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Frenchie King is a veteran artist and producer from the world of Reggae music. He was born in Jamaica and moved to the UK at the age of 12, where he began singing in a church choir. In the late 1960s he formed a church band with two friends called "The Ressurectors". Their music caught the attention of Reggae star Alton Ellis. After meeting Alton a new band formed called "Black Stallion" and their first song on Venture Records was released entitled - "Love Power". Alton was mentor and guiding light for Frenchie and crew; enabling them to jam with a host of Studio One artists.

Frenchie went on to work with noteworthy Reggae arists like: Alton Ellis, Dennis Brown, Dennis Alcapone, Ken Parker, Tito Simon, Dave Barker, Bobby Davis (The Sensations), Ruff Cutt, Owen Gray and Akabu.We didn't tour with Dennis or John Holt but Alton would always call them to the stage to jam, but we did a few shows with Alton sister Hortense Ellis and few other too much to mention...

Moving into the 1980s, Frenchie started a solo career and switched to the label "M1" where he released projects like "Your Entitled" and "Poor Me Natty Dread". During this time he also worked with renowned producer Sid Buckner (Studio One), before taking a brief hiatus; returning to help produce artist Owen Gray. He also wrote the song "Blackbird" for the band Akabu which was released in 1995 on U-Sound. M1 recording produce yours truly under name countryman linkup with the man Ezekiel in Luton hence M1

Moving forward into the 2000s, along with other musical adventures the iconic album "People Had Enough" was released in 2017, along with singles, "Let Us Do Something" and "Dance Cork". On let us do something and dance (kark) is produce by Michael McNeil aka the original jah son , a good musical sou-jah.

Which brings us up to date. In 2023 Frenchie hooked up with The Blackstones. Through this came the opportunity to work with Iron Sound Records and producer Alien Dread. This is the first single on ISR, with a solid Roots vocal track backed by studio band: Alvin Davis, Asha B and Steven Wright. More to follow!

Peppermint Jam is proud to present Mellow Man’s latest release, 'In A Flow', an EP that takes you on a sonic journey through time. With three distinct tracks, this release captures the essence of three different eras of groove: the 70s, the 90s, and today.

Mellow Man has been with us since our founding days in 1994 and is a master of THAT old school sound.

First up, 'In A Flow' throws you straight into the golden age of 90s house music. With its smooth grooves, uplifting melodies, and driving bassline, this track embodies everything we love about classic house.

Next, 'Rumpshaker' brings you right back to the present. This track is all about today’s sound—fat beats, tight production, and a bass to die for, designed to keep the dancefloor moving.

Finally, 'Ghettoblaster' takes you even further back to the early 70s. Featuring the soulful sounds of Artist Locmelis on the tenor sax, this track is a nod to the funk-infused, boombox culture of the era.

Mellow Man produced these tracks using a mix of vintage and modern gear, including the Korg MS 20, Akai samplers, and a Rode NT1000, to name just a few. The result is a rich, textured sound that honors the past while still feeling fresh and relevant today.

With its blend of eras and styles, "In A Flow" is a must-listen for anyone who appreciates the evolution of house music.

Toy Tonics presents a new EP by one of the label’s lead artists: CODY CURRIE. The London born talent comes with 4 new tracks that combine neo soul and jazz funk with uptempo house music
Cody usually plays all the instruments on his tracks working as the bassplayer, singer, guitar virtuoso and drummer and becoming one of the hot names in London's club scene as a DJ around 5 years ago at a young age.

