Suche:all is well

Pressed On Coke Bottle Clear Vinyl! Ridin' Dirty is the third studio album by dirty south legends Bun B and Pimp C - together known as UGK. It is easily considered one of the greatest southern hip hop albums ever made, but let's drop all the labels this is just pure good rap music, for any region. It's all right there, everything that people have come to expect from Houston rap: candy-painted cars, wood-grained steering wheels, flashy jewelry, late-night odes to lean and weed, passing references to DJ Screw tapes, those warm funk synthesizers that sound like radio oldies. All of Ridin' Dirty feels iconic now— among other reasons, because so many of its lyrics have since been cribbed by everyone from Slim Thug to Jay Z. There's the laid-back badassery of "Diamonds and Wood," the zoned-out celebration of "3 in the Morning," the ridiculous boasting of "Fuck My Car." Everything here is essential. Ridin' Dirty was produced entirely by Pimp C and features start to finish bangers such as One Day', Murder', Hi Lif' and of course the title track Ridin' Dirty.' Pimp C's makes use of perfectly chosen Soul, Funk and Gospel samples to create a perfect soundscape for he and Bun B to trade verse over. Despite there being no singles or videos released from the album, the set went on to be a pivotal moment in southern hip hop as well as UGK's best-selling and most critically acclaimed release.

Neither Timothy J. Fairplay, nor Norwell are strangers to the Dalmata Daniel family: both of them are trustworthy contributors to DD compilation albums of earlier years, plus Norwell has released his 'ODD' EP and 'Joint Spaceflights' EP back in 2017 and 2019 on the label. So this time, it's a return for Norwell, and a debut for Mr. Fairplay: their DDS09 split EP is here to present 4 tracks full of outer space lights, eerie vibes, mesmerizing beats and cosmic energies.

Timothy J. Fairplay's side A starts with the explicit kicks and ominous basslines of 'Caliber 9'. Slowly and steadily, the laser blasts and relentless drums all add up to define a world of space cadets on the run, where any odd-looking figure can turn out to be a malignant, speedy alien. 'TV Tower' takes us to another planet with an even higher rotation velocity. Fast percussion elements and squished lower frequencies take center stage in this intergalactic episode, but the whistle-like melodies and descending, bubbling robot signals make the journey complete.

Flip to side B, and enter the contemplating, otherworldly atmospheres of Norwell. 'Midnight Rituals' gives you the chills with its breath-like swooshes, grievous sirens and deadly asteroid belts. Yet, there is no need to worry: after an intense ride with your spaceship, eventually you end up in the same spot, where you started: in the stable and steady mid-tempo beats of an expertly-programmed drummachine. The orbital mission comes to an end with 'Natives', a dense and heroic hymn with emotive structures and well-crafted harmonics. The track starts with the bittersweet, lamenting synths of a solo voice, pouring their heart out in the spotlight, all alone on the stage. All of a sudden, a hard-hitting, rhythmic groove commences its last rush of dedicated cadences. It is full of breaks, it is full of 303s, completed with airy echoes and dreamy, light gestures. 'Natives' keeps on building its structure with elegant paces, providing a massive, yet delicate experience of Norwell's defined aesthetics. The track lets the last strokes of its gloomy synths roll out, along with the final round of looping drums, thus putting an end to DDS09.

Available on super ltd edition pink vinyl with obi strip & download code. Only 300 copies pressed.

London based shoegaze three-piece Holy Springs are Neil Atkinson Jr, Maria Bellucci and Suzanne Sims. The band blend psychedelic influences with their love of lo-fi guitars and keyboards. In 2020 they self-released the cassette mini album 'Indoor Tapes'. Shortly after the incredible EP 'Camera' and, we are delighted to be releasing their debut full length E.A.T on ltd edition vinyl.

Debut albums can sometimes feel a bit disparate as bands fling all the songs they’ve been working on together with no real thought as to how they all hang together as an album. Not so with E.A.T. The effort and thought that has gone into writing a cohesive and well-structured album is evident on every note played. I particularly enjoyed the instrumental interludes which play a pivotal role in neatly segueing between tracks. If this is the band just starting out imagine what their next album will sound like, and the one after that. I hope Holy Springs are ready, because this album is about to blow up.’ Static Sounds Club

