Cerca:4 to the bar

This September sees the fourth release from the label Either. Label founder Jamie Clarke is behind the title track ‘Angor Animi feat. Emdee’ and a second track featuring Emdee, the third track is a remix of the title track from Romania’s Barac.

Either is built on Clarke’s sure feel for early hours dance floor tunes. The releases to date are enriched by remixes from Pablo Mateo, Ryan Crosson, Silverliining…

On Clarke’s title track Emdee’s vocals carry us along over squelchy acid bass, gritty stab lines, saturated drums and tribal-tinged percussion. On track 2 ‘Extraction’ Clarke picks up the journey theme. Here the mood brightens and trips-out, Emdee’s chanting vocal carry us over sonorous organs, swinging rhythms. Track 3 returns to the dynamically processed elements of the title track, Romanian minimal maestro and Moment Records Boss Barac sweeps us into a twelve-minute rushing tide of organic drums and swaying subs.

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

After spending his debut album exploring techno and mechanical sounds in the depths of the Pas-de-Calais mines, Toh Imago looks up to the sky, with an open breeze on his face, as tree branches and canopy filter out the sun’s rays on Refuge. All the machines used during the album recording are tuned at 432hz, carrying the mystical benefits of Earth’s resonance. Spending just seconds with the opening track, the listener is drawn into the safety that Refuge was intended to provide, and each subsequent piece pulls you deeper and deeper into the album’s forest.

Textextext - (add your write up)

‘Refuge’ was recorded on the edge of the Mormal forest, in the North of France. With nature as a setting and studio accomplice, the album features synthesizers, field-recordings, as well as the acoustic qualities of reverbs from the nearby forest. As the artist’s inner world and nature converge in moments of self-reflection, so the album’s 11 recordings harmoniously unfold in a cavalcade of machines and organic sonorities.

While the first LP 'Nord Noir’ explored his family’s mining past, ‘Refuge' is about being present and the desire to re-contextualize the relationship between nature and humans. It is a record of uplifting tones that is filled with optimism, imbued with the lightness of those who finally reconnect with nature, their roots, and the feeling of groundedness.

Like the steps taken on a walk in the woods, the 11 tracks sonically tell the story of an inner journey divided in three chapters. "Asile sauvage", "Sylve barbare" and “Avril Mormal" take the listener into a fast-paced progression of rhythms. When the heart of the forest is reached, the journey becomes intimate, revealing a sacred space where breathing becomes the leading tempo ("Locus Neminis") and the traveller becomes a spirit lost in space ("Cosmos Intra”). The journey's climax is reached with "Monde intérieur". The album closes with "Chiff Chaff" which accompanies the listener back to a reality, hopefully a more reassuring one.

Across the album, Toh Imago finds inventive ways of opening a dialogue between nature and machine, both literally and metaphorically, creating a soundscape that both feels like and was created by the natural world that surrounds him.

The album offers a shelter from a predetermined world. It’s a story told through ambience, racy and subtle electronics, and the memories of lichens clinging to shoes.

"Following this year’s VA ‘Marmo’, a collaborative offering co-released with XCPT, Baroque Sunburst releases its first Various Artists EP. Tracks from Taro, Pugilist, Slacker and Flørist, create a statement record championing subtle yet hybrid club-oriented sounds.

Buffalo, NY's Taro ignites the white label 12" with ‘Gas Burn’, a dreamy, rarified IDM zipper. An off-kilter UK funky remix from Flørist follows (his second appearance on the imprint after 2020's Intermedia 1 EP). The B side drags us into a half-time, downtempo sideroom, with tracks from Slacker (Aqueduct) and Pugilist (Symbiosis) slowing pace but maintaining intensity."

Limited to 300 copies.

Soul Jazz Records are releasing Count Ossie and The Mystic Revelation’s seminal 1975 album Tales of Mozambique in an expanded double album/single CD/digital format, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview.

Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.

Count Ossie’s drummers performed on the first commercially released single to integrate Rastafarian traditional music with popular music: the vocal group The Folkes Brothers’ groundbreaking song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the momentous arrival of Haile Selassie at Kingston airport.

His legendary jam sessions up in his Rastafarian compound in the hills of Wareika, Kingston, are famous for the many Jamaican musicians who attended including The Skatalites players – Roland Alphonso, Don Drummond, Johnny Moore, Lloyd Knibbs – and many others.

The Mystic Revelation of Rastafari formed in Kingston, Jamaica, in 1970, a union of Count Ossie’s Rastafarian drummers – variously known as his African Drums, Wareikas or his Afro-Combo – and the saxophonist Cedric Im Brooks’ horns group, The Mystics.

The Mystic Revelation of Rastafari are the defining group in bringing authentic Rastafarian rhythms into the collective consciousness of popular music, their unique music is at once rooted in the deep traditions and rituals of traditional drumming and chanting alongside a forward-thinking, even avant-garde, artistry influenced by the likes of John Coltrane, Sun Ra, Pharoah Sanders and other pioneering African-American jazz artists radicalised and charged by the civil rights movement of the 1960s.

Tales of Mozambique is a truly unique and fascinating ground-breaking album.

Count Ossie and The Mystic Revelation of Rastafari are the central group featured on Soul Jazz Records recent "Rastafari - The Dreads Enter Babylon” a collection showing the influence of Rastafari in Reggae and Jamaican popular culture.

Soul Jazz Records will also be releasing Count Ossie and The Rasta Family 'Man From Higher Heights’ in the near future.

* Bonus tracks

REVIEWS

" All roads in Rastafarian roots music lead to Count Ossie.He’s the lead character in this compelling subplot, the musician who was one of the first to put Rasta tenets into the heart of popular music.

He did so from his camp in the hills above Kingston, Count Ossie and his drummers casting a spell on the musicians who gathered to check him out and then went on to spread the word about the powerful nyabinghi rhythms and mesmerising percussion.

This is a reissue of the 1975 album Count Ossie made with his Rastafarian drummers and saxaphonist Cedric ‘Im’ Brooks’s group The Mystics.

It’s a groundbreaking, majestic work, by turns righteous in tone and joyous in execution. It’s the sound of Ossie and his ensemble narrating a history lesson and you’d be daft not to want to find out more." IRISH TIMES

Barely heard in his lifetime (1961-2002) but hailed as an outsider hero of ur-punk since 2009’s ‘Cosmic Lightning’ compilation, J.T. IV strikes back!