His vibe is similar to his the soulful and extravagant sound as these his heros had. Not needing any help from anybody. Even mixing and engeenering all his music himself
Cody Currie’s sound is perfect for today’s DJ sets and fits with the current wave of funky house and groove oriented music coming from London that is taking over the clubs.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time signatures exemplify her forays intoangular indie rock more now than ever before, especially on her debut Bayonet Recordssingle "Wakare no Kotoba"_its wide-interval arpeggios in odd meters being some ofthe most technically difficult guitar work Mei has ever implemented in her songwriting.Translated to "parting words'' in English, the self-described "anti-love song" serves as afarewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age,starting out on piano at age four before moving to electric guitar at age eleven. Afterplaying jazz guitar in high school, she went on to study guitar performance with a jazzfocus at Berklee College of Music. College is where she met her current bandmates,including string players Noah Leong and Claudius Agrippa, whose respective viola andviolin add softness and multidimensionality to Mei's intricate guitar work. After releasinga slew of singles and an EP in 2022, coinciding with her move to New York City, Mei andher band have since gone on to collaborate with post-bossa balladeer John Roseboroand embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singersongwriter and guitarist. "It's what feels most true to who I am as an artist." `Tsukino', Mei's debut, self-released EP, is being released physically for the first time ever on Bayonet Records! The EP will be released by itself on CD & Tape formats, and will be included in a vinyl pressing on the B-side of Semones' landmark EP, `Kebutomushi'! Plinking guitar tones and asymmetrical time signatures exemplify Semones' forays into angular indie rock more now than ever before. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genrefusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

Wo endet The Skull und wo beginnt Legions of Doom? Die Antwort könnte "genau hier" sein. Willkommen bei 'The Skull 3'. Der Tod des Sängers Eric Wagner (The Skull, Ex-Trouble, Blackfinger usw.) im Jahr 2021 überschattete das Debüt von Legions Of Doom, da The Skull-Gitarrist Lothar Keller und Bassist Ron Holzner (ebenfalls Ex-Trouble) Song-Material bearbeiteten, das auf dem dritten Album dieser Band zu finden gewesen wäre. Mit Wagners Beteiligung an der Komposition und dem Segen der Familie des Sängers bewegen sich Legions Of Doom weiter in Richtung Supergroup-Territorium, indem sie Drummer Henry Vasquez (Saint Vitus, Blood Of The Sun) und Sänger Karl Agell (u.a. Corrosion Of Conformity aus der 'Blind'-Ära) sowie Scott Reagers (ursprünglicher Frontmann von Saint Vitus) in die Gruppe aufnahmen. Wagners Geist ist Teil dieser Platte, ganz zu schweigen von seinem Gesang auf 'Heaven' - aber Legions of Doom sind mehr als eine Hommage. Am Ende wird die Platte ebenso sehr zu einem Debüt, wie sie es je als drittes Album für The Skull hätte sein können, und die Persönlichkeit von Legions Of Doom wird sofort durch die Gesangseinlagen von Reagers und Agell unterstrichen. Ja, es ist klassischer Doom von Veteranen, die diese Musikform mitgeprägt haben. Translucent Green Haze Vinyl-LP mit Foldout-Cover und bedrucktem Inner Sleeve; Jewel-Case-CD mit 12-seitigem Booklet.

NYC duo Straw Man Army return with their third LP, “Earthworks”, to complete a trilogy of records begun with 2020’s “Age of Exile,” and 2022’s “SOS”. Whereas “Age of Exile” dealt with the haunted landscapes of colonial history in the Americas, and “SOS” gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024’s “Earthworks” signals the band’s attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, “Earthworks” finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like “Turn the Wheel” and “Second Nature” mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP Disk. “Earthworks” is an album that holds and subverts many contradictions—juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track “Spiral” — “Is this all that’s left for us these days? / Apathy and rage?”— Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace.

Mit ihren bisherigen drei Alben ‚Rock Brigade‘ (2016), ‚Fahrenhater‘ (2018) und ‚9112‘ (2020) im Gepäck sind Fire Action alles andere als reine
Newcomer, sondern bereits fester Bestandteile der finnischen Metal-Szene. Dennoch wird ihre internationale Karriere mit der neuen Scheibe ‚Until
The Heat Dies‘ und der Vertragsunterzeichnung beim renommierten deutschen Metal-Label Steamhammer/SPV zweifelsfrei an Fahrt aufnehmen.
Dafür sprechen gleich mehrere Argumente, das wichtigste davon: Musikalisch hat das Quartett um Gitarrist Juri Vuortama und Sänger Pete Ahonen
einen wahren Quantensprung vollzogen. Elf traditionelle, zugleich abwechslungsreiche Metal-Songs, vom groovenden Opener ‚Storm Of Memories‘
bis zum hymnischen Finale ‚Midnight Avenue‘, unterstreichen die große Weiterentwicklung der Gruppe auf ‚Until The Heat Dies‘, das Vuortama kaum
zutreffender hätte beschreiben können: „It´s riffs, riffs and riffs, and great melodies on top of it!“, erklärt er das knappe Dutzend neuer Songs.
Veröffentlicht wird die Scheibe am 29. November 2024 auf CD und LP sowie als digitaler Download. Bereits vorher werden Fire Action drei Singles
auskoppeln: Am 20. September 2024 erscheint der Song ‚Hard Days, Long Nights‘ inklusive Lyric-Video, gefolgt von ‚No Drone Zone’ plus Video am 25.
Oktober 2024 und ‚Survive‘ (ebenfalls inklusive Video) am 22. November 2024.

