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Repress!

Landing next on Toolroom is our most recent instalment in our 4-track vinyl sampler with some of our biggest recent releases including Kurd Maverick vs Adeva, Friend Within, Retna, Toolroom head-honcho, Mark Knight and label favourite, GW Harrison.

First up is Kurd Maverick vs Adeva who makes a huge return with the infectious 'In & Out My Life'. A straight up cut of 90's house & rolling tech house influences mixed into one, sampling cuts from the feel-good classic 'In & Out My Life' by Adeva, turning the original on its head.

Next on the sampler is fresh heat incoming from DJ and producer Friend Within, the artist behind previous toolroom hits 'Lonely', 'The Truth' and 'Waiting'. Having been a secret weapon of choice for the likes of Paul Woolford, John Summit, Dombresky and Danny Howard to name a few, 'Monkeys Bars' has been bubbling for months and is now set to blow!

London based producer Retna returns to the label with Mark Knight as the pair deliver a debut collab that's been carving up dance floors worldwide in 2022. 'What I Need' takes things to the next level, focusing on Retna’s raw, arpeggiated synth line that cuts through the records tough, chunky bassline and groove. Throw in Mark Knight's magic touch for creating top-quality, club focused productions that'll tear through any system it's played through, and you'll get their latest outing – 'What I Need'.

Abode resident DJ and frontrunner GW Harrison completes the package with latest outing, ‘Feels Good’, enlisting the powerful voice of Laura Davie, the vocalist behind some of Toolroom’s most popular releases from Mark Knight’s ‘If It’s Love’ to Illyus and Barrientos’ ‘Disco Hearts’. Feels good’ offers a summertime piano house belter featuring a staunch bassline and pumping groove that pushes that euphoric, hands in the air feeling to the max.

Four killer cuts that you will not want to miss, this is ‘Toolroom Sampler Vol. 3’!


Radio:

Radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong
Alongside plays on Kiss Fm, Toolroom Radio, Sirius Xm, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse Fm, Select Radio, Tomorrowland Radio


DJ Support:

Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Dombresky, Gorgon City, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa

Warehouse Find!

The masterful, supergroup of Phreek lead by Patrick Adams, sees three of its sought-after masterpieces, two of which have never been on a 12 inch, officially reissued and remastered on a label that’s fast becoming a go-to for in demand reissues, South Street Disco.

A pure classic, ‘Weekend’, was born back in ‘78 written by Leroy Burgess and James Calloway and produced by Patrick Adams and Burgess, they lead an expertly curated troupe for this massive Paradise Garage staple and Larry Levan favourite. That late ‘70s sound where synthesisers rose to prominence, sees a combination of cosmic keys, freakish strings and power-play funk guitars, tied together with tight percussion, bold basslines and Christie Shire’s lead vocals, that whole heartedly captures the spirit of disco. Famously remade into a house anthem 10 years later by Todd Terry, ‘Weekend’ is a timeless slice of celestial magic.

In a similar fashion ‘Everybody Loves A Good Thing’ does another blast around the cosmos - a Universal Robot Band feel emanating from the buzzing synths and awe-inspiring vocal prowess of Leroy Burgess, coupled with ‘Shining’ star, Venus Dodson. As uplifting as it gets, complete with a killer piano breakdown to draw out every ounce of anticipation.

Flip it over and a whole side is devoted to the greatness of ‘I'm a Big Freak R*U*1*2’. A mesmerising, fast-paced, disco workout with sensuous groans, sleazed up, supernatural keys and a heavy bass that just goes and goes and goes! Favoured by the biggest and best out there, from Ron Hardy to Theo Parrish, it’s got the power and energy to light up even the most demanding of dancefloors.

The first in a series of archival releases from Cranes, the band’s John Peel Sessions are collected for the first time.

John Peel Sessions (1989-1990) will be available on black vinyl with a worldwide pressing of 500 copies.

Artwork by feted 4AD/v23 sleeve designer Chris Bigg (Cocteau Twins, Pixies etc)

Formed in mid-1980’s Portsmouth by the brother & sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) & Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released & now highly sought-after cassette of demos.

