the first year the category was recognized by the Academy of Television Arts & Sciences). The compilation album is produced by The Duffer Brothers and 2x Grammy nominee Timothy J. Smith. "Stranger Things 4" is scheduled to be released worldwide exclusively via Netflix's streaming service in two volumes, with the first set for May 27, 2022, and the second five weeks later on July 1, 2022. The fourth season will have nine episodes and has continued to be produced by the show's creators the Duffer Brothers, along with Shawn Levy, Dan Cohen, and Iain Paterson. Track Listing Separate Ways (Worlds Apart) (Bryce Miller/Alloy Tracks Remix) - Journey California Dreamin' - The Beach Boys Psycho Killer - Talking Heads Running Up That Hill (A Deal with God) - Kate Bush You Spin Me Round (Like a Record) - Dead or Alive Chica Mejicanita - Mae Arnette Play With Me - Extreme Detroit Rock City (Single Version) - KISS I Was A Teenage Werewolf - The Cramps Pass The Dutchie - Musical Youth Wipe Out - The Surfaris Object Of My Desire (Single Version) - Starpoint Rock Me Amadeus (The Gold Mix) - Falco Travelin' Man - Ricky Nelson Tarzan Boy - Baltimora Dream A Little Dream Of Me - Ella Fitzgerald & Louis Armstrong Rock and Roll, Hoochie Koo (Single Version) - Rick Derringer Fire and Rain - James Taylor Spellbound - Siouxsie And The Banshees Master of Puppets - Metallica When It's Cold I'd Like To Die (featuring Mimi Goese) - Moby Separate Ways (Worlds Apart) (Steve Perry & Bryce Miller Extended Remix) - Journey

Swan” and was involved in many David Bowie productions. The album was well received and entered the UK Album Charts at #2 and received a Platinum status. It featured three popular singles: “Love Is The Law”, “Blinded By The Sun” and “Love Me And Leave Me”. The latter was Liam Gallagher’s first song writing credit. Their success resulted in support slots with The Rolling Stones, U2 and Oasis. Unfortunately, The Seahorses aborded the recordings of their follow-up album to split up due to musical differences. Do It Yourself is celebrating its 25th anniversary in 2022 and includes an insert. SIDE A I Want You To Know Blinded By The Sun Suicide Drive The Boy In The Picture Love Is The Law SIDE B Happiness Is Eggshaped Love Me And Leave Me Round The Universe 1999 Standing On Your Head Hello

Grammy awards and widespread reverence. 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.”

ever solo shows this summer including his two rapidly sold-out gigs at Knebworth Park. ‘C’MON YOU KNOW’ looks set to be Liam’s third consecutive #1 studio album.

European folk traditions she tapped into on her own, and the pursuits that interest her today - studies in archaeology, work as a gardener, and walking the world’s great trails - Naima’s music draws from family, the earth and music handed down through generations. Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the Brazilian music of her youth and regular family visits. She found inspiration in “the percussion, the melodies, chords - and particularly the poetic juxtaposition of tragedy and beauty held within the lyrics.” By the age of 15, Naima was embedded in the music scene of South- East London, eventually forming Goat Girl with school friends and touring the world. After six years playing bass in Goat Girl, Naima left the band to try something new. She set up a gardening company and started a degree at University College London in archaeology because, as she jokes, “I liked being near the ground.” During this time, she wrote music, played guitar, learned violin, worked with ever-shifting South-London collective Broadside Hacks, and met producer and arranger Joel Burton through Memorials of Distinction labelhead Josh Cohen. Joel’s burgeoning interest in Western classical music, global folk music, and experience in large scale arrangement and orchestration informed the collaborative process that eventually culminated in ‘Giant Palm’. Recorded with the help of over 30 musicians (including Josh Cohen on synth / electronics) by Dan Carey of Speedy Wunderground at his studio space in Streatham, South-East London, and engineered by Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a specific feeling, of brief moments in Naima’s life that make up a larger whole. The expansive yet delicate arrangements highlight Naima’s love for the collectivist values of traditional folk music, in which songs belong to everyone, and singing can take on countless forms without the need to exactly replicate something. “All the other representations that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’ finds Naima bucking these expectations to let her unique voice and sense of communal creativity flourish.

is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt. We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