Der Frankfurter DJ und Produzent Gregor Tresher veröffentlicht am 29. November sein mit Spannung erwartetes neues Album 'False Gods' mit 16 Titeln über PIAS Électronique und präsentiert mit seinem ersten LP-Projekt seit acht Jahren seinen vielfältigen und umfassenden Sound in seiner ganzen Fülle.

Tresher gilt weithin als seltene Ausnahme in der trendgetriebenen EDM-Szene. Von den Anfängen in den 90er Jahren in seiner Heimatstadt Frankfurt hat er sich bis heute einen beachtlichen Status erarbeitet, ob mit Remixes für Größen wie Depeche Mode, Moby oder Extrawelt, seiner Freundschaft und wiederholten Zusammenarbeit mit Sven Väth, oder mit seinen eigenen Alben - sowohl unter seinem richtigen Namen als auch unter seinem Pseudonym Sniper Mode.

Nun erscheint sein bislang umfangreichstes Projekt - Eine introspektive Reise in einen der aufregendsten Köpfe der modernen elektronischen Musik. Auf diese Reise nimmt er auch einige Freunde mit: Von u.a. Sven Väth, über Anja Schneider bis zum französischen Pionier Laurent Garnier.

'We are thrilled to be able to bring you Yara Asmar's first two cassette releases in a deluxe remastered double vinyl gatefold package featuring all new art and design from Yara herself.

Both albums were originally released on Hive Mind Records in 2022 and 2023 and received critical acclaim around the world':

“Melancholic drifts sound through the overcast skies of synth waltzes and accordion laments, infusing ageless melodies with a sense of falling backward through time. History is stitched through gilded aural silhouettes and elegiac drones. Asmar’s music is visceral. While electronics beckon beyond the sunrise stretched through a metallic shimmer, synth waltzes and accordion laments sticks with us while we remain lost in the hazy doldrums, always crawling forward tethered to our past lives. Highest recommendation.”
Brad Rose, Foxy Digitalis

"...these tracks are a cushion against reality. Asmar creates music that unfurls in evanescent bliss, an invitation to a safe space both isolated and welcoming."
Daryl Worthington, The Quietus

"...a set that transmutes the instrument’s droning tones into a sweep of introspective, breath-catching moments of beauty"
Eric Torres, Pitchfork Best Jazz & Experimental Albums of 2023

"The combination and contrast of highly familiar and highly alien elements give Asmar's music a quality not quite like anything else I can name. The way she channels found voices into her surreal mix of sounds is particularly striking."
Byron Coley, The Wire

Die "Spoiled Brats From Malibu" melden sich mit einer remastered Reissue ihres 1982er Klassikers "Locals Only" zurück. Diese erscheint als "Beach Gunk" Auflage auf Transparent Slime & Purple Splatter-Vinyl) und enthält zwei Bonustracks im Hochglanzcover im Redux-Artwork mit farbiger Innenhülle und grossem Faltposter. "Locals Only" ist eindeutig ein Produkt der 1980er, eine lebendige Mischung aus New Wave, Surfrock, Pop und SoCal-Punk, ein neonbespritzter punky Partyknaller, verpackt als eingängig-widerwärtig-respektloses Paket. Für Fans von Descendents, The Ramones, Agent Orange und Devo.