15 unheard-of tracks found on an obscure cassette tape make the schizo split in his music - rabid rock & roll fantasy and cold-eyed acoustic introspection - an epic. ‘The Future’ is J.T. IV’s mad magnum opus.

The 2009 comp LP, ‘Cosmic Lightning’, cast his tragic silhouette up on the big screen
for all to see: the lost boy, alone in the world, standing before the mic and releasing
his inner star with glee and vengeance, his antisocial visions flying high atop a raging
funnel of distorted guitars and blunt rhythms. Or couched, childlike, within a heart
breaking billow of acoustic guitars - a schizophrenic split that only magnifies the
display of his deep emotions.
‘The Future’ goes even further, excavating fifteen recordings from a previously
unheard-of cassette entitled ‘The Best Of Johnny Zhivago Retrospective 1979–1993’,
and adding four more uncollected tracks from his slim (and impossible to find
anyway) discography.
Of these nineteen tracks, eight are covers - and J.T. IV’s picks, from Velvets to Mott
the Hoople, Roxy Music, Lee Hazlewood, The Kinks, Eno and Stephen Sondheim,
sharpen our image of the misfit adrift; on the outside looking in, but maybe just a few
steps away from his goal.
‘The Future’ unfolds like an epic, as both sides of J.T.’s persona - the street-smart,
damaged rocker and the heart struck poet of the scene - live on together in the best
performances of his short career.
A punk of the old order, John Henry Timmis IV was born in 1961 into a dysfunctional,
abusive and eventually broken family. By the mid-70s, he was desperate to get out,
running away from his mother’s home several times while still a teenager living in the
greater Chicagoland area. At wit’s end, she had him committed to the Menninger
Clinic for a year or so. Released on his own reconnaissance, he began his meteoric
ascent to the mythic level of self-aggrandizement in which he appears here. Inspired
by the underground, proto-punk sounds in the air (the likes of which any sharp-eyed
young thing might chance upon in the back pages of Creem, Crawdaddy, Trouser
Press, etc.) and desperate to be heard himself, J.T. presented like the scabby
younger brother of Bangs and Laughner: born only to rock, his musical conception a
rabid personality crisis of proselyte elitism and nihilist excess.
Now, 20 years on from his passing, ‘The Future’ is ever farther away from the world
in which he struggled so mightily - but his stinging iconoclasm, whether screamed
from Marshall amps or mic-ed up close, feels ever more powerfully infused with his
unique breadth of illness and essence.
These songs represent the two sides of J.T. - and while they emanate from the 80s,
they find themselves potently renewed in the polarized world of today, making ‘The
Future’ a worthwhile destination for everyone who ever had a heart touched by the
transgression and freedom promised by rock & roll.

Triple coloured vinyl version (Each disc is a different colour) of the double CD that came out on Cherry Red in 2021 Presented in Tri-fold gatefold sleeve with 16 page 12x12 colour booklet, poster & photograph.
ONLY 350 COPIES WORLDWIDE
Among the first crop of Creation Records bands in the mid-1980s, THE LOFT seemed the most likely to break through. Following the success of The Smiths, guitar-based independent pop was in vogue, Alan McGee’s Creation label was turning heads – its bands blending 60s psychedelia, the melodic end of punk and a new sound which would soon be immortalised on NME’s C86 cassette. And in this London quartet, Creation had their answer to bands like Television, The Only Ones or early Modern Lovers, offering taut, off-kilter songs with an irresistibly deadpan cool.
Sadly, after just two singles, 1984’s downbeat debut ‘Why Does The Rain’ and the punchier sequel, ‘Up The Hill And Down The Slope’ – an indie hit which the band performed live on TV show The Oxford Road Show, The Loft dissolved, with various members founding new bands The Weather Prophets, The Caretaker Race and The Wishing Stones. They left behind seven studio tracks, a BBC Radio 1 session for Janice Long and one track from a Creation LP documenting the scene’s roots in small club The Living Room.
However, The Loft’s legend endured, eventually prompting a reunion in the early 2000s with all four original members – singer/songwriter/guitarist Pete Astor, guitarist Andy Strickland, bassist Bill Prince and drummer Dave Morgan. Alongside various well-received live shows, that led to a new single, ‘Model Village’ (2006) and more recently a session for Gideon Coe on BBC 6 Music (2015). The Loft’s reputation as founding fathers of a new breed of mid-80s indie pop continues to grow to this day, with the band often cited as an influence.
Compiled and coordinated by the band, Ghost Trains & Country Lanes expands on previous retrospectives of The Loft, adding those reunion recordings (including three previously unissued tracks), the Gideon Coe session and several live recordings from that historic performance at The Living Room back in 1984. (including many exclusive songs which were never recorded in the studio).
With new sleeve-notes by Danny Kelly, this is the definite tribute to The Loft

2023 re-issue, 140g vinyl, reproduction of the classic Tele Music sleeve, full colour insert with liner notes and archive photographs

Wow! Tonio Rubio's Rhythms is a stone-cold killer, a heavyweight library breaks LP and the inaugural release in Be With's new partnership with legendary French library label Tele Music. Yes, you lucky people, there's lots to come. For this extremely special 50 year anniversary re-issue, we've reproduced the classic Tele Music sleeve with a full colour insert featuring rare photographs, fresh liner notes and personal memories of Tonio from the likes of Jean-Claude Vannier, Jean-Claude Petit and Janko Nilovic.

Sumptuous opener “Latin Leitmotiv” is all funky phasing effects and a killer montuno, with what sounds like piano and bass in tandem, stoking straight up Latin fire. The gritty hard funk of blaxploitation groove "Red Medium" is dripping in wah-wah attitude and head-nod oddness. The atmospheric, exotica-tinged "Dead Slow" emulates the languid, sensual afro groove of Quincy Jones’ wild masterpiece “Gula Matari” whilst the proggy, electric jazz fusion epic "Rock 73" is 9+ minutes of moody, rolling menace.

But the *real* highlight of this cult classic - and why it has long been *so* desirable - is the devastating, deep, hypnotic minimalist groove of "Bass In Action N°1". Very much in conversation with Quincy's rendition of "Hummin'", the loping, rumbling bassline and sweet electric piano over clean, crisp drums making it one of those tracks that sounds like a hip-hop beat 20 years ahead of time. Sensational. “Bass In Action N°2“ features Tonio's own vocal scat performance. Remarkable.

