Back catalogue:

Review: .5 Borough Breaks are back with another essential slice of 90s hip-hop nostalgia. Their latest 7" revives a 1995 Hot 97 favourite-a gritty, golden-era banger that once ruled the NYC airwaves. Handily pressed for both DJs and collectors, Blahzay Blahzay's 'Danger' captures the raw energy of East Coast rap at its peak. As always with this label, the flip side features the original sample source: a soulful gem 'Rockin Chair' from recently departed legend Gwen McCrae whose legacy shaped generations of soul fans and hip-hop heads. As such, this 7" combines deep digging with authentic hip-hop flair and pays tribute to both the beatmakers and the soul pioneers who inspired them. Essential wax.

Review: Johnny Clarke is of course, a roots reggae legend with a vast, and high-quality, discography that has contributed to the evolution of the genre over many years. For this one he teams up with Green Cross on 'Never Give Up On Jah', a heavyweight drop on Heartical in France. Clarke's unmistakable voice delivers a message of perseverance and spiritual strength, and it serves as a fine reminder of roots reggae's enduring power to move you in more ways than one. The riddim is deep, warm and dubwise and on the flip is the flaky, wobbly, Green Cross cut 'Style Ah Weh We Love.'

Review: Following the likes of 'A Journey Into Abstract HipHop' and 'Snap Your Neck Back', the Gasoline collective continued their early legacy with 'Fuck You I'm 21' which arrived digitally in 2023, 21 years after the debut EP. It comes now as a 7" with all the original cuts included. The opener is an old-school blend of raw beats, scratching and smart samples, 'Human Sucks' then pairs moody spoke words with eerie late-night boom-bap and 'Zattar' is a short beat interlude that oozes atmosphere. 'Dark In The 46th District' is the final short but pithy beat sketch which is a great example of experimental hip-hop and beat culture from the turn of the millennium.

Review: Few tracks capture the icy allure of early 80s electronic experimentation quite like this underground classic. Originally released in 1981, this Swiss post-punk/coldwave classic has transcended its era, becoming a cult favorite across underground scenes and DJ sets of various genres. Now reissued on limited blue vinyl, its influence remains undeniable. 'Eisbaer' is a track that bridges stark, minimalist electronics with the raw energy of post-punk. The hypnotic bassline and cold, robotic drum programming lay a foundation for jagged guitar stabs and eerie synth flourishes, creating an urgent, mechanical pulse. The disaffected, almost mantra-like vocalsideclaring "Ich mochte ein Eisbar sein" ("I want to be a polar bear")iheighten its existential detachment. Echoes of Throbbing Gristle's industrial edge and Cabaret Voltaire's abstract electronics blend seamlessly with the emerging synth-pop movement, helping to push new wave into more danceable, electronic territory. Side B's 'Film 2' takes a more abrasive approach, a pounding, near-industrial instrumental that pulses with motorik intensity. 'Ich Lieb Sie' is more restrained but equally unsettling, its sparse arrangement and ghostly atmosphere reinforcing Grauzone's unique ability to evoke emotion through minimalism. Timeless and still chillingly modern, this reissue ensures that Eisbar and its B-sides continue to inspire. A crucial document of coldwave's evolution, reaffirming why this track remains a DJ favourite decades later.

Review: A rare gem from the golden age of early reggae, this 1970 cut by Justin Hinds was originally released on a Duke Reid 7". It gets a welcome reissue here but still has plenty of lo-fi aesthetics, vinyl crackle and dusty sound that keeps it authentic rather than overly polished. Hinds' soulful vocal delivery and signature rhythm style shine as they capture the spirit of the era with subtle flair. On the flip side, a slinky, instrumental organ version by Gus McIntyre adds serious depth and makes this an irresistible double-sider or cracking up nice and loud through some towering speaker stacks.