Their debut album Self-Non-Self followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 & 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) & Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, Forever, which enjoys it’s 30th anniversary this year.

Cranes are releasing John Peel Sessions (1989-1990) on their own Dadaphonic label. The first in a series of archival releases, this compilation features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg (Pixies, Cocteau Twins, The Breeders

This new edition of Soul Jazz Records" classic Delta Swamp Rock features a killer all-star line-up of seminal artists who all first blended rock, soul and country together to create a stunning new sound of southern American music in the 1970s. Featuring the Allman Brothers, Dan Penn, Leon Russell, Tony Joe White, Johnny Cash, Bobbie Gentry, Big Star, Link Wray, Area Code 615 and loads more!

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

witching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was written through three years of cold winters, sweaty summers and a period where the world stood still during the pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view, abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes felt like an impossible obstacle. Ultimately, though, this would provide inexpected inspiration and influence the sound and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages, challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new place.

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

AAA Audiophile 200g 45rpm Triple Disc LP!
Sourced from First Generation Analogue Recordings without Any Digital Corruption!
2xHD Mastering on Nagra Equipment by René Laflamme!

Sound Restoration by George Klabin & Fran Gala!

Cut All Analogue at Bernie Grundman Mastering on Tube Cutting Equipment!

There have been many guitar gods, but there's never been an electric bassist as deified as Jaco Pastorius. – Michael J. Agovino

This live album by Jaco Pastorius and the Word-of-Mouth Big Band, featuring harmonica virtuoso Toots Thielemans as special guest, was recorded in analog 24 tracks by the Record Plant mobile truck at Avery Fisher Hall in NYC on June 27, 1982, as part of George Wein's Kool Jazz Festival. This Deluxe 45rpm 200g edition is the first one to be mastered from the original 2 track master tapes that were found some 30 years later (the previous digital download versions were released from a digital remix of the 24 tracks). What we have here is the direct copy of the original pure analogue 2 track mix.

The brightest star in the electric bass firmament, Jaco Pastorius burst onto the national scene in 1976 with his audacious self-titled album on Columbia Records, featuring a line-up of top jazz musicians. With his extraordinary fretless electric bass playing as the centerpiece, Jaco Pastorius created an immediate sensation with the public and the media. His signature approach employed Latin-influenced funk, lyrical solos on fretless bass, bass chords, and innovative use of harmonics. In Jaco's work with Weather Report and beyond, the self-described "greatest bass player in the world" (an assessment shared with virtually the entire music world) established a new identity and role for his instrument and became the torch-bearer for a new way of playing both technically and conceptually. But behind it all was an ever present R&B and Latin-influenced groove and a screaming rock-'n'-roll attitude that he refined and incorporated into sophisticated jazz harmonic structures.

In addition to his extraordinary virtuosity, Jaco was also developing into an accomplished and sophisticated composer and arranger and those talents are gloriously on display on this album. The 3-time Grammy Award nominee was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bassist). His legacy as a bass innovator continues to this day, more than 30 years after his untimely death in 1987.

