, such as jazz, soul, psyche pop, new age, and exotica.
The sound is based on groove and euphoria, with nostalgic melodies.
They have performed at iconic events in Japan such as Fuji Rock Festival, and also have been looking overseas since they performed in Canada(Toronto, Montreal, and Vancouver) in 2019.
The new EP "Ramble In The Rainbow"(2024) is their first international release on the US label Peoples Potential Unlimited.
The work shows their musical maturity, drawing inspiration from Sun Ra, Lee "Scratch" Perry, and Yasuaki Shimizu.