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Repress!

When we first heard the tracks that are now part of this EP we were convinced an Italian producer from the 90’s had just dusted off a pack of DATS from his archives. Little we knew that Derral was a young, fresh and very talented gentleman from the outskirts of Barcelona. The 4 tracks on this OCD release are reminiscent of what it could be heard in Italy’s Riviera Adriatica legendary clubs in the early 90’s or on labels like UMM, MBG, or Heartbeat and the whole EP is a sneak peak into the promising future Derral has ahead of him.

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

The project by Jens-Uwe Beyer and Thomas Venker boasts a remarkable origin story. In 2017, Venker, co-founder and co-editor-in-chief of Cologne’s Kaput magazine, hosted a gathering at Beyer's house, bringing together journalists, creatives, and musicians. To mark the occasion, the pair decided to join forces for an impromptu ambient-electronic performance, presenting themselves as a two-man band. That evening, donned in special costumes designed by artist Sarah Szczesny and fuelled by a generous amount of Japanese whisky, Hasan Poppu was born. Over the course of the pandemic, the duo thought about creating a record based on the live recording of their premiere show. However, the synergy of their collaborative creative energies led them in entirely novel directions. Their self-titled, double-sided album traverses a wild and raucous terrain, moving swiftly from hybrid noise-techno to giddy party ecstasy, to strange and shadowy atmospheres.

Including remixes by YPY, Hibotep, Lena Willikens, Efdemin and Barnt, the 11 tracks span a dizzying array of experimental dance-facing styles. 'Die-Biden' kicks off as a high-vibrational vocal experiment seemingly voiced by a sentient German vocoder. 'Kodō' follows, featuring Venker's playful mantra set against a stomping beat. Willikens' reimagining of 'Teiko' transports the track to obscure realms inhabited by strange creatures emitting ungodly sounds. Meanwhile, Efdemin's take on 'Ekusutashī' pulsates with a kinetic buzz. Flipping over to the B-side, 'Sakura' is a euphoric wall of drone punctuated by eerie whispers and mystical singing. Then, the second installment of 'Kodō' takes a fresh trajectory with a touch of Barnt’s electronic groove stylings. Finally, Hibotep's 'Shojo no yo ni flp' serves as the finsher – an unrepentant trance belter that disintegrates into sampled fragments. Loosely translating to "broken pop music," Hasan Poppu is informed by Beyer and Venker's shared love for Japan. The band takes their cues from the country’s rich sonic cultures while also drawing on Venker's wordsmith background and Beyer's flair for melding melodic tech-house with song-based synth-pop. Originally out on Beachcoma Recordings, Hasan Poppu’s debut album gets a new lease of life on Osàre! Editions with a digital and limited edition cassette tape release. Sarah Szczesny reprises her role in shaping the visual identity of Hasan Poppu by creating beautiful, painterly artwork for the record. words by Hannah Pezzack

A double LP package from Bardo Pond, combining two of their super rare jam volumes on vinyl for the first time. A further edition in this celebrated series, ‘Volume 4’ and ‘Volume 5’ feature more freeform improvisational pieces from the hypnotic Philadelphia outfit.

Capturing the raw essence of the band, whose fearless exploration blurs the lines between structure, chaos, melody and noise. Bardo Pond's music traverses space rock, acid rock, post-rock, shoegaze, noise, Krautrock and psychedelia.

‘Volume 4’ hails from self-released sessions recorded in January 2002, its five tracks include the supremely tripped out heaviness of ‘K2’ and the balance-shifting ‘New Drunks (Revisited)’ with Isobel Sollenberger’s exquisite and, frankly, quite disturbing vocal. They’re shorter interrogations of sound by Bardo terms, almost succinct in their mesmerising riffage and off-kilter arrangements.

By contrast, ‘Volume 5’ consists of two lengthy mantras recorded between 2000 and 2004 and released as the tape spool spiralled out. ‘FUFO’ sounds like Cluster unravelling with Merzbow mixing, a post-industrial slew of hypnotic proportions, while ‘Monarch’ begins as a Current 93-like neo-folk mood piece before evolving into a wailing slice of drone-drenched Americana by way of a Velvets’ jam.

