Cerca:bad mouth

first copies in clear vinyl

- Original released in 1972 on the Hot Wax label, the most
successful of the two sister labels (Invictus or Holland
Dozier-Holland)
- This funk Detroit classic album is reissued on 180gm
Heavyweight vinyl
- Played by the likes of Grandmaster Flash and sampled
by DJ Shadow and The Go! Team
- The Politicians were an alias for the HDH session crew,
although McKinley Jackson was real.

God of War is Douglas Dulgarian (They Are Gutting A Body Of Water), Scott Turner (hooky) and Sam Silbert (hooky, circle of fire).


It's 2007. You’re watching your older cousin play SSX tricky. How is he such a monster at this game. Dude for real what the fuck. Such style, such finesse. I know he smokes weed. Should I tell Aunt Vicky? No no no- that would ruin this moment. He is racking up points that were formerly unheard of, and with such grace. There’s no expression on his face. And considering that he just sat open mouthed at the dinner table staring into nothing for forty minutes, this revelation is more than remarkable. It seems as if he has always existed in this moment. As if his very essence was plucked from the ether. And perhaps he has. He was made for this moment.

God of War is Douglas Dulgarian (They Are Gutting A Body Of Water), Scott Turner (hooky) and Sam Silbert (hooky, circle of fire).


It's 2007. You’re watching your older cousin play SSX tricky. How is he such a monster at this game. Dude for real what the fuck. Such style, such finesse. I know he smokes weed. Should I tell Aunt Vicky? No no no- that would ruin this moment. He is racking up points that were formerly unheard of, and with such grace. There’s no expression on his face. And considering that he just sat open mouthed at the dinner table staring into nothing for forty minutes, this revelation is more than remarkable. It seems as if he has always existed in this moment. As if his very essence was plucked from the ether. And perhaps he has. He was made for this moment.

Alex Puddu's, second volume of the groundbreaking album of the soundtrack of The Golden Age of Danish Pornography from 2014, finally will be released as a new reissue on the artist's own label Al Dente in his entire original track list and with a brand new cover. The music on this record is inspired by and composed by Alex Puddu for "The Golden Age of Danish Pornography" - a collection of vintage hardcore short films from the early seventies,1971-74 directed by Danish porn pioneer Freddy Weiss - available on DVD from Pink Flamingo Entertainment.

Pioneering Ghanaian musician King Ayisobareturns September 4, 2026 with his forthcoming seventh album Pure Confusion, recorded and produced by On-U-Sound’s Adrian Sherwood.

Ayisoba is one of Ghana’s most distinctive musical voices. The world’s foremost player of the kologo - a homemade two-string lute fashioned from a calabash and covered in goatskin - he delivers fiercely political and socially observant songs using three different voices, including the voice of his grandfather that possessed him as a child. Sherwood meanwhile is the pioneering British producer and founder of On-U Sound whose hugely influential career has connected dub, post-punk, industrial, hip hop and experimental music through collaborations with artists including Lee “Scratch” Perry, Mark Stewart, Horace Andy, Sinéad O’Connor, Nine Inch Nails and Depeche Mode.

Ayisoba and Sherwood first collaborated during a BBC Radio 3 Late Junction session at Maida Vale in 2017, organised by Ayisoba’s long-time collaborator Arnold de Boer/Zea of The Ex. The pair immediately connected, and during the pandemic, when Adrian’s long-time African Head Charge collaborator Bonjo Iyabinghi Noah was in Ghana looking for musicians to collaborate with Sherwood suggested Ayisoba, who eventually featured on two tracks on African Head Charge’s 2023 album A Trip To Bolgatanga (Bolgantanga is the region Ayisoba is from). Ayisoba then returned to the UK in late 2024 and travelled to Sherwood’s Ramsgate studio where the pair laid down the songs that would become Pure Confusion: “All the songs were already in my head,” says Ayisoba. “This album is all recorded live, over one afternoon. Adrian only plays live, and I like that. And he works hard - he doesn’t sleep. I woke up in the night and he was still working.”

