Promises is an extraordinary, collaborative album by the electronic giant Floating Points and saxophone titan Pharoah Sanders. The album features the London Symphony Orchestra and cover art by the acclaimed American artist, Julie Mehretu. Five years in the making, it will be released on Luaka Bop,

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Promises is an extraordinary, collaborative album by the electronic giant Floating Points and saxophone titan Pharoah Sanders. The album features the London Symphony Orchestra and cover art by the acclaimed American artist, Julie Mehretu. Five years in the making, it will be released on Luaka Bop,

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Kosmos is the third full-length record for Luaka Bop from the uncategorizable Danish band of Jonathan Bremer (on acoustic bass) and Morten McCoy (on keys and tape delay).

Tracklist
1.1Higher Road
1.2Dream
1.3Mere Liv
1.4Hvor du er
1.5Alting loser sig
1.6Bon
1.7Blomsten du sar
1.8Regnen falder snart
1.9Vuggevise
1.10Universal Love

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Kosmos is the third full-length record for Luaka Bop from the uncategorizable Danish band of Jonathan Bremer (on acoustic bass) and Morten McCoy (on keys and tape delay).

Tracklist
1.1Higher Road
1.2Dream
1.3Mere Liv
1.4Hvor du er
1.5Alting loser sig
1.6Bon
1.7Blomsten du sar
1.8Regnen falder snart
1.9Vuggevise
1.10Universal Love

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You likely know the Staples Jr. Singers, the family band from Aberdeen, Mississippi, from their first and only record, 1975"s "When Do We Get Paid". They made that record themselves when they were only teenagers. Finally, in a moment they"ve been waiting for most of their lives, the family is back with their sophomore album, "Searching". Recorded in 2023 in West Point, Mississippi, and Nashville, Tennessee, and produced by Ahmed Gallab, aka Sinkane, the first pressing comes with a booklet of photos by Adam Wissing and notes by Anton Spice.

Trackliste
1.1Living In This World Alone (feat. Annie Brown Caldwell)
1.2Lost In A World Of Sin
1.3You Got To Believe
1.4Walk Around Heaven
1.5I've Got A Feeling
1.6Don't Need No Doctor
1.7I Don't Need Nobody But You
1.8Get On Board

Listen: https://listen.k7.com/014abf94-19b9-46fa-b214-2527f4260814 /

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Finally we are more than happy to announce this Pharoah Sanders 7" for this year's RecordStoreDay release!

This limited-edition Japanese radio edit single of gHarvest Time / Love Will Find a
Wayh is a complement to Pharoah Sandersf seminal album from 1977 Pharoah,
which was recently re-released for the first time since its original pressing, in a
deluxe 2 LP box set (Luaka Bop, Fall 2023).
At times ambient and serene, at others funky and modal, Pharoah has long been
a holy grail for collectors, seen as one of the artistfs most beloved records and
one of the great works of the 20th century. Released after forty-five years with
Pharoahfs blessing, MOJO (ššššš) called it gan ethereal masterpiece,h Pitchfork
(8.9) deemed it gunearthly magic,h and The New York Times (Critics Pick) said that
Pharoah gbeckoned the Gods on the intimate Pharoah.h
Included here are two unreleased radio edits of gHarvest Timeh and gLove Will
Find a Wayh.packaged in a limited, eye-catching Japanese sleeve exclusively for
Record Store Day, pressed on Black Power Black vinyl.

ƒgƒ‰ƒbƒNƒŠƒXƒg
A. Harvest Time (ŽûŠnŽžŠú . Radio Edit)
B. Love Will Find a Way (ƒ‰ƒ”EƒEƒBƒ‹Eƒtƒ@ƒCƒ“ƒhEƒAE
ƒEƒFƒC. Radio Edit)

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The tracks on this album may arouse a number of emotions; they were not sung
purely for the pleasure of making music, but to convey, with drama and joy, that
life is stronger than ever and continues with a live Spirit…
Recorded in New York after 9/11 in front of a small audience, Espíritu Vivo
marries Susana Baca’s wonderful vocals and Peruvian backing band with the
downtown sounds of John Medeski and guitarist Marc Ribot—for a recording
that transcends time and place, with Baca giving every iota of herself to the
music. This is the 20th anniversary edition, on vinyl for the very first time.

https://on.soundcloud.com/SAVut

side a
1. La Noche y El Día
2. Si me Quitaran…
3. Caracunde
4. El Fusil del Poeta
5. Se me Van los Pies
side b
1. 13 de Mayo
2. Toro Mata
3. Afro-blue/Zum Zum
4. The Anchor Song