Review: What time is it? It's Skankoclock. The label is small but already well-formed and this sixth outing offers up a fresh roots reggae gem from Rapha Pico, whose 'Treat You Wrong' delivers rich vocal vibes over a heavyweight riddim. It is then Far East's smooth melodica version that take sober and lulls you into more deepness that mixes classic energy with modern warmth. Guru Pope and Handyman round out the lineup with deep instrumental contributions that add more layers of rich musicality, all of which gets pressed in a vibrant full-colour skanking sleeve for superb toots with soul, melody, and pure sound system flavours.

Review: Recorded in collaboration with Nils Frahm at Berlin's Leiter Studio, Ganavya's fourth album is destined to carve its own path to recognition due to its unique quality. A follow-up to last year's acclaimed Daughter of a Temple, which drew praise from many music outlets, Nilam - probably best known her for her appearance alongside Sault at their recent live show - continues her journey into music as devotion, meditation and memory. Born in New York and raised in Tamil Nadu, she moves fluidly between traditions, channeling pilgrimage trails, harikatha storytelling and jazz improvisation into something uniquely her own. Her voice is unhurried, intimate and full of clarity, conjuring stillness even in motion. It's a sound that invites stillness but never feels static, where every breath carries the weight of generations and each silence says as much as her lyrics. The songs on Nilam feel distilled from years of lived experience, shaped by years of live performance as tracks like 'Sees Fire' blend Eastern tonalities with meditative jazz, fusing introspection with emotional firepower. The album traces the patterns of gratitude, loss and rootedness meanwhile anchoring the listener in a place beyond the physical. Rather than chase genre, ganavya reaches toward essence. Nilam isn't just an album, it's a moment held in reverence. A sonic altar where memory, spirit and sound meet. In her hands, song becomes a ritual of listening.

Review: Led by Edinburgh-born Los Angeles-based 90s superstar Shirley Manson, Garbage have emerged from dark, troubling times to present a new album. The follow up to 2021's No God No Masters was originally intended for release in 2023, but got put back, reportedly due to Manson's surgeries, writer's block and the death of her pet dog. Those who've kept patient, however, are in for a treat: it's a life-affirming record that stands tall in the transatlantic group's storied oeuvre. Ever the sharp critical thinker, the lyrics to lead single 'There's No Future In Optimism' remind us to grab life by the horns and feel unburned by darkness for a moment - it's a message we need from our popstars and it's a nice respite from the cranky punk music that's saturated our radio waves over the past few years.

Review: This is the first album in four years from Scot-fronted Los Angeles band Garbage and their eighth studio album total. The previous album, No Gods No Masters, delved into some heavy sociopolitical themes, which were given a lot of attention because it came out amid Covid. With this album, as the title gives away, there is a shift towards more positive thinking, even if some seriousness remains. The single 'There's No Future In Optimism' reminds us to grab life by the horns and feel unburned by darkness for a moment - Shirley Manson clearly remembering the joy of pop and the hope it can bring, despite geopolitical uncertainties. Sonically, they've crafted very powerful electronica-tinged rock, with a brilliant emphasis on rhythm, the joys of a well constructed beat and some gritty bass.

Review: The latest album from Chicago composer and improviser Ben LaMar Gay is his most fluid and assured to date. Backed by his long-time quartet of Tommaso Moretti, Matthew Davis and Will Faber, Yowzers ripples with rhythmic intuition and emotional weight, moving between playful sketches and hymn-like vignettes without ever breaking its spell. Tracks like 'the glorification of small victories' and 'I am (bells)' are recorded live, capturing the spatial intelligence of the group's shared language - an ensemble sound built through years on the road. 'for Breezy' and 'leave some for you' find Gay in a balladic register, unafraid of simplicity, while 'John, John Henry' retools folklore through polyrhythmic loops and group chant. The result is at once free and tightly woven - a folk-rooted sound that spirals into cosmic territory. Rob Frye's flute and a mini-choir add further texture, but it's Gay's ear for structure and storytelling that binds it all. These aren't just compositions but musical rituals, alive with history, invention and care. It's not jazz, not quite, not only - this is music that trusts its players as much as its audience, carrying old knowledge forward with lightness, humour and reverence. A quiet triumph.

