Cerca:basic

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

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

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Here we have the third LP by the excellent Guy Hamper Trio, featuring James Taylor on Hamond organ, and Guy Hamper on guitar (sometimes called Childish) and what a first-class LP this is! 'Instrument of Evil' in particular has a very eerie vibe. We asked the man himself what was the inspiration for it? G.H. The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP (with Thee Headcoats standing in as rhythm section). A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible- "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. The track also features contributions from Tom Morley (trumpet) and Anna Jordanous (sax) . Both Were a pleasure to work with. My job at the wheel is to basically make a playground and let Jamie, Anna and Tom loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "you're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Other titles are taken from early poetry chapbooks I made in my youth. 'The First Creature is Jealousy' and 'Dog Jaw Woman' being examples. The title 'Incense Rising From a Censer' comes from Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. They are all excellent tracks. I imagine film companies will be queuing up to use many of them.

We are proud to present “Shores Of Acheron”, an opus of the technical death and melodic black metal band Kharon, and a product from experienced musicians with roots in the Norwegian early 90’s extreme metal scene including artists from bands as Mork, Dauden, Infernal, Skjoge and Ragnarok. Kharon hails from the town Sarpsborg, Norway, and was basically founded already in 1989 by guitarist Rigor and bass-player Kull, but was originally formed under the name of Padox, and later re-named as Immortal Enemy and Potency. In 1992 the official and current band-name Kharon was established, when Thyme aka General Hymer joined the band. In 2001 they recorded their first 3 song-demo “The Fullmoon Curse” at Haunted House Studio, followed up two years later with their first official release: the EP “Raised By Hellish Demons”, which also marked the end of the first era of Kharon. Until the plague struck and 20 years later Kharon resurfaced under the banner of Hellstain Productions, recording brand-new material with vocalist Malignant. The band's debut album “Shores Of Acheron” is finally unveiled, and constitutes Kharon's journey through more than 30 years of Norwegian extreme metal music history. It contains remixed and remastered tracks of “The Fullmoon Curse” and “Raised By Hellish Demons”, finalized with the new material. Vinyl: gold & red edition.

Spectral Bounce returns with a groovy and moody set of tracks by Uruguayan tastemaker Molen. 'Future is Gone' explores dark yet glistening corners of minimal tech house, blending distorted basslines, resonant synth leads, and muffled vocals to create a cinematic aesthetic.

Spectral Bounce’s third release continues to solidify the label’s sonic identity while opening avenues for artists to present their unique interpretations and perspectives, and Molen delivers on that promise.

Art by Susanne Janssen
Words by Hervé Kacou

Renowned for its hi-res audio and video releases, the Hong Kong-based Evolution Music Group is celebrating its 20th Anniversary. “The Best of evosound Audiophile” features the best releases evosound has distributed through out the years from their wide range of diverse recording artists, including “Between the Sheets” by the smooth jazz super group Fourplay, “The Way We Were” by Tsuyoshi Yamamoto Trio, the highly acclaimed “Maputo” by Bob James and the late David Sanborn, and more. The album will be available on 180g Transparent Green Vinyl LP, Hybrid Stereo SACD and MQA-CD.

All My Heroes Are Cornballs is the third studio album by renowned Baltimore rapper JPEGMafia, released on September 13, 2019, follow-up to the album that really launched his career, Veteran (2018). JPEGMAFIA handled the production, mixing and mastering in his home studio. The album features guest appearances from Abdu Ali, Helena Deland and Buzzy Lee, as well as additional vocals by Refined Sugar, Vegyn and Young Emoji. All My Heroes are cornballs is an avant-garde, experimental hip hop, and punk rap album, and draws influences from experimental pop, glitch hop, ambient, noise and industrial music. It has a smoother and more melodic sound than its predecessor, employing uncommon song structures, extensive sampling, and a variety of vocal techniques such as rapping, screaming and singing. Thematically, the album is personal, introspective, and presented in a stream of consciousness form, touching on the Internet culture, prejudice, political issues and JPEGMafia's newfound fame.

Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".