“We were pushing improvisations as far as we could. It was glorious having the studio. The more that our heads were spinning after a session, the better we knew that session would sound when we listened back. We were getting together two nights a week, usually three or four hours working on material and songs and the other half the time letting loose. Volumes 4 and 5 gather together some of these improvisations, and one early song that we felt like doing.” Adds Michael Gibbons of Bardo Pond.

Corsican artist Barbara Carlotti does wonderful, slightly melancholic chansons. Her noble timbre was an almost perfect match for the subtly arranged tones of her debut album "Les Lys Brises". With the follow-up work "L'Idéal", Carlotti has gained even more class. Both albums have been released on the English 4AD label, which proves that pop need not fear any language barriers. And a great singer like Barbara Carlotti certainly doesn't. Further albums on e.g. Atmospheriques, Elektra France and Les Maison Des Reves did follow, in 2025 Carlotti returns with new French Pop chansons now. This limited two track 12" showcases two titles from her current March 2025 album and is exclusive to RSD 2025

15th Anniversary Edition. Lime Green Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Limited edition test pressing, featuring Reggae legends...

Ein Album zum Schlafen und Wachen, zum Gehen und Fahren, zum Jagen und Fischen, zum Herumlungern vor einer Raststätte in der verwunschenen Tundra. In Fahrstühlen okay, zum Abendessen nicht so toll. Auf Caveman Wakes Up, dem neuen Album von Friendship und ihrem zweiten für Merge Records, wird die historisch weit gefasste Definition von Country-Musik noch weiter gefasst. Shambolische Gitarren werden durch Flötenpads ausgeglichen, trübe Poesie trifft auf eine Motown-Rhythmusgruppe, ein Song über Jerry Garcia und die First Lady Betty Ford wird mit einem Schlagzeugsolo ausgeblendet, als käme Talk Talk aus einem schmuddeligen Keller in Philadelphia und würde von James Tate gespielt. Der zerklüftete Bariton des Songwriters Dan Wriggins schneidet durch elf düstere, wirbelnde Country-Rock-Songs mit tiefgründiger lyrischer Substanz und Aufrichtigkeit. Wie ein Wecker, der am Rande eines Traums eingebaut ist, gehört "Caveman Wakes Up" gleichermaßen zum bewussten und zum unterbewussten Verstand, voller Hintergründe, durchdrungen von Referenzen und Experimenten, beiläufig und als düstere Warnung vorgetragen und vor allem der kreativen Seele der Musik gewidmet. Im Laufe der Jahre hat sich diese Hingabe ausgezahlt. Friendship ist zu einer Art umgekehrter Supergroup geworden, in der die Band selbst und jedes einzelne Mitglied im Zentrum einer zunehmend prominenten Szene junger Folk- und Country-Musiker und Songwriter steht. Der Schlagzeuger Michael Cormier O'Leary leitet das Instrumentalkollektiv Hour und betreibt zusammen mit dem Bassisten Jon Samuels das Label Dear Life Records, das Freunde und Kollegen beherbergt, die Friendship zu einem wichtigen Einfluss zählen, darunter MJ Lenderman, Florry, und Fust. (Samuels spielt auch die Leadgitarre bei MJ Lenderman and the Wind). Die Band 2nd Grade des Gitarristen Peter Gill ist ebenfalls aktiv und macht zahlreiche Aufnahmen. Wriggins begann mit dem Schreiben der Songs von "Caveman Wakes Up" auf einer verstimmten klassischen Gitarre von Lenderman und beendete es auf einem kaum gestimmten Klavier in einer Wohnung, die er mit G DeGroot von Sadurn teilte. Im Sommer 2023 hatte Wriggins gerade den Iowa Writers' Workshop verlassen, wo seine Liebe zur Poesie und sein Misstrauen gegenüber der akademischen Poesiewelt gleichzeitig wuchsen. Eine Beziehung ging in die Brüche, und Wriggins übernachtete mehrere Wochen in North Carolina im Haus von Lenderman und Karly Hartzman (von Wednesday ), wo er die ersten Demos von "Resident Evil", "All Over the World" und "Love Vape" aufnahm. Wriggins kehrte nach Philadelphia zurück, und die Band machte sich an die Arbeit, um neue Ideen zu entwickeln. Schließlich nahmen sie das Album in fünf Tagen mit Tontechniker Jeff Ziegler (Mary Lattimore, War On Drugs) auf, den Gesang mit Bradford Kreiger, dem Techniker von Love the Stranger. Orgel, Geige (Jason Calhoun) und Flöte (Adelyn Strei) wurden von Lucas Knapp in einer Kirche in West Philadelphia aufgenommen. Textlich bewegt sich "Caveman Wakes Up" auf vertrautem Friendship Terrain - das Heilige wird profaniert und das Profane geheiligt. "Caveman Wakes Up" zeigt Friendships besonderes Genie für visionäre Arrangements, die über Generationen hinweg dem Folk-Rock-Kanon von Neil Young, Joni Mitchell und Emmylou Harris ebenso verpflichtet sind wie Indie-Größen wie Yo La Tengo und den Merge-Labelkollegen Lambchop oder Zeitgenossen wie Lomelda und ML Buch. Mehrere der Songs verwenden Fade-Outs, die im Text von "Love Vape" scherzhaft erwähnt werden, und es gibt andere Elemente, die von Motown und 70er-Jahre-Balladen übernommen wurden: festgefahrene Schlagzeugmuster, Bassintervalle, gefühlvolle Streicherarrangements. Jede Referenz wird über das Genre hinausgeschoben, verwirbelt und wiederholt, zu etwas Neuem, das eindeutig zum Friendship-Sound gehört. Bei "Free Association", "Artex" und "Wildwood in January" ist der Groove so festgelegt, dass andere Klänge nahtlos kommen und gehen können: Mellotron-Flächen, Klavierwirbel und -stiche und klare Gitarrenmelodien, wimmelnde Texturen, die sich als Einheit tarnen. "Caveman Wakes Up" das bisher am weitesten fortgeschrittene Werk von Friendship, ein weiterer Beweis für die Hingabe und Sorgfalt der Band.