Review: Ben LaMar Gay expands his musical lexicon with mala-morphemic glee on Yowzers, a wide-berthing new LP trading in exp points racked up as a soloist, bandleader, and key player in Chicago's music scene. Conscripting his long-running quartet (Tommaso Moretti, Matthew Davis, Will Faber) for dispatch on a new instrumental regiment, the record snaps the intimate language they've developed through years of live performance, captured here in a rare set of real-time recordings. As always, Gay pushes outward from folkloric roots, incorporating choir arrangements, in-studio experimentation, and contributions from frequent collaborators like Rob Frye and Ayanna Woods, be that through the looped minimalism of 'Yowzers' to the mournful swing of 'For Breezy' and the guttural blues of 'John, John Henry.'

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Five years after its first release, Emotional Response is serving up this welcome reissue of Alexis Georgopoulos and Jefre Cantu-Ledesma's classic Fragments of A Season. They came together after five years of superb releases and reached new highs here even though they aren't necessarily household names. It saw them turn in some wonderfully expressive compositions played out across all manner of organic instrumentation. The richness of the production and the highly developed ideas embedded within this gorgeous LP should resonate for a long time to come, not least because the pieces are all so easy on the ears.

Review: Indiana singer-songwritern Lisa Germano's 1994 moody dark indie rock masterpiece has been remastered at Abbey Road Studios in London. This expanded edition - released as part of 4AD's Record Store Day spread - includes 'The Mirror Is Gone' and the five-track EP 'Inconsiderate Bitch', making it a bumper version of one of the key albums of the 90s. Germano's voice is a thing of wonder with lyrics that cut through the noise. The sonics underpinning her voice are often sparse and atmospheric, allowing us listeners to really feel the intimacy of feeling. It's no wonder the likes of Eels, Bowie and Iggy Pop called her in to guest on their records.

Review: Serving as the follow up to 2022's critically acclaimed and super cheesy by design stadium-goth opus Impera, Swedish rock occultists Ghost make their grand return with sixth full-length Skeleta. The vision of Tobias Forge, renowned for his charismatic vocal cadence and immense range, but more so for his undertaking of different characters and monikers for each album cycle, the Papa Emeritus IV delving into empirical fallacies on their previous outing has been usurped by Papa V Perpetua, who promises to deliver his band of Nameless Ghouls' "most unflinchingly introspective work to date" while showcasing "distinct individual emotional vistas", touching on "demonic possessions" and the allure of succumbing to "dark forces". In other words, expect mammoth riffs, epic refrains, large doses of overt theatricality verging on camp, and on-the-nose song titles such as 'Satanized'.

Review: The first hard rock album to land at Number One on the Billboard 200 in four years, Swedish rock occultists Ghost make their grand return with sixth full-length Skeleta, serving as the highly anticipated follow up to 2022's acclaimed and super camp-by-design stadium-goth rock opus Impera. Still the singular vision of Tobias Forge, renowned for his charismatic vocals and immense versatility, but primarily for his adorning of different guises, characters and monikers for each album cycle, the Papa Emeritus IV who pontificated on empirical fallacies throughout their previous outing has since been usurped by Papa V Perpetua, who along with his band of Nameless Ghouls deliver their "most unflinchingly introspective work to date" while showcasing "distinct individual emotional vistas", touching on "demonic possessions" and the allure of succumbing to "dark forces". In other words, expect a gloomy gauntlet of anthemic riffage, epic refrains, gargantuan levels of cheesy theatricality, and Satanic Panic bell-ringing on-the-nose song-titled such as 'Satanized'.

Review: Skeleta marks the sixth full-length from Swedish theatrical goth rock entity Ghost, following on from 2022's retro stadium-goth swing for the fences Impera. Known for their high-concept aesthetic solely credited to mastermind Tobias Forge, who undertakes differing mantles and characters pertaining to each era and project, Papa Emeritus IV who fronted their preceding work has now been replaced by Papa V Perpetua, and while his predecessor was said to have been driven by ruminations on empirical reigns, the latest leader of the band of "Nameless Ghouls" is more concerned with "demonic possessions" and succumbing to "dark forces", with the album promised to be their "most unflinchingly introspective work to date" while showcasing "distinct individual emotional vistas". With big riffs, soaring hooks and a lead single as brazenly titled as 'Satanized', it's time for yet another era of overtly gothic and purposefully cheesy occult-rock.