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hailed as “one of the great, overlooked records of 1998,” by
the new york times, this worldwide debut of the angolan artist
waldemar bastos was recorded and produced by arto lindsay
and david byrne in new york. Its title, which means “blacklight”
in portuguese, is a hint to the powerful sorrow the music
holds: pretaluz is an elegiac response to the angolan civil
war, drawing on influences near and far like the fado, semba,
zouk, and morna, to create indelible songs. “with his dramatic
pauses and dynamic vibrato rising above subtle rhythms
picked out on nylon-string guitars, everything mr. bastos sings
emerges as a lament of enormous sadness,” wrote the times.
now on vinyl for the very first time, this limited 25th anniversary
edition of pretaluz is a contender for the best-sounding
record on luaka bop.

https://on.soundcloud.com/Qgm7X

side a
1. sofrimento
2. rainha ginga
3. muxima
4. kuribôta
side b
1. morro do kussava
2. minha família
3. menina
4. querida angola
5. kanguru


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With Pharoah Sanders’ blessing, we present the definitive, remastered version of PHAROAH, his seminal record from 1977, in an embossed 2 LP box set. Alongside the original record, we’re including two previously unreleased live performances of his masterpiece, “Harvest Time," and a 24-page booklet with rarely seen photographs and ephemera, which tell the story of this album and this moment in Pharoah’s life in a way that has never been done before—including through interviews with many of the participants and a conversation with Pharoah himself.

For those of you who already know this record, then you know that its origin story is as elusive as Pharoah was about everything Pharoah. It was born out of a misunderstanding between him and the India Navigation producer Bob Cummins, and was recorded when he was at a crossroads in his career with an unlikely crew. Among them was a guitarist who was also a spiritual guru, an organist who would go on to co-write and produce “The Message,” and a classically trained pianist—his wife at the time, Bedria Sanders—who played the harmonium despite never having seen one. At times ambient and serene, at others funky and modal, PHAROAH radically departed from his earlier work. And it became beloved.



Tracklist:

Pharoah

A1. Harvest Time
B1. Love Will Find a Way
B2. Memories of Edith Johnson

Harvest Time Live 1977

C1. Harvest Time Live – Version 1
D1. Harvest Time Live – Version 2

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Alongside a remastered version of PHAROAH, his seminal record from 1977, this 2 CD box set includes two previously unreleased live performances of his masterpiece, “Harvest Time." Includes a 70-page booklet with rarely seen photographs and interviews with many of the participants, as well as a conversation with Pharoah himself.


Tracklist:

Pharoah

1. Harvest Time
2. Love Will Find a Way
3. Memories of Edith Johnson

Harvest Time Live 1977

1. Harvest Time Live – Version 1
2. Harvest Time Live – Version 2

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The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. They found their inspiration in the secular music they heard on the radio, and wrote songs that were nothing but stone cold soul.


01 / A1. Get On Board
02 / A2. I Know You're Going To Miss Me
03 / A3. I'm Looking For A Man
04 / A4. I'm Going To A City
05 / A5. Somebody Save Me
06 / A6. Trouble Of The World
07 / A7. Waiting For The Trumpet To Sound
08 / B1. I Feel Good
09 / B2. When Do We Get Paid
10 / B3. On My Journey Home
11 / B4. Too Close
12 / B5. Send It On Down
13 / B6. I Got A New Home


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The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. They found their inspiration in the secular music they heard on the radio, and wrote songs that were nothing but stone cold soul.


01 / A1. Get On Board
02 / A2. I Know You're Going To Miss Me
03 / A3. I'm Looking For A Man
04 / A4. I'm Going To A City
05 / A5. Somebody Save Me
06 / A6. Trouble Of The World
07 / A7. Waiting For The Trumpet To Sound
08 / B1. I Feel Good
09 / B2. When Do We Get Paid
10 / B3. On My Journey Home
11 / B4. Too Close
12 / B5. Send It On Down
13 / B6. I Got A New Home


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Promises is an extraordinary, collaborative album by the electronic giant Floating Points and saxophone titan Pharoah Sanders. The album features the London Symphony Orchestra and cover art by the acclaimed American artist, Julie Mehretu. Five years in the making, it will be released on Luaka Bop,