Bruce Cockburn is one of the most celebrated Canadian artists of all time. Unlike fellow Canadians Leonard Cohen, Joni Mitchell or Neil Young, Cockburn has not been fully embraced by a younger generation of indie musicians and younger fans. Tompkins Square recruited well-respected indie artist James Toth, known for his work with Wooden Wand, to curate the 13th volume of its guitar series, Imaginational Anthem. Although there is a focus on Bruce as a guitarist, there are also vocal tracks on the album. Indie stalwarts Bill Callahan, Matt Valentine, Luke Schneider and Jerry David DeCicca all step up and pay tribute to this musical hero, proving that Cockburn is not only influential, but also the keeper of a deep catalog of songs ripe for discovery by a younger generation

What a difference a year makes, right? HOUSE Of ALL's follow-up to their self-titled debut came about at some risk to band and label . . . so absolutely sure of their debut, Martin Bramah asked for an advance on recording costs for the follow-up before their self-titled album had even been released. Needless to say, things went pretty well with the debut, which led to a few sold-out tours, wildly enthusiastic press and great sales. Follow-ups do come with perils, but perhaps Bramah's presumption was the very thing which has allowed CONTINUUM to escape the dread second album syndrome, because . . . it's fantastic! Whatever initial re-establishment of synaptic connection was needed to get things grooving on their debut, after many years since they'd last played together (excepting Peter Greenway, whose genuine bravery in joining four former members of The Fall whom he alone had never played with before) is history now. The grooves are bigger, the lyrics brilliant, Tomos Williams' production is top-notch and the necessity sitting on this album while the first one kept on rolling offered the advantage of allowing Dave Trumfio (of The Mekons and Pulsars) time to fine-tune the mixing and mastering . . . and it sounds HOT.

Monika Enterprise welcomes a new act to her roster with Berlin based experimental pop duo Post Neo releasing their new EP. Individually known as Nicole Luján and Pauline Weh, both musicians pursued their own solo projects before forming the duo Post Neo. On “Alles Immer Wieder” they combine as more than the sum of their parts to produce 5 songs of dark and powerful experimental avant- pop which is released as an exclusive 10” vinyl.

Pauline and Nicole met making music in Berlin during the summer of 2019 and kept collaborating online, until Nicole moved to Berlin in 2022. The musicians' different musical backgrounds result in diverse intuitions which complement each other perfectly when producing tracks together - Nicole was more into synthesis and electronic music production in Mexico City while Pauline received a classical piano education in Munich before she started doing electronic music.

In 2022 they released their first EP, «do you?», which consists of five tracks that were composed and produced as an inter-continental project between Berlin and Mexico City. In autumn of that year Post Neo received a residency at Sternhagen Gut from Musicboard Berlin where they caught the ear of monika head Gudrun Gut who was so taken with their compelling mix of techno beats and dreamy melancholic atmospheres she immediately signed them to her label.

The EP’s opening and title track “Alles Immer Wieder” (trans. Everything again and again) is a reflection on repetition and monotony as transcendence in the form of sleep, dreams, work and other daily cycles. The rhythmic juxtapositions and tempo shifts make for a captivating opening track. “Ganz Schön Was Los” (trans. A lot happening) has a proper synthwave electro pop vibe while the vocals lend a little light hearted humanity to the otherwise calculated computer music aesthetic. With its fusion of synthesizers and drum machines track B1 “Die Verwirrung” (trans. The confusion) brings a sense of melancholic doom. The flow of B2 “Wenn Wir Wüssten” (trans. If we knew what would happen) is a future-focused reflection on the unidirectional movement of time's arrow. Sampled harmonies and instrumental breakdowns make it possibly the most emotive track on the EP. And the record comes to a close with “Dreh dich” (trans. Turn around) which lures us in with delicate vocals before menacing synthesizer sounds blast us into oblivion. It is an invitation to turn the record over and start listening from the beginning again.

Post Neo’s music is steeped in minimalism: at once managing to be hugely expressive and evocative while still retaining a sense of privacy and mystery for the listener to decrypt. Like all great pop music their songs are musically captivating while also conveying a strong message. As their band name suggests, Post Neo are essentially futuristic and with live shows at some of Berlin’s hottest underground venues under their belt as well as in their hometowns of Munich and Mexico City, plus the release of „Alles Immer Wieder“ in 2024, great things are in store for the electronic pop duo.