“In my role producing it, I just let it roll to make a good vibe,” says Sherwood. “We recorded it completely live, did some programming and processing on some tracks, using dub techniques live on the mixing desk and adding some slick touches. We wanted the colours on the album to swing off what Ayisoba was doing, so we invited some friends to participate. Doug Wimbish (Sugar Hill Gang) arrived from America and lent his services playing bass on a couple of tracks; the wonderful Ivan Hussey (Celloman) played bass, keyboards and cello - cello is not really featured on African recordings so we thought it would be really cool to try it. I'd been working with Alex White (Fat White Family/Primal Scream) on my album (The Collapse of Everything) and so he added sax to a few tracks and I brought Alan Glenn down especially - Alan was in Little Axe but also Nine Below Zero and played in the Yardbirds – to add some mouth organ; Mark Bandola added a bit of flavour with his Juno, Ayisoba’s long-time Ghanian collaborator Ayuune Sule added some percussion and vocals and Matt Smith did some programming.”

“King Ayisoba is quite amazing, so unique,” Sherwood continues. “He’s got his own handmade instrument and three different voices - when you’re listening you think it’s three different people. He’s a breath of fresh air, full of love for the music which he wants to share with everybody. Some tracks we kept very straight and others we experimented with - adding dubby psychedelic little touches to trip you out a bit. The added production we did at On-U has given it a shine while still keeping it vibrant, live and spontaneous. I’m really proud of this record”.

On Pure Confusion, Ayisoba documents the anxieties, contradictions and changing social realities of contemporary Ghana. “Land is a problem for everyone,” says Ayisoba of the opening track “Property”. “If you don’t build on your land they will take it away. Plenty corruption in Ghana, plenty confusion. They sell the land to two, three, four people and then everybody fights.”

Elsewhere Ayisoba explores illness, spirituality and social stigma on “Bemba”, warning against hiding sickness out of shame or fear of “bad juju”: “People hide their sickness and the sickness kills them.” “Tewigiloge” reflects on cultural difference and open-mindedness encountered through world travel: “We will tour the whole world and we will see many things we may not like or understand… your eyes will see, but don’t talk - you have to be open-minded.”

Spirituality runs deeply throughout the album. Ayisoba’s grandfather was a respected spiritual healer whose presence the musician says still guides him today. “The grandparents’ spirits are the ones you can contact,” he explains of the spiritual chant “Nkaase”. “This song talks about the forefathers.” The closing track “Leeda-Mampanga (It’s Not My Strength)” acts as a statement of humility and gratitude: “You have to be humble, even if you have talent. God gives you the power.”

For more than two decades, King Ayisoba has been one of Africa’s most distinctive musical innovators, transforming northern Ghanaian kologo traditions into a bold contemporary sound rooted in hypnotic rhythms, social commentary and spiritual intensity. Since the breakthrough success of 2006’s Modern Ghanaians, Ayisoba has built an international following through acclaimed albums, relentless touring and collaborations with artists including Lee “Scratch” Perry, Orlando Julius and African Head Charge. Performances at Roskilde, WOMAD, Le Guess Who? and the Barbican have further cemented his reputation as a singular live performer and cultural force.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Soundtrack-LP mit Originalsongs aus den Staffeln 4, 5, 6 der erfolgreichen Netflix-Zeichentrick-Serie BIG MOUTH, geschrieben und komponiert von Mark Rivers. Das Album enthält Gesangsdarbietungen der angesehenen Besetzung, darunter Nick Kroll, Maya Rudolph, Andrew Rannells, John Mulaney, Crissy Guerrero, Jason Mantzoukas, Paul Pell, Jon Daly, Joe Wengert u.v.m. Rotes Vinyl.

It runs through the minds of men and women of a certain age, complexion, and place who grew up during the era of segregation and who defied their parents, the law, and all genteel propriety and custom by answering one bluesman's invitation to cross the color line and join him getting lowdown and dirty as he serenaded a generation from the bandstand, on jukeboxes, and through the radio.

To them, the slurred guttural sound of a wise man singing "Hush, Hush," putting down the "Big Boss Man" or advising the listener to "Take Out Some Insurance" before they behold the "Bright Lights, Big City" was a siren's call they had no choice but to answer. Even if they tried, they couldn't resist the steady, dirty rhythm punctuated by the twanging sting of an electric guitar note and the sweet wail of a harmonica. And when they leaned in close, they could even hear the barely perceptible sound of a woman's voice whispering forgotten lyrics into an ear.