Review: Ghostface Killah's 36 Seasons, first released in 2014, plays out like a gritty graphic novel; we follow Ghostface's maskless alter-ego Tony Starks as he returns to Staten Island after nine years in solitary. Expecting to reunite with his old life, he instead finds his community in disarray, friends turned enemies and betrayal lurking around every corner. So, fuelled by revenge and a broken heart, Starks becomes a reluctant antihero, navigating a grave landscape of corruption, street politics and lost love. The album unfolds over soul-drenched production from The Revelations, creating a cinematic backdrop for the narrative's descent into movie violence and moral compromise. This reissue through Salvation keeps true to the album's original totting of 14 tracks, eschewing the extra ten on the deluxe edition.

Review: Celebrating its tenth anniversary, 36 Seasons remains a unique album, combining gritty storytelling with soul-driven production. With a compelling narrative written by Matthew Rosenberg, the album immerses listeners in the life of Tony Starks, a streetwise figure navigating betrayal, revenge and redemption. The collaboration with The Revelations brings a fresh, live-band sound that elevates the classic Ghostface energy, blending sharp lyricism with rich, retro-soul instrumentation. Guest performances feature Kool G Rap, AZ and Pharoahe Monch further enhance the storytelling, adding layers of character development, while tracks like 'The Dogs of War' and 'Homicide' showcase sharp lyricism and dramatic tension, while the album's emotional depth, especially on 'Love Don't Live Here', offers a more intimate side of Starks. This reissue brings out the full range of the album's soulful grooves and cinematic narrative. Whether revisiting 36 Seasons for its narrative or its production, this anniversary edition invites both new listeners and longtime fans to experience it in a fresh, vivid light.

Review: Ghostface Killah, legendary Wu-Tang Clan member, invites us to relive the cinematic brilliance of 36 Seasons, his tenth studio album and a conceptual death blow. The record chronicles the journey of Tony Starks (not an uncoincidental Iron Man reference), whose return to Staten Island after nine years, after a lengthy stint in the slammer, finds him only a further embroilment in the seedy underworlds and ganglands of New York. To celebrate its 10th anniversary, the album is reissued here in special editions and with exclusive bonuses, including an original graphic novel booklet and poster, diving deeper into a gripping saga of personal redemption and street resilience.

Review: Reconnecting through their shared musical heritages, Rhiannon Giddens and Justin Robinson present What Did the Blackbird Say To The Crow, a mesmerising collection of fiddle and banjo tunes tied to North Carolina's many oral and digital traditions. After their late mentor Joe Thompson bequeathed them a trove of recordings to work with, the already esteemed, torch-bearing duo breathe new life into 18 handpicked rethinks and honorific originals, some sung, others purely instrumental. Recorded outdoors at sites meaningful to Thompson and Baker, their sessions were joined by the rare, overlapping calls of two cicada broods, unheard together since 1803. Giddens calls it "music made for your community's enjoyment and for dancing."

Review: Greatest Fits is a deep dive into the superb sounds of German avant-garde new wave pioneer Gina X on the cult Dark Entries label. This double LP compilation spans the whole of the bold, boundary-blurring career of Gina X Performance, which came together first in 1978 when singer Gina Kikoine and producer Zeus B set out to create "the absolute union of music, poetry and travesty". With selections take from four of thieves albums, you'll find their signature blend of icy electro, camp theatrics and subversive pop throughout, and it all ranges from the pulsing 'Nice Mover' to the decadent 'No G.D.M.' Greatest Fits is both a musical time capsule and a vital reminder of how far ahead Gina X always was while also serving as a celebration of queer culture and synth-driven hedonism.