Limited edition tri-color splatter vinyl. The vinyl edition of Daedelus' new LP "Xenopocene" features a die cut cover title album text which allows the viewer to see the multi color swirling vinyl beneath. Xenopocene means Alien Age. Some have theorized our current is the Anthropocene; however in an era where artificially generated and deep faked, what is terrestrial in origin vs u.f.o.? Daedelus’ latest LP ‘Xenopocene’, inspired by their artist-in-residency with S.E.T.I. follows a timeline from an extraterrestrial first contact thru to 10k days hence and spiraling towards the nearest exoplanet 6,000+ years away. Attempting to parse out science informed fiction from the fact that in an unfathomable universe life exists outside our confines. Actually there are guidelines in place for receiving such a communication. In S.E.T.I.'s Protocols for an ETI Signal Detection (which first line reads "Declaration of Principles Concerning the Conduct of the Search for Extraterrestrial Intelligence...") well measured steps from such an awesome event could almost be read as unexceptional. Hyperbole has little place in the sciences whereas music makes the most from. Daedelus across 11 tracks deftly deals with space inspired sounds pulling equally from Gustav Holst and Sun Ra as Alice Deejay and Amon Tobin. No techno-optimism here, ultimately this is Earth music made to dream upwards. Asking us to reckon with our humanity while daring us to envision a new epoch. Interlaced throughout are quavering violins by Vivek Menon. Featuring words from the singular R.A.P. Ferreira on "Starfire" and extra instrumentation from Eli Henry Goss of the Breathing Effect in "Float

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'Due to an unforeseen pricing increase at the pressing plant, this products price has been updated. Any copies purchased before the pricing update will be honoured at the original price'

Arriving at the height of the antipodean summer, after the traditional series of short delays – and where would we be without delay lets face it – we here Echo Chamber Sound and Run It Red are proud to present the vinyl component of our first compilation LP. Featuring 9 tunes across two plates, and including exclusive tunes from from Bukkha and LQ, as well as a showstopping remix from RSD and star turns from X-Nation Pugilist & Tamen, this is our most ambitious statement to date, and we hope you enjoy it as much as we have enjoyed pulling it all together.

Utilising a mammoth bank of saxophone samples, Shmuel Hatchwellpresents his new alias hoyah with an engrossing album captured in tape and digital form on Bruk.

The process leading to Set + Setting started out with a need for limitations to provide some focus for long-serving sound engineer and producer Hatchwell. He set out the following guidelines to accompany the overarching idea of 'set + setting':

No 'beats'
Saxophones are the voice
Stay away from the computer for as long as possible

Hatchwell took a deep dive in search of every saxophone sample he could find, threw them all into his MPC and then proceeded to weave together a variety of pieces. The focus on a particular instrument brings cohesion to the album, but equally the limited sound inspired freedom to experiment with other techniques and tools. At times one or two sax voices sound naked and undisturbed, while elsewhere you might only hear jagged shards or distant ghosts as they pass through aggravated processing.

Beyond the sound itself, the name hoyah was born with the flippancy of the 21st Century and ratified by ancient tradition. After the music had been made, After the music had been made, Hatchwell plucked the name out of thin air as a play on the TikTok meme 'can I get a hoya,' and subsequently discovered on a dive into his Jewish heritage that in old Hebrew hoyah means, 'to be, become, come to pass, exist, happen, fall out.' This distinction between Jewish concepts and modern political conflations is important to Hatchwell, who finds himself consistently having to separate Judaism from the situation in the Middle East and its ongoing genocide.

Subtly calling to mind the understated cosiness of real-life sax players like Sam Gendel as well as the fragmented sample manipulation of Matmos and Tim Hecker's approach to processed noise, hoyah's debut album absolutely manifests an idea and musical practice as something new and intentional

,Bester Bandname, bestes Debütalbum, bestgehüteter Geheimtipp der österreichischen Musikszene", schreibt Der Standard zur Veröffentlichung ihres ersten Longplayers ,Augenlieder". Jetzt geht die klangliche Reise in die Vergangenheit und zurück in die Zukunft weiter. Zu welcher Zeit man sich beim Hören des zweiten Albums ,Augenblicke" gerade aufhält ist nicht ganz klar - so schafft die Band in ihrer Verspieltheit es aufs Neue, alle Grenzen aufzuheben. Eingehüllt in Retro-Sounds und Melodie, in Emotion und Indie-Rock, nimmt dich das Album mit auf eine Reise durch musikalische Augenblicke. Die Produktion legt keinen Wert darauf einem breiten Publikum zu gefallen und klingt gerade deshalb erfrischend und richtig. Kein Einheitsgedudel, zu Tode editierte Tracks und platt gedrückter Klang erreichen die Gehörgänge, sondern Schwingungen, die einen an die glorreichen Zeiten des Rock and Roll erinnern.