Antonio "Tonio" Rubio Garcia got his start playing the double bass in jazz clubs. In 1962, Tonio joined the Golden Stars, the first backing band of France’s teenage idol Johnny Hallyday. A genius musician with a unique guitar sound, he played on standards of French chanson including Serge Gainsbourg and Brigitte Bardot’s "Bonnie and Clyde", Françoise Hardy’s "Tous les Garçons et les Filles", Gainsbourg and Jane Birkin’s "Je T’aime, Moi Non Plus" and Serge and Charlotte Gainsbourg’s infamous "Lemon Incest". Tonio also lent his brilliance to such legendary figures as Janko Nilovic, Jean-Claude Petit, Hervé Roy, and Jean-Claude Vannier. The latter remembers Tonio as “a secretive, mysterious man, with an endearing personality, albeit difficult to reach out to. His virtuosity as a bass player allowed me to write very innovative basslines, because he was able to play any of my eccentricities!”

The audio for Rhythms has been remastered by Be With regular Simon Francis whilst Christopher Stevenson has brought the original and iconic Tele Music sleeve back to life in all its striking glory as the finishing touch to this long overdue re-issue.

The American-based funk/disco band Heatwave formed in 1975 and its lineup originally consisted of Johnnie Wilder Jr., Rod Temperton, Roy Carter, Mario Mantese, Ernest (Bilbo) Berger and Eric Johns. Their most popular hits include “Boogie Nights” and “Always And Forever”, which both feature on the 1976 debut album Too Hot To Handle. “Boogie Nights” charted at #2 on both the UK Singles Chart and the Billboard Hot 100 and was certified Platinum by the RIAA. The track was covered many times, including by KC and the Sunshine Band, Will To Power, 911 and The Weather Girls. The album Too Hot To Handle is produced by Barry Blue, who also produced for Andrea Bocelli, Diana Ross, Celine Dion and The Wanted amongst others.

Too Hot To Handle is available on vinyl for the first time as a 2LP expanded edition, featuring 8 bonus tracks, including 2 alternative versions of their disco classic “Boogie Nights”. This 2LP-set is available as a limited edition of 1000 individually numbered copies on pink & purple marbled vinyl.

It's an all electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic and vivid in nature.

The making of this album was intentionally a very personal process, going into self therapy territory at times interpreting the composer's contemplating mind dealing with tolerance, destruction, compassion, misery, grace and tyranny in an auditory manner. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works, awash with euphonic sound vivid in its essence, with a deep focus on various synthesis techniques within a compositional framework.

Dedicated to Peter Rehberg aka Pita

Ata 'Sote' Ebtekar composes music with a deeply-held conviction that rules and formulas should be deconstructed and rethought. He alters musical modal codes from their original tonality and rhythmic tradition to achieve vivid, synthetic soundscapes. Over the last three decades, his work has been published by labels such as Warp, Sub Rosa, Opal Tapes, Diagonal, Mute and Morphine, among others. In 2018, he founded a new label called 'Zabte Sote', which focuses on releases by Iranian experimental electronic composers from around the globe.

Known for creating compositions that range from the delicate to the abrasive, using sounds both of acoustical and electronic origins, Ebtekar sees music as the expression of cultural habits in sound and anti-sound (silence). Seeking to expand such traditions he creates music that, while rooted in many cultures at once, belongs to none in particular. Sote's work deals with various blueprints, in particular his solo all synthetic music, his electroacoustic audio/visual group project, and his multi-channel sound installations. Sote is on the jury panel of The DAAD Artists-in-Berlin Program, and has created commissioned work for and performed at a.o. Berghain and CTM Festival (Berlin), Unsound Festival (Krakow), Cafe Oto (London), Jazzhouse (Copenhagen), TodaysArt Festival (The Hague), Bozar (Brussels), Ultima Festival (Oslo), Donaufestival (Krems), Donaueschinger Musiktage, Mira (Barcelona), Terraforma (Milan), and many more.

Cutting their teeth as teens in a West Bromwich bedroom, The Sea Urchins were nothing like the heavy metal that seemed to fill every bar in the UK Black Country. Fringe haircuts, perfect trousers, suede jackets and infectious tambourines gave plenty of hints as to their youthful ambition, but nothing could fully prepare you for just how utterly spellbinding these songs would be. Compiling their fanzine-only flexi material with the full complement of singles for Sarah Records, Stardust runs chronologically from late 1986 to the middle of 1989, beginning with the singles split for Clare Wadd’s Kvatch and Matt Haynes’ Sha La La, before hitting the first of what would be an even hundred releases from the new label Wadd and Haynes would form - Sarah.

The song that launched a legendary label and defined a sound, a scene, a place and time; “Pristine Christine” still rings out as immediate and magical today as it did on first listen. What a glorious jangly rush racing around the corners of pop’s history! The band would reach such heights time and again over the course of this three year burst. The melancholy swinging folk of “Everglade” and it’s wonderfully yearning vocal; the organ-fueled british invasion garage rock sing-a-long of “Solace”; the playful psych pop of “A Morning Odyssey”; the acoustic sweep of “Wild Grass Pictures”; the perfectly named “Summershine” leaving you with a ramshackle smile out on the dancefloor. All of it is just so filled with delicate humanity, yet somehow absolutely perfect.

As Bob Stanley said about the shimmering ballad “Please Rain Fall” while bestowing it with NME Single Of The Week (an honor also bestowed upon “Pristine Christine”), “think of some variations on the word marvelous and you’re most of the way there.”

In their time, they might have seemed wildly out of step, but it’s not crazy to say that things could have been very different for the likes of Radiohead, The La’s, and Oasis without The Sea Urchins. Liner notes by Television Personalities legend Dan Treacy.

Orange Vinyl

Cutting their teeth as teens in a West Bromwich bedroom, The Sea Urchins were nothing like the heavy metal that seemed to fill every bar in the UK Black Country. Fringe haircuts, perfect trousers, suede jackets and infectious tambourines gave plenty of hints as to their youthful ambition, but nothing could fully prepare you for just how utterly spellbinding these songs would be. Compiling their fanzine-only flexi material with the full complement of singles for Sarah Records, Stardust runs chronologically from late 1986 to the middle of 1989, beginning with the singles split for Clare Wadd’s Kvatch and Matt Haynes’ Sha La La, before hitting the first of what would be an even hundred releases from the new label Wadd and Haynes would form - Sarah.