Review: Originally released in 1981 via Bronze Records, Hit & Run would serve as the sophomore full-length from London's Girlschool. Reaching No. 5 in the UK Albums Chart with the title-track charting at No. 32 in the UK singles, the album was the band's biggest success, even landing them an obligatory mime performance on Top Of the Pops. Returning to London's Jackson's Studios to work with producer Vic Maile, who handled desk duties on their 1980 debut Demolition, the project saw the group ramp up their speed and melody, ultimately cementing their place as somewhat retrospectively overlooked pioneers of the New Wave of British Heavy Metal (NWBHM). Reissued or rather "revisited" for Record Store Day 2025, this lush, limited red wax pressing features cuts such as the iconic opening banger 'C'mon Let's Go', which appeared in the Gemini Award winning 2005 documentary Metal: A Headbanger's Journey, as well as their much adored rendition of ZZ Top's 'Tush'.

Review: Seattle-raised, New York-based singer and pianist Eliana Glass releases one of the most arresting debuts of the year, finding her own nuanced style after years training as a jazz vocalist and being in steeped in records by Nina Simone. Glass' love of more indie influences, such the ethereal Elizabeth Fraser of the Cocteau Twins means she fuses technical excellence with a more emotional led timbre that, in turn, brings you closer to her soul. 'On The Way Down' is a great place to start as it's a stunning marriage of piano and vocal but when she just plays piano the hairs stand on the back of your neck, too. Check out 'Song for Emahoy' and try not to cry.

Review: Ukrainian producer Volodymyr Gnatenko returns to Kalahari Oyster Cult with 'Mershiy' - a long-awaited follow-up that trades the drive of his last appearance on the label for something deeper and more exploratory. Spread across six tracks, it drifts between ambient dub, acid and pointillist electronics, with flashes of trance and IDM woven through. There's a widescreen, cinematic quality to it - detailed, immersive and immaculately spaced. Ushering in faded memories of 90s ambient, only re-imagined through a hi-def lens. Repeated listens reveal ever more off-world textures, insect rhythms and a creeping sense of unease. It's introspective, meticulous and beautifully produced.

Review: Jean Grae and Quelle Chris come together brilliantly here on Everything's Fine, a sharp, satirical and refreshingly non-toxic hip-hop album from two of the genre's most unique voices. Superbly blending Jean's razor-sharp lyricism with Quelle's introspective wit, the project takes aim at societal absurdities with intelligence and humour and comes with notable Cameos from comedy heavyweights like Nick Offerman, Michael Che, John Hodgman and Hannibal Buress who all add an extra layer of punch. Politically charged, deeply self-aware and sonically adventurous, this is essential listening for fans of boundary-pushing rap, and it comes on a stunning tri-colour vinyl that is as bold as the music itself.

Review: Recorded at Portland's Type Foundry studio i where American instrumental experimental rockers Grails' earliest records were born i Miracle Music is the band's 12th long player and weaves acoustic and electric guitars, synths, brass, woodwinds, percussion and samples into an expansive, cinematic tapestry. Drawing from early industrial textures, classical elegance and psychedelic ambiance, the album crafts a heavy yet ethereal mood. Tracks like 'Silver Bells' pulse with vintage electro urgency, while others invoke a sense of reflection and grandeur. This balance of boundary-pushing intensity and airy melodicism reflects Grails' quarter-century commitment to reinvention. As both a nod to their origins and a bold step forward, Miracle Music stands as one of Grails' most personal and profound releases i a key to their ability to transform eclectic influences into something singular and deeply moving.

Review: Following the success of Lo-Fi Ghibli in 2022, underground hip-hop head Grey October Sound is back with a new cover album that finds him reimagining iconic Japanese city-pop tracks through lo-fi hip-hop. It is another gem from P-VINE that features laid-back reinterpretations of classics such as Miki Matsubara's 'Mayonaka no Door,' Yasuha's 'Fly-Day Chinatown,' and Taeko Onuki's 'Tokai' alongside songs by Tatsuro Yamashita, Mariya Takeuchi and Yumi Arai. It's. Lush world of carefully hinted at nostalgic melodies with relaxed beats soothing mind, body and soul, all with a lo-fi and retro city-pop charm.