DERO GOI kehrt mit einem Paukenschlag zurück! Der ehemalige OOMPH!-Frontmann liefert mit "1984" ein bis zum Rand mit Synthie-Hits vollgepacktes Doppelalbum ab. Das Debüt seiner Solo-Karriere ist zugleich sowohl in musikalischer als auch lyrischer Hinsicht ein starkes Statement zu seiner künftigen Ausrichtung als Künstler. "1984" bietet eine faszinierende Verschmelzung von feinen Retro-Synth-Sounds, EBM und Synth-Wave mit zeitgenössischen elektronischen Elementen, die sogar mit einer Prise seines früheren Lebens als Rock- und Metal-Musiker gewürzt ist. DERO GOI, der schon immer als herausragender Songwriter gefeiert wurde, hat sein musikalisches Handwerk noch weiter verfeinert. Die Songs dieses umfangreichen Werks werden ihre Hörer zum Tanzen und Mitsingen bringen und sich als Ohrwürmer in den Köpfen festsetzen, wo sie noch jahrelang feiern. DERO GOI bleibt dabei seinem unbeugsamen Willen treu, als nonkonformistischer Künstler zu arbeiten. Sein Coming-out als wiedergeborener Christ, der jeder organisierten Religion nach wie vor kritisch gegenübersteht, und seine libertäre politische Einstellung haben ein breites Spektrum von Reaktionen hervorgerufen. Dazu gehören leider auch massive Hindernisse bei der Suche nach einem Label und einem Booking-Agenten. Zudem musste der Künstler erleben, dass bereits bestätigte Konzerte nur aufgrund seiner Meinung wieder abgesagt wurden. Das wirft die unbequeme Frage auf: Wie tolerant ist eigentlich eine Szene, die sich rühmt, für jede Gesellschaftsschicht und jeden Lebensstil offen zu sein, wenn diese Werte einer kritischen Probe unterzogen werden? Natürlich haben auch Worte Konsequenzen und jede Freiheit hat ihre Grenzen, aber was ist mit einem Künstler, der fest auf dem Boden der Verfassung seines Landes steht und keine Gesetze bricht? Beinhaltet Freiheit nicht auch das Recht auf Widerspruch gegen den Zeitgeist? Dass DERO GOI bei Themen eine andere Meinung vertritt, ist kein Verbrechen. Bevor der Musiker, der am 16. April 1970 als Stephan Musiol in Wolfsburg geboren wurde, im Jahr 1989 OOMPH! gründete, spielte er bereits im Alter von 15 Jahren in einer Band mit seinem Freund Thomas Döppner (alias OOMH!-Gitarrist und Mitbegründer Crap), als beide noch Gymnasiasten waren. Seine musikalischen Einflüsse zeigen einen offenen Geist für stilistische Vielfalt. DERO GOI zählt unter anderem D.A.F., NITZER EBB, FRONT 242, THE CURE, FAITH NO MORE, KILLING JOKE, EINSTÜRZENDE NEUBAUTEN, AC/DC, DEPECHE MODE, EXTRABREIT, KRAFTWERK, THE BEATLES, ELVIS PRESLEY und ABBA zu seinen musikalischen Vorbildern. DERO GOI hat mit seinem neuen Werk einen Weg eingeschlagen, der elektronischer ist als die meisten seiner bisherigen Songs. "1984" ist das Zeugnis eines Künstlers, der sich einer breiten Palette diverser Einflüsse bedient, der aber zugleich auch seine weithin respektierte Fähigkeit, äußerst eingängige Melodien zu schreiben, noch weiterentwickelt hat. Was auch immer die Hörer von diesem massiven Beitrag zur elektronischen Szene halten werden, DERO GOI wird sich als Sänger und Künstler nie den Mund verbieten lassen. Liebt oder hasst "1984" - aber was auf diesem Album zu hören ist, wird immer zu 100% DERO GOI bleiben!

Neue Farbe des 2019 Album in GOLD / BONE MERGE Vinyl!