The song that launched a legendary label and defined a sound, a scene, a place and time; “Pristine Christine” still rings out as immediate and magical today as it did on first listen. What a glorious jangly rush racing around the corners of pop’s history! The band would reach such heights time and again over the course of this three year burst. The melancholy swinging folk of “Everglade” and it’s wonderfully yearning vocal; the organ-fueled british invasion garage rock sing-a-long of “Solace”; the playful psych pop of “A Morning Odyssey”; the acoustic sweep of “Wild Grass Pictures”; the perfectly named “Summershine” leaving you with a ramshackle smile out on the dancefloor. All of it is just so filled with delicate humanity, yet somehow absolutely perfect.

As Bob Stanley said about the shimmering ballad “Please Rain Fall” while bestowing it with NME Single Of The Week (an honor also bestowed upon “Pristine Christine”), “think of some variations on the word marvelous and you’re most of the way there.”

In their time, they might have seemed wildly out of step, but it’s not crazy to say that things could have been very different for the likes of Radiohead, The La’s, and Oasis without The Sea Urchins. Liner notes by Television Personalities legend Dan Treacy.

In a Hip Hop match-up as heavy as Freddy vs Jason was to horror cinema, Los Angeles emcee's Mykill Miers and Pawz One have announced a collaborative album titled "Double Homicide". The project is packed with multi-syllabic lyrical barrages and DJ cuts as gritty as the boom-bap backdrops for a journey through the dark underbelly of the city of angels.

Mykill Miers, the self-proclaimed "Hitchcock Of Hip Hop" has been a threat on the mic since the late 90's, coming up in the same circle as notables including Planet Asia, Dilated Peoples and Phil The Agony. Pawz One has been releasing music for the past decade has been repping hard for the real ish. Speaking on their initial link-up Pawz recalls "I had obviously known of Myk for a while from killing it on the "Wake Up Show" to all the work he dropped. I was circulating around shows in LA a few years back and we ended up on the same bill a few times. We exchanged contact and did a few songs and I felt like it was a combo people would like to hear more from."

Production on the album includes work from Default Beats, Big Bob, Phaisrok, DJ Ray Swift, Science and Mykill Miers himself. Turntablists including DJ Rhettmatic, DJ Merk1200, DJ Breeze, DJ Romes and DJ Fastcut lend their skills and emcees including Ruste Juxx, Mic Handz, Edo.G, El Da Sensei, King Magnetic and Buddah.

The debut album from post-folk travellers Immaterial Possession, a quartet, half of whom came from an artist commune and half who were card-carrying Elephant6 alumni. ‘Immaterial Possession’ is a rich tapestry of a record, a gorgeous, melodious return to a time when influences co-habited freely and whatever was close at hand made the music of the day. All set to Syd Barrett-era Floyd and Nico with haunting lines, it’s perfectly tinged with gamelan harmonies, evocative Spanish guitars and xylophone. Exuding mystical symbolism; they wear luscious threads, they’re part of something/anything; perhaps a neo-modern-folk commune of artists in search of a canvas to stretch out over their juxtaposed influences. Immaterial Possession was conceived by Atlanta natives, Cooper Holmes and Madeline Polites, who met while living together at an Atlanta artist commune that was integrated into the DIY music, theatre, and arts scene. Some years later the duo moved to the neighbouring musical town of Athens, GA. They were soon joined by seasoned drummer, John Spiegel, and eventually fulfilled with multi-instrumentalist Kiran Fernandes (keyboards, clarinets, flutes) - descendant of the Elephant 6 Collective scene. It’s eastern, it’s eerie dream pop, it’s spacious and ethereal… A perfectly wild trip, and where it ends is immaterial.

Composed of rhyme-vets Pawz One and Evolve are Random Act Of Violence! The duo's self-titled release is chock-full of grimy bars over bangin' beats for the head-nodders.

Lead single "Sixteen Shots" is a boom-bap bar-brawl set to a crackin' instrumental (produced by EQ) with DJ Eyeball adds cuts to and featuring additional lyrical firepower from none other than Copywrite.

Another track from the project is "Vaultures". Speaking on that track Pawz revealed "the concept of that one was inspired by seeing a lot of these types in the game. The hook was inspired by Mobb Deep, these half-way-crooks bunched up to make each other feel tough and validate themselves."

Hailing from Los Angeles Pawz One has been repping the real and releasing music for the past decade. Most recently he teamed up with 90's West Coast vet Mykill Miers for the aptly named "Double Homicide" album and has also appeared on tracks with such notables as Ruste Juxx, Sadat X, Percee P, Shabaam Sahdeeq and DJ Rhettmatic.

Based out of Donna, Texas, Evolve has released over twenty albums through his Boom Bap Masterpiece Records label. He has collaborated on tracks with such notables as Chino XL, Fatlip (of the Pharcyde), Esoteric, Mickey Factz, Blueprint and many more. Touring the country over the past decade he has also shared stages with the likes of Raekwon, Murs, R.A. The Rugged Man, Masta Ace and Immortal Technique among others.

WRWTFWW Records is deeply honored to announce the release of Chu Ishikawa & Der Eisenrost’s soundtrack for experimental action drama Tokyo Fist, released in 1995 and directed by legendary director/producer/writer Shin’ya Tsukamoto (Tetsuo: The Iron Man and its sequels, Bullet Ballet, Hiroki The Goblin, Nightmare Detective). Previously only published on CD in Japan, the cult movie soundtrack is available on vinyl for the first time ever and housed in a heavy 350gsm sleeve.
The Tokyo Fist soundtrack gorgeously blends explosive industrial music, heavy percussion, martial rhythms and noise experimentations with contemplative ambient and emotion-filled synth soundscapes, perfectly encapsulating the nihilistic pain felt by the characters of the movie and the brutally visceral rebirth they go through. Ishikawa and Der Eisenrost’s compositions hit hard, sometimes truly terrorizing, sometimes heart-gripping in gloomy and bewitching ways. This is no holds barred music, a venture into the darkest yet most strangely beautiful corners of the human mind (and heart).
The late great Chu Ishikawa was one of the innovators of the industrial and experimental scene in Japan and has collaborated with Shin’ya Tsukamoto on numerous movies. He also worked extensively with Takashi Miike, another visionary filmmaker from his home country. Ishikawa was the leader of groundbreaking Industrial-Metal-Percussion unit Der Eisenrost whose live performances around Japan left an indelible mark on the genre’s history.
This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap…and more to come.