2024 Reissue

Touching Bass continue to prise open a distinct, exciting lane for themselves as a label home for forward-thinking, soulful music with the incredible debut project from London's Demae (aka Bubblerap and ? of Hawk House) entitled "Life Works Out...Usually" - "Life Works Out...Usually" is a soothing antidote to these turbulent times; a soulful coming-of-age story celebrating black joy, self-empowerment and life learnings centred around an integral two year period of growth and featuring appearances from Fatima (Eglo Records), Joe Armon-Jones, Ego Ella May and Nala Sinephro - all part of our close-knit, London-based musical community. Sonically, it draws a unique line between the grit of inner-city London soul, interstellar Flying Lotus electronic rushes and new-age Dilla-isms mixed with flecks of London's exciting jazz-influenced sounds. Production comes from rising producers like Eun (Ego Ella May, Denzel Himself), Jake Milliner (Slum Village, Yazmin Lacey, Lord Apex), 104.ROG (Liv.e, THEESatisfaction) and Wu-Lu (Ego Ella May). For those not yet accustomed, Demae's work stretches beyond her solo project. She has been a fundamental part of Fatima's touring band as a backing vocalist since the release of her much loved second album And Yet It's All Love. Prior to that, she was one-third of hip-hop adventurists, Hawk House, whose introspective, eclectic style was reshuffling the rule book for UK-based rap, quickly making them one of the UK's most exciting emerging sounds and earning fans from Mac Miller and Ghostpoet to Wretch 32 and Jill Scott.

After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

Red vinyl, limited to 300 copies. After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

As the Rosemary Hill EP begins, Sixpence None the Richer’s first release since 2012, Leigh Nash sings, “In the eye of the storm, I’m gonna thread the needle.” Now three decades after Nash met her musical partner Matt Slocum in New Braunfels, Texas, Sixpence is threading the needle in the sweet spot they have often longed for throughout a stormy yet momentous career.

Sixpence None the Richer is a rock band. While primarily known for top-40 pop radio hits, Sixpence’s live show is full of guitar riffs, aggressive bass, and pounding drums. As their discography of six full-length albums and their new third EP Rosemary Hill reveals, Sixpence’s sound begins with Nash singing over Slocum’s guitar playing.

After having a global number one hit, Sixpence no longer aspires for fame or fortune, and is not a nostalgia act. “We’re not interested in just cashing in on the past”, says Nash. Slocum adds, “Basically we want to keep making better records and writing better songs.”

As the Rosemary Hill EP begins, Sixpence None the Richer’s first release since 2012, Leigh Nash sings, “In the eye of the storm, I’m gonna thread the needle.” Now three decades after Nash met her musical partner Matt Slocum in New Braunfels, Texas, Sixpence is threading the needle in the sweet spot they have often longed for throughout a stormy yet momentous career.

Sixpence None the Richer is a rock band. While primarily known for top-40 pop radio hits, Sixpence’s live show is full of guitar riffs, aggressive bass, and pounding drums. As their discography of six full-length albums and their new third EP Rosemary Hill reveals, Sixpence’s sound begins with Nash singing over Slocum’s guitar playing.

After having a global number one hit, Sixpence no longer aspires for fame or fortune, and is not a nostalgia act. “We’re not interested in just cashing in on the past”, says Nash. Slocum adds, “Basically we want to keep making better records and writing better songs.”

2024 coloured (violet) vinyl repress for this year's Sonic Cathedral's 20th anniversary! Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshin-era DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar

Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies

At 15 years of age Danny aka DJH worked at Dance Force Records, his Dad’s record shop, at the weekends in Kings Lynn. He also built himself a basic studio in the back of the shop where he linked up with a local customer and started to make music. These tracks would form an EP called The Bass Project which went on to be one of the most sought after hardcore records, being offered for up to £750 a copy. Not bad for a 15 year old kid who made his one and only release back in 1993.

This is the 3rd and final release for the DJH series whilst he takes a sabbatical from music, leaving us with 4 heavy hardcore tracks, with that authentic early 90’s feel with ‘Bad Boy Sound’ being a firm favourite of Jay Cunning over recent months on his Kool FM show. Sourcing original samples and memories from his time embedded in the scene as a teenager, this whole EP pays respects to the analogue dance scene that paved the way for all forms of UK bass music that followed.

LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.