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Viktor Ori's debut solo album LEPSIE NEBOLO NIKDY DOBRE NEBUDE is an album all over the place. in the most complimentary of senses.

Coming from one of the deepest and most uncompromising projects on the Slovak contemporary music scene, it is an album of profound weltschmerzen.

The music and themes are acute, harrowing, and deeply radical. LEPSIE NEBOLO NIKDY DOBRE NEBUDE paints a bleak picture. exactly as the time we're living in.

It is a statement at times subjective and personal, at other times universal, general, generational. at all times deeply honest and political.

It is not hopeful but at least, it feels sincere.

LEPSIE NEBOLO NIKDY DOBRE NEBUDE is Viktor Ori's debut solo album. thematically and compositionally, it marks a departure from Viktor's band Shallov, but still features his closest collaborators - brother Dusan Ori on bass and Antonin Kropacek on drums. additionally, the album is heavy on collaborations with various, yet likeminded artists.

The songs are simpler and shorter and perhaps more straigh-forward, but as intense and heavy as ever. layered, surprising, full of odd time signatures, sublime harmonies and sudden sonic changes. you can still feel the grandeur, monumentality, and mayhem of Shallov. many moments are cathedral, cathartic and the music leaves you in awe.

Viktor has somehow // unfathomably managed to compress Shallov's eposes into almost-radio-friendly almost-popsongs (had the "common" radio-listener been slightly more openminded and keen on social awareness) and for the first time, his songs feature Slovak lyrics. these are not only hopeless and unsettling, but also astute, sardonic,almostcynical. yet, it is perhaps thisdetachedand more realistic way of experiencing the world that allows for some relief and reconciliation. and at the same time, encourages action.

Félicité Thösz is the eleventh studio album by French band Magma, and was originally released on the 3th of July 2012.

The album was Magma’s first studio release in 27 years to contain new material written after the band’s reformation in 1996.

“Félicité Thösz” was written during 2001-02 by Christian Vander, but only played live by the band from 2009. “Les hommes sont venus”

was written and performed in 1992 by Les Voix De Magma, and again in 1995 for the band’s 25th anniversary, then called “Tous Ensemble”.

Félicité Thösz is sung almost entirely in Magma’s constructed language Kobaïan, apart from a passage in

French named “Seule une fleur est venue au fond des bois en mon cœur (âme)”.

Félicité Thösz is now available as a remastered LP in a 3mm sleeve and contains an insert.

The record is cut at 45rpm for the ultimate audio experience.

Violent Delights is an anthology of stories that meanders through themes of grief, rage, desire and identity. There are stories of the toxicity of addiction, and growing up around religion; stories of overwhelming obsession, isolating abandonment, and empowering anthems of identity, and stark laments about sexual violence. They are each lived experiences, laid bare, reclaimed with every syllable whether dripping in spite or swagger, anger or anxiety. "Loss is a central theme of the album," explains vocalist Kate Price. "For us, we have our own specific version of what that is in these songs, but for anyone listening, it could be the loss of something else - a loved one, a relationship. But we're never mourning loss. We're celebrating it. Loss is almost universally looked at as a negative, but we're finding the positives in those moments. We had to go through hell to get to heaven. Violent Delights is about looking back with gratitude, and even fondness, the closing of one chapter and beginning of another." Jools - comprised of Kate Price, Mitch Gordon, Chris Johnston and Callum Connachie, Joe Dodd, and Chelsea Wrones - has been a name on the lips of clued-up fans and tastemakers since its collective of musicians found each other in the earliest days of 2023. Quickly gaining a reputation for their cathartic, unpredictable and specular live performances, the band have been consistently championed by BBC Radio One, including two `Tune of the Week' placements on Daniel P Carter's esteemed Rock Show. Violent Delights was recorded across two week-long stints at Southampton's The Ranch studio in August and December of 2024, with Lewis Johns helming production and mixing duties. When pressed, Jools may identify as a punk band - in its truest sense that punk is a mentality, rather than a sound - but Violent Delights equally lends from the worlds of metal, rap, post-hardcore and hip-hop as much as it does the post-punk of its surface layer. Gordon and Price are as likely to point to Turnstile, Mannequin Pussy and Amyl & The Sniffers as influences on the record as they are to Little Simz and The Streets' Mike Skinner. "We don't necessarily look at music in sounds or structures," nods Gordon. "Instead we look for attitudes."