RAMPAGE’s Veil of Mourn is superlative in every sense. There’s a distinct ruggedness to the band’s ceaselessly shifting style of thrash. Mind you, NOT necessarily “rawness” – although the album’s production certainly tends toward the rough – but RAMPAGE’s execution eschews the super-clean sharpness that thrash metal was largely heading toward in the post-Master of Puppets era. With form meeting content, the power-trio’s songwriting similarly takes all sorts of labyrinthine paths short of being qualified as “tech,” racing around and restarting with sometimes-maddening fury. Hooks thankfully abounded, and RAMPAGE’s attack undeniably possessed a death metalled underbelly not unlike Dark Angel or aforementioned Oz cult icons Hobbs Angel of Death. With that songwriting often reaching a fever pitch of diabolism and all three members barely keeping that fury in check, Veil of Mourn becomes a palpitating experience, a veritable ‘80s horror movie turned into a thrash record. The creepy cover art only heightened this sensation.

Producer, singer and instrumentalist Al Jourgensen founded the American industrial metal band Ministry in 1981, which became one of the pioneers in their genre. In 2004, they released their ninth studio album Houses Of The Molé. The musical style of the album is more thrash metal-oriented than previous Ministry-releases. It is noteworthy for being the first Ministry album not to feature bassist and longtime collaborator Paul Barker, but also the first to feature Mike Scaccia on guitar since 1996. The album spawned one single, “No “W””, which features Rey Washam as a guest performer.

Houses Of The Molé is available as a limited edition of 1500 individually numbered copies on gold coloured vinyl, housed in a gatefold sleeve.

Jazz Guitar Session is one of the first connected discs of Jazz Collection.

Grouped by instrument theme, this jazz compilation features the greatest names in jazz: Django Reinhardt, Charlie Byrd, Herb Ellis...
The podcasts on the history of jazz offered in the Viny application (on IOS or Android) are fascinating.

And if jazz is in you, you'll love to continue the experience with the Jazz Collection by Vinyl & Media suite

New for 2023 Metal Blade Records reissues the brilliant third album from OSI, featuring Jim Matheos (Fates Warning), Kevin Moore (ex Dream Theater, Chroma Key) and Gavin Harrison (Porcupine Tree, King Crimson) on drums throughout. The album also features a guest appearance from Mikael Åkerfeldt (Opeth) on "Stockholm", which the Swedish musician composed together with the two O.S.I. masterminds, and also included are three bonus tracks, one of which is a harmonic cover of Elliott Smith's "Christian Brothers". In 'Blood', O.S.I. have succeeded in creating a lasting album at the crossroads between rock and progressive metal. Music that alternates between atmospherically dense and aggressively demanding elements, while effortlessly transcending barriers between different styles and genres.

New for 2023 Metal Blade Records reissues the brilliant third album from OSI, featuring Jim Matheos (Fates Warning), Kevin Moore (ex Dream Theater, Chroma Key) and Gavin Harrison (Porcupine Tree, King Crimson) on drums throughout. The album also features a guest appearance from Mikael Åkerfeldt (Opeth) on "Stockholm", which the Swedish musician composed together with the two O.S.I. masterminds, and also included are three bonus tracks, one of which is a harmonic cover of Elliott Smith's "Christian Brothers". In 'Blood', O.S.I. have succeeded in creating a lasting album at the crossroads between rock and progressive metal. Music that alternates between atmospherically dense and aggressively demanding elements, while effortlessly transcending barriers between different styles and genres.

Groningen raised, The Hague based Nathan Homan pleasantly surprised us with an EP full of future dance floor moments. The A-side contains two uptempo 4x4 tracks whith a subtle but strong 90's touch. On the B-side you'll find two percussive electro rollers.

Limited edition two LP set on purple (A&B) and silver (C&D) vinyl. First time on vinyl. Originally released on CD only in 1996 – Features full lyrics and extensive liner notes from Genesis Breyer P-Orridge. TRIP RESET - A STORY OF A LOST ALBUM RE-AWAKENED by GENESIS BREYER P-ORRIDGE and PSYCHIC TV featuring“THE ANGELS OF LIGHT” A biodelic configuration illuminating thefollowing hallucinogenic songs:

SUPER Limited private press release !!
80's infused synth soul, song based project by artist, BYAMM: The Anthropomorphic Fantasy EP

The project includes some really fresh creative UK soul talent inc singers Ade Omotayo (Gorrilaz / Amy Winehouse), Kevin Mark Trail (The Streets / Mike Skinner), Derek Green (Robbie Williams), Sharlene Hector (Basement Jaxx), Emily Holligan (Michael Kiwanuka), bass player Dale Davis (Amy Winehouse's Music Director), guitarist Tony Reme (Incognito/OMAR), guitarist Rob Harris (Jamiroquai) & Barima Yaw Asante (songwriter / keys / producer ) & Matt Myatt (beats / co-production)...aka the initials BYAMM...we hope you dig it!

Israeli artist Moscoman returns to Damian Lazarus' Crosstown Rebels imprint with Adventura, featuring a collaboration with alternative and electroclash band Zoot Woman and a remix from Love Attack label bass Alan Dixon. Transmitting twinkling house to emotive indie dance, each artist leaves a stellar stamp on Moscoman's sinuous release.

As summer draws to a close, Moscoman looks forward to the next chapter in his trajectory, undeterred by the change of seasons. The title track opens with a muscular kickdrum and organic percussion before an enchanting melody glide between the beats, igniting a dreamy, tripped-out feel. It's made for an open-minded dancefloor. Moscoman collaborates with Zoot Woman on Reinvention feat. Zoot Woman, blending the airy vocals of Johnny Blake with a shimmering synthline. One for the indie heads. Alan Dixon's remix follows suit with a cosmic disco offering, reworking the stems with verve and serving a slice of strut energy.

Moscoman is a producer, DJ and label boss. He heads up the imprint Disco Halal, showcasing the sounds of house, nu-disco and post-punk supplied by artists from all walks of life. With an ear to merge traditional tones from different dance music cultures worldwide, Moscoman garners an explorative approach to Disco Halal. So far, the label's discography boasts tunes by Simple Symmetry, Red Axes, Trikk and Auntie Flo. His DJ sets slink into long, storytelling sessions of low-slung grooves and post-punk flavoured beats, as heard in Space Miami, Panorama Bar, Glastonbury and Pacha Ibiza, amongst other iconic spots. British act Zoot Woman consists of seminal producers Adam Blake, Johnny Blake and Stuart Price. Since the mid-90s, the group have produced and performed electronica, alternative, electroclash, rock and synthpop. Acclaimed for their scintillating live shows, the group remains one of the most remarkable bands from the UK. London-based Alan Dixon is a producer and DJ celebrated for his disco edits. Labels like Watergate, Life and Death, Keinemusik and Pets Recordings have released his tunes alongside his own imprint, Love Attack.