Quickly on the heels of their debut, Cuneiform Tabs return with Age, an LP that takes a massive leap forward in both melodic sensibilities and inventiveness. Bathed in late night psychedelia and the looping repetition of a drone sample, the group's experimental penchants remain, yet this time wrapped around tunes too sweet to be denied. In pulling back a little of the crackle and haze that made their first album so inviting, the Tabs have revealed more of their pop instincts. The overall effect is a perfect set of early Animal Collective demos or Syd Barrett attempting a Television Personalities cover at 3am.

The duo of Matt Bleyle and Sterling Mackinnon continue their system of trading 4-track tapes between the Bay Area and London, a furtive correspondence until sonic nuggets are fully formed. While these songs are very much the product of the Tascam and rudimentary software that is integral to the band, this album is truly the embrace of their songwriting talents – not unlike the recent breakthrough of labelmate Cindy Lee.

With the dream-like strum of "Ivy," slow shimmer of "Orbital Rings" and enchanting, madcap swirl of "Blended Medal," this is hypnagogic pop at its finest. Age is the record Bob Pollard hears in his head every time he steps down to the basement to pick up a guitar. This is the sound of riding in an elevator hearing McCartney singing "Blackbird" in the distance, only to have it draw closer and closer with each floor as you finally race down the hallway, putting your ear to each door searching for the source. This is Leonard Cohen smoking in the middle of the street outside a Suicide show. If all of this sounds phenomenal, it is.

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

The East Sussex three piece take a sidestep to their country punk debut. The revamped sound is gritty and raw, with basslines that rumble with unfiltered intensity and drums that drive each track with pounding, relentless energy. The dark twang elements have not disappeared but if you break the surface you will find a restless undercurrent of electronic rhythms, adding complexity and tension. Andrew J Davies’ baritone vocals help answer the question you never knew you needed to ask. What would Lee Hazlewood guesting on a Leftfield track sound like?