I must admit to being a sucker for two-guitar bands. Ok, Hendrix pulled off a trio. But I don’t care what anybody says: The Yardbirds were a better band than anything that came out of them (Ok, maybe not Zep. But Cream?).

Maybe the reason I go back so far in my references is that, within the two-guitar band format, original new roles are difficult and rare. There’s the classic (socially problematic and often boring) “rhythm/lead” solution. There’s the JB’s or Nile Rodgers’ chicken pickin’ vs comping solution (which avoids chordal clashes by relegating one of the guitars to the role of single-note percussion instrument). There’s Ornette’s Prime Time division between Bern Nix’s rolled-off “jazz” tone and Charles Ellerbee’s trebly wah. Almost everything else is a variation on one of these.


In Ches Smith’s record Clone Row, each piece is built around a different concept for guitar interaction. The delightful and gifted weirdness of Mary Halvorson’s playing is counterpointed, contrasted, unisoned with, played off, juxtaposed (that is to say, enters every relationship possible) with Liberty Ellman’s equally amazing sound palette, chops, and imagination. This definitely ain’t your father’s guitar band.
The overall vibe of the record—despite Halvorson’s occasional noise outbursts or Ellman’s distorted guitar lines (see Mixed Fridge) is neither punk/funk, nor Zorn-ish metal—and certainly not the looser parameters of Ornette’s improvised harmolodics. Smith’s vibraphone playing, Halvorson’s guitar tone (whammy pedal squiggles aside), the brilliant electronics, and (most of all) the compositions themselves are somehow strangely West Coast cool. It’s as if I’m hearing a Jim Hall concert in which one of us did a lot of mushrooms, or (dare I write this?) some post-punk post-Dave Brubeck post-trip-hop experiment with classical form.

This recording is, most of all, about Ches as composer. He’s picked up a lot on his long, strange trip of the last few decades. The Haitian funkiness of his work with We All Break is audible—but deeply buried, encoded in the polyrhythms (check out Heart Breakthrough). His long-running side musician collaborations with John Zorn and Tim Berne are also evident but sublimated here into something new.

Not that improvising is absent. Check out the compelling collective statements in Sustained Nightmare and Ready Beat. Check out the brilliant interplay and bass soloing on Abrade With Me (a Weather Report for the age of extreme weather?) Nick Dunston is my favorite bassist of the new generation, and he plays brilliantly throughout. And Ches’ drumming here has all the groove, energy, and incredible range that have kept him in demand from Saturday night Vodou services to jazz and new music recording sessions (…the thinking man’s rock barbarian?).
The sus chords in Abrade With Me do build, for a moment, towards a fusion type of climax...but just at the moment I was gritting my teeth in anticipated defense against some horrible synth solo, the drums drop out, and we’re transported to the ambient lounge at the rave, and we suddenly understand we’re in the hands of a composer with the power to transport us just about anywhere.
So, this is a composer’s record most of all; a composer’s record performed by musicians who happen to be great improvisers. Ches Smith builds here on his reputation as a gifted new voice with an important vision, while showcasing some of the most creative musicians of our time.

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Repress!

On New Year's morning, Cousin took a weary-eyed walk... ‘HomeSoon’ he thought, whilst cutting to the path by the Angophora Forest. As he made it down to the overgrown sidewalk, he caught a sudden sense of warmth from the surrounding flora. On closer focus, it was as if the plants and flowers had come alive...pulsing forward down the path as they bounced, smiled, and sneered all around him. Against logic, he was struck by an almost Garsonian desire to communicate with them.