Reissue of Amédée Ô Suriam's banger 'Hot Shot' in editted form, comes with two very dope remixes by 'Manoo'.. Sourced from the master tapes and properly remastered!

Amédée Ô Suriam was one of those flamboyant souls touched by grace. Percussionist, author, composer, singer, stylist, sculptor, the Martiniquan put his divine inspiration at the service of a hybrid and visionary creation. His sudden death in 1992, while in his thirties, left behind him "Tension Hot-Shot", his only solo release from 1989. A resolutely avant-garde track, whose fusion of traditional African and Caribbean music with the beginnings of the house movement in Europe is underlined by the subtitle "Afro House" on the A side of the EP, a term that was barely used until then. It is this mysteriously precursory track that Chineurs de House has found, remastered and reissued today, finally shedding light on the fascinating work of an artist who had fallen into oblivion.

Vocals (Tension Hot-Shot) : M.C. Kann, Amédée Ô Suriam & Marie-José FA
Chorus-Keyboard (Tension Hot-Shot) : Luther Pérau
Chorus (Tension Hot-Shot) : Prosper St-Aimé, Rémi Laposte
Synth-Bass (Tension Hot-Shot) : Fred Montabord
Saxophone (Tension Hot-Shot) : Pietro Lacirignola
Structure (Tension Hot-Shot) : Allan Dee, J.C. Broche

Mastering : Perception Mastering
Remix (Tension Hot-Shot) : Manoo
Remix (Laissez Yo) : Jonquera
Remix (Roulé) : Manoo

Written & Composed by Amédée O Suriam

Recto picture : Rail Production
Verso picture : Bruno Resdedant
Graphic Design : Patrick Richard re-arranged by Clara Carpentier
Stylists : Joseph Zim & Amadéus

Special Thanks
Joëlle Suriam, Baptiste Heiles, Gildas Lointier, Aurélien Lévêque

For the first time on CD and LP, an anthology celebrating the work of composer, arranger, producer and pianist Webster Lewis from his time at Epic Records. The era of 1976-1981 is one of polished, luxurious jazz funk and soul, defined by Webster across his four albums at Epic supported by an array of guest musicians, lush string sections and often uncredited singers. This collection contains the artist’s signature tracks “Barbara Ann”, “Give Me Some Emotion”, “El Bobo” and recently uncovered gems from the vaults “Reach Out”, “Boston” and “Japanese Umbrella”. The CD features an exclusive essay written by Will Fox with unique insights from the legendary DJ Patrick Forge. The recently discovered recordings appear on vinyl for the first time on the LP edition.

Club Night Club is excited to present its latest release via Bristol’s Cleyra.

‘Ruk’ (A1) is a spatial builder. The glitched-out mover presents a delicate exercise in restraint, its skeletal rhythms gradually enveloped within a haze of sound design and dubbed out synth lines.

In six short minutes the track builds into a continuous ascension of synthetic tension, resulting in a deceptively lethal club joint.

A2’s ‘Uninvited’ is a frantic club screamer. A real shake-the-rave bouncer capable of serious floor damage. Pro-tier mixing holds together a speed demon barrage of percussive hits and shrieking resonance. This deadly cut, much like the record as a whole, manages to sustain a flare of intimacy even in its most punishing moments.

The B-side counterbalances the deadly with the delicate.

‘2b’ (B1) leans into the warm and melodic, perhaps the most direct manifestation of the EP’s title. A heart wrenching bloom unfolds, enveloping the listener like a warm hug as the lights come on in the wee hours. The track is an immaculate sketch of raw emotion, deep tenderness mapped out through Cleyra’s distinct brand of innovative composition. ‘Triumph’ closes out the record with some wonky no-nonsense chug action. A hypnotic low-slung groover which packs a final sting towards the end. One for the headbangers.

From start to finish ‘Soft Bloom’ is a striking feat of sonic creation, guaranteed to subvert listener’s expectations and dancer’s footsteps alike.

Baroness will release their eagerly-awaited new album ‘Gold & Grey’ on June 14th via Abraxan Hymns.



“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offers Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate.



I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”



While ‘Gold & Grey’ found the band once again working with Purple producer Dave Fridmann (The Flaming Lips, Mogwai), sequestering themselves at Fridmann’s remote upstate New York Tarbox Road Studio. The 17-track album ushered in two significant changes: a decidedly different recording process and guitar player Gina Gleason’s debut on a Baroness recording.



The band, who tracked portions of the vocals, guitars and overdubs in Baizley’s home-basement studio, another first for them, eschewed their normal routine of entering the studio with meticulously detailed plans and instead opted for a looser, more improvisational approach that resulted in their most collaborative and emotionally evocative release to date.



Featuring John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums), Baroness received a GRAMMY Award nomination for Best Metal Performance for ‘Shock Me’ from the 2015 album ‘Purple’.

'What if Blitz hailed from Los Angeles and sang in Spanish’ isn’t a question you hear all that often. Fortunately, we don’t need to ask - the answer is provided by Generacion Suicida’s latest album, which rages and rattles in all the right places, drenched in the memorable brilliance that powered the Killed By Death compilations (ask yer dad - and if he doesn’t know or care, burn his terrible records and make some space to track down the KBD LPs). The band’s slogan is ‘musica del barrio, para el barrio’ - music from the neighbourhood, for the neighbourhood - but it sounds like they could use these hooks to take on the world. That’s a pretty accurate sentiment as well, because this album was written during the Covid-19 lockdown of 2020, while the world bubbled over with carefully managed misinformation, police violence and the sickening overspill of white supremacy’s foul brew. If Regeneracion sounds potent, it’s because there was a lot to be angry about, and the result is arguably their best album yet. Those chorused-out guitar lines carry shades of deathrock, hints of Manchester circa 1980, elements of something you might call goth if it was several degrees less furious. But there’s no doomed romance to this music; it’s an all-out attack. Street punk with the smarts turned up and an ear turned to the lessons learned from post-punk (but crucially, not the ‘post-punk revival’ that is essentially shirtless beardy lads chanting non-sequiturs over landfill indie). Chiefly, it’ll make you wanna get out of your chair, unite your local community and march on down towards your government’s centre of operations with a simple-to-use molotov cocktail kit. Its rage is infectious. It’s inspired by bleak moments in our recent shared history, but it revels in humans’ capacity to find strength in each other. And the tunes? Oh damn, they’re good.' Will Fitzpatrick.