In 2012 Gruff Rhys embarked on a solo 'investigative concert tour' through the heart of America following the route taken by his distant relative John Evans. Every night he presented songs augmented by a power point presentation that detailed his relative's unbelievable history, along with any new piece of information that had come his way during the day. He was ultimately looking for Evans's lost unmarked grave. Along with many major cities, the tour took him to play shows at the Mandan and Omaha tribe reservations, a Missouri vineyard, villages that no longer exist and lay at the bottom the Mississippi river and a New Orleans bordello. What transpired from that ‘investigative concert tour’ was a 2014 album, American Interior, plus a book, film and exhaustive tour of the same name. With the aid of the dusted-off power point presentation, Gruff Rhys and a full band revisits the project in 2025 to perform the songs that formed both the album, and the soundtrack to the film.

Gruff says of the reissue -

“Revisiting American Interior 11 years later, feels very prescient. In following the unusual story of explorer John Evans (1770-1799) it becomes clear that faked narratives can have profound and unpredictable consequences in real life. His barely believable journey of verification in searching through continental scale wilderness for a fictitious Welsh speaking tribe believed to be living on the Great Plains of North America (an ancient folk tale perpetuated by the Elizabethan court following the subjugation of Wales, to make colonial claims on behalf of the British on the Americas) had a dramatic political effect on the fledgling USA and a devastating impact on himself and some of those who helped him on his way. I wrote an album of songs inspired by his life; American Interior, which also served as a soundtrack to a documentary film based on a book that detailed his journey, intertwined with my own investigative concert tour, all three of which I worked on simultaneously during a 2-year fever 2012-14. By far the most ambitious undertaking I’ve ever attempted. Living with one foot in the 18th century, wearing the same clothes (for cinematic continuity) for that entire period, left me pretty exhausted. (Imagine a cold extra from The Revenant movie). It took me a while to process the whole experience and its lessons and feel I owe it to my former self to take these songs back on the road for a couple of months and re-tell the story for a new decade. To celebrate it further Rough Trade will reissue a remastered version of the album with previously unreleased tracks.”

Ein großartiges Album des baskischen Musikpioniers Fermin Muguruza, ehemals Mitglied der großartigen Bands Negu Gorriak und Kortatu, das ursprünglich im Jahr 2001 erschien.Fermin Muguruza hat auf diesem Album einen Schritt in Richtung der Musik seines guten Freundes Manu Chao gemacht, und das zahlt sich aus mit einem Stil, der den Geschmack von Manus Musik teilt, aber dennoch eigenständig bleibt und Groove, Spannung und vor allem Intelligenz bietet. Reggae/Ragga/Dub und mehr, mit einem fast Ska-artigen Touch. Die Texte sind alle in der historischen baskischen Sprache Euskera, der ältesten in Europa, mit hilfreichen Übersetzungen in Französisch, Englisch und Spanisch. Die Feuilletonisten Tageszeitungen schwadronierten ausgesprochen gern vom "Soundtrack der Globalisierungsgegner", als Manu Chao mit seinem zweiten Solo-Album tourte. Eine bedauerliche Verkürzung der Tatsachen, wie nicht nur Manu Chao selbst immer wieder betonte, der den revolutionären Drive schon Mitte der 90er-Jahre für seine Band Mano Negra und sich erkannte, dass auch der dringlichste Aufruf zur Revolte seine Kraft verliert, wenn man ihn zu oft wiederholt. Eine ganz andere Schule vertritt da der Überzeugungs-Baske und tatsächliche Globalisierungsgegner Fermin Muguruza: Er wird nicht müde, gegen die imperiale Politik der weltweiten Konzerngiganten zu wettern, das Fernsehen als Instrument der Desinformation zu geißeln und an die gewalttätig-militaristischen Seiten der amerikanischen Außenpolitik zu erinnern. Dort wo Manu Chao seine Songs als Klangpostkarten von seinen musikalischen Weltumrundungen verschickt, schreibt Fermin Muguruza herbe Kampfprosa in politischen Pamphleten.