Ain't nobody can do Jimmy Reed like Jimmy Reed could. But this drive down Jimmy Reed Highway with fellow Mississippian Kent "Omar" Dykes at the wheel with Jimmie Vaughan (older brother of the legendary Stevie Ray Vaughan) riding shotgun and folks like, Kim Wilson, Miss Lou Ann Barton, James Cotton, Delbert McClinton, and Gary Clark, Jr., joining the duo, comes mighty close. As Omar guns the engine and peels rubber on the two- lane blacktop lined with no- good women, empty whiskey bottles, too many cigarette butts and bad intentions, he leaves John Law trailing behind eating his dust. Hop in for a ride and turn up the volume. The electric bluesman who shaped the minds and moves of a musical generation is alive and well. (by Joe Nick Patoski)

Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Limited pink vinyl. Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

180g schwarzes Vinyl

Das 2007er Album der beiden Gitarristen und Sänger erscheint hiermit erstmalig auf Vinyl

Mit Gary Clark Jr, James Cotton, Delbert McClinton, Kim Wilson und Lou Ann Barton

12 Tracks von Jimmy Reed, oder von ihm inspiriert

Jimmie Vaughan ist der ältere Bruder von Stevie Ray Vaughan

Written and recorded in a firestorm of creativity during the mastering phase of Lukah's upcoming double LP with Real Bad Man, Permanent Blackface is a monstrous vignette displaying the true power of Lukah's songwriting and the technical brilliance of his team. The album flashes before you like a lightning strike illuminating a barren cityscape.

Introducing himself as Mr. Blackface, Lukah identifies the true artist's responsibility to hold a mirror to the listener in order to confront and disarm taboos. In both content and music, the record balances vulgarity and introspection, the horror of silence, and the comfort of colossal, discordant sound. Over 12 songs the celestial, often blood-soaked color palette of soul and R&B that gave emotional weight to Why Look Up and Raw Extractions has been scraped away like a charred skeleton. With a small cast of voices consisting entirely of Lukah's immediate family, and production duties handled in-house by WALZ, Deener, Hollow Sol, Cities Aviv, SB11, and Lukah himself, the record has the intimacy of a theater production. The only voices present are Lukah, joined by his mother providing scat vocals, and his grandfather discussing the Jungian self-hatred of the colonial project and its terrifying repercussions for contemporary Black Amer-icans, with a fitting invocation of Dr. Frankenstein's monster. The beats here are reminiscent of noir, 78rpm swing and big band, evoking the underlying horror of a pre-Civil Rights movement America, where segregational binaries invert-ed folk tales through the white terror of ghosts, the black "spook", and mythic themes of fate and free will. The whip-lash of shifting perspectives keeps your head on a swivel in way only Lukah's superior pen can elucidate. Will it trigger anger that first voice you hear on Permanent Blackface is Judy Garland singing "Sweet Chariot"? But isn't this just Lukah speaking through her, announcing he's got "The Southin his mouth"? As the internet endlessly debates intention and appropriation in our artistic history, the insignificance of this small sample is put into perspective: another white pebble in a black ocean of Lukah's creation. "If the sun don't shine today / pray the sun come out tomorrow...pray the sun pierce through the sorrow"

The album introduces an unnamed character beset by disposition. As the story's scope increases, the gaze of the mir-ror shifts. How would white society feel if historical roles were reversed? How does a presumed white listener experi-ence the trauma of interacting with police?

For Greg Mendez, reflection doesnüft mean a static image in a mirror, or even a face he recognizes. Itüfs more a kaleidoscopic mirage, where paths taken shapeshift with the prospect of paths untread, and the subconscious merges with the intentional. On his self-titled new album, the Philadelphia-based songwriter and multi-instrumentalist investigates the shaky camera of memory, striving to carve out a collage that points to a truth. But there isnüft a regimented actuality here; instead, Mendez highlights the merit in many truths, and many lives, and how even the hardest truths can still contain some humor. While this is technically Mendezüfs third full-length album, his back catalog boasts an extensive range of EPs and live recordings. Heüfs a prolific and thoughtful songwriter, understanding the joy in impulse, and shying away from the clinical sheen of overproduction. 2017üfs ügüP/ _(c)_ /üPüh and 2020üfs Cherry Hell garnered acclaim for their quiet, lo-fi urgency, exploring themes of addiction and heartbreak with an intentional, authentic haze, and itüfs this approach that has solidified Mendez as a staple in the DIY community for years. Greg Mendez was written in fragments, some stretching across more than a decade, with Mendez reworking old ideas and arrangements, and others blossoming much more recently. The weight of time..and perhaps the anxiety in running out of it..clouds the album, as Mendez prods at some painful experiences from his childhood and early adulthood. The common thread connecting the characters is their evident imperfections, and the various degrees of damage they cause, both knowingly and unknowingly. But where do we draw the line between a good person and a bad person? For Mendez, itüfs never been that easy. Greg Mendez is an intimate dialogue between the chapters weüfve experienced, and how they can inform the reality we perceive. Itüfs a reminder that we are constantly shifting, ever-changing selves and that if we ruminate too long, we may find ourselves stuck in the seriousness of it all. Here, Mendez allows us to take the time to notice what happens outside of the framework we may have built for ourselves, and the beauty that can occur when we finally do.