This feeling lingered, persisting through several studio sessions. The music written over this period makes up this EP. How directly this experience informed the music is hard to say. What effect it had on the surrounding plant life is even harder to tell… we do hope, however, through listening to it, you’re a little more tuned in to them.

"62 years ago, the famous film directed by Norman Taurog, “Blue Hawaii,” was released. The film’s soundtrack includes memorable songs like “Can’t Help Falling in Love” and “Blue Hawaii,” which helped popularize Hawaiian music worldwide. This catchy and sunny soundtrack perfectly captures the tropical atmosphere of the film and remains a timeless favorite among Elvis fans and 60s music enthusiasts. To celebrate this cinematic and musical landmark, here is an exclusive limited-edition Shaped Picture-Disc vinyl!"

NAD aka Dan Tyler of the legendary Idjut Boys arrives at Duca with a bouncing 4 track of obscurities, all wrapped in a sheen of echo and reverb.

The Idjuts’ have released on a myriad of labels, including Noid, U Star and Smalltown Supersound, being one of the originators of the 90s edits revival, DJing the globe including to almost cult-status in Japan, as well as remixing the likes of DJ Harvey, Brian Ferry and Dimitri From Paris

A master of editing, Dan’s move to Oslo has seen him step out solo to remix the likes of Todd Terje (Olson), Mudd (Claremont 56) and King Sporty (Emotional Rescue) and not forgetting running the Record Mission edits label with old friend Nick The Record.

Das Wordy hits with a bump, the gastarbeiter NAD rockin’ like Tom Tom Club on Stasi steroids.

La nouvelle musique of Histoire De Cul sweeps the catwalk, sweeping past Le Palace queue, hitting Cuevas’ dancefloor to “effet sensuel”.

Rocking out is NAD’s nature, Kropps Smack a body with a mind of its own, come down, come all night…boody language.

Release The Pigeon is a smooth ride home, the music nomad, the gypsy man, one of these days he’ll settle down.

Yer yer yer ahhh yer.

This project started in 2022 in the basement of Graham Jonson's (Quickly, Quickly)'s home in Portland, Oregon. They made `Scared (To Admit It)' in a day, and let it sit for a long time. Ava's song `From Me' blew up online, which led to new creative friendships. Ava started to work with Acrophase Records, it all felt very new and unreal. What followed was a writing frenzy, going through old voice memos looking for promising song ideas, and working with four different producers that each allowed Ava to tell a different story with their incredible help and talents. Ava spent a month in Nashville recording the majority of the project with Josef Kuhn. She felt free to experiment, ask questions, change her mind, and they ate so many epic sandwiches on lunch breaks. "Dragonfly" feels like a patchwork quilt of post-college. Surviving sexual harassment and assault, and allowing herself to speak about it freely after spending almost a decade being ashamed. It's kinda all over the place, but so is she. Ava feels no longer afraid to say everything on her mind since working on this project.

Dark Blue Vinyl. Nina Nastasia's rare gift of a voice is an intimate, winged presence that is able to either freeze or melt your heart; that can powerfully soar and twist, or brush ultra-gently against you, suddenly summoning goose bumps. Released in 2003 by Touch and Go Records (and out of print for almost two decades), Run to Ruin is the third album by Nina Nastasia. It was recorded by Steve Albini at Black Box studio in Noyant-la-Gravoyère, France and at Looking Glass studio in New York. Combined with the prodigious talents of her backing band and the sparse but lush arrangements of the instruments, the songs on Run to Ruin evoke haunting scenes of heartache, passion and a slightly seedy world. Nina's voice is at once delicate and intense, neither sweet nor harsh, i conveys an array of emotion moving between joy and sadness with just a moment's pause.