Er war einer der ersten Tenorsaxophonisten, der modernen Jazz nach dem Big-Band-Stil spielte, was ihn zu einer Quelle der Inspiration für viele machte. Im Juli 1979 spielte er beim North Sea Jazz Festival mit seinem Trio, bestehend aus dem Pianisten Kirk Lightsey, dem Bassisten Rufus Reid und dem Schlagzeuger Eddie Gladden. Auf “North Sea Jazz Concert Series Dexter Godon 1979” sind ihre Performances von 'It's You Or No One' und 'More Than You Know' zu hören. Außerdem enthält das Album eine Aufnahme des „Tenorkampfes“, der am Abend während "Flying Home" mit Hank Jones am Klavier, Gene Ramsey am Bass und Gus Johnson am Schlagzeug, sowie Dexter Budd Johnson, Illinois Jacquet, Arnett Cobb und Buddy Tate am Saxophon, stattfand. Nachdem mit Ella Fitzgerald die North Sea Jazz Concert Series erfolgreich startete, folgt nun die zweite Veröffentlichung der Vinyl- Serie, die Ende letzten Jahres von Bertus Distribution in Zusammenarbeit mit NTR, AVROTROS und MOJO präsentiert wurde. Es ist eine neue Vinyl-Serie, bestehend aus Live-Aufnahmen von legendären Künstlern aus den Jahrzehnten des renommierten North Sea Jazz Festivals. Die North Sea Jazz Concert Series umfasst offiziell lizenzierte Veröffentlichungen, die standardmäßig auf weißem 180-Gramm-Vinyl in einer Hülle aus hochwertigem Papier zusammen mit einem Liner Notes kommen. Die Veröffentlichungen erscheinen mit schwarz-weißem Artwork von Hans Pol, der sich am typischen Stil des Festivals orientiert. Die Gestaltung ist von den Cover-Klassikern älterer Jazz-Veröffentlichungen des Labels Blue Note inspiriert. Die Liner Notes wurden von dem Journalisten und Jazz-Experten Jeroen de Valk verfasst. Das besondere Merkmal der Serie: Alle Aufnahmen sind erstmalig auf Vinyl verfügbar.

Czechoslovakian big band legend Gustav Brom has graced dancefloors with his music for a long time, you've probably heard his work and not realised it. PANORAMA returns with "Calling Up The Rain", from his 1976 album "Gustav Brom plays for you Pop Jazz and Swing" Gustav infused big band jazz and a latin groove into this dancefloor weapon, Organ solos, Trumpet solos and a screeching guitar solo. What's not to love?

Presented as a reissue by the newly launched London-based record label, PANORAMA Records, "Calling Up The Rain" reaffirms the label's discerning direction and "Don't Judge A Record By It's Cover" attitude. Championed by Gilles Peterson, Patrick Forge and a few other legends in the game, PANORAMA Records aims to reintroduce this big band hit to new audiences, establishing itself as a tastemaker in the business of reissuing global grooves. It comes with a sticker on the front with quotes from tastemakers Patrick Forge, Rainer Trueby and Zag Erlat (My Analog Journal).

With this release, record collectors can anticipate a discovery of Gustav's anthem, for the first time on a 45 and a first time official reissue, a full blown party starter, as Panorama Records presents "Calling Up The Rain" as a timeless reissue. The label shook mountains with it's first release of Gitte and Inger, with huge DJ support from Gilles Peterson, Ross Allen and other great tastemakers. PAN002 is here, Buy or cry!

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Leading the charge with the next Toolroom Trax vinyl series is Mark Knight’s remix on a euphoric dance anthem from Dave Spoon (aka Shadowchild) & Nick Reach Up who update Elaine Mai & MuRli's track 'Ready'. An underground House work-out that's been tried & tested on the dancefloor throughout 2023 and inspired by the euphoric House sound of the 90's, Mark’s mix makes use of the original's hypnotic vocal, combined with driving bass and big euphoric synths. House heavy-weight CASSIMM lands back on our Trax vinyl series with another essential club cut 'Wanna Feel Something'. The Italian, London based hit machine rose to new heights in 2023 with a Beatport House #1 'LOVE DESIRE' on Claptone's Golden Recordings, and chart-topping releases on Toolroom, Spinnin', Myth Of NYX and more. Full of fun, funk and house goodness, CASSIMM yet again delivers another irresistible party starter! Label favourite, Crusy steps up on remix duties for this next offering and a milestone 300th release for the label with an updated mix of Superchumbo & Victoria Wilson James’ ‘The Revolution’. An influential anthem from 2001 'The Revolution' spent over two decades in clubland since icon Danny Tenaglia originally broke the record at the infamous WMC Miami, later going on to recieve support from global superstars such as Pete Tong, X-Press 2, Roger Sanchez and more. Crusy’s signature drums, percussion and grooves drive through