In 2012 Gruff Rhys embarked on a solo 'investigative concert tour' through the heart of America following the route taken by his distant relative John Evans. Every night he presented songs augmented by a power point presentation that detailed his relative's unbelievable history, along with any new piece of information that had come his way during the day. He was ultimately looking for Evans's lost unmarked grave. Along with many major cities, the tour took him to play shows at the Mandan and Omaha tribe reservations, a Missouri vineyard, villages that no longer exist and lay at the bottom the Mississippi river and a New Orleans bordello. What transpired from that ‘investigative concert tour’ was a 2014 album, American Interior, plus a book, film and exhaustive tour of the same name. With the aid of the dusted-off power point presentation, Gruff Rhys and a full band revisits the project in 2025 to perform the songs that formed both the album, and the soundtrack to the film.

Gruff says of the reissue -

“Revisiting American Interior 11 years later, feels very prescient. In following the unusual story of explorer John Evans (1770-1799) it becomes clear that faked narratives can have profound and unpredictable consequences in real life. His barely believable journey of verification in searching through continental scale wilderness for a fictitious Welsh speaking tribe believed to be living on the Great Plains of North America (an ancient folk tale perpetuated by the Elizabethan court following the subjugation of Wales, to make colonial claims on behalf of the British on the Americas) had a dramatic political effect on the fledgling USA and a devastating impact on himself and some of those who helped him on his way. I wrote an album of songs inspired by his life; American Interior, which also served as a soundtrack to a documentary film based on a book that detailed his journey, intertwined with my own investigative concert tour, all three of which I worked on simultaneously during a 2-year fever 2012-14. By far the most ambitious undertaking I’ve ever attempted. Living with one foot in the 18th century, wearing the same clothes (for cinematic continuity) for that entire period, left me pretty exhausted. (Imagine a cold extra from The Revenant movie). It took me a while to process the whole experience and its lessons and feel I owe it to my former self to take these songs back on the road for a couple of months and re-tell the story for a new decade. To celebrate it further Rough Trade will reissue a remastered version of the album with previously unreleased tracks.”

Upit Sarimanah's self-titled album is here, a captivating collection of songs that reimagined what Sundanese music really means. Originally released by Mesra Records, it finally got repressed by LaMunai Records after out of circulation for decades. Born Suryamah on April 16, 1928, in Sadang, Purwakarta, Upit Sarimanah was a famous Indonesian singer, particularly known for her traditional Sundanese songs in the 1950s. She was a prominent figure at RRI Jakarta from 1950 to 1984 and also led the Gamelan Siliwangi.

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

Italian jazz guitarist Andrea Rinciari's 'Soho Sessions', presents eight carefully
curated jazz standards and hidden gems with a stellar quartet featuring tenor
saxophonist Alex Garnett, bassist Lorenzo Morabito and drummer Mark
Taylor
"The album represents a great period of my life where I was playing in Soho every
week with this band and we were able to create a vast repertoire of tunes by various
different composers, from American songbook composers to the most obscure
bebop artists," explains Rinciari. "So, the tracks of this album are a good
representation of those tunes."
'Soho Sessions' features a mix of classic and lesser-known compositions, including a
Barry Harris arrangement of 'Bean And The Boys', a rare John Collins piece ('John's
Delight'), and a reharmonised 'I Can't Get Started' inspired by Teddy Wilson. Other
highlights include a fresh take on 'Tea For Two', Bud Powell's groove- driven 'John's
Abbey', and deep cuts by Freddie Redd and Elmo Hope/Sonny Rollins, 'Time to Smile'
and 'Carvin' the Rock' respectively. The album closes with Rinciari's signature
contrapuntal solo interpretation of 'Polka Dots And Moonbeams'.
Rinciari's dynamic quartet breathes new life into the music while exploring fresh
harmonic and melodic ideas. "This album is a reflection of the magic that happens
when musicians play together regularly. The tracks capture the spirit of our weekly
Soho sessions - improvised, refined, and always evolving," concludes Rinciari. "It's a
tribute to the jazz greats who have inspired me and the amazing musicians I'm lucky
to play with."