Picture Disc, limited to 500 copies. THE ANTICHRIST IMPERIUM debut album 10th anniversary limited edition reissue! Brace yourselves for an unrelenting sonic assault as Antichrist Imperium featuring members of AKERCOCKE, THE BERZERKER, WEREWOLVES & VOICES unleashes their explosive debut album, a thunderous entry into the world of extreme metal. From the first blistering note to the last, this album crushes with an intensity and fervor that's almost apocalyptic. Known for their ferocious blend of thrash, black, and death metal, the band wastes no time in establishing their dominance, offering a sonic journey that is both raw and refined. With lightning-fast riffs, pounding drums, and ferocious vocals that sound like they've been dragged straight from the abyss, Antichrist Imperium delivers a relentless barrage of aggression and passion. The album's production is crisp yet full of grime, creating the perfect balance between clarity and chaos, allowing every intricacy of the band's ferocity to shine through. Lyrically, the album explores themes of apocalyptic destruction, existential rage, and the obliteration of morality told through the lens of a dystopian, anti-religious perspective. These themes resonate with a sense of inevitable doom, driving each track forward like a relentless storm that refuses to let up. The standout tracks are full of both technical mastery and ferocious energy. With riffs that will have you headbanging and beats that will rattle your very core, Antichrist Imperium sets a new benchmark for thrash metal in the modern age. It's a fusion of old-school thrash influences and cutting-edge extreme metal, creating an album that feels both nostalgic and forward-thinking. Antichrist Imperium's debut is a thrilling, no-holds-barred rollercoaster of destruction that cements their place in the pantheon of modern metal. A must-listen for fans of thrash, black, and death metal, it is an uncompromising and absolutely fiery introduction to a band that's ready to reign terror across the metal scene.

Happy Birthday, Ratboy combines the old and new — containing 10 brand new recordings of their earliest material + a newly-written bonus track, this record celebrates a decade of Ratboys: a 10-year songwriting partnership, an evolving live show, a D.I.Y. project, a web of friendships, and every thing in between. Almost as soon as Julia Steiner and Dave Sagan met during their college orientation, they started playing music together. What came out of their dorm rooms was the 5-song RATBOY EP, uploaded to Bandcamp on April 1, 2011 to share with friends and family. Now, to mark a decade since (to the day), Ratboys have hit the studio to re-inhabit these songs and bring them back to life. New recordings of the 5 original RATBOY EP songs make up the A-side of Happy Birthday, Ratboy, with 5 new versions of rare college-era tracks and the newly-written standout, “Go Outside” on the B-side. Featuring mainstays from their live show over the years, including “The Stanza” & “Space Blows,” pressed to vinyl for the first time and given the full band treatment, Happy Birthday, Ratboy introduces new Ratboys fans to the band’s beginnings while also raising a toast to those who’ve been there from the start.

Nina Nastasia's rare gift of a voice is an intimate, winged presence that is able to either freeze or melt your heart; that can powerfully soar and twist, or brush ultra-gently against you, suddenly summoning goose bumps.
Released in 2003 by Touch and Go Records (and out of print for almost two decades), Run to Ruin is the third album by Nina Nastasia. It was recorded by Steve Albini at Black Box studio in Noyant-la-Gravoyère, France and at Looking Glass studio in New York. Combined with the prodigious talents of her backing band and the sparse but lush arrangements of the instruments, the songs on Run to Ruin evoke haunting scenes of heartache, passion and a slightly seedy world. Nina's voice is at once delicate and intense, neither sweet nor harsh, it conveys an array of emotion moving between joy and sadness with just a moment's pause.

The first in a proposed series of transmissions, Surface Detail's mystifying debut introduces an incorporeal body that exists only through sound and sensation, prompting listeners to discern a spiritual realm beyond the physical. Its surging electro-acoustic compositions push past the material world to plunge into deeper sonic dimensions, slowly revealing a philosophy borne of near-death and out-of-body experiences that challenges perception itself.