that Latin influenced energy throughout. Last but definitely not least, James Hurr and Electro pioneer Arthur Baker team up with their unique blend of underground house and 80's hip-hop in new club controller, 'Powder In The Nose'. This collaboration marks a triumphant return for James Hurr on Trax who has previously released successful club cuts on the label, and an exciting debut for Arthur Baker, an artist who needs no introduction. The Boston-born producer is widely recognized as one of the pioneers of the Electro genre, with a career spanning over four decades. Baker's unique sound, which fuses elements of hip-hop, funk, and electronic music, has made him a household name and a highly sought-after collaborator. Together, Hurr and Baker are a powerhouse duo, with their combined expertise and passion for dance music 'Powder In The Nose' is nothing short of spectacular.

ountless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

"Recorded and produced by friend and frequent collaborator Mo Troper, Who’s A Good Boy is equal parts scrappy and starry-eyed in its sonic makeup. Album opener “The Flake” sets the stage with fuzzy guitars crashing in and Ramirez’s relaxed vocals placed front and center, as a result, the track feels like throwing on a warm blanket. And look no further than the album’s charming lead single “We Both Won,” a jangly earworm with the hypnotic refrain of “Don’t worry about me” lingering long after the track ends, serving as further proof that Bory has found the recipe for the perfect pop song and knows how to deliver it in two minutes flat. At every twist and turn of Who’s A Good Boy there’s something new to be discovered, making it one of the most exciting debuts you're likely to hear in a long time.

"Warm but guarded, intricate and muted, reminiscent of the Shins and David Bazan and especially Elliott Smith." -Pitchfork
"Whether it's the pastoral "Feel The Burn" or the splendid, reverb-drenched "Five-Course Meal", Who's A Good Boy debut full-length project shows some major potential for Bory to earn the title of Next Big Thing in the genre." - UPROXX

They grew closer as restrictions dropped away and audiences grew, using the shifts to experiment with their material and reach more expansive and formidable levels. The final product is a landmine of sound, inspired by the raw, sweeping fuzz of the likes of Sonic Youth and The Jesus and Mary Chain. Familiar elements of noughties era guitar shine through, confronted with cutting contemporary angst to create a nostalgic yet intoxicating sound. As the band's confidence grew through their live shows they were liberated, taking all they had learnt in order to begin working on "a lot more cohesive and bigger sounding" project

Although both Ella Fitzgerald and Louis Armstrong had met and performed together previously, they wouldn't be heard on record together until January 18, 1946, when they waxed a single 78-rpm disc ("You Won't Be Satisfied) for Decca. They went on to record a few more singles together until in 1956 when producer Norman Granz paired the two together between 1956 and 1957 on three albums that were both critically acclaimed and commercial successes - appealing to audiences in and beyond the confines of jazz per se: Ella & Louis, its sequel Ella & Louis Again, and the selection of songs from George Gershwin's opera Porgy & Bess. While Porgy & Bess was recorded with a big band, the first two albums (featured in this release) were made in small group formats with the great Oscar Peterson Trio plus drummers Buddy Rich or Louie Bellson, resulting in some of the most fascinating jazz and popular music ever produced