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Promises is an extraordinary, collaborative album by the electronic giant Floating Points and saxophone titan Pharoah Sanders. The album features the London Symphony Orchestra and cover art by the acclaimed American artist, Julie Mehretu. Five years in the making, it will be released on Luaka Bop,

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he Time For Peace Is Now compiles fourteen songs that, while recorded over four decades ago, speak now more than ever. The tracks are a subset of 1970s-era gospel, not directly talking about Jesus or God, but instead tackling how we live with ourselves and each other. These are undeniably soulful, passionate, and urgent songs from obscure 45s, dug up from a long dormancy in attics, sheds and rated across the American south. Compiled by Gospel guru Greg Belson

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Anadol is a psychedelic synth folk project by Go¨zen Atila, a Turkish sound artist and photographer based in Berlin. Her third album Uzun Havalar is based on collective improvisations of middle eastern folk songs called „uzun hava“. They turn out as rich, atmospheric synth ballads. A diverse roster of improvising musicians creates their fascinating complexity. Anadol recorded them during extensive sessions in Istanbul. You can hear drummers laughing and playing guitars, composers howling, announcements in French and screams in no language, record collectors playing oscillators, and trumpets through spacious echoes. Anadol represents Go¨zen Atila’s liberation from a rather academic approach to electronic composition which she pursued during her music technology studies in Istanbul. She calls her education the „darkness of serious music“ where she first tried to belong, then to break free with the help of lo-fi synth pop. As a producer of radio plays and an expert field recording artist she has developed a distinct sense of timing, editing and sound design. Her Anadol project walks in the footsteps of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, pushing the boundaries of minimal equipment. On Uzun Havalar she translates her experimental background into these floating folk ballads. The album was originally released on tape via Kinship in 2018.

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Repress coming beginning of April!

At long last, Q Lazzarus says hello to Dark Entries. Q Lazzarus is the moniker of Diane Luckey, born in New Jersey in 1960. While living in the East Village in New York City in the 1980s, Diane met songwriter Bill Garvey at a party and they recorded “Goodbye Horses” in his home studio. As the story goes, Luckey met Hollywood director Jonathan Demme when she picked him up in her taxi during a snowstorm in 1986. Demme was wowed by her demo tape, which was playing in the cab, and they ended up hanging out at a restaurant for hours talking about life and music. “He liked it so much, I gave him the tape I was listening to, he said he would call me for one of his movies, but I didn’t really take it seriously.” said Luckey. Demme would have the song “Goodbye Horses” first appear in his offbeat comedy Married to the Mob, and then again more memorably in Silence of the Lambs when Buffalo Bill changes into women’s clothing while drowning out his intended victim’s pleas with loud music. Despite the exposure, both Luckey and Garvey languished in relative obscurity. “Goodbye Horses” is the definition of a cult classic, an ethereal tearjerker driven by Garvey’s lush synth work and Luckey’s unmistakably powerful voice. Garvey says, “the song is about transcendence over those who see the world as only earthly and finite.”

Over 15 years of effort have gone into the making of this release. All five songs on this record were previously unreleased and are sourced from original master tapes. The extended version of “Goodbye Horses” was newly mixed from the original stems by Alberto Hernandez at Fantasy Studios. Instrumental and acapella versions of the song are included, which are also available for the first time. Side B opens with “Hellfire,” a brooding number about the New York BDSM nightclub of the same name, showcasing the range and force of Luckey’s voice. “Summertime” follows, with a sauntering synth-reggae spin on the 1937 George Gershwin number. Both B-side tracks are also new mixdowns and edits from the original stems. This record is released alongside Eva Aridjis Fuentes’s documentary on Q Lazzarus, Goodbye Horses: The Many Lives of Q Lazzarus, a work chronicling the life of the enigmatic Luckey. It is an opportune moment to reflect on the underrecognized artists we have lost and the undeniable brilliance of both Diane Luckey and William Garvey.

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Summertime Green Vinyl!

For almost everyone, the entry point for discovering the music of Q Lazzarus came via “Goodbye Horses.” The song first appeared in 1988, via Jonathan Demme’s Married to the Mob, but it would not become fully lodged into popular consciousness until it infamously materialized again in Demme’s The Silence of the Lambs in 1991. “Goodbye Horses” felt like a self-contained universe – dreamlike and wholly unusual, an instant classic that left listeners captivated and curious about the mysterious voice behind it. That voice belonged to Diane Luckey, a uniquely talented artist whose music was ahead of its time and who would ultimately remain largely unrecognized in her lifetime.