Subdivisions 10. Loss Disc: 2 1. Tried To Tell You - Piano Rendition 2. Robber - Live 3. Parking Lot - Piano Rendition 4. Atlantic - Live 5. Loss 6. Heart - Piano Rendition 7. Subdivisions - Piano Rendition 8. Look 9. Better Now - Piano Rendition

ne sais quoi of a group that will always be there for you with the perfect word or melody for the moment, while admitting tunefully that “Every girl and boy / each one is a misery” (“When The Cynics Stare Back From The Wall”). “Juliet Naked” channels frantic Billy Bragg-energy with rugged electric guitar and a football stadium worthy chant from Stuart Murdoch. The aforementioned “When The Cynics Stare Back From The Wall” is an unearthed 1994-era pre-Belle and Sebastian gem, with help from Camera Obscura’s Tracyanne Campbell. "So In The Moment” is breathless psychedelic pop that is arguably one of Stevie Jackson’s best ever songs. “When We Were Very Young” is Smiths-esque jangle rock that is bittersweet, devotional and yearning: “I wish I could be content / With the football scores / I wish I could be content with my daily chores / With my daily worship of the sublime”. Tracklisting 1. Juliet Naked 2. Give A Little Time 3. When We Were Very Young 4. Will I Tell You A Secret 5. So In The Moment 6. The Evening Star 7. When You’re Not With Me 8. I Don’t Know What You See In Me 9. Do You Follow 10. When The Cynics Stare Back From The Wall 11. Late Developers

Rev' is in your hands and ears from October 7th. Tracklist 01 Pharmacist02 Easy on Your Own?03 After the Earthquake04 Tom Verlaine05 Pressed06 Many Mirrors07 Very Online Guy08 Velveteen09 Tile by Tile10 Pomeranian Spinster11 Belinda Says12 Bored in Bristol13 Lottery Noises14 Fourth Figure

Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

bunch of furniture, a vivid explosion of framed artwork charting a unique and particular journey through the history of music, multiple stacks of records, a bulging fridge and an overworked stereo, the Heavenly office has ended up becoming less a someplace and almost a someone. The spirit of the office is a restless beast, yet it’s been loyal enough to have faithfully moved (almost) every time the label has relocated. And it’s a spirit that’s been emboldened whenever it has been based in Soho. Whatever the ley lines are that run under that square mile of central London, they seem to electrify the Heavenly office like a National Grid of vibes and volume; strange attractors to the ghosts of Soho’s rock’n’rollers, ravers, reprobates and roués alike who add a spectral joie de vivre to proceedings. While the Heavenly office itself might be notorious, it’s the music that fills it up in the after hours that truly gives the place life. While the open door has long offered something akin to a welcoming hug for both regular and first time visitors, it’s the always cranked up sound system that’s the equivalent of a mate leaning into you, guiding you through the peaks and troughs of the music. “Hang on, this next one’s amazing… listen to this bit… what do you mean you haven’t heard this version? Turn it up!” As with any good party, the office soundtrack evolves track by track like selections from an overheating rebellious jukebox. Any average Monday night (the weekend always starts on Monday, right?) might take in music from the label’s artists that’s just pinged the inbox, freshly minted demos that have piqued curiosity, dusty old 7s by long gone heroes or white label 12s with minimal info scratched onto them in felt tip pen. And playing between those tracks, a bunch of secret sounds from the Heavenly vaults; remixes that write a rich, alternate history of Heavenly Recordings. Since the first Heavenly recording, there have been striking remixes that reframe the original track. These remakes offer a parallel reading of the last four decades of releases; they take the music to places where genres can be pulled inside out before being reassembled for different dancefloors, or for a different state of mind. It’s a selection of those secret sounds that make up the latest in this series of flawless compilations. Each presents a parallel reading of the Heavenly Recordings story, a version that’s best heard as the light fades and the furniture gets shoved to one side of the room in decent work places the world over.

bunch of furniture, a vivid explosion of framed artwork charting a unique and particular journey through the history of music, multiple stacks of records, a bulging fridge and an overworked stereo, the Heavenly office has ended up becoming less a someplace and almost a someone. The spirit of the office is a restless beast, yet it’s been loyal enough to have faithfully moved (almost) every time the label has relocated. And it’s a spirit that’s been emboldened whenever it has been based in Soho. Whatever the ley lines are that run under that square mile of central London, they seem to electrify the Heavenly office like a National Grid of vibes and volume; strange attractors to the ghosts of Soho’s rock’n’rollers, ravers, reprobates and roués alike who add a spectral joie de vivre to proceedings. While the Heavenly office itself might be notorious, it’s the music that fills it up in the after hours that truly gives the place life. While the open door has long offered something akin to a welcoming hug for both regular and first time visitors, it’s the always cranked up sound system that’s the equivalent of a mate leaning into you, guiding you through the peaks and troughs of the music. “Hang on, this next one’s amazing… listen to this bit… what do you mean you haven’t heard this version? Turn it up!” As with any good party, the office soundtrack evolves track by track like selections from an overheating rebellious jukebox. Any average Monday night (the weekend always starts on Monday, right?) might take in music from the label’s artists that’s just pinged the inbox, freshly minted demos that have piqued curiosity, dusty old 7s by long gone heroes or white label 12s with minimal info scratched onto them in felt tip pen. And playing between those tracks, a bunch of secret sounds from the Heavenly vaults; remixes that write a rich, alternate history of Heavenly Recordings. Since the first Heavenly recording, there have been striking remixes that reframe the original track. These remakes offer a parallel reading of the last four decades of releases; they take the music to places where genres can be pulled inside out before being reassembled for different dancefloors, or for a different state of mind. It’s a selection of those secret sounds that make up the latest in this series of flawless compilations. Each presents a parallel reading of the Heavenly Recordings story, a version that’s best heard as the light fades and the furniture gets shoved to one side of the room in decent work places the world over.