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

Cool Calm Pete has been featured in the past with MF Doom, RJD2, El-P, Morcheeba, Sharon Jones & The Dap-Kings, Aesop Rock, and others. More recently with Kool Keith, Real Bad Man, Heems, and Lee Scott.
Lost (Director’s Cut) kicks off Petes return with some new projects on deck.
Sometimes it takes time for something to establish its proper place in culture, and the modern-day discourse never fails to rush to label an album to be a classic or a flop. Then there are albums like Cool Calm Pete’s “LOST.” Adored by its dedicated fan base upon its original release in 2005 on Embedded Records and Definitive Jux, this record has continued to garner attention over the years from those who are familiar with it. While word-of-mouth alone may not have been sufficient to propel the album to mainstream success, its enduring popularity two decades later is a testament to its well-deserved recognition as an indie rap cult classic. The Korean-American emcee born as Pete Chung wasn’t asking to be a pioneer but having been raised in Queens NY during the golden era of hip hop, rhyming better than his peers just naturally became his identity. Throughout his debut album, his slow-paced, conversational flow fit like a glove to the self-produced “working class” beats that color most of the album. His education in fine arts as a painter and his day-job with a then-burgeoning lifestyle brand called Supreme sometimes took precedence in his professional life, but his dedication to the craft as a hip hop artist was evident, and fans took notice. The album hasn’t been re-released since its initial 2005 drop. and vinyl copies haven’t sold on the collectors’ market for less than $100 in years. With its first official re-release, the laws of supply-and-demand will surely alter that market, and chances are that with more ears to hear the album, those original pressings will only become hotter. In the meantime, the new “LOST (Director’s Cut)” has been re-mastered and extended for release on Cool Calm Pete’s own label Bubble Wife Records, with never-before-heard cuts led by a remix of the title track by Blockhead. Find it.

`Think Differently' is the debut LP by the duo of Callahan & Witscher. Jeff Witscher has been one of the most daring voices in underground American music for two decades, highlighted by releases on Pan and NNA Tapes. Jack Callahan's focused, uncompromising approach to sound caught the attention of both Demdike Stare's DDS label and Swiss composer Jürg Frey, who took Callahan on as his first composition student. Fans of their individual work might expect opacity, disruption, or rhythmic irregularity from their collaboration, but `Think Differently' sounds like a pitbull in a convertible, a sand-kicking beach party, the dopamine hit you get from 311 or Smash Mouth. It's a punchy, crunchy, highly infectious record. How did Callahan & Witscher cut the path from the ghostly margins of avant garde musics to the gutters of post-grunge American hard rock? In the words of Callahan, "at some point, you start to need a stronger drug." The most potent characteristic of this stronger drug is the guitar. And not just any guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift for two guys who've combined to make dozens of records over the years, not a single one of which has a recognizable guitar sound on it. Alongside the cool breezes and hyperactive fretwork of Callahan's guitar playing, the songs are backboned by strutting, groove-happy vocals: all bark, all bite. Every song is a careful collage, light but dense, ornate with gang choruses, soulful femme vocals, autotune and whisper scratches. This accumulation almost manages to hide the record's potent undertow of dread. `Think Differently' unfolds carefully, a slow-motion demolition that reveals the anxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful misunderstanding, the pain of caring. Setting this lyrical cynicism against such sonic glee isn't a spoonful of sugar, it isn't a bait-and-switch, it isn't a prank. After all, the dumb bliss of Sugar Ray's "Fly" shades a song about Mark McGrath's mom dying. "All Star" is about climate change. Most Sublime lyrics are a bummer. But there's still room for a raised beer, for a dumb grin. Like these ancestors, Callahan & Witscher aim at maximum uplift, at sounds that warm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of bad art, in spite of self-doubt.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

This Album is a collection of what I call Punk Art Poetry.
Poetry put together like a lyric to tell a certain story or explain a thought on some punk related matter. Some of these stories did actually turn themselves into a song which I released on my Punk Art imprint.