Founded in 2018 by Dutch violinist Floortje Beljon, Ensemble Ambidexter is an eight-piece ensemble from Leipzig/Germany on a radical borderline between contemporary classical music, jazz and quotes from such a colorful palette of genres and eras that the attempt to
clearly classify a musical style will leave the listener in joyful confusion. Chamber music meets jazz quartet. Or vice versa?
Four classically trained and four jazz musicians open doors, take a quick look inside to take in the most interesting forms they can perceive and put them together in their music. Somehow organized like a band, but at the same time like an orchestra, freedom and
improvisation can be found in the music, as well as the realization of written, precise visions of the composers (including Teresa Allgaier, Oene Van Geel) who have been writing for this peculiar line-up.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

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The birth of rock steady portrayed in a consummate collection from the vaults of Federal Records

Most of them drawn directly from Ken Khouri's master tapes this miscellany of cool rock steady includes marvellous music from the originator of the genre, the one and only Lynn Taitt, alongside an array of Jamaica's greatest singers and vocal harmony group

American rhythm & blues fervour, boosted by a multitude of sound systems playing 78rpm records on increasingly larger sets, gripped Jamaica from the late forties onwards but, towards the end of the decade, the American audience began to move towards a somewhat softer sound. The driving rhythm & blues discs became increasingly hard to find and the more progressive Jamaican sound system operators, realising that they now needed to make their own music, turned to Kingston's jazz and big band musicians to record one off custom cut discs. These were not initially intended for commercial release but designed solely for sound system play on acetate or 'dub plates' as they would later be termed. These 'specials' soon began to eclipse the popularity of American rhythm & blues and the demand for their locally produced music proved so great that the sound system operators began to release their music commercially on vinyl and became record producers. Clement Coxsone' Dodd, Duke Reid 'The Trojan' and Prince Buster, who operated his Voice Of The People Sound System, were among the first to establish themselves in this new role and the nascent Jamaican recording industry now went into overdrive.

In 1954 Ken Khouri had numbered among the first far sighted entrepreneurs to produce mento records with local musicians (mento is Jamaica's original indigenous music) before progressing to opening Jamaica's first record manufacturing plant. Three years later he moved his operation to Foreshore Road (later renamed Marcus Garvey Drive) where, with the assistance of the inestimable Graeme Goodall, he updated and upgraded his recording studio. The importance of this enterprising move was critical to the development of Jamaican music and its influence both profound and far reaching.

"It was Ken Khouri's Federal Recording Studio, the womb that gave birth to the talented writers, artists and musicians that gave Jamaica its musical identity." Prince Buster

Federal Records was not only the place for the sound system men to record their music but it was also where they had their records manufactured and, consequently, the company enjoyed a near total monopoly on recording and record pressing in Kingston. In 1963 Ken Khouri sold his one track board to Clement 'Coxsone' Dodd, who established Studio One, and Ken imported the first stereo equipment to Jamaica and Federal began making stereo records. The following year WIRL (West Indies Records Limited) opened but the competition served to drive the company on to higher heights. Ken Khouri continued to work on his own productions and, in 1966, the seven inch release of Hopeton Lewis' 'Take It Easy', recorded under the guidance of Trinidadian guitarist Lynn Taitt, ushered in the rock steady era.

These two essential albums showcase a stunning selection of well known hits, and not so well known rarities, from the vast Federal catalogue. All tracks have been transferred direct from the master tapes and assembled with the invaluable assistance of Ken Khouri's son, Paul Khouri, who generously gave Dub Store unlimited access to the Federal tape vaults. The extensive liner notes feature extracts from extensive interviews with Paul Khouri whose knowledgeable recollections of working on Marcus Garvey Drive, not only as a producer but as an engineer and musician, are illuminating and educational. Both sets present an insight into the birth and growth of Federal Records and the Jamaican recording industry and are essential to an understanding of the real roots of reggae music.

Remastered re-issue of this now classic work of Ambient / Dungeon Synth. Conceived in late 2002 as a soundtrack for one of the most sinister, dark, brutal and morbid periods of European history, the Dark Ages. Diving deep into Medieval works on witchcraft, demonology and theology, as well as the works of modern authors exploring all the aspects of that epoch, Roman Saenko (of Drudkh and Hate Forest) wanted to explore all shades of the Middle Ages. Bringing forth images, details and landscapes of that era into the modern world using a minimalistic yet very poignant pallet of sounds. Artwork by Heresie Studio.