In conjunction with the release of Aridjis Fuentes’ documentary film Goodbye Horses: The Many Lives of Q Lazzarus, Sacred Bones is releasing a collection of songs that span the entirety of Q’s career, showcasing the different eras of her work and the full breadth of her personality. Released in collaboration with the family of Q, it has the distinction of being her first and only full-length release.

Recorded between 1985 and 1995, this trove of previously unreleased music reflects some of the most interesting facets of pop music from the past four decades in a way that feels both savvy and wildly eclectic. The titular “Goodbye Horses” remains a singular piece of spooky new wave perfection and one might imagine an entire Q Lazzarus album coiled around this aesthetic, but much like singers such as Alison Moyet, Annie Lennox, or Lisa Gerrard, Q’s chameleonic voice could lend itself perfectly to a variety of styles and settings. Her cover of Talking Heads’ “Heaven” transforms the song into a full-throated power ballad complete with tinkly piano flourishes, while her take on Gershwin’s “Summertime” sounds like the kind of dubby club redux that could have been a perfect companion to anything from Nightclubbing-era Grace Jones. Tracks like “My Mistake” and “Hellfire” flirt with house music and showcase just how brassy and belty Q’s voice could be when she really let loose, while “Don’t Let Go” sounds like the kind of bombastic radio single Cher might have released several decades ago. Elsewhere, songs like “Bang Bang” and “I See Your Eyes” espouse the kind of guitar-driven alt-rock sensibilities that, in a parallel universe, could have made them staples on 120 Minutes.

Goodbye Horses represents the potential for so many different kinds of careers that, for whatever reason, never fully materialized. That we now have these songs in the world, and a clearer picture of the person behind them, is nothing short of a blessing.

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After selling out the first edition more quickly than we could have imagined we have reprinted the book with a new foreword by David and Stephen Dewaele, better known as Soulwax and 2manydjs. Daft Punk featured often in the formative years of Jockey Slut magazine (including their first front cover). This tribute to the duo collates all the interviews and photos from the seminal magazine covering their early days on Soma up to the release of Discovery. Further articles cover the rest of their tenure as one of the globe’s most furtive, influential electronic acts right up to their unexpected split in February 2021.

? Their first ever interview, for Jockey Slut in 1994.
? Oral histories on their early years on Soma and the making of Homework and Discovery.
? Their first unmasked cover shot and interview for Jockey Slut in 1996.
? A Fax interview from Jockey Slut in 1995 including their doodles and handwriting.
? Long reads on Human After All, Random Access Memories and their Coachella performance.
? Vintage features from writers including Alexis Petridis, Calvin Bush and Ben Cardew.
? A History of Roule records and the duos' extra curricular activities.
? Exclusive Interview with Tony Gardner, the man behind the robots.
? Daft Punk in film: Interstella 5555, Electroma and Tron.
? Daft Punk was playing in my house - an exclusive interview with LCD Soundsystem's James Murphy.
? An exclusive interview with Pedro ‘Busy P’ Winter and Together’s DJ Falcon.
? Daft Punk superfans.

And much, much more!

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The new Disco Pogo (issue 6) has 3 incredible covers - choose from the epic and enigmatic Justice, the spellbinding Kelly Lee Owens or the incomparable Sade.
Inside feast on the incredible story of 808 State, key moments from 30 years of Bugged Out!, Dave Clarke on how he made the Red Series, NY’s young upstarts Fcukers, Daptone’s Jalen Ngonda, find out where Lemon Jelly are now, delve into The Archive with LFO, check out Lou Hayter’s ‘Unfamiliar Skin’, go deep on Manuel Göttsching, rewind to reader’s questions with Richie Hawtin, let Sean Johnston tell you the story of A.L.F.O.S, immerse yourself in Spiritual Jazz, get to know System Olympia and much more. 184 pages of quality music journalism, photography and design in a beautiful magazine with three lovely covers.

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They don’t get much more anthemic than Idris Muhammad’s ‘Could Heaven Ever Be Like This’ and who better to rework it than edit royalty, Late Nite Tuff Guy. Subtle in his touches yet incorporating a more DJ friendly, dancefloor orientated beat and tension building intro which teases elements of this classic before that instantly recognizable bass riff and staccato guitar chords come into play. That subtlety is key when it comes to handling a record as epic as this, elements are accentuated and looped, delicate effects are woven in but the soul and feeling of Idris’ music is lovingly maintained by LNTG. And for the purists out there, the flip houses the original mix so you’ve got two paths to heaven to choose from.


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