Most of these poems were influenced or inspired a piece of art I was working on.
Hope you like them or can relate to these stories.

Thanks for your indulgence

Die verdammt allergrößte Band des Universums ist zurück mit ihrem zweiten Album, offenbar direkt aus der Andromeda-Galaxie reingeschlittert! Intergalaktischer Lo-Fi-Garagenpunk! Bone (The Anomalys, Gitarre) & Jackie (The Jackets, Gesang & Schlagzeug) aka Plush Stuffed Huge Penis & Hungry Oversized Vagina veranstalten dieses Super Lo-Fi Trash Rock'n'Roll Bad Taste B-Movie Horros-SciFi-Sex-Märchen! Seit zehn Jahren verbreiten THE SEX ORGANS mit Hilfe ihrer menschlichen Sklavenfirma VOODOO RHYTHM RECORDS gnadenlos ihre Weltraum-Botschaft! Diesmal sind sie zu dem Schluss gekommen, dass die ganze Erde am Abgrund steht und es keine Hoffnung mehr gibt ... außer sich den Machenschaften der 'Sex Organs' überhaupt zu unterwerfen. In den 12 Manifesten dieser einzigartigen Platte zeigen sie uns, wie es richtig geht: "The ultimate soundtrack to the downfall" - Sex ist unvermeidbar... Als tiefschwarze Vinyl-LP mit bedrucktem Insert und DLC oder Gatefold-Sleeve CD mit 12seitigem Booklet erhältlich! Geschichte: The Sex Organs wurden 2014 von Bone (NL/The Anomalys) und Jackie (CH/The Jackets) gegründet und wurden sofort zu einem Kult-Act, der in ganz Europa auf den besten Garagenfestivals und Clubs spielte und eine Welle von Rock'n'Roll "Sexcitement" auslöste - genau dann, wenn es nötig war! Sie spielten auch in etablierten Museen, auf Film- und Comicfestivals, gingen auf Tournee in Kanada und wurden (stolz) aus dem Schloss Dracula in Transsylvanien verbannt (wahre Geschichte)! Die Sex Organs zu sein, mag eine Herausforderung sein, aber niemals langweilig!Die Sex Organs spielen wilden, schweißtreibenden Trash and Roll, der den Zuhörer Song für Song zu einem explosiven Höhepunkt treibt! Das ist so primitiv wie es nur geht - ein Stehschlagzeug, eine Gitarre und Texte über den sexuellen Zustand der modernen Zeit, in der wir leben!

This was the second studio outing by supergroup Cactus. Existing of ’Vanilla Fudge’ rhythm section Carmine Appice (drums) and Tim Bogert (bass), as well as former Amboy Dukes lead vocalist Rusty Day (vocals/mouth harp), and Jim McCarty (guitar) from Mitch Ryder & the Detroit Wheels and the Buddy Miles Express. The album offers eight tracks of which are six originals and two covers: Little Richard’s ’Long Tall Sally’ and Chuck Willis’ ‘Feel So Bad’.

Box Set #6 ist die neueste in einer Reihe von umfangreichen Box-Set-Neuauflagen des beliebten Backkatalogs des Afrobeat-Pioniers Fela Kuti. Nach früheren Ausgaben, die von Künstlern wie Chris Martin, Erykah Badu, Ginger Baker, Brian Eno und Questlove kuratiert wurden, wurde das neueste Box Set der Reihe von dem Schauspieler, Produzenten, DJ, Rapper und Sänger Idris Elba alias Big Driis zusammengestellt und enthält die Klassiker Open & Close (1972), Music of Many Colours (1980), Stalemate (1977), I Go Shout Plenty!!! (1977), Live in Amsterdam (1983) und Opposite People (1977).

Die auf 5.000 Exemplare limitierte Box enthält das Artwork jedes Albums, das originalgetreu von den Vinyl-Originalpressungen reproduziert wurde, sowie ein 24-seitiges Booklet mit den Songtexten, Kommentaren des bekannten Afrobeat-Historikers Chris May zu jedem Album, bisher unveröffentlichten Fotos und einer Einführung von Elba. Alle Boxen werden von einem speziellen 16" x 24" Poster begleitet, das von Lemi Ghariokwu, der kreativen Kraft hinter vielen von Felas bahnbrechenden Albumcovern, entworfen wurde.