Über drei Jahrzehnte nach ihrer Gründung durch Leslie Mandoki, setzen Mandoki Soulmates mit ihrem Album "A Memory Of Our Future" nicht nur musikalisch neue Maßstäbe, sondern präsentieren ein produktionstechnisches Meisterwerk: Das gesamte Album wurde analog aufgenommen und produziert - vom ersten Ton bis zum fertigen Vinyl. Die Produktion des rund 80-minütigen Konzeptalbums ist ein seltenes Unterfangen in der heutigen Musiklandschaft. Mit durchgehend analoger Signalverarbeitung vom Mikrofon bis zur Vinylpressung ist die Produktion von "A Memory Of Our Future" ein Manifest von Präzision und Leidenschaft, die in jedem Ton des Albums zu spüren ist. Das Mastering des analogen Magnetbandes durch Greg Calbi im renommierten Sterling Sound Studio in New York und der Vinylschnitt in den Emil Berliner Studios sind ein Symbol für die audiophile Exzellenz des Albums. Mit einem Setup, das in der gegenwärtigen Musikproduktion kaum noch zu finden ist, und mit der die Band eine Wärme und Lebendigkeit in ihrer Musik eingefangen hat, die in digitalen Aufnahmen oft verloren geht, haben die Soulmates ein Werk musikalischer Vielfalt geschaffen, das von Prog bis Jazz Rock reicht, und kompositorische Reife, spielerische Leichtigkeit und kunstvolle Solos mit großen Spannungsbögen und tiefgründigen Texten zu gesellschaftspolitischen Themen verbindet. Die generationsübergreifende Supergroup von Rock- und Fusion-Großmeistern mit Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg und Mark Hart (beide Supertramp) ruft mit dem Album zum Handeln gegen Spaltung und für Menschlichkeit auf. Mit "A Memory Of Our Future" gelingt den Soulmates eine einzigartige Verschmelzung audiophiler Exzellenz und gesellschaftspolitisch relevanter Musik. Dieses Album ist nicht nur für Fans von Prog und Jazz Rock, sondern für alle, die echte Musik zu schätzen wissen.

"Hollywood, the new album by German pianist Sebastian Knauer is centred around the music and family story of legendary American film music composer Alfred Newman.
He recorded it with the son of Alfred, conductor and composer David Newman and the Deutsches Symphonie-Orchester Berlin.
Alfred Newman, the founding father of the Hollywood sound, composer of the world's most famous fanfare, the 20th Century Fox logo, winner of nine Academy Awards, nominated for 45, friend of Gershwin,Copland, Bernard Herrmann, mentor of Alex North, Elmer Bernstein, Jerry Goldsmith and founder of the most successful film music dynasty: his younger brothers Emil and Lionel Newman (“Hello, Dolly!”), his older son David Newman (“Ice Age”, “Anastasia”), the younger son Thomas Newman (“American Beauty”, ""James Bond: Skyfall""), his nephew Randy Newman ... and his grandchildren are already starting their careers ...
George Gershwin or Aaron Copland, Alex North or Elmer Bernstein, Bernard Herrmann or Jerry Goldsmith - all the composers on Sebastian Knauer's new album have three things in common: they come from the USA, they have naturally intertwined classical composition and film music and they are closely associated with Alfred Newman."

The No End In Suffering EP is a compilation of songs that are a bit more outside the box of traditional HAGGUS material. On this record HAGGUS experiments with brand new riff territories, added previously unused tempos and left no stone unturned when it came to delivering this slab of horror-inducing sonic butchery. Production-wise the band purposely went for a more raw 90’s goregrind sound while still adhering to the downtuned, heavy theme of the Three Cadavers EP. Limited Blood Red Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

The Three Corpses EP is a heavier, fresh take on HAGGUS traditional brand of mincegore, debuting their new drummer and lowest tuning yet (drop G) to the world. Expanding on the classic HAGGUS approach, they’ve made it the heaviest and nastiest it’s ever been without straying too far from the traditional HAGGUS sound. In traditional fashion this was recorded in the HAGGUS practice space by Hambone but professionally mixed and mastered by Chris Revill of the now defunct band Shitlife. Limited Neon Green Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

Like the ever-changing seascapes of award-winning saxophonist/composer Josephine Davies" Shetland birthplace, the music of her Satori project presents a constantly evolving tableau, at once consistent and different every time. The music on "Weatherwards", pays direct tribute to the islands that she left at an early age but that continue to exert a powerful fascination for her, drawing her back, just as the Satori project has continued to draw her back over the course of seven years and four albums - "Satori is where I find myself most at home as a saxophonist."