Originally released in 2010 on Aurora Borealis. This is the new 12” version on Archaic Devices. Archaic Devices is a new label founded by Bobby Krlic, aka The Haxan Cloak. It will serve as the home for his future releases as The Haxan Cloak alongside reissues of his past work under the moniker. Krlic admits that starting a record label wasn’t something that had occurred to him until he finished building his own home studio in LA and he regained the master tapes to his records from various underground labels. All of his archival releases have been remastered, with aspects of their design and presentation tightened up by Krlic to present his music exactly as he initially intended. Working with revered visual artist Christopher Leckie, Krlic has built a stark, unique identity for his newly minted label Archaic Devices that extends to a new line of merchandise, as well as new visual directions for the label’s first and forthcoming releases.

Celebrating our tenth release, we proudly present "Feeling Everything, All At Once" - a compelling VA compilation featuring music from our current label family and introducing some talented debutants from Scotland.

RED010 marks a powerful statement of intent as we look to the next five years and beyond whilst reflecting on our achievements so far, what we aspire to accomplish and how we can continue to push the sounds that resonate with us. Although it has taken time to reach this milestone, our commitment to quality over quantity remains unwavering.

This compilation serves not only as a collection of club-ready tracks but also as a longform piece suitable to more passive listening. With a total of 14 tracks, it stands as our most extensive release yet, expanding our label family to well over 20 artists. The digital release will be complemented by a physical cassette, perfect for playing in the dusty tape deck of your mate's Vauxhall Corsa as you head to that mad rave in the countryside everyone is talking about.

We are thrilled to announce our collaboration with the Scottish Action for Mental Health (SAMH) on this project with all the profits being donated to this cause. Both Lewis & Ethan have their own personal experiences with mental health difficulties and strongly believe that SAMH is absolutely vital in facilitating the provision and promotion of mental health care, support & information.

A massive thank you to all those involved in making this happen and their generosity in donating their time and talent to the project.

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

Repressed clear yellow w/ red splatter vinyl! This is the 5th full length for London-based USA Nails full of post-punk noise rock that's as grating as it is catchy. USA Nails release their fifth album "Character Stop" on October 23rd 2020 through Hex Records. The new album from London-based USA Nails (and 2nd for Hex Records) is a post-punk, noise-rock platter that is as grating as it is catchy. The record was tracked live over 4 days at Bear Bites Horse in London with producer Wayne Adams. Though "Character Stop" still features the pummeling noise-punk that USA Nails have become renowned for, it's balanced with more sober, downbeat moments. On it they explore identity - like the online personas of aggressive twitter users, influencers and vloggers, as well as more introspective takes on mental health, giving up on dreams, the joy (and despair) of being a part-timer, and contemplating who they would be if they decided to hang up their guitars for good. Guitarist Gareth Thomas comments, "For me "Character Stop" is the best album USA Nails have ever made by miles. It's more varied than anything we've ever done before and I think it's stronger for it. I feel like it's more fully realized, and more complete as a collection of songs. Every time we get in a room together and write, the dynamic of our relationship as writers (and mates) develops a bit further, we get better at anticipating and complimenting each other. We've always tried to be efficient in our creativity, to do what feels natural and just let things flow. I'm obviously still really happy with all the music we've written up to this point, but on this record everything seemed to come together so sweetly. " Comes on clear green vinyl. USA Nails will tour Europe and the US in 2021, following a clutch of UK album launch shows in late 2020 - COVID permitting. In the last few years, USA Nails have toured with Sub-Pop lovelies Metz, completed numerous USA and European headline stints, and supported the likes of Mission Of Burma, John, Future Of The Left, Mclusky*, Cocaine Piss, Viagra Boys and Murder Capital. Ffo Pissed Jeans, Wire, Gang Of Four, Pinko, Blacklisters, Drive Like Jehu Press Quotes: 'Heavy, crushing, and aggressive post-hardcore' _The Needle Drop 'A mix of Drive Like Jehu headbangers, nods to psychedelia and a throttling of hardcore for good measure' _The Skinny

Gatefold Sleeve / 180g Vinyl

Returning to the well of Roger Doyle once again, his “Babel” project spans a decade of composition work before its’ initial release in 1999 as a 5CD set. Over 100 pieces and almost 50 collaborators it marks a journey through a virtual tower of Babel with each piece corresponding to a room within an imagined giant tower city. For the 25th Anniversary vinyl edition Doyle has revisited it- remastering it and providing its first vinyl edit - 80 minutes spread across two 180gm LP’s - rounding out the package with extended liner notes and a download code to the full 6 hours.