Music compilation and art book. We open the GLITZERBOX again and look into a glittering kaleidoscope of music and illustration. Crossing genres, in handmade editions and with great attention to detail, Jimmy Draht fuses artistic ideas into a new whole.

The vinyl contains beautiful folk songs, experimental collages, field recordings and lo-fi pop. All tracks are exclusive or have never been released on vinyl before.

Featuring music by: Maxine Funke, Tenniscoats, Mouth Harp Ensemble, How to count planets, A Happy Return, Benoit Pioulard, New North Wales, Dump, My Two Toms, Oro Swimming Hour, Matthew de Gennaro, The Gentlist, Andersens, Jam Money, Michael Tanner.

The artists, whether they paint, draw, scribble or cut, whether analogue or digital, whether they are graphic artists, illustrators or visual artists: they combine image and sound, discover connections and show that music can create images and vice versa.

Art by Petra Péterffy, Laurent Impeduglia, Nadine Spengler, Michael Dumontier, Tomoko Mori and Nicholas Stevenson.

A limited and numbered edition of 300, with hand-printed 3 color silkscreen book. Compiled by Markus Acher (The Notwist) and Jimmy Draht.

Since the late 90s JIMMY DRAHT publishes elaborately designed music-graphic-comic-text hybrids, most of them handmade and screenprinted. Initiated by Marion Epp, often in cooperation with a music label, artists from various genres are invited to participate. Each release is accompanied by exhibitions and music events.

Bands such as Calexico, The Notwist, Lali Puna, Neoangin, Pram, Otomo Yoshihide, A Million Mercies, Ted Milton, MS John Soda, Schwermut Forrest, Tied & Tickled Trio have participated (to name a few).
In terms of design we were lucky to showcase the works of ATAK, Anna Sommer, Knust, CX Huth, Katz & Goldt, Judith Zaugg, Thomas Ott, Jochen Gerner, Martin tom Dieck, Jim Avignon, Le Denier Cri, Elvisstudio and many more.

ALIEN TRANSISTOR was founded in 2003 by Markus & Micha Acher of The Notwist. The concept of the label is to produce music that has a musical or personal reference to the Notwist microcosm: From electronic soundscapes to abstract hip-hop to laptop-treated contemporary, from processed oriental music to Nick Drake-inspired songwriting. Alien Transistor respects no musical boundaries.

Like an annabac, the first seconds of the first song from the first album by SAFFRON EYES (a group from Saint-Etienne including members of Raymonde Howard, Le Parti, ThOmas.W...) summarize, for those in a hurry, the themes and feelings that will be developed on the short half-hour of music that the disc contains: smiles in front, blows in the back, amicable breakups and deaf threats. Smile Until It Hurts encapsulates all of this: pleasure in offering (racy and referenced songs, in the fine tradition of indie rock), joy in receiving (pies in the mouth). If the previous EP - first recording act - of the group Pursue a Less Miserable Life (released in 2020 on our label) had a taste of the end of summer, this one clearly smells of the Cold War. He is degreased, boned and only the desire to fight remains, mischievously camouflaged under a form of obvious beauty that whistles in the shower. A production fed on indie rock and its roots (blues, post-punk and a hint of doo-wop), bringing together around a happy campfire the Pixies, Jesus Lizard, Wet Leg, Fugazi, The Cramps, The Gun Club, La Luz, The Feelies, The Bad Seeds, Kathleen Hanna, Anna Waronker…

Alternative rock, or abbreviated to just simply alternative, first came to present in the early ‘70s as independent underground music and gradually developed into the ‘90s as a reaction to the mainstream pop music from that era. Alternative music was represented by bands who were signed to independent labels, but major labels also picked up on the trend, which led to commercial success in the international music charts. The 2LP 90’s Alternative Collected highlights songs by bands such as Faith No More, Nick Cave & The Bad Seeds, Kula Shaker, Eels, R.E.M., Oasis, Live, Soundgarden, Fun Lovin’ Criminals, Smash Mouth, and many others