Hailing from Nancy, France, Cyann is a young artist aged 19. She is preparing a debut album that will surprise you with its maturity, so abundant is her work and her imagination fertile.Cyann or Wysteria, her stage name, has been immersed in the world of musical environment.A multi-instrumentalist, she began her musical career learning to play the harp at the age of four, then violin at Nancy Conservatoire. Dedicated and passionate Cyann went on to teach herself piano and acoustic guitar, two instruments that are now at the heart of her creative process. A singer-songwriter, Wysteria is the heir of a light, airy and genuine folk sound and modern Pop, from Vashti Bunyan to Billie Eilish. Yet her music remains coherent in the themes it tackles. If Cyann is naturally gifted as a composer, she is also an excellent lyricist.She writes stories as well as poems.At ease in both English and French, her texts are a true declaration of love to nature and life. Water, air, fire and all the natural elements are inexhaustible sources of inspiration for Cyann, who succeeds in associating an imagery and an atmosphere with simple, meaningful sensations.Cyann is a spontaneous artist, and her voice doesn't betray her. Her singing comes straight from the heart, natural, unadorned singing, comparable to that of Beth Gibbons (Portishead). Bold and inspired, Cyann has many strings to her bow. The breathtaking freshness and the wide range of her repertoire will surprise many a listener

DESTROY BOYS" catalog vinyl is back in stock!
2024 has been a big year for the band with the release of their new album, Funeral Soundtrack #4 (available on Hopeless Records) and Epitaph Records are harking back to these two seminal vinyl releases from the band"s early days, just in time for Black Friday!

"Sorry Mom" (2017) ( on vinyl for the first time!) and "Make Room" (2018)- both albums will be available on black vinyl. DESTROY BOYS formed in 2015, when founding members Violet Mayugba and Alexia Roditis were just 15 years old, and each release has marked a period of growth and change. "Looking back, our first three albums marked the deaths of things," says guitarist Violet Mayugba. "They were soundtracks to our funerals, whether they were for our ages, our mental states. We"ve gone through a lot of changes as a band and as people." "The first one (Sorry, Mom) was our high school album," Mayugba explains. "On the second record (Make Room), we went to college and were saying goodbye to our childhood. On the third one, we"d just gone through COVID and, speaking for myself, I lost my entire sense of self and gained a new one." Now, at 24, Mayugba and Roditis are standing firmly on solid ground with more resolute and confident than ever in their place as musicians.

"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.

Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.

But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."

It's Flohio's world and we're all just living in it. The rapper, singer-songwriter, party starter and artist extraordinaire is the table-shaking, fiercely independent titan carving out a unique lane for herself in music; that of a disruptor. A unique figure utilising the infectious sounds of UK music – everything from sparse grime to immersive, trippy house - to deliver visceral, high-energy rap anthems for a generation.
Flohio details the album's sound palette and its significance: "I grew up around the time of games like Playstations and Nintendos; I'm bringing back the nostalgia of me in my living room playing games with my friends at age 10. Game soundtracks like Final Fantasy and Super Mario. I wanted Out of Heart to speak to my inner child and where it all started while bringing me back to now and who I am today."

NEW ORDER continue the series of Definitive boxsets, with the band's 1986 album Brotherhood. The boxset will include the original album remastered on CD and 180g LP, plus an Extras CD with previously unreleased demos and rarities, as well as two DVDs featuring the band's performances at Festival of the Tenth at the GMex, Manchester 1986 and Live in Brixton, 1987 in support of World AIDS Day. The DVDs will additionally include live TV performances, interviews and rare band footage. The extensive hardback book will include contemporary articles and liner notes by Irish radio DJ Dave Fanning.