hot tub soul, Frisco folk, Balearic breeze and trippy troubadourial treasures, all lovingly handpicked for the series. To whet people's appetites for this alluring funky, psychedelic collection, do listen to a first single in form of 'Sweet Sweet Stay A While' by American singer songwriter Jeb Loy Nichols above. Dubbed ‘The high priest of country cool’ by Rolling Stone Magazine, Nichols was raised on bluegrass and country in Missouri, lived in New York in the late 70s during the birth of hip hop and rap and shared a squat in the early '80s with The Slits' Ari Up, Adrian Sherwood and Neneh Cherry in post punk London. All meaning that his complete disregard for genre purity have been one of Nichols biggest influences, which is there in great abundance on the soulful 'Sweet Sweet Stay A While'. More about dj and curator Paul Hillery Paul has carried his record boxes to many a venue and played alongside The Polyphonic Spree, Arthur Lee and Love, Bonnie Dobson, Spiritualized, 4 Hero, Happy Mondays, Simian, The Bees, Julian Cope, Courtney Pine and many, many more. He has also graced the turntables at Spiritland, Refuge, Festival No.6, Lunar Festival, Edinburgh Festival and Psychemagik’s Magik Forest to name a few and has supplied guest mixes for radio stations in South America, the USA, Europe and all over the UK. Over to Paul to talk more about the compilation here: “So, what is this ‘Folk Funk & Trippy Troubadours’ thing anyway? Well, it’s tricky to put a finger on. Folk-funk had been around for a while, so I added ‘and Trippy Troubadours’ to give me a little wiggle room from the genre police. To me, the folk- funk groove sounds like it has one leg shorter than the other; let’s call it a funky limp. ‘Feel the Spirit’ by Heaven & Earth, ‘Taking So Long’ by Kathy Smith, ‘Mountain Song’ by Penny Nichols, and ‘Wooden Ships’ by Christine Harwood are all great places to start.” Folk Funk and Trippy Troubadours is series of releases that both Paul and all at RE:WARM hope you will come to treasure and hold dear: a heartfelt compilation released with the full support of all featured artists. Tune in, turn on and drop the needle on four sides of the compilation and join us as we travel deep into a vast and wonderful musical universe... Side One A1. Duncan Pryce Kirk - 'Space Out' A2. Eik - 'Mr Sadness' A3. Joe Hall and Eyeball Wine Company - 'Movable Feast' A4. Christian Besa Wright - 'Cherry Blossom Oak' A5. Wendy Grose - 'Blue Sunny Sky Day' A6. Ruth Finlay - 'Deep Calls To Deep' ^ Side Two B1. Will and James Ragar - 'Clouds Lift' § B2. Scott Seskind - 'I Wonder' B3. Tim McKenna - 'Where Are You?' ∞ B4. Jeb Loy Nichols - 'Sweet Sweet Stay Awhile' B5. Gary Boyle - 'So Many Times Before' Side Three C1. Peter Wale - 'One Quiet Sultry Sunday' C2. Sorahan - 'With His Siller In His Hand' C3. Cindi Titzer - 'All For You' ∞ Side Four D1. Smokey - 'Topaz' D2. Geoff Bartley - 'Don’t Want To Know About Evil' D3. Robin Woodland - 'One Golden Moment' D4. Richard Pass - 'We’ll Find Love' D5. Kip Carmen - 'That’s Enough For Me' §

a group whose early work was characterised by Polish knife-wielders and incarcerated serial killers, you might expect Interpol’s pandemic record to be an emotional tar pit — doubly so, given the presence of towering producer-engineer duo Flood and Moulder on the boards. But Banks felt the call to push in a “counterbalancing” direction, with paeans to mental resilience and the quiet power of going easy. “The nobility of the human spirit is to recover and rebound,” he says. “Yeah, I could focus on how fucked everything is, but I feel now is the time when being hopeful is necessary, and a still-believable emotion within what makes Interpol Interpol.” Tracklisting: Toni Fables Into the Night Mr. Credit Something Changed Renegade Hearts Passenger Greenwich Gran Hotel Big Shot City Go Easy (Palermo)

is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt. We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

all of the insecurities that come from their present adolescence, whilst acknowledging the formative maturity that’s earned when we allow ourselves to embrace the unknown, of our futures ahead.