PowerSolo had a few decades of confrontational badassery behind them already when they descended on a barn in the Isle of Mön to record this, their 85th studio (OK, barn) album. The concept was clear: let's boil up a crazy stew with all the ingredients that the fanbase knows and loves. Kind of a return to the roots and the early albums in the mid 2000s It's Raceday... and Egg. Let a bunch of very diverse songs simmer together and create a beautiful dish that is both xtra spicy, surprising, complex yet super yummy. Like a Jambalaya: distinctly American fare, but not mainstream at all. We're talking Creole and Cajun food influenced by African as well as French cuisines and made by the ingredients at hand - some high end and some cheap and maybe even gone a bit stale. Seafood, chicken and smoked pork sausage combined in a vibrant, tasty and utterly unique mouthful. Yes, the metaphor promises a lot, but the album provides. Like the aforementioned LPs, as well as the breakthrough hit album The Real Sound from 2014, Jambalaya - Xtra Spicy was recorded, mixed and produced by Ulrik Petersen and Jesper Reginal (aka The Great Nalna and Yebo of The Tremolo Beer Gut infamy) at Dark Side of The Möön / Kondi Frost Studios. The musical crew consisted of main man Kim Kix as well as his right-hand man Anders "Peasoup" Pedersen. The drums were alternately manned by none other than former PowerSolo member JC Benz and live drummer Mike "ZACK" Sullivan. A pinch of South American spice was added by Flavia Couri of The Courettes on the duet "If I Could Fly" and every dish deserved a bit of French sugar. It was applied on "She's A Trucker" by none other than Phoebe Killdeer from Nouvelle Vague and Phoebe Killdeer & The Short Straws. Kix has previously produced and guest starred on these ladies' recordings, and they were both happy to take a seat at the table of this feast that is Jambalaya - Xtra Spicy

Glitching through pop music, cruising around the borders of the avant garde, passing by the edge of coldwave and tumbling into dance and club vibes: after her debut Bad Woman Céline Gillain is back with her second album: 'Mind is Mud'.

On Mind is Mud' Gillain let herself sink in the swamp of emotional confusion, the perpetual brain fog caused by a post Covid-world asking herself: do we have to get used to paradox as a way of life from now on?*

A musical dissection in nine songs of the mudflow, a flow which reveals its rich complexity the more Gillain dived into it: from the demanding intro 'Together' Céline opens up her highly personal and unique vision, shifting between high definition lost dimensions and emotionsthe mud slowly transfers in a crackling and sparkling stream of consciousness.

The mud is well alive in all its weirdness and unclarity. At times, it even glows in the dark.

The answer to that question is yes. The story of Mind is Mud by Céline Gillain: "Music is a place where intuiting is a work in itself. For me, it's the one place where I'm in charge, free to think and do what I want. Mind is Mud is the fruit of a collaborative practice with a DAW, a research around the palliative power of rhythm and the dancefloor, music as a space where emotions and ideas merge, storytelling, the comic potential and imaginative nature of sound. I don't really write, I copy paste and then I arrange and rearrange. Every sound I use comes from software, field recording, Instagram, movies and midi scores I collect here and there. In the hierarchy of sounds, you might call them cheap sounds. The lyrics are collages as well, made of pieces of texts from various contradictory sources. In addition to using the voice as a vehicle for ideas, I investigate its percussive and polyphonic potentialities, the possibility to have more than one voice/mouth."

2023 Repress

Snoop Dogg is a legendary personality. He burst on to the scene in the early 90’s and stole the show with his appearances on Dr. Dre’s classic album, The Chronic which cemented him as a prominent figure within the halls of hip hop. Since then he has gone on to release multiple platinum albums, star in major motion pictures, and even host a TV show with the one and only, Martha Stewart! In 2017, Snoop releaed the album, Neva Left which was a call back to the style that gained him notoriety. Packed with features from the likes of Too $hort, Wiz Khalifa, K CAMP, Nef The Pharoah, Devin the Dude, KRS-One, Redman, Method Man, BADBADNOTGOOD, Kaytranada and more.

Includes one-sided 7” ('It's All Punk (Full version)”, signed and blind stamped limited edition print, fly poster (20cm x 30cm), 20 page 12” x 12” booklet with lyrics and photos laid out in style of newspaper.

The ‘It’s All Punk Rock’ album was initially inspired by various artworks Punk Artist Mal-One had completed and titled. These titles usually turned into Punk Poetry / Lyrics and finally into songs. The idea would lead to grouping these songs together and to add the additional difficult cherry on the top. The songs would also include the word ‘Punk’ in each of their titles. Creating what we called the first Punk Art Concept Album. The title of the album as well as summing up the contents, grew from a term Mal-One had used for years when asked what had inspired a certain work or what was the meaning behind something …”It’s All Punk Rock”’ would be the quick reply.