Overhauling vintage experimental techniques with their bespoke modern methodologies and processes, Surface Detail rearrange the musical timeline, merging vastly different concepts to hint at questions rather than provide solid answers. Their uniquely immersive soundscapes use texture, rhythm and tonality to help brush away the superficial and contemplate the unknown, approaching its delicate, controversial subject matter with sensitivity and sensuality. Not just an auditory experience, 'Surface Detail' tests the potential of sound itself, eliciting visceral physical reactions with its uncanny subtleties.

Those principles are divulged immediately on opening track 'Marée Noire', as breathy saxophone notes loops and swirl over cosmic oscillations and microtonally tuned drones. It's music that cracks open a passage that snakes through various genres, suggesting silhouettes rather than affirming banal musical preconceptions. Skeletal rhythms appear in the ether for only a moment, disappearing into the sonic landscape, and Surface Detail's bespoke instrumentation materializes just to bring out the cellular intricacy of the music, concentrating the gaze on microscopic textures and irregularities that discompose the senses. As the album drifts forward, it bends material reality even further: on 'Southern Breach', warm, lower-register organ tones intermingle with sinewy guitar twangs, evaporating into warped, hypnotic oscillations and eerie echoes; and by 'Superbook of the Dead', the conspicuous details have almost disappeared completely, replaced by subterranean clangs, industrial ambience and other-worldly electrical interference.

It's in this way that Surface Detail softly assert their convictions, insinuating a narrative that subliminally ushers listeners down an hypnagogic River Styx by removing all traces of the familiar. On closing track 'Broken Silicates', distant lullabies, dissociated stutters and ghostly woodwind sounds blot fractal patterns on the wide open space, reincarnating the album in a liminal zone that's not constrained by somatic logic. Whisper quiet and utterly beguiling, it transcends material existence, dissolving barriers between surface and depth.

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!

With seven top 40 singles, six top 40 albums and over a million record sales worldwide, Turin Brakes return with a brand-new record "Spacehopper", out via Cooking Vinyl. Produced by the band alongside Grammy-winning Guy Massey (with credits such as Kylie Minogue, Ed Sheeran and Spiritualized), "Spacehopper" is their first new music in over three years and marks the 10th studio album from Turin Brakes, a big milestone for a band who released their debut album over 24 years ago, the Mercury Prize nominated "The Optimist LP" which catapulted them into the mainstream. They are a band that understands the art of longevity and "Spacehopper" promises to be a worthy edition to a rich and sonically diverse catalogue of albums, finding the South London 4-piece in a reflective mood.

Margaux Gazur presents her debut album „Blurred Memories“ on Smallville- almost 70 minutes into a very special search for her musical origins.
Margaux Gazur is a French-Vietnamese composer, musician, producer and DJ, now based in Berlin. Having lived in Vietnam for 5 years from 2012, she found herself searching for the sounds of her roots, played-back in form of field-recordings combined with traditional instruments and the sounds of her blurred childhood memories.
The tracks of her debut-album unfold the magic in a very subtle way, filled with vivid rhythms of Hanoian street sounds, evolving layers of mesmerizing tones and organic textures to create an intimate and unique atmosphere. Each track offers yet another something to discover while listening- mysterious voices and fragile elements next to beautiful melodies and trippy glitches, organic grooves and hypnotic wonkiness- and a lot of magic moments implemented. Woozy pads meandering and moving along – there is so many things to discover within „Blurred Memories“.
Margaux released her first track on vinyl on Smallville 55 back in 2019 and she has played endless live-sets and DJ performances at amazing spaces like Panorama Bar/Berghain, Heideglühen, Club der Visionäre, Berlin, La Station, Paris, Giegling events, Smallville and Kann Parties as well as beautiful festivals such as Waking Life in Portugal, Fusion, Berlin Atonal, Meakusma Festival or Equation in Vietnam amongst others.
Smallville is extremely happy to present „Blurred Memories“, music to stay with you.

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more