Eclectic Italian quartet Eugenia Post Meridiem are ready to reveal their sophomore full-length record, a rather magnificent musical masterpiece. The gloriously kaleidoscopic, dazzling celebration of sound ‘like i need tension’ is available everywhere now. Demonstrated over eight tracks, the all encompassing, musical odyssey, ‘like i need tension’ features initial single ‘willpower’; which burst across our radar with lashings of personality, and became the introduction to the now familiar Indie outfit. Next up was the punchy and fearless ‘around my neck’ and last but by no means least came the intriguing, alluring ‘whisper’, the calm before the sophomore album storm. Gifted with a further five previously unheard gems, listeners certainly have plenty to sink their teeth into. With focus track ‘crucial spring’ traversing the spectrums of shadow, the progressive and percussive ‘unchained will’, the slow voluminous ballad ‘ocean flows’ and the infectious, chaotic energy of ‘tiny perspectives’ and ‘mazes of gazes’. Oozing with iridescence, flavour and texture, there’s something to suit all manners of music fans. Completed over a span of two years plus a two week post-lockdown writing and recording stint, it was then that like i need tension truly came to life in a small converted barn near the village of Montaldo Bormida, in northern Italy. “It was a totally collaborative process... All the composing was done together, right there in the room.” and thus, like i need tension was born. “Tension is a powerful force. It drives things forwards, its friction producing interesting and unexpected results. Above all, it fuels creativity, inspiring and focusing in equal measure.” Such togetherness and chemistry as a band truly shines through across the eight track project. There’s a bold, fearless tenacity to experiment and to go against the tide as each track is filled with quality, curiosity and ingenuity. With purpose and intention studded throughout, like i need tension is as poetic and reflective as it is meditative and utterly transcendent. Placing its roots somewhere in the mystical universe of Hiatus Kaiyote, Christine and the Queens, PYJÆN and Tame Impala. Eugenia Post Meridiem’s sound holds an intrinsic synergy, refreshingly intangible, allowing space for the listener’s own interpretation and understanding. The depth they venture as a collective rewards those who journey beyond the initial passive listening. With technical structures, composition and developed time signatures just waiting to be unearthed, depicted and understood, Eugenia Post Meridiem offer a treasure trove for the adventurous and devoted musical palate yet still remain accessible and incredibly generous to all those who decide to listen. “And so it is that all eight tracks hang together beautifully, linked not by some overarching concept or narrative, but simply a band exploring their talent and the vast space afforded by an open-minded approach.”

Before Mahjun (of which Souffle Continu reissued, in 2016, the two albums released on Saravah), there was... Maajun. Five musicians (Jean-Pierre Arnoux, Cyril and Jean-Louis Lefebvre, Alain Roux and Roger Scaglia) and three times as many instruments at the service of an electric-poetic guerrilla group moulded from folk and blues. The group’s unique album, “Vivre la Mort du Vieux Monde” evokes an (imaginary) association of Frank Zappa and Jacques Higelin, of Sonny Sharrock and the Art Ensemble Of Chicago. Under these conditions, Long Live Death!

“The most French of all the French groups, determined to take Maurice Chevalier’s place in American hearts.” This was how Rock&Folk presented Mahjun in 1977. So be it. But when “Vivre la Mort du Vieux Monde”, was issued, it was 1971, and the name, though the same group, was still spelled Maajun. So, let’s look back at the story.

At the end of the sixties, five blues fans decided to form a French group ready to break down the barriers: Jean-Pierre Arnoux (drums, vibraphone, saxophone), Cyril Lefebvre (guitar, organ), Jean-Louis Lefebvre (bass, violin, guitar, vocals), Alain Roux (saxophone, flute, harmonica, vocals) and Roger Scaglia (guitar, vocals). This was Maajun, and Vivre la mort du vieux monde would be their only album, but which would (nevertheless) be followed by those of Mahjun created later by Lefebvre (Jean-Louis) and Arnoux.

Recorded for the Vogue label, “Vivre la Mort du Vieux Monde” would disturb a number of people. This is mostly due to the lyrics, many of which were written by Gérald Escot-Bocanegra, who, while summoning the spirit of Lautréamont and Rimbaud, turned the Maajun musicians on to rock and free jazz. Add a bit of politics into the mix, and the release of the album was delayed for several months. But then, wasn’t it worth waiting for?

Because “Vivre la Mort du Vieux Monde”, a real concept-album, is an important and iconoclastic statement made directly in the face of (francophone) dreamers of all countries. Over heavy guitar riffs, psychedelic interludes or fantasy-fuelled digressions, Maajun built mazes on the advice of alchemists known only to themselves before heading off on a long march on the “cracking walls”. It was an ambitious project, but Maajun could handle it, going so far as to proclaim: “Tomorrow will be a huge party!” But as we can see “tomorrow”, is now!

With this new solar album, Brazilian singer-songwriter Lucas Santtana wishes to re-enchant our life on earth. For his ninth album "O Paraíso" (Paradise), the free heir of the Brazilian tropicália intends to redefine our idea of Paradise. "It is in front of us, we must open our eyes and learn to contemplate it in depth," he explains. The Earth is a living organism also called "biosphere", a unique planet in the solar system where all the conditions are gathered to welcome life. Lucas places life at the heart of his songs and celebrates the collective forces that resist to preserve it. His guitar-vocal songs with bossa nova sounds are mixed with organic sounding percussions, enriched with electronic orchestrations and textures. The Brazilian composer gets closer to his French audience by collaborating with Flavia Coelho, Flore Benguigui (from the band L"Impératrice) or the saxophonist Laurent Bardaine, and by even trying his hand at French on one of his tracks. It"s a festive new album, which helps us better understand where we live and with whom we share this heavenly home.