Review: Go-to lo-fi from Grey October Sound, P-Vine's resident hip-hop group and collective vibe queller. Having built a steady beatmaking operation initially from Studio Ghibli thematics and other anime associations, the group now continue to turn their hand to originals, furthering your capacity to wind down after many a long, protracted cramming sesh. Whether flashcards, cats on laps and hot steaming cocoa are or aren't your thing, that's OK, because we can bet the dragging rhythms of 'Tokai', the desultory pocket piano missive '1000%', and/or the closing crepuscule 'DOWN TOWN' will be.

Review: Oskaa-born but truly otherworldly producer Daichi Furukawa, aka Ground, is back with a new album that is here to bend your mind and distort your reality with his fourth world follow-up to 2018's cult favourite Sunizm. This experimental odyssey truly defies genre, logic, and linearity as it assembles a chaotic yet mesmerising fusion of organic samples, synthetic textures, tribal rhythms and cosmic noise that are fantastic and freaky. Yaoyorozoo is one of those records that feels both ancient and futuristic as it taps into beautiful and unsettling, inviting and disorienting rhythms and sample sources. Across 73 minutes, it mutates like a dream-always shifting, never settling, so it makes for a cerebral collage for wide-open minds and ears only.

Review: Future Rootz has collaborated with Canal Sounds and EGREM for a gem of a reissue here that goes all the way back to 1977 when producer and bassist Jorge Soler stepped out as Grupo Yoyi for Yoyi, an album that marked his only known solo project. The record now sits up there as one of the rarest and most desirable albums from the Cuban musical canon as it is such a sublime fusion of Afro-Cuban rhythms with jazz, funk and disco. The musicianship throughout is exceptional with mesmeric synths and evocative horn solos all tethered to the sort of grooves that will either chill you out or heat you up depending on the setting.

Review: German pair Markus Guentner and Joachim Spieth rightly got plenty of acclaim for their 2023 ambient album Overlay and now it gets revisited with a top selection of remixes that breathe new life into the original compositions. Prominent ambient and experimental artists such as Hollie Kenniff, Rafael Anton Irisarri and Pole all show their class while newer names like Abul Mogard smears synths into a misty wonder on 'Scope', Galan/Vogt layer in angelic vocal tones to 'Valenz' and Leandro Fresco brings a lightness of touch that fills with optimism on opener 'Apastron. Guentner and Spieth themselves provide two alternate versions of their originals that bring new emotional and sonic depth.

Review: Goyard Ibn Said marks Ghais' debut album arrived following two self-released mixtapes. Released under Fat Possum, this concept album introduces Goyard as a fictional anti-hero, guiding listeners through a narrative split into two acts. Act 1 celebrates the glamour and wealth of mainstream hip-hop stardom so is filled with ambition and triumph. However, Act 2 takes a somber turn as it delves into the personal struggles and tragedies faced in the pursuit of success. The album's compelling storytelling is heightened by Ghais' intricate production so offers a rich and evocative exploration of fame's darker side and marks a strong debut in the hip-hop scene.

Review: UK rapper Sonnyjim and producer Giallo Point deliver a cinematic masterclass in street rap on their new collaborative album. Sonnyjim's razor-sharp wit and sardonic charm cut through every bar of No Vi$ible Means of Income 3 while weaving tales of crime, luxury and survival with grit but also lyrical elegance. Giallo Point crafts lush, noir-inspired backdrops full of moody strings, dusty loops and crisp drums that feel ripped from a gangster flick. The album stays proudly UK-rooted with top-tier guest spots from Jehst, P4VAN, Juga-Naut, Farma G and Beny Laylo, all of whom help make an immersive world of suspense and swagger. British hip-hop at its most refined and raw.

Notes: ***B-STOCK: Dinked corners, but product is in excellent condition and in perfect working order***


The story is about Taina, a nine-year-old, Afro Boricua basketball novice growing up in Brooklyn during a pandemic who learns valuable life lessons from family, friends, and the community, both on and off the court. The narrative seamlessly weaves social-emotional learning with math, arts, social justice, identity, culture, and sports education, all in a fun (and at times goofy) manner!