We’ve previously explored Roger’s Operating Theatre days and the idea for this project came in the early nineteen eighties while Doyle was heavily involved with the experimental theatre group. Working with emerging technologies and across a variety of genres he realised that he would be unlikely to achieve an overarching compositional style. Instead deciding to make a virtue out of the fact that he composed so schizophrenically, he wished to create a musical alphabet out of short abstract sounds with these sounds being analogous to phonemes in speech. With Blade Runner and sci-fi embedded in the zeitgeist of the times he came to the idea of the Tower of Babel as both a futuristic skyscraper and also an embodiment of language.

In the spring of 1990 Babel was finally begun and kept growing until it reached over 6 hours of music and was released in 1999.A large-scale musical structure making use of many technologies and music languages, with each piece of music being thought of as a 'room' or place within an enormous tower city. Each track in the main section corresponds to a virtual sonic architecture. The pieces are divided into two kinds: aural representations of actual spaces like The Dressing Room, The Stairwell and Mr. Brady's Room alongside internalised dream spaces like the Room Of Rhetoric, the Spirit Levels and the Mansard childhood memory room. Listeners can navigate their way differently through this virtual building at each hearing. As a supplement to the Babel Tower KBBL - the fictitious radio station – broadcasts a number of shows. Each has its own style and atmosphere. Collaborating with DJs, actors, writers and singers, KBBL is made to sound like a real radio station with ads, traffic reports and phone-ins.

Examples of the connections within the project can be found via the architecture were the saxophonist in the off-stage dressing room is rehearsing for her solo in the concert-hall (heard in Pagoda Charm) or the room off the stairwell, where the sounds of piano lessons and apartment life can be heard and the apartment where a muffled KBBL can be overheard At a molecular level The Iron Language Alphabet is a sound alphabet containing tiny fragments of sound representing letters or characters of an alien alphabet. This sound alphabet can be heard scattered through other pieces like The Room of Rhetoric, Pagoda Charm and in KBBL in Johnny’s Body at 002. Other molecular scatterings can be found in Cantilena where two songs sung by Operating Theatre’s Elena Lopez in KBBL are exploded and re-arranged to form new entities.

Doyle’s Babel celebrates language - a slight variation on the Biblical morality tale - and musical expression in all its variety.

During the 1990s Shizuka self-released a series of four cassettes, barely heard by anyone outside of their inner circle. Culling together live recordings and home demos, these served as companions to the scant amount of proper Shizuka releases at the time (including the recently reissued Heavenly Persona). Concentric Circles is proud to present the third and most anomalous cassette from Shizuka, simply titled III, on vinyl for the first time in an edition of 500 copies. Formed by guitarist and singer Shizuka Miura, alongside husband Maki Miura, who’d previously played with both Les Rallizes Dénudés and Fushitsusha, the group known as Shizuka started in the early 90s with Jun Kosugi (also of Fushitsusha) on drums, and a revolving cast of bass players, including J.J. Junko, whose sole recorded appearance with the band is here on III. Devoid of any of their trademark noise and bombast, III feel distinct from their studio and live albums of the era, largely due to its fragility; haunted and spare, the songs revolve around Shizuka Miura’s gentle, unforced sighs, and Maki’s flickering, flinty guitar. The first side of the album features four songs – “For You,” “Lunatic Pearl,” “The Night When The Door Opens” and “To The Sky” – which will be well-known to Shizuka fans from previous recordings, but the drastically understated renditions here are particularly moving for their quietude and intimacy. The second half of III consists of a side-long duo session, just Shizuka and Maki Miura together at home, circling around the simplest two-chord motif for twenty minutes, Shizuka singing the most heavenly melody, strung through the sky of this lengthy improvisation. It’s an astonishingly beautiful performance, one that stills time through its becalmed repetition, pointing towards the endless forever. In this respect, it feels like an ultimate extension of Opal’s early recordings, Big Star’s 3rd or even Galaxie 500’s quietest moments. III lifts the darkness away, allowing for a softer, more gentle Shizuka to shine through, bringing with it a side to the band that most never knew existed. A lovely discovery if there ever was one.