Each song tells the story or relates the ideas behind a work, whether that be 430 King’s Road (where Punk meets Rock ’N’ Roll) the story of the various guises that Malcolm McLaren and Vivienne Westwood would conceive for their shop from LET IT ROCK, TOO FAST TO LIVE TOO YOUNG TO DIE, SEX, SEDTIONARIES. Anarchy Tour After Grundy (Punks out on Parole) the story of the `Anarchy Tour’ and what happened after the infamous appearance by the Sex Pistols on the ‘Today’ show with Bill Grundy. Punk Rock Jubilee 77, the Silver Jubilee celebrations of 1977 and its punk overtones. The Punk Rockers Gig Prayer, a Punk poem for the various venues that bands played back in those heady times. The Last Punk on Portobello Road (Ode to Joe), a lament to Mr Joe Strummer an inspiration to us all. Yes, every picture as they say tells a story, in this case never a truer word spoken.

Hope you enjoy the ride sonically and visually.

Blood Money is etched. It"s scratched out in bold, dark lines, with marimba, trumpet, and bass clarinet and contains some songs of Tom Waits" most memorable melodies. The songs are declarative, sardonic, unforgiving, musical dispatches, from the bottom of the heap. "Blood Money is flesh and bone, earthbound," said Waits. "The songs are rooted in reality: jealousy, rage, the human meat wheel...They are more car?nal. I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth. I like songs to sound as though they"ve been aging in a barrel and distressed."

Struck but not beaten, 777 crawls back out to present Nasty King Kurl's next mischievous achievement: Baba Bass Tunes

777_24! A barkin' bad electro bass release with five booty bustin' tracks leaving no body unturned!

RED VINYL REPRESS.

This is Fugazi's debut record, released in 1988. These 7 songs were later combined with the 6 tracks from the Margin Walker EP and released on the 13-Songs Maxi CD.

This EP (on red vinyl) was re-cut from the Silver Sonya masters in 2008 at Chicago Mastering Service and comes with a free MP3 download of the album.

Originally released on cassette in 1993 and now for the first time on vinyl, this is an incredible document from a teenage Arrington de Dionyso. All the seeds of his 30+ career are engrained on these fully formed Tascam recordings. "Bobcatflamethroat" was originally released as "Pine Cone Alley Cassette #9" in August of 1993. The songs were recorded on a Tascam Porta-One 4 Track cassette studio inside a secret area in the basement of the College Activities Building at the Evergreen State College, known as "Happyland". This album has never before seen a digital release of any kind, however there is one song "Everything is Broken" which later became part of the original "canon" of Old Time Relijun after that band was formed in 1995. That song was re-recorded on the first Old Time Relijun album "Songbook Vol. I" released in 1997. I still dig most of the tunes on this one- these were all written and recorded while preparing to welcome a new young life into the world (my daughter Lucinda, born August 22, 1993). So while not specifically "Children's Music" per se, the tunes are wild, hopeful, optimistic yawps of playful abandon for all ages. There are a number of "inside jokes" that only would have made sense to the very tight knit inner circle hat I considered my "core" group of friends at that point in my life. I also think there are more than a few "hits" on here. I was 18 years old! Anyone who has followed the last thirty years of my musical career should find something of interest and delight on this album. For some reason I chose to record most of the guitar and bass parts "direct" without an amplifier- I'm not sure why I did that but it's a unique sound in retrospect. There's a decent dose of throatsinging and other odd vocal techniques, proving that I dove deep into this territory of vocal exploration at a very young age. Also plenty of mouth harps, flutes, kazoos, and clarinet, although this was just BEFORE I bought my first bass clarinet. The song "Kite Dragon Hypnosis" showcases the very first time I EVER recorded anything with a saxophone! The lyrics are reflective of my interests in the theories of "Ethnopoetics" as put forth by Jerome Rothenberg in many of his books such as "Shaking the Pumpkin" and "Technicians of the Sacred", as pathways to understanding the universality of myth and shamanism as connective threads through human poetic expression. And yes, if you know something about the Evergreen State College, I did indeed receive 16 credits for working on this album.

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
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sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”