-Written by Bobbito Garcia and illustrated by Estafania Rivera Cortes.
-58 large full colour printed pages (8.5" x 11"). Hardcover w/matte finish.
-Age range: 7+ and beyond.
-A helpful tool for social-emotional learning as well as math, social justice, identity, culture, and sports education.
-For any store that buys the book, Bobbito Garcia offers to do a personalized video drop to post on their socials and he'd repost it in his stories on IG. He would also add the store to the website of where people can go to buy the book locally (aimhighlittlegiant.com).

-"A brilliant, beautiful and spiritual basketball revelation disguised as a children's book."-Scoop Jackson, author of The Game Is Not A Game
-"A unique reframing of basketball delivered through New York City's diversity, geometry and spirituality."-Max Resetar, editor of SLAM MAGAZINE
-"Yet another achievement for the brilliant Bobbito Garcia who inspires the youth to championship heights! There is a giant in all of us."-Dan Klores, director of Basketball: A Love Story

"Bobbito Garcia's street-smart text and Estafania Rivera Cortes' starburst illustrations make for a buoyant, fun, and thoroughly modern experience. Call 'I got next' on AIM HIGH!" -Alexander Wolff, author of Big Game, Small World: A Basketball Adventure

"I've been documenting hip hop, sneaker, and basketball history in books, films, and magazines since the '80s, so imagine the thrill for me to finally write fiction, and especially for kids! The experience was liberating and allowed me to flex my experiences as a parent, which I haven't shared much of at all publicly. I truly hope the multiple communities I exist in have the opportunity to see themselves in the words and illustrations" -Bobbito Garcia

Brilliantly illustrated by Estefania Rivera Cortes, an artist based in San Juan, Puerto Rico with a compassion for social causes, Aim High, Little Giant, Aim High! is an unprecedented presentation of NYC's unique outdoor basketball culture, created for children of any background to enjoy. The book is published by We Are Little Giants, an independently Black and Puerto Rican owned business.

Notes: Existing for a few short years (1984 - 1988), El records was perhaps the most 'cult' of the UK so-called 'indie' labels. El records was created in 1984 by Mike Alway. Alway was A&R man for Cherry Red, signing artists such as Everything But the Girl, The Monochrome Set and Felt. Alway left Cherry Red to help run Blanco Y Negro (an offshoot of WEA) but soon felt constrained by the conservativism of the commercial music sector and left to set up his own label. El was once described as 'the most innately English record label there has ever been' and yet had a global appeal. Alway must be the only record label boss to have had four songs written about him.

Alway's mercurial approach was to take complete control of the repertoire, the philosophy of the label's releases and even the titles of songs in the manner of pop impresarios of the past. Alway became a curator, selecting, shaping and overseeing the records issued on El. He employed songwriters proficient in classical pop techniques such as Nicholas Currie (AKA Momus) and Philippe Auclair (AKA Louis Philippe) who in addition to issuing their own records wrote, arranged and performed for other el artistes and used creative talentssuch as photographer Nick Wesolowski and designer Jim Phelan to create the El "look".

El had a unique flavour eschewing the traditions of rock and indie music of the mid 1980s, exhibiting instead a taste for 1960s bubblegum and chamber pop, the European chanson tradition, Latin rhythms and film scores (one of El's key players was child prodigy Simon Turner who wrote music for the films of Derek Jarman).

The ethos of the label was decidedly un-macho and many of El's key artists were female. El's first single "I, Bloodbrother Be" by Shock Headed Peters was an uncompromising gay anthem. Alway saw El as a celebration of elegance and beauty, in his own words, "a pop world beyond leather jackets and jeans". While record sales were disappointing, this unique blend was critically acclaimed in the UK and popular in America and mainland Europe while in Japan El had a profound effect, directly influencing the Shibuya-kei phenomenon that included Pizzicato Five, Cornelius and Kahimi Karie.

Bright Young Things is the first book to tell the fascinating story of El, one of the most influential indie labels of all time.