The relatively short life of San Francisco's Aluminum has so far yielded a single (Spinning Backwards, 2020) and an EP (Windowpane, 2022), but their debut LP, Fully Beat, overflows with tenured confidence and a singular style that deftly comprises shoegaze, big beat, and jangle pop. With influences ranging from Orbital, to Wipers, to The Avalanches and Sly and the Family Stone, theirs is a multifaceted take on established forms, fed through fuzz and led by honeyed, male-female vocal harmonies from Bay Area post-punk veterans Marc Leyda (of Wild Moth) and Ryann Gonsalves (of Torrey). "Smile" begins with deceptive sparseness, adding neon swirls of stacked tremolo over a mesmerizing lyrical refrain, and hinting at the dynamism to come with understated grace and grit. "Always Here, Never There" is Fully Beat's first pure hit of melodic pop: its liquid bass groove winds beneath a melancholy-sweet synth hook and Leyda's plaintive vocals, while drummer Chris Natividad's deep, pillowy snare and propulsive style maintain a driving pace. Lead single, "Behind My Mouth", shifts gears into a big beat shuffle and howl of overdriven guitars, which relent to Gonsalves' rolling bassline and playful, snarky vocal. Composed across several weeks of experimentation, it is a prime iteration of Aluminum's meticulous world of sound, which nevertheless carries an air of wry nonchalance. Asking, "Do you ever see behind my mouth?", Gonsalves notes that the song "comes from a place of wanting to be understood authentically, and to communicate intentionally." This approach speaks to the album's broader theme of exhaustion amid the demands of the modern grind: working unfulfilling jobs to pay exorbitant rent, feeling society break at the seams, and trying to maintain a meaningful personal life with the remaining scraps of morale. The response, then, must be to find joy. These songs were crafted over a half-dozen months in basements and practice spaces, creating an abundance of authentic passion and catharsis that's as nostalgic and comforting as a cherished, tattered band t-shirt. The closer, "Upside Down", is a full-throttle blare of joyous release - "a straight-up love song," according to Leyda. The deliberate choice to end it with a gradual fade, rather than a dramatic climax, smartly suggests the ambivalence of acceptance - perhaps fitting, when considering the immensity of the album's subject matter. It also hints that there is much more to be said, and as such a rich and compelling debut, Fully Beat shows that Aluminum are only getting started.

Drunk Uncle isolated themselves into a cabin on an East Texas farm to write and record the follow up to their debut Look Up in 2022. The result "O, brittle weather!" is a thoughtful, probing album that explores a cacophony of sounds in a playful and whimsical way. The album feels like a telling of a great story- songs like pages colored with splashes of acoustic and electric guitars, floating bass, keys, horns, and percussion that ranges from a whole kit to a single tambourine that succinctly cues up the next chapter. Narrated by melodic vocals belting out emotional poetry, "O, brittle weather!" seems to plead with you to keep listening until the last word. Then, it begs you to listen again. Most bands are content to just collect a handful of songs and group them together as an album. Drunk Uncle strived to make something bigger than themselves. And wouldn't you know it, they succeeded.

Ein Hip-Hop Klassiker wird erwachsen: 21 Jahre nach Erstveröffentlichung erscheint das posthum erschienene Album des viel zu früh verstorbenen Bay Area MC’s Charizma und des Stones Throw Gründers Peanut Butter Wolf auf Apple Juice Vinyl, der Farbe von Charizma‘s Lieblingsgetränk.

'Big Shots' 2LP Repress auf farbigem Apple Juice Vinyl. Eine Hommage an Charizma's Lieblingsgetränk.

Stones Throw Records hat eine Apple Juice-Variante gepresst, um an eine der ersten Veröffentlichungen des Labels zu erinnern: Charizmas Hip-Hop-Klassiker Big Shots aus dem Jahr 2003.
Eine Ewigkeit ist seit der Ermordung von Charles "Charizma" Hicks ins Land gezogen, der im Dezember 1993 im Alter von 20 Jahren starb. Trotz seines kurzen Lebens hinterließ Charizma bei allen, denen er begegnete, einen bleibenden Eindruck. Charizmas Tod traf seinen engen Freund und Hip-Hop-Produktionspartner Chris "Peanut Butter Wolf" Manak tief, der nach der Nachricht für mehrere Monate aufhörte, Musik (und alles andere) zu machen. Doch erst der Mord an Charizma gab PB Wolf den Anstoß, weiterzumachen und seine Musik der Welt zu präsentieren - und zu diesem Zweck sein eigenes Plattenlabel zu gründen. 1996 gründete Wolf Stones Throw Records und brachte als erste Veröffentlichung eine 12"-Single von Charizma/PB Wolf mit dem Titel 'My World Premiere' heraus.
Mit dieser posthumen Veröffentlichung können Hip-Hop-Fans nur spekulieren, welche Höhen Charizma hätte erreichen können, wenn er heute noch da wäre.