CD Tracks:
1. Paradise
2. Weirdo
3. As It Is When It Was
4. Broken Promise
5. Way of Life
6. Bizarre Love Triangle
7. All Day Long
8. Angel Dust
9. Every Little Counts
10. State of the Nation

CD2
1. Shellshock (AOR Version) *
2. State Of The Nation (Japan Demo) *
3. Paradise (Robert Racic Remix)
4. As It Is When It Was (Japan Demo) *
5. Broken Promise (Instrumental) *
6. Bizarre Love Triangle (Stephen Hague 12” Remix) *
7. All Day Long (Instrumental) *
8. Evil Dust
9. Every Little Counts (Full Length) *
10. Salvation Theme
11. Skullcrusher (Full Length) *
12. Touched By The Hand Of God (Salvation Version)
13. Let's Go (Salvation Version)
14. Sputnik
15. Blue Monday 1988 (Michael Johnson 12” Remix) *
(* previously unreleased)

DVD1
Live at the Academy Brixton, 1987
1. Bizarre Love Triangle
2. The Perfect Kiss
3. Ceremony
4. Dreams Never End
5. Love Vigilantes
6. Confusion
7. Age Of Consent
8. Temptation
TV Appearances
BBC Northern Ireland – Channel One 1986.
Ceremony
Love Will Tear Us Apart
The Tube 1986.
State Of The Nation
Broken Promise
Top of the Pops 1987.
True Faith
Les Enfants du Rock, Rockline 1987.
Paradise
Bizarre Love Triangle
The Roxy, 1987.
True Faith
11pm, 1987.
Bizarre Love Triangle
Extra Material
Stephen’s Fly On The Wall Documentary 1985.
Recording 'As It Is' and ‘Shame of the Nation’ at Denon Studios, Tokyo (May 1985).
DVD2
Live at the G-Mex, Manchester, 19/07/86.
1. Elegia
2. Shellshock
3. Paradise
4. Bizarre Love Triangle
5. Way Of Life
6. State Of The Nation
7. Face Up
8. The Perfect Kiss
9. Ceremony
10. Temptation
Live Extra Material
Glastonbury, 1987.
True Faith
Sister Ray
San Giovanni, 1986.
Dreams Never End
Pier 84, New York, 1987.
All Day Long
Angel Dust
Shellshock
Weirdo
Rapido, Paris 1987.
True Faith
G-Mex, Manchester, 1988.
Touched By the Hand of God
Every Little Counts

Part 1 of ‘La Decima’ Compilation selects artists that have contributed to the last 10 years.

Part 1 kicks off with Oliver Dollar with his ‘I Do Believe’ cut a Chicago jam for the ages. Next up, Toronto based, Demuir doesn’t miss with his signature groovy and jackin’ style as Vibez High does exactly what it says on the tin. The B side kicks off with UK native, Jwalker’s Disconnected giving us the 90’s house feel we all love! B2 features Pinto (NYC) & Kola collab on this jackin’ disco weapon that serves up the French house feelin with little NYC tuffness. Limited release act fast!

Mustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photosMustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photos

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

French hip-hop producer Ugly Mac Beer, with over 20 years of experience in the industry, returns to his youthful passions and ventures into synth-punk production for the first time with his upcoming album titled "Broken Ill". Three decades later, he brings to fruition an album he has dreamed of making since the age of 16, adopting a "Rick Rubin style" in its creation and production.

"Broken Ill" transcends the boundaries of a typical album. It features a UK sound that seamlessly blends post-punk, electro-punk, darkwave, new wave, while still maintaining its roots in US hip-hop, with a significant touch of rap rock.

Mac Beer's influences are clearly heard throughout the album, ranging from the Beastie Boys to The Cure, and including Kraftwerk and Sleaford Mods.

In terms of collaborations, Ugly Mac Beer has enlisted a diverse array of rappers from various backgrounds. Among them is the iconic Princess Superstar, a prominent figure in the 90s underground scene, whose hit track "Perfect", released two decades ago, unexpectedly resurged on TikTok, sparking excitement and eventually securing a place on the 2024 Billboard Charts. It even underwent a remix by David Guetta himself.

Additionally, Mac Beer has teamed up with French rapper signed to Kitsuné, Mynameisleonidas, who has contributed to a significant portion of the album. Other collaborators include the singer from the French punk band Frustration and Mac Beer's longtime collaborator and friend, The Real Fake MC a.k.a OP18.