LP 180G HEAVY BLACK VINYL, INCL. 12 TRACK MP3 ALBUM

For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns' brother John Burns lent a hand to some lyrics and songwriting, and the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

Compiling all E.P.'s by Bootlicker, "Lick The Boot, Lose Your Teeth" presents 24 tracks originally released over four 7"s dating back to 2017. From the earliest incarnation of the band and the start of their signature production and sound to where they are now. With the overblown martial drumming, completely pinned clean guitar attack, Bootlicker has been a fresh take on D-Beat tradition with a handful of Oi/UK82 and American Hardcore influence on the side. Each 7" is compiled here and represents a different phase of the band. The completely broken speaker aggression of "Who Do You Serve", the slight Rock 'n' Roll influenced "Nuclear Family" and bare bones approach of the "Six Track E.P." all paved the way to a more realized sound in "How To Live Life". Instead of tracking down each out of print, individual E.P. Here they are for the taking.

After the success of their full-length LP earlier this year, Night Owls are back for more and ready to take the bar even higher! This first 45 from a new string of recording sessions features two heavy hitters in the funk/soul community; N'Dea Davenport from London's famed The Brand New Heavies and SoCal's own Trish Toledo (Now-Again Records, Silent Giant, Mango Hill).
Side A is the classic soul body mover "Cramp Your Style" (All the People) featuring N'Dea Davenport, which Hip-Hop heads will recognize as the foundation for Boogie Down Productions' "Still #1" and Cypress Hill's "Real Estate." Davenport's soulful delivery elevates Night Owls' flip, echoing the famous Studio One riddim "Greedy G" by Brentford Road All Stars and the quirks of the original. Side B follows up with Motown classic "Your Old Standby" by Mary Wells and features Latina Soul phenom Trish Toledo. Adding a little more bounce and groove to the original, Night Owls’ flip sets the backdrop for Toledo to shine brightly and deliver a vocal performance that perfectly echoes Mary Wells in her youth.
Both sides are must-haves, be it spinning at a party or slowing things down slightly while cruising around the neighborhood, just in time for the holiday season. Produced by Dan Ubick and Night Owls. Recorded and Mixed by Dan Ubick for DanUbe Productions at The Lions Den in Topanga, CA.

In the world of heavy music, few bands embrace dynamics and negative
space like Kowloon Walled City - Since forming 15 years ago, the band
has increasingly refined its deconstructed approach to noise rock, math
rock, and doom.Now, with Piecework (Neurot Recordings/Gilead Media),
the band's fourth album and first in six years, Kowloon Walled City
reaches new levels of restraint
Songs are bleak and slow, but also shorter and more concise. (Seven songs clock
in at about 30 minutes.) There are stretches of near silence. While the band has
always operated under the MO that less is more, it has doubled down on that
ethos for Piecework. Singer/ guitarist Scott Evans and guitarist Jon Howell, the
main songwriters, self- imposed restrictions to push themselves creatively
"restraining ourselves into oblivion," as Howell put it. Songs are written in more
straightforward time signatures. Evans and Howell also changed their guitar rigs
to sound more "clean and clanky."
With the gristle stripped away, bone and muscle remain: drums decaying in a
room, bass strings rattling, a lonely guitar chord. Sometimes, it's almost
uncomfortably barren. But the negative space also amplifies the ruptures of
heady aggressiveness that anchor Piecework. Angular guitar notes from Howell
skew off the neck, dissolving into space. Ian Miller's bass lines churn in the muck.
Drums and cymbal smashing by Dan Sneddon punctuate dead air. (Sneddon,
formerly of Early Graves, makes his recording debut with the band five years after
joining.) There's sadness and anger in Evans' shouted vocals, but also a desire for
something better.
Through the resignation and regret, Piecework also hints at perseverance and
hope. Pressed on Milky White color vinyl.

 Love And Rockets are the seminal groundbreaking trio of
Daniel Ash (vocals and guitar), David J (vocals and bass)
and Kevin Haskins (drums). They formed in 1985 after the
first split of their band, Bauhaus. Love and Rockets
provided a clean slate and an opportunity to plumb the
depths of imagination and influences.

 The band’s 1985 debut album, ‘Seventh Dream of
Teenage Heaven’, was an unashamedly psychedelic
adventure, far removed from the dark, angular
soundscapes of Bauhaus. Yet they had to fight hard to
avoid being branded ‘goth’, citing Syd Barrett, Marc Bolan
and the later period Beatles as primary influences. This is
a single black LP with a gatefold sleeve.

Bassist/composer Christian McBride's 'The Movement Revisited: A
Musical Portrait of Four Icons' is the culminating documentation of a
richly inspired piece lauding four key figures of the Civil Rights
Movement: Rev
Dr. Martin Luther King, Jr., Malcolm X, Rosa Parks and Muhammad Ali.
Marshalling his ever- sharpening skills as a composer, arranger, conductor,
musician and lyricist, McBride has created a historically and culturally
illuminating five- part suite for an 18- piece big band, chorus and narrators that
places the motivating forces as well as the goals of the Civil Rights Movement
within a powerfully relevant artistic context. It is a one- from- the- heart project
McBride was, apparently, destined to undertake.
This recording of The Movement Revisited marks the addition of a fifth
movement, Apotheosis, which acknowledges the election of Barack Obama as
the first African American President of the United States.
2-LP regular weight black vinyl gatefold jacket.

A shaven-headed chanteuse hiding the voice of a soul legend beneath her fluffy bear hood, Sharon Kovacs is an enigmatic phenomenon. Emerging from the music college and improvised open mic nights in Eindhoven in the Netherlands, she has forged her own unique path through life’s devious twists and tangles, and entranced the globe with her wicked allure. The Bond-like tango noir of her
2013 EP My Love, partly recorded in Cuba, was an instant European hit, even
reaching #1 in Greece. In 2015 her debut album Shades Of Black charted in
36 countries, making the top 10 in Germany and hitting #1 in her homeland. 60 million YouTube views, a modelling contract with Viva Paris, a clutch of awards and high-profile sets at major festivals and a Robbie Williams support slot later, Kovacs’ dark, raw, bare-hearted soul with distinct touches of the greats (Holliday, Simone, Bassey, Winehouse, Portishead’s Beth Gibbons) is on the verge of making her a sultry superstar.

Child Of Sin is the brand new 2023 album. Its title track and also first single features German singer and megastar Till Lindeman. The album features the additional singles “Not Scared Of Giants”, “Fragile”, “Bang Bang” and “Goldmine”. This 10-track set is available as a limited edition, pressed on voodoo coloured vinyl and includes an insert.