With "Broken Ill", Ugly Mac Beer, hip-hop beatmaker par excellence, surprises and delivers a solid rap rock album with a pervasive UK influence, inviting listeners into his ever-evolving, creative, and audacious universe.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Die Debut-EP ,Kingdom of Decay" umreißt in vier Songs alle Stilwelten, aus denen Silverships aus Hamburg ihre Inspirationen schöpfen. Der Desert Rock der 90er und 2000er bildet das Fundament des Trios. Viele Spuren von Queens Of The Stone Age finden sich in den Songs wieder, in den brachialen Passagen fühlt man sich an Kyuss erinnert. Auch Klangmalereien der 70er Jahre Pink Floyd tauchen immer wieder auf. Psych-Poppige Momente der frühen Tame Impala werden abgelöst von düsterer, fast beklemmender Atmosphäre, die den Vibe von The Doors einfängt und sich auch als Soundtrack eines noch zu drehenden Films wohlfühlen würde. Charakteristisch für die Band ist neben opulenten Arrangements und abwechslungsreichem Songwriting die Liebe zu B-Parts, die die Songs mit vielen Ausrufezeichen beenden. Hinter der kraftvollen Produktion steckt Hauke Albrecht, der mit Mountain Witch den letzten größeren Stoner Export aus Hamburg produzierte. Für das Artwork konnte die Band BEWITCHED Graphics bzw. Benjamin Nickel gewinnen, der mit seinen psychedelischen Arbeiten z. B. schon das Reeperbahn Festival versorgt hat.

For Talia Hoit from Colorado, who has been classically trained to play the piano since the age of five, her early musical education has definitely paid off. Now she writes original songs, performs on vocals and keyboards, and composes orchestra scores for symphonic metal. For many years, she has also had a passion for writing songs outside of any formal band situation, and is now working with talented producers and musicians to bring her most personal and intimate songs to life to share with the world. For five years, Talia was the keyboardist and a songwriter for the band AnaDies. Presently she is the lead singer, orchestrator and co-songwriter in the symphonic metal band Beyond Forgiveness and the keyboardist for the metal band Ob Nixilis. As a solo artist, she recorded two original home studio albums for personal purposes, Fate’s Too Small (2007) and A Little Longer (2012), which had a limited physical CD release only, mostly just for friends and family. Back in 2019, she recorded the single Angel (produced by Jarek Musil), which just recently received a new master, and after the experience of working with a professional producer she decided to pursue her solo project, to professionally produce and commercially release as many of the personal songs she had written over the years as possible. In 2023, she released two more singles: Abandon and Whispers in the Storm. Her extensive experience in the music industry and understanding of classical music are quite audibly reflected in these works, which show a high level of quality and expertise. Talia’s music is definitely a treat for symphonic metal fans and heavy music lovers, showing influences of bands such as Within Temptation, Nightwish, Evanescence, and Visions Of Atlantis.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

"The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve 1999, with an estimated audience of 500,000 people.

Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra. It was Oldfield's third album within one year, after Tubular Bells III in late 1998 and Guitars MOVLP1694 earlier in 1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion. The Millenium Bell is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert."

After a fifteen-year hiatus from the studio, the beloved singer is returning with his first new album in over a decade! Clay returns in fine form, on the 20th anniversary of his record-breaking, 2004 Christmas album, with an all-new celebration of the holiday season. Christmas Bells Are Ringing harkens back to the musical favorites of Christmases past including your holiday favorites and a few free surprises. Produced by legendary Grammy Award-winning producer Ron Fair, Christmas Bells Are Ringing promises to be a holiday album for the ages delivered with vocal magic like only Clay Aiken can.

7A Records is proud to present our deluxe reissue of Robert Gordon's Rock Billy Boogie album. It has been remastered and expanded with four bonus tracks, features extensive liner notes and is pressed on 180g Pink Vinyl. Robert Gordon entered New York City's Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon-twelve years Presley's junior-was high atop many lists. Gordon's vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York's vibrant punk scene. In late 1978, Gordon was signed to Presley's longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon's 1980 cover of John Beveridge and Peter Oakman's "A Picture of You," a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: "Lonesome Train (On a Lonesome Track)," "Summertime Blues," and "Red Cadillac and a Black Moustache."

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

In 2007, John Prine & bluegrass legend Mac Wiseman teamed up for a duet album of their favorite country, folk, and gospel songs.

The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve
1999, with an estimated audience of 500,000 people.


Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra.

It was Oldfield's third album within one year, after Tubular
Bells III in late 1998 and Guitars (MOVLP1694) earlier in
1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion.