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The long awaited follow up to Osaka's Hibushibire 'Freak Out Orgasm!' debut album from 2017 is almost upon us ...
 
Who are Hibushibire ?
 
821 (Hani) on bass
Ryu Matsumoto on drums
Changchang on guitar and vocals
 
It would be fair to say Hibushibire’s 2017 debut album ‘Freak Out Orgasm!’ went down well with fans of psych-rock (call it what you will). So far it’s had three vinyl pressings, two cassette pressings and a CD run back in Japan. It garnered quite a few influential underground (if not mainstream) reviews and seemed to sell through on word of mouth alone - which in these times seems to be the way things are going: thriving social media groups sharing their love of recent purchases and fellow vinyl lovers going out and scooping them up without the need to buy a magazine or read an online review to make their mind up. My favourite review of ‘Freak Out Orgasm!’ came from UK based music blog Dayz Of Purple And Orange as I think he nailed it perfectly...
 
“Fuck me! I think I've died and gone to psychedelic heaven! If anyone had asked me what I would really want from a freak out, heavy-as-fuck psych band I would have to say I would want the sheer guitar pyrotechnics of Acid Mothers Temple, the hard-as-nails scuzziness of The Heads, the lead heaviness of a fucked-up Blue Cheer and the instrumental dexterity of Hendrix on speed. Guess what, that band exists and they are called HIBUSHIBIRE!"
 
That, to me, said it all. Nail hit hard.
 
But let's get onto 'Turn On, Tune In, Freak Out!'
 
Once again the album is produced by Makoto Kawabata (Acid Mothers Temple, Mainliner) and for me it's the next logical step in the bands sonic development. As with its predecessor, side one consists of three tracks, "Ecstasy Highwaystar / Blow! Blow! Blow! / Overdose, Pussycat! More! More!", (they do like an exclamation mark). Some of these titles will be familiar if you've followed the band's live shows in recent times, and it's pretty much a guitar to the front, full gonzo-style hard-rocking psychedelic freak out from the first blast of Changchang's guitar panning from left to right before the main riff kicks it all off.
 
Again, as with their debut, side two comprises of just one epic length track. 'Rollercoaster Of The Universe' clocks in at seventeen minutes and is, in my humble opinion, the sound of the band moving onto the next level during its journey. It's a shudderingly beautiful piece, with many hypnotic twists and turns. I can't wait to hear how they play this live.
 
The band did initially attempt to produce this album by themselves, but got 'brain fever' in the studio and called their old friend Makoto to come down and help them finish it off. As he had no preparation in advance, he knew nothing about how the recording was going in the studio, and moreover there was little time left for adjustments to be made. But his technique of mixing was, as always, both mighty and almost destructive.

A much-needed reissue of the 1992 old school, breakbeat hardcore classic ‘Compnded’ and killer 2015 Kafty Kuts remix. An undeniable rave anthem that’s blown the minds of many a dancefloor across the past 30 years.

Massive support from day one from the likes of Carl Cox, Ray Keith, Grooverider, Slipmatt, Krafty Kuts

Red Vinyl

nown for her delicate compositions, soaked in dream-like surrealism, Icelandic musician Sóley has attracted a huge following since launching her solo career back in 2010. Her 2012 single ‘Pretty Face’ went on to generate an enormous amount of buzz, and quickly became a viral sensation. Now, with three solo LPs under her belt, Sóley is preparing to debut a completely new sound via the release of her new concept album, Mother Melancholia, on October 22nd.

Described by the artist as "Nosferatu meets Thelma and Louise in a vampire church under the watchful eye of David Lynch", Mother Melancholia is the soundtrack to the end of the world as we know it. As a self-confessed news addict, Sóley became obsessed with the idea that the world is ending. Having surrounded herself with real-life stories of global warming and patriarchal politics she couldn’t shake the feeling that she was going to die. This feeling was so all encompassing that it sparked the idea for a new project. Could there be a soundtrack for the last days of humans on earth? How would that sound?

“I read books about possible dystopian worlds and started writing poems about irrational and in love characters who live in gray and cold imaginary loneliness. In each other’s burning arms. Walking in circles with no way out” she explains. “After all, the album reflects our life here and now. Our life and reality is a kind of dystopian world.”

Whilst writing the album, which serves as a tongue-in-cheek eulogy to our planet, Sóley began reading about ecofeminism, a branch of feminism which uses the concept of gender to analyse the relationship between humans and the natural world. Ecofeminism emphasizes that both women and nature must be respected but also separated. Since the beginning of time, the natural world has been synonymous with female identity, phrases like Mother Nature are commonplace. “The patriarchy views women as volatile and hysterical. Earth and women are either our saviours or our destroyers,” explains Sóley. “It’s so easy to abuse the earth, like the patriarchy has abused women since the dawn of time, then ask for forgiveness afterwards and promise they´ll never do it again”.

The new album sees Sóley move away from the indie-pop of her previous releases. She began by experimenting with writing songs on the accordion, allowing her a new sense of freedom in her writing. The process allowed her to broaden her horizons even further and experiment with a whole range of new and exciting sounds. “I bought myself a theremin as I was really excited about the unpitched sound and there is no perfect pitch during the end of days,” she laughs. “I also bought a mellotron, my first moog and a cello and taught myself how to play each of them. All of these new instruments are particularly suitable for the kinds of aesthetic inconveniences which I have learned to embrace.”

Album opener ‘Sunrise Skulls’, one of the most cinematic moments on the album, was inspired by the Me Too and SlutWalk movements and tells the story of a group of women who rise up and fight the patriarchy. ‘Blows Up’, a track that would be at home on any horror soundtrack, is a sarcastic love letter from the Earth to humans. Standout track ‘Desert’ is an incredibly moving song dedicated to the next generation. “It’s about the guilt you feel, as a mother, for having children and leaving them on the frontline. My daughter, for example, will take over this inevitable war” explains Sóley.

In true soundtrack style, the album flows through the end of the world in chronological order, closing with the Earth’s final moments. ‘Sundown’ is a dark piano ballad detailing human kind’s final day on Earth. “And everyday, I dig my own grave, and as I dive in you´ll hold my hand” she sings, over twinkling piano and swirling synths. We then hear the world end on ‘XXX’, a dark and swirling soundscape that swells before fading to silence. On ‘Elegía’ the silence then turns to the sound of the ocean, as we hear the Earth, like a woman finally free from a violent relationship, healing on her own.

Mother Melancholia is the mark of an artist confidently striding into more experimental territory. With a lengthy and successful career behind her, Sóley felt compelled to try something new and express the real her. The music might be shrouded in darkness but it’s a move that fills her with joy and freedom. “I hope that people not only enjoy the new sound, but also that Mother Melancholia might raise some questions in people, particularly women,” she says. “I’m under no illusions that this album will change the world but I hope that people can connect with the idea”.

Both regulars of the club, arts and queer scenes of New York, Berlin and London of the last three decades, it's surprising Wolfgang Tillmans and Honey Dijon only met five years ago. A walk between clubs in Brooklyn resulted in the two having a mutual interest to collaborate. Busy as both are, the wait was long, but well worth it. This week's release of Honey Dijon's Euphoria Mix of 'Can't Escape into Space' sets the tone for what is left of this summer: Our desire to be together, with friends and strangers, close up on dancefloors, festivals and open airs. Honey's and Wolfgang's shared unapologetic spirit comes alive as Dijon transforms Tillmans's original song into an electrifying dance floor banger. As we can already sense a reawakening of our freedom blowing in the air, even if many clubs remain closed, the two musicians' call to come together again is euphoric and inescapable.
The original version of the song was released last winter in the midst of lockdown, accompanied by a video showing an empty nightclub and its mirror balls performing for the camera, filmed in 2017 by Tillmans, in pre-pandemic Fire Island. A new video accompanies Honey Dijon's Euphoria mix with three vignettes of longing and passion.

Far View’ is a compilation of tracks from Joel Vandroogenbroeck’s series of library
music releases for the Coloursound label, a uniquely trippy catalogue of music
vignettes long overdue for their day in the library music sun, remastered from the
original analogue reels.
 The late Joel Vandroogenbroeck was among the rare breed of musicians who defy
all categorization, using music conventions to explore the far reaches of human and
cosmic consciousness. After passing through the jazz and rock worlds from the
1950s through the ‘70s, Joel found new outlets for his expansive vision in the ‘80s
with the Swiss library music label Coloursound. ‘Far View’ draws tracks from these
releases, which form a unique entry in the genre of library music. For the uninitiated,
this is just one way to begin a brilliant musical trip through Vandroogenbroeck’s
undersung career.
 A musical prodigy from youth, Joel arrived at Brussels’ classical Music Conservatory
in the early ‘50s, but his studies were curtailed by the revelation of jazz. Soon, Joel
was touring in groups around Europe and beyond with luminaries like Eje Thelin,
Stan Getz, Bob Brookmeyer and Zoot Sims. As time passed, his musical
consciousness continued to expand: time spent in Africa sparked a deep exploration
of the music of the Middle East. The new rock sounds from England, like The Beatles
and Jimi Hendrix, were mind-blowing. And from Germany came the krautrockers,
with something completely else again.
 Vibing on the eclectic energies of the day, Vandroogenbroeck formed Brainticket,
whose approach to composition fused jazz, rock and a mélange of global musical
traditions, combining a Western rhythm section and analogue synthesizers with an
astonishing array of acoustic instruments; ethnic flutes, sitar, harp, kalimba and all
manner of percussion. Steeped in diverse approaches of playing and listening,
Brainticket drew from prog rock and psych, traditional sounds and minimalist music,
all of which passed through their hands like the tributaries that formed the basis of
what would soon be known as New Age music.
 In the late 1970s, Vandroogenbroeck began composing for sound libraries, with
recordings to be used as underlay music in films, radio and television. Gunter
Greffenius’ Coloursound Library was formed in 1979 with an inclusive vision of
music, including experimental, progressive rock, and some of the earliest examples
of ambient music - styles not well represented in other libraries. Coloursound gave
Joel the freedom to create music in any style or genre, and over the next decadeplus, he embarked on a musical journey that is unmatched anywhere in the world of
library music. Working under the pseudonyms VDB, his output on Coloursound is
some of his most sublime and otherworldly - ranging from dark electronics to
imagined music of the ancient past to ethereal ambient sounds of the future, which
makes sense, as Joel’s records were always ahead and in and out of their time.
 Joel VandroogenbroeckJ passed away in in December 2019, while work was being
done assembling this collection. Curated by David Hollander, whose ‘Unusual
Sounds’ album and book of the same name delightfully explore the library music
world, ‘Far View’ draws from ten of Joel’s Coloursound albums with lovely cohesion.
Featuring brilliantly remastered sound, liner notes from David Hollander, album art
designed by Robert Beatty and reproductions of the Coloursound album jackets, ‘Far
View’ is an entry point to Joel Vandroogenbroek’s mind-bending body of work - sonic
soma to expand your consciousness and vibrate with the cosmos.

The vinyl album Deo Volente is a collection of ten tracks taken from the last four And Did Those Feet recordings (originally released between 2001 and 2018), all featuring Eisteddfod blue-ribbon-winning vocalist Ina Williams and many of which have been played on Classic FM TV, BBC Radio 2 and BBC local radio. The album cover is graced with the iconic Fred Morley photograph entitled `Business As Usual', a propaganda shot taken at the height of the German bombings of London in the Second World War. The `milkman' in the shot was in fact the photographer's assistant. Deo Volente is a unique collection of songs in a classic cover. The LP is housed in a gatefold sleeve together with an accompanying CD in a digipak attached to the inner sleeve. Full lyrics are included and each LP is signed and numbered as part of a limited edition of 500 copies.

Once again melding relatable words of life, love and late nights to the hip-shaking grooves that have ignited numerous festival stages, irrepressible indie-soul-funk six-piece Red Rum Club return with their head-bopping new single, Nightcalling. Their first new material of 2021, the pin-sharp, three-minutes of pure cocktail-swilling, dancefloor-carving magic heralds the release of their third album, How To Steal The World, announced for a Fri 12 November 2021 release via Modern Sky.

Unaccustomed to the new ‘wait and see’ conditions of modern living, Red Rum Club bottled their impatience, wrapped up their worries and gathered their thoughts together in cathartic writing and recording sessions for album number three. Reacting with force


to dark winter lockdowns and the extended live break, Nightcalling is a story of new love set to the beat of a smooth soundtrack that’s as close to the sound of red-hot Miami as it is the band’s wind-blown, native Mersey.

Once again melding relatable words of life, love and late nights to the hip-shaking grooves that have ignited numerous festival stages, irrepressible indie-soul-funk six-piece Red Rum Club return with their head-bopping new single, Nightcalling. Their first new material of 2021, the pin-sharp, three-minutes of pure cocktail-swilling, dancefloor-carving magic heralds the release of their third album, How To Steal The World, announced for a Fri 12 November 2021 release via Modern Sky.

Unaccustomed to the new ‘wait and see’ conditions of modern living, Red Rum Club bottled their impatience, wrapped up their worries and gathered their thoughts together in cathartic writing and recording sessions for album number three. Reacting with force


to dark winter lockdowns and the extended live break, Nightcalling is a story of new love set to the beat of a smooth soundtrack that’s as close to the sound of red-hot Miami as it is the band’s wind-blown, native Mersey.

Ignition, Something Records lifts off 'Lost in Musik' by STL aka Stephan Laubner. An album to blow your minds, shake your bodies and touch your souls. On 17 tracks and an extended playing-time, this double vinyl comes in complete album feel, multifarious variations, and in STL's full tonal trademark fit. It will rumble dance-floors the same as moody home listening places. Here we go. STL attends the brains & ears in his magic discrete way with an unstoppable bucket-raining flow of fresh sounds, catching rhythms and aspirating music, like no one else usually does. Soon after joining these vinyl reliefs, you will be under the spellbound and enhexed beauty of these otherworldly beats and tones, which makes you feel all of the sudden, being relocated in other dimensions shrouded in new-born principles of fascinating un-shattered realities. Feel from beyond. Something Vinyl Series 31 works great with special and exceptional. From the sound creations up to the artwork. Everything follows the distinct d-i-y philosophy to what a something-records release is well known for. The Vinyls are coming in limited quantity. So you better be fast catching a copy. Now let the music do the further talking. Enjoy this seldom gem. Take the action and get lost in musik!

Following the release of acoustic EP Letters To Our Former Selves – Acoustic late last year, Youth Fountain is excited to be back at it with new single “Peace Offering" “This track was written in the perspective of knowing you could never truly love or be loved by anyone before being comfortable with who you are as a person,” shares Tyler Zanon “No matter what positive aspects can come out of a relationship - if the foundation isn’t there of having that bare minimum of self love, things inevitably tend to tarnish.” As Youth Fountain prepares to move forward, the future perfectly mirrors the past. What began as a solo project by guitarist/vocalist Tyler Zanon in 2013 under the name Bedroom Talk eventually blossomed into a full-blown band by 2017, with the Vancouver-based Youth Fountain (then a duo) proudly announcing their presence with the debut single “ Grinding Teeth ” and a pair of Pure Noise Records releases that expertly toed the line between pop-punk fervor and more reflective emo moments.

Recorded direct to acetate - all live, no overdubs - ‘Capitol Cuts - Live from Studio A’ captures a powerful moment in time.
After months of cancelled shows Black Pumas went to Los Angeles and laid down eight explosive tracks at the famed Capitol Studios.
The recording brims with pent up energy, nearly bursting through the grooves on the expansive and mind-blowing seven minute rendition of ‘Colors’. A few weeks later the song would receive a Grammy
nomination for Record Of The Year. Red vinyl LP in throwback jacket with centre hole.

Stilleben Records is very happy to release their third EP with Kuldaboli from Reykjavik. I got an email from him and he said.. ''Hey Luke.. I found a USB with some old tracks on it. I think these are the first tracks I have ever made. Have a listen..'' And we did. Blown away by the real and pure sound Stilleben represent... Enjoy... Because these songs almost ended up in the trash can..! ITS MORE FUN TO COMPUTE

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

HARDCORE UPROAR* over 80 of the freshest Hardcore Anthems from 3 of the biggest brands in the hardcore / hard dance scene written especially for this Brand New Compilation series, going back to the original ‘Bonkers’ style mixed CD format, featuring Uproar Creator, and one of the biggest names in Hardcore History DJ Seduction alongside 24/7’s owner / creator Al Storm, Rob IYF (one of the biggest new talents to come through the Hardcore scene) showcasing the latest 24/7 Hard Dance / Hardcore project ‘Voodoo Panda’ and 2 Rave Legends DJ Stompy & Darren Tyler (Bananaman / Silk Cuts / JHAL etc / Fade & Bananaman etc) join forces with Eazyvibe for a 28 track feast of happiness

Featuring Fresh Dubs from artists such as, Scott Brown, Bang!, Al Storm, Rob IYF, DJ Seduction, Darren Tyler, Alaguan, Chris Fear, Euphony, DJ Stompy, UFO, FREQ-DLT, Eazyvibe, AK47, Fracus & Darwin, M-Project, Daniel Seven, MKN, Hartshorn, EZKill, Bananaman and more.

Since their debut, Whitehorse has traveled from magnetic folk duo to full-blown rock band and beyond. In truth Whitehorse is never fully either one or the other, but an ever-evolving creative partnership that challenges both artists, Melissa McClelland and Luke Doucet, to explore new instrumental and lyrical terrain with each record. Steamy, swampy and squalling in equal measure, Whitehorse’s signature sound is guitar-heavy, harmony-abundant and lyrically deft. Now, the JUNO Award winners return with Strike Me Down, a collection of disco-twirling, hard riffing tales from the brink. Strike Me Down showcases Whitehorse’s masterful, fantastical storytelling and melodic pop sensibilities, with plenty of space made for guitar shredding, epic basslines and spaced-out vocal layering. High-impact production and prismatic visuals contribute to Strike Me Down’s high-stakes, epic vibe.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
The second my bloody valentine album, ‘loveless’, was released in
1991. Musically, it took an unexpected leap forwards, standing ahead
of anything released at the time. Shields and the band moved further
towards a music of pure sensation, creating textures and tones that
could be felt as much as heard; with ‘loveless’ the band created an
album that overwhelmed the senses. ‘loveless’ is widely considered a
flawless whole and rightly regarded as a masterpiece; a 1990s
equivalent to ‘Pet Sounds’, ‘In A Silent Way’ or ‘Innervisions’, a record
constructed by exploring the edges of what a recording studio is
capable of. It is a record best experienced as a whole, in one sitting -
a listening experience like no other and unmatchable in its sonic
brevity.

My Morning Jacket proudly announce the upcoming release of
their ninth studio album, the self-titled ‘My Morning Jacket’.
The band’s first new music since 2015’s GRAMMY Awardnominated ‘The Waterfall’, ‘My Morning Jacket’ reaffirms the
rarefied magic that’s made My Morning Jacket so beloved,
embedding every groove with moments of discovery, revelation
and ecstatic catharsis.
Produced and engineered by James over two multi-week
sessions at Los Angeles, CA’s 64 Sound, the album came to life
after what looked like a permanent hiatus for the band. But after
performing four shows in summer 2019 - beginning with two
mind-blowing nights at Red Rocks Amphitheatre - My Morning
Jacket were overcome with the urge to carry on.
That sense of purpose can be heard throughout the thrillingly
expansive ‘My Morning Jacket’. For all its unbridled joy, songs
like ‘Regularly Scheduled Programming’ and the otherworldly,
album-closing ‘I Never Could Get Enough’ once again reveal My
Morning Jacket’s hunger for exploring the most nuanced and
layered existential questions in song form while simultaneously
harnessing the hypnotic intensity of their legendary live show
more fully than ever before.
“I hope this album brings people a lot of joy and relief,
especially since we’ve all been cooped up for so long,” says
James. “I know that feeling you get from driving around blasting
music you love, or even lying in bed and crying to the music you
love. The fact that we’re able to be a part of people’s lives in
that way is so magical to us, and it feels really good that we’re
still around to keep doing that.”
CD in digisleeve with 12pp booklet.
Double LP on clear vinyl featuring a gatefold jacket with artwork
by Robert Beatty, custom inner-sleeves with lyrics and digital
download. (Once this format has sold out, a standard black vinyl
format - ATO0573LP - will be made available.)

Grey Marbled Vinyl

VARIÁT is the new experimental metal one-man band of Ukrainian artist Dmytro Fedorenko. Through dissonant noise poetry, corrosive synthesis, and subtle seeds of interiority and folk song, VARIÁT creates a sound world of austere urban psychedelia, invoking themes of primitivism and mysticism within the volatile currents of a contemporary digital era.

Conceived in 2020 as a provocative creative outlet, VARIÁT is founded on ideas of transgression, reinvention, and liberation, the consequence of observing prescribed artistic boundaries and pursuing new depths of aesthetic freedom. The project began as an exploration of new recording techniques: metallic materials used as percussion and channelled through blown amps, toms played with a hammer, drilled cymbals, raw, dimensional textures produced from found objects.

For the project’s debut album ‘I Can See Everything From Here’ a library of recordings rooted in musique concrète initiated countless sessions of seismic, discordant guitar noise and overloaded detonations of low end. Synthesizers calibrated and treated to sound like traditional instrumentation, rhythms of deluge and disarray. Compositions constructed with an intent to preserve their original modality; the chaotic spark of their inception.

The artwork created for ‘I Can See Everything From Here’ is an aquarelle (watercolour) painting, an ink-based projection which mirrors the sound of the album with dense, fragmentary shades of black and extensive tendrils of detail. A microcosmic depiction of the graphic power that defines ‘I Can See Everything From Here’.

At long last, after decades out of print, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of David Tudor's legendary LP, "Microphone", part of an ongoing initiative dedicated to bring the imprint's seminal output back into the light. Still mind-blowing nearly half a century after it was first released, now complete with a new English translation of the album's original liner notes, this is just about as exciting as reissues come and not to be missed.

For all overthinkers and introverts. On their debut album "Smalltalk & DMCs", the Berlin indie-pop trio Varley finds strength in vulnerability. The result: an album like a good friend.

The indie-pop trio Varley is Dublin-born Claire-Ann and German band mates Joschka Bender and Matthias Heising. Initially influenced by Bon Iver, and citing the likes of Fleetwood Mac, The Cardigans and Phoebe Bridgers as other notable touchstones, what lies at the core of Varley’s affective, heart-on-sleeve music is its willingness to be vulnerable. Their music is an honest and raw outlet, and the cathartic nature of their songwriting is one to be championed.

Frozen Music’ was recorded in New York City 32 years ago and like most of
pianist Andy LaVerne’s releases this album has not lost its original energy
and charm.
Tenor and soprano saxophonist Rick Margitza was then a young rising star under contract with Blue Note. Andy was already a prolific composer who penned
all the tunes of this album. Bassist Marc Johnson who was a member of Bill
Evans’s last trio gave graceful and subtle colouring to LaVerne’s compositions.
“Frozen Music, Andy LaVerne’s third album for SteepleChase, is a solid, modern
blowing session...he makes skilful use of suspensions, pedal points, and ostinatos, which along with the music’s floating harmonies, give the soloists a wealth
of elbow room.” - Mark Stryker, Cadence
Personnel: Andy LaVerne (piano), Rick Margitza (tenor and soprano saxophone), Marc Johnson (bass), Danny Gottlieb (drums)

Saxophonist Wendell Harrison has lived by a standard philosophy for his 50-plus-year career: One must have complete self-autonomy. Both his music and business dealings reflect this. Besides being a legend on the Detroit jazz scene and mentoring up-and-coming musicians through his non-profit organization Rebirth Inc., he co-founded the Tribe Records label in the 1970s, which produced a magazine and many classic albums.

Harrison is continuing Tribe’s legacy—this time around with a group of rising jazz musicians from the Motor City such as drummer Louis M. Jones III, trumpeter Trunino Lowe, and guitarist Jacob Schwantz—on his new recording Get Up Off Your Knees.

There’s a lot to digest here because the original compositions encompass R&B, soul, spoken word, and “world” music, all seen through the lens of jazz. Harrison tends to weave elements of African music into many of his compositions. On “Siera” and “Samoulén Khalé Yi,” both written by vocalist and bassist Pathe Jassi, he pays tribute to Guinea-Bissau and Senegalese culture. “Educators” also has African nuances in its hardcore drumming and Harrison’s sublime blowing on bass clarinet and clarinet.

Any discriminating jazz listener will be consumed by Get Up Off Your Knees, but it seems Harrison’s primary purpose for making this album is to encourage the current generation to put education first and build social awareness. On the title track, vocalist Miche Braden pushes the self-determination angle, which is again highlighted on “Revolution,” a reimagined take on Gil Scott-Heron’s “The Revolution Will Not Be Televised” delivered with an adherence to contemporary events by the poet Rev. Mbiyu Chui. By Veronica Johnson from Jazz Times.

Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).

Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)

Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.

Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)

Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.

Mark Lower is back, and Nervous Records once again hand over the reins to the Nu-Disco prince for his second full length album.

Through a series of high-streaming single releases and high-profile remixes, Mark has firmly established himself as one of the freshest sounds in the ever popular Disco-inspired House Genre.

His relationship with Nervous Records goes back to 2013, when he released his break-out hit “Bad Boys Cry”. Since then Lower has gone on to see his discography on Nervous alone reach over 150M total streams, and he has developed an especially productive relationship with the A&R Director Andrew Salsano where he has full confidence to constantly push the envelope of genre and format to continue to be a creative leader in the industry, knowing the label will stand behind and work in tandem to bring his sounds to the widest audience possible.

It took Mark 7 years (and a break-up) to release a new LP.

On « Blurry Dreams Of You », Mark explores new horizons while also keeping his famous signature sound on a few cuts.

While his first album « Mark Lover » (2014) was 100% made with virtual intruments and synths, « Blurry Dreams Of You » features talented musicians like LEFTI (bass / guitars), Pete Whitfield (live strings) and Edouard Musiala (Sax) among others.

On the vocal side, the album features good friends like Scarlett Quinn, Yota or Alexandra Price, but also the amazing Scavenger Hunt, Adeline, Alena and Leeloo.

Passionate about building bridges between past and present electronic music influences, Frappé is back with a fifth EP named “Afrodisiaque” . Keeping in mind that contemporary electronic dance music finds its origins in the sound of African and Afro-American communities, this new record is the missing link between world famous artists of the “Afro House” genre and the French productions of the early 00s. Offering 5 tracks for as many artists.

1st October sees the release of the Neil Young ‘Carnegie Hall 1970’. Young has selected this concert he played at New York’s Carnegie Hall on December 4th, 1970 as the inaugural release from his Official Bootleg series.

The show rounded off a seminal year for Young who had released the ‘After The Gold Rush’ record just 3 months earlier in September which followed on from the ‘Déjà Vu’ album he recorded as part of Crosby, Still, Nash & Young in March of the same year.

This show is a never before heard recording with Young playing solo on vocals, acoustic guitar, piano and harmonica. Young played two solo acoustic shows at Carnegie Hall that week. “Listening to existing bootlegs, it seems that all the bootleggers got the second Carnegie Hall show,” Young writes on the Neil Young Archives. “There was one at 8:00 pm and one at midnight about 27 hours later. No one got that first one — the first time I walked onstage at Carnegie Hall, blowing my own 25-year-old mind.”

Change happens fast. At Carnegie Hall, I hear myself doing a new song, one about my ranch I had just moved to – ‘Old Man.’ Time flies.

A Civil Rights activist who marched alongside Jesse Jackson, preacher for Earth Wind & Fire, Stax recording artist, “Family Feud” contestant, Stephen Curry soundtracker, high school drop out, and Kanye samplee, Pastor T. L. Barrett stuffed a dozen lives into one. His signature 1971 spiritual soul jam “Like A Ship” has transcended its humble South Side Chicago beginnings, rediscovered by Leon Bridges and Beck and described by Radioheadʼs Colin Greenwood as “The most euphoric celebratory music that makes you want to jump around the house and explode with joy.” This box is the definitive statement on Barrettʼs two decades of recordings, 49 tracks spread across five LPs, including Like A Ship, Do Not Pass Me By Volume 1 & 2, I Found The Answer, plus a bonus album of singles and sermons, a 10,000 word blow-by-blow, and illustrated discography.

Black Vinyl LP with double-sided insert with historical information. Released in collaboration with the Alan Lomax Archive. First pressing 2011, second pressing 2021
These are the first recordings made of Fred McDowell—before the folk festivals and blues clubs, before “Mississippi” was inserted in front of his name, before the Rolling Stones covered his “You Got To Move.” They’re the sound of the music McDowell played on his porch, at picnics, and juke joints; with his friends and family; occasionally for money but always for pleasure. Remastered from 24-bit digital transfers of Alan Lomax’s original tapes, and annotated by Arhoolie Records’ Adam Machado and the Alan Lomax Archive’s Nathan Salsburg, they are an illustration of the mind-blowing revelation that was Fred McDowell.
On the first day of fall, 1959, in Como, Mississippi, a farmer named Fred McDowell emerged from the woods and ambled over to his neighbor Lonnie Young’s front porch with a guitar in hand. Alan Lomax and Shirley Collins were there recording the Young brothers’ fife and drum ensemble, as well as the raggy old country dance music of their neighbors, the Pratcher brothers, and they had no idea what to expect from this slight man in overalls. They certainly didn’t expect that Fred would soon become internationally known as one of the most original, talented, and affecting country bluesmen ever recorded.

2024 Restock

Space Afrika follow last year's heartbreaking x perception-bending mixtape "hybtwibt?" with an anxious patchwork of drill bass, reflective musique concrete and after-hours surrealism >> singular deep headspace exploration to file alongside Mark Leckey, Perila, Burial or Klein.

Assembled to accompany a short film from Manchester-born visual artist, poet and filmmaker Tibyan Mahawah Sanoh, Joshua Inyang and Joshua Tarelle’s newest is a cinematic audit of identity and ancestry. In the film, Sanoh works hard to visually illustrate an honest and vulnerable picture of her soul. Inyang and Tarelle respond by doing the same with sound, collaging disparate elements together in a way that should be familiar to anyone who heard "hybtwibt?" or their jawdropping RA mix from earlier this year.

Warped field recordings, overdriven rhythmic pressure, syrupy pads and disorienting vocals are cut and pasted over each other, generating a living, breathing study of the duo's Northern working class Black British reality. Unlike the duo's acclaimed "Somewhere Decent To Live" full-length, elements mutate and transform: mushy noise bends into street sounds, haunted vocals into echoing drill melancholia and muffled howls into shattered digital remnants.

The main event is the full 10-minute soundtrack, that's layered with Sanoh's disorienting and deeply personal poetry and echoes Mark Leckey's recent "In This Lingering Twilight Sparkle". Then the EP is bumped up with three sketches from the same sessions, two of which never made it to the final mixdown. 'Version 3' is a particular highlight, pasting heartbreaking piano and blowtorched vocal loops over winding drill bass > sounds like Burial remixing Unknown T into pure syrup.

a 1. Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10:50

a 1 | Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10 50

The second release on JD Twitch’s archival label.

“By 1993 I was saturated in Acid. Over saturated!. Since 1987 there had been an endless explosion of records from across the planet using the 303 and it seemed like the sonic possibilities offered by this little silver box had hit a dead end.

And then in 1993, from Germany, came the Blue label with mind-blowing releases by Air Liquide and friends. It felt like a new paradigm, paying homage to Germany’s Kosmische Musik past while paying respect to the Chicago Acid House originators while simultaneously looking ahead to a new form of transcendental music.

And then – BOOM! – the H.E.A.D. “EFS” double album drops. What is this music? Was it beamed in from the future? It ticked every box I loved. Endlessly hypnotic and expertly programmed with an effortless groove that sounds as if Jaki Liebezeit’s syncopations have been absorbed by the machines. It is Acid in ways my ears hadn’t heard before, the little silver box tweaked in new, exhilarating directions.

Made by future Optimo ally Khan, alongside uber talent, Kerosene and recorded in a Brooklyn kitchen, this double disc set became an eternal home listening and back room favourite. It is also a club favourite too, perhaps even more so now than it was then. It is endlessly mixable and playable at multiple speeds. A genuine classic long overdue a second life”.

This fully remastered 2021 edition of this 1993 gem comes with new artwork on a super fat double vinyl pressing.

Welcome aboard! We're about to slide into the wide musical landscapes of True Flavas Band. Please take place on your seat, enjoy the smell of a cup of Douchka black tea , close your eyes, the train's door is shutting then the locomotive pulls the heavyweight transSiberian slowly.
The Journey starts to reach the "Polar Circle" and its deep soaring atmosphere, snowy forest and the steppes' flatness. Now You recognize, that it's all about immersive laidback
funk. The band breaks with the white screen view blowing up at the wagon's window, crosses some more urban ensembles with the uptempo "Take It Straight", the intriguing "Estonia" and "Ghlmly". The expression touches climax offering a view from the mountain's
top in "4Hero" and "Double Trouble" with transversal dynamic and flight sensations. The four musicians offer nights full of stars and aurora borealis moments in tracks like "Gamekeeper" and "Jazz'N'Bass". At the end "Countryside" brings us into a gradual rise of leftfield ambience sustained by Krautrock guitars and Gregorian like chants, hypnotic.
With this first LP on Stereophonk, True Flavas Band show ten beautiful, fine and wellmatured pieces. Strong of a rich musical experience and influences, the quartet from SaintPetersburg composed by Roma (drums), Danik (keyboards and electronics), Dima (bass) and Alexey (guitar) have evolved since 2005 to achieve a perfect combination. TrueFlavas performed with artists such as Tricky, Dj Vadim, Dj Krush, Theo Parrish, Badbadnotgood, Gaslampkiller, Fatima, Themselves, Jimi Tenor... and toured all over Russia.

After years unavailable, this reissue presents this 1976 album in its full glory, with remastered sound and original artwork, including the rare promo poster.

Pressed on 180g vinyl. Once resettled in Lima, Peru, in 1974 after spending some time playing in a jazz quintet in Berlin, sax player Nilo Espinosa would put together the Nil's Jazz Ensemble, a top-notch array of local talent consisting of Pancho Sáenz (trumpet), Miguel 'Chino' Figueroa (keyboards), Oscar Stagnaro (bass), Andrés Silva (drums and percussion), Jorge Montero, Richie Zellon and Ramón Stagnaro (guitars). They recorded one single album that remains not only as one of the truly grails for collectors of Latin-American jazz but also as an outstanding piece of music on its own. The opening song "Reflexiones" is a mind-blowing jazz-funk number right up there with the very best of the genre, written by Black Sugar's former member Miguel 'Chino' Figueroa, featuring a fantastic work on trumpet and rhodes. The album also includes a cover of the rare groove classic "Hard Work" that could have easily sneaked into the funkiest side of the Prestige catalogue. Following the success of this album, Espinosa would expand his band to a big band format and tour local theatres and clubs in Lima, where jazz music was a popular genre at the time. Our reissue presents this 1976 album in its full glory, pressed on 180g vinyl with remastered sound and original artwork, including the rare promo poster.

Essential Aliensis the 10th Helvetia album. Helvetia is the solo project of Jason Albertini from Duster. Helvetia resides in Portland, Oregon but was formed in Seattle, Washington in 2005 after Duster first went on hiatus. The songs onEssential Aliens were recorded over the last year, in Jason's basement. Since the band's inception, Jason has continued to employ a rotating cast of band members and collaborators, which now includes Steve Gere and Samantha Stidham. Steve and Jason also played in Built To Spill together from 2012 until 2018. In 2019 Duster started playing shows and recording again. During this time Jason started writing what would becomeThis Devastating Map. Released at the beginning of August last year, Post-Trash called it"a constantly shifting project that takes experimental lo-fi into brilliantly colored psych directions with a concise glow."Then the pandemic took hold. With normal life at a standstill and unable to hang with his bandmates, Jason focused his energy on his daughter's homeschooling schedule, and recording. He focused on finishing one song a day and was soon honing in on a new album. Essential Aliensdistills and simplifies the Helvetia sound. Reverb and delay are absent, replaced by warm fuzz and intimate room sounds. Progressions morph with stoner repetition and end in head scratch. Drums distort, muted bass lines prop up acoustic guitars blown out on a cassette four-track. Cheap electric guitars are barely in tune and recorded direct, almost painfully in your face. The songs are short blasts of psychedelic chill, unrooted by genre, a rummage around an alien radio dial. These are simple songs about keeping yourself from falling apart, to remind you that you can be strong. The visual elements for the album come from a recurring dream, which centers around a period in Jason's childhood when he lived in Basel, Switzerland, and believed that he lived with a ghost. In the dream, Jason's life becomes turned upside down because of a series of unexplainable events that turn out to be orchestrated by the ghost, and he wakes up convinced that he is a ghost as well. These are simple songs about keeping yourself from falling apart. To remind you that you can be strong. This is a weird blues.

New school techno star Lee Ann Roberts continues to light up 2021 with another brand new single on her own NowNow Records. Her standout original is backed by remixes from MRD and D.A.V.E. The Drummer.

This year already belongs to South African-born, Amsterdam-based Lee Ann Roberts. Her new label has had high-profile support from tastemakers like Charlotte de Witte & Ken Ishii, and is already well known for its off-grid techno sounds. Roberts herself debuted only last year on Suara. She immediately hit the number 2 spot on the Beatport Hard Techno chart and followed up with more on Octopus Warehouse Series. She has played festivals like Caprices this year and is lined up for BPM as well as plenty more headline gigs.

The excellent 'Feel' is a nine-minute, hard-edged roller. The drums are flat-footed and unrelenting, the synths bring turbulence and dark vocals add dystopian unease. The edgy textures and caustic pads make for a visceral groove that is perfectly designed for shadowy warehouse spaces. An Acid Trip Mix sees the track erupt on wild acid lines that spray about the mix and cannot fail to blow up the dance floor.

Remixer MRD hails from Norway and has released plenty of EPs and an album in a short space of time. He has a ferocious sound that fuses new wave, hardcore and banging techno as evidenced here. His version is break-neck techno with trance pads lighting up the airwaves in euphoric fashion.

The second remixer is the legendary London techno titan and label boss D.A.V.E. The Drummer. He heads up Hydraulix Records and Apex Recordings and always brings the fire. His take on 'Feel' is a wall-rattling banger with oversized bass. Saw-tooth synths rip up the track while the stark, strobe-lit stabs and some buried vocals make the floor sweat.

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

BERRIES new single 'The Expert' is released on 10th August 2021. The single follows on from the success of single 'Copy' released earlier in the year that received praise from Radio X, Amazing Radio, BBC London and 6Music as well as acclaim in key online press sites such as RGM, When The Horn Blows, Little Indie Blogs, Loud Women, New Noise, Get In Her Ears and God Is In The TV. Copy was #64 of Hot New Releases now @ AMZ UK, and added to the Amazon 'Best New Bands' playlist http://amzn.to/BestNewBands The single coincides with a headline London show at Grace on 12th August. Further shows in the calendar are Hull Zebedees Yard on 3rd Sept supporting Frank Turner and other Xtra Mile artists and a slot at Frank Turner's Lost Evenings IV Festival at Roundhouse, London. The Expert will later be released on flex-disc as a double A side single - together with their cover of Sleater-Kinney's 'Dance Song '97' - originally recorded for Kill Rock Stars 30th Anniversary compilation.

"Yoofee flexes his producer and piano muscles on this 4 track EP. Heavy influenced by artists like Kaidi Tatham and the 70's fusion jazz sound this EP will surely blow dancers away and is gonna be stacked in many DJ bags for sure!
Cop this EP if you are into broken beat / nu jazz and all things funky!"

Can Love Be Synth are in love with old analogue machines and define their specific sound in the legendary Synthesizer Studio Hamburg. A synth collectors paradise hidden behind the big grey walls of a Bunker building and the club Uebel & Gefährlich between the Reeperbahn and Schanzenviertel district in Hamburg, Germany.

Their new song ‘Bunker’ is now available as a digital and vinyl release on A CLEAN CUT including fantastic remixes by Richard Fearless, Terr and quadratschulz.



The Bunker building is currently extended with a 54-meter-high superstructure for an ultra-violent instant gentrification. In the original version of the song the heavy blows of hammers are clearly audible. This sound journey from zen to noise is a beautifully shimmering ‘black hole made from music’, where implosion and explosion energetically meet. If it needed another reason for the clubs to reopen, this song would be the one - it is perfect for long nights and for days without light rays.

Ephat Mujuru exemplifies a unique generation of traditional musicians in Zimbabwe. Born under an oppressive colonial regime in Southern Rhodesia, his generation witnessed the brutality of the 1970s liberation struggle, and then the dawn of independent Zimbabwe, a time in which African music culture - long stigmatized by Rhodesian educators and religious authorities - experienced a thrilling renaissance. Under the tutelage of his grandfather, who was a respected spirit mediumand mbira master, Ephat showed an early talent for the rigors of mbiratraining, playing his first possession ceremony when he was just ten years old. By then, guerilla war was engulfing the country and his grandfather Muchatera tragically became a victim of the violence, a devastating blow to the young musician. In the midst of the liberation struggle, mbira music became political. Eventually, the Rhodesians were defeated, but rather than return to the past, the nation of Zimbabwe was born and a new future unfolded. Ephat threw himself into the spirit of independence, singing of brotherhood, healing, and unity: crucial themes during a time when the nation's two dominant ethnic groups, the Shona and the Ndebele, were struggling to reconcile differences. Ephat's band would eventually follow the popular trend and add electric instruments. But before that, he and Spirit of the People released two all-acoustic albums, and they may well be the most exciting and beautiful recordings he made in his career. Mbavaira, the second of these albums, was released in 1983. As the independence years moved on, there would be fewer and fewer commercial mbira releases. But for the moment, Ephat had the required stature and reputation. Also, with the energy and drive we hear in these recordings, the album could easily rival the pop music of its day. Within a few years after the release of Mbavaira, it and albums like it became harder to find in Zimbabwean record stores. Ephat adapted to the times and formed an electric band. They recorded more albums over the years but none of them have the particularly delicious energy of Spirit of the People in the first years of Zimbabwe's independence.

This is music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History of Nothing (Trost records/TR170) got a huge number of excited reviews: A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays. (Peter Margasak, Chicago Reader) Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed. (Stuart Broomer, Free Jazz Collective) Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well. (Jan Granlie, Salt Peanuts) Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017 Mixed by Joaquim Monte and Rodrigo Amado, CD Master by Simon Wadsworth / LP Master by Martin Siewert

This is music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History of Nothing (Trost records/TR170) got a huge number of excited reviews: A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays. (Peter Margasak, Chicago Reader) Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed. (Stuart Broomer, Free Jazz Collective) Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well. (Jan Granlie, Salt Peanuts) Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017 Mixed by Joaquim Monte and Rodrigo Amado, CD Master by Simon Wadsworth / LP Master by Martin Siewert

First-ever vinyl issue of this killer comp from 94 (Cherry Red)

Side A/B oxblood, Side C/D milky clear. Comes with 18x24 folded poster. Spanning 4 sides of vinyl you'll hear one of the finest deathrock/goth/new wave bands of all time with songs from EPs/12"s/demos from 1983-1985. It's a release not to miss.

Formed in Keighley, West Yorkshire, during the Post Punk of early 1980’s out of the band ‘The Elements”, took their name from the title of the song “Chant of the Ever Circling Skeletal Family” from the 1974 David Bowie album, Diamond Dogs.
Something unique was brewing up a dark and broody storm in West Yorkshire at the time with bands like The Sisters Of Mercy, The March Violets, Red Lorry Yellow Lorry, Southern Death Cult (later became The Cult) forming the basis of what became the soundtracks to the Goth Subculture.
Skeletal Family soon gained popularity in the UK Independent Charts and furiously gigged the length and breadth of the UK and Europe, recorded tracks for the John Peels Sessions, supported The Sisters of Mercy during their 1984 Black October tour, released 2 studio albums ‘Burning Oil’ (1984) and ‘Futile Combat’ (1985) of which saw the release of Skeletal Family’s most successful single ‘Promised Land’ on Red Rhino record label.
Anne-Marie left Skeletal Family in 1985 to form Ghost Dance with Gary Marx, former guitarist of The Sisters Of Mercy.

Based on the book by the same name, Minamata follows war photographer Eugene Smith as he travels Japan documenting the devastating effect of mercury poisoning among coastal communities. His efforts to publicize the suffering caused by corporate malfeasance soon draw the attention of the world to Minamata, the city where the effects of the toxin are most pronounced.

The score is composed by Ryuichi Sakamoto composer, electro-pop pioneer, buddy to David Bowie, and synthesizer legend. His work since the late 1970s has taken him from the top of the charts. Sakamoto’s music has consistently exuded a profound empathy. Whether leading Yellow Magic Orchestra’s cheeky pop, collaborating with cranial ambient artists, or, more recently, confronting his own mortality, Sakamoto’s music expresses in a few elegant gestures the haunting richness of life.

After the exploration of snowy mountains of Alpestres, released on Hands in the Dark in 2018, French composer Matthias Puech ventures into new territories, sketching a cartography of the invisible where the journey, in chiaroscuro, is announced as a rite of passage. A Geography of Absence, as introspective as unpredictable, immerses the listener into a unique sensory whirlwind where organic matter becomes almost palpable. A researcher in theoretical computer science and an engineer at GRM, Matthias Puech constructs a dialog between synthetic music and field recording, capturing sounds that surround him and creating his own sonic language with the help of synthesizers he designs and develops; notably the Oscillator Ensemble and the Tapographic Delay, made by the American company 4ms.

Composed during a moment marked by ordeal and mourning, A Geography of Absence retraces an inner journey where the physicality of sound leads the listener into an initiatory tunnel filled with apparitions, ghosts, visions. With sound oscillations as a navigational map, we progress, step by step, through the meanders of an unknown world, dazzled by the prospect of a new synthetic horizon, an electronic biotope teeming with life and incarnations. Playing with time, space and matter in an approach similar to that of musique concrète, Matthias Puech combines ambient and noise, floating sounds and electroacoustic experimentations, thus shaking up our listening perspective, which finds itself walking through a parallel universe, strata after strata, sequence after sequence.

The trip begins with “Hollow”, as if on board a night train travelling at full speed through ghost towns. Or is it a spaceship? Removed from their original habitat, sounds – picked up during walks or moduled by synths – are free to be interpreted differently by everyone, according to the memories that shape us. Granular and metallic, this first piece takes us to an elsewhere in orbit. "Work Song" is built around the pulsation of the void, of space, where strange creatures and liquid emanations abound. We become fetus, cocoon coiled in the placenta, heart beating to the rhythm of the gooey choreography of the human body. "Chrysalis" awakens the racket that lies dormant in us, when the skin changes, when the transition takes place. One seems to recognize certain sounds stemming from nature but they could also be mirages, imitating reality to render the barely perceptible engulfing. “Tunnel Vision” brings out a herd of haunted bells, slowly swelling in a pastoral maelstrom, ending in a deafening buzz. Further on, the chirping of an animatronic bird mixes with the hooting of an owl: "A Faint Beacon" invokes a nocturnal vigil that mixes the crackling of a fire and icy gusts of wind blowing everything away. Like an epic, sucking the listener into the breach of a black hole in the center of the Milky Way, it's up to "Homeostasis" to conclude in the high spheres and contemplative vapors, where the balance of dawn announces a rebirth.

A Geography of Absence is a meticulous and sensitive piece that constructs a delicate symphony of extremes, between introspection and desire for the unknown. Accompanied by the ink work of the artist Léa Neuville, whose folds of prints sketch this imaginary atlas, Matthias Puech becomes a narrator of mental adventures. And succeeds once again in transcending reality to dig a path to the unspeakable.

* Pressed on special RSD color wax.
* Includes bonus limited edition flexi of an ultra rare recording performed by Roky Erickson.
* Pressed at RTI.

Texan Roky Erickson was one of the true mind-blowing pioneers of psychedelic music. The original leader of the Austin-based 13th Floor Elevators formed in 1965, Erickson and band invented a brand new style or rock & roll, one that was slightly unhinged while it explored the consciousness-expanding influence of LSD on music. After three years, the group imploded with mental issues and legal challenges, ending with Erickson being incarcerated for several years in the Hospital for the Criminally Insane in Rusk, Texas. When he was released in the early '70s the musician continued on his own trail, recording songs that had come to him in his far-flung cerebral wanderings. Erickson, who passed away May 31, 2019, is now celebrated on this 12-track tribute to one of the most original rockers ever.

The participants range the whole world of modern music, and each chose one of Erickson's originals to stamp their own imprint on. They include Billy F Gibbons, Lucinda Williams, Mosshart Sexton (a/k/a Alison Mosshart & Charlie Sexton), Neko Case, Mark Lanegan & Lynn Castle, Jeff Tweedy, Margo Price, Gary Clark Jr & Eve Monsees, Ty Segal, Chelsea Wolfe, The Black Angels and Brogan Bentley. The album is co-produced for release by Bill Bentley, executive producer of the 1990 Roky Erickson tribute album Where The Pyramid Meets The Eye on Sire Records, and Matt Sullivan, co-founder/owner of Light in the Attic Records.

The songs range from Erickson's debut iconic original, "You're Gonna Miss Me," recorded when he was a member first in The Spades and then the 13th Floor Elevators during the early '60s in Austin, to some of Erickson's later songs, like "If You Have Ghosts," which heard him exploring some of the outer limits of the human psyche. Each new recording is a stunning modern take on the sound that Roky Erickson gave the world over a half-century of writing, recording and touring. No one has ever equaled those explorations.

This truly is the music of the spheres, as Erickson once sang about his sound, as seen through the eyes and ears of those who are united in their love and respect for a person who dedicated his life to rock & roll. Roky Erickson, through the trials and tribulations of a man both imbued with greatness and haunted by darkness, never quit in his quest to share with others what he heard and saw. As he sang on the 13th Floor Elevators last recording, "May the circle remain unbroken."

Ltd Edition, Double LP!
After 12 amazing years together, the UK’s most successful folk band
Bellowhead called it a day in 2016 going out in characteristic style with a
sell-out show at the London Palladium.
It took a few years and a global pandemic, but to the delight of their many fans,
the band reassembled for a one-off worldwide concert stream in December
2020, marking the 10th anniversary of their 3rd album ‘Hedonism’.
Hudson Records are excited to release the release of that live session recording
- ‘Reassembled’ - which will be the bands’ first release on double vinyl LP and
will also be available on CD and digital.
The band re-connected online during the lockdown in 2020 and for the sheer
fun of it remotely made and released ‘New York Girls At Home’ - all from their
respective homes around the UK.
This unplanned performance was warmly received and ignited another idea: to
reunite in person for a one-off broadcast performance. ‘Reassembled’ features
a host of favourites, including New York Girls, Roll Alabama, London Town and
Roll the Woodpile Down

Repress

From Another Mind continues to establish itself as an essential label with a fantastic fifth
release entitled 'Die Augen Des Teufels' from label bosses SHDW & Obscure Shape.

Marco Bläsi and Luigi Urban are main room techno talents who make no bones about the size of their
sound. Classic techno, rave, EBM and acid all colour their grooves. In 2016 Groove Magazine chose
them as Newcomer of the Year', while they have also released their 'Himmel Und Erde EP' on the
mighty Rekids, as well as remixing the boss's anthemic 'Grindhouse' in recent months. Two years later,
the duo now follow up 'Die Weiße Rose' - their last original release on From Another Mind - with four
tracks that reflect the pair's trademark versatility as producers and the sound they play as DJs.

Things open in monstrous fashion with the brilliant 'Die Augen Des Teufels.' Built on tightly
programmed and unrelenting drums, it has a hypnotic synth line riding about the scales that locks in
your mind while your feet march to the beat. Frazzled synths and icy hi hats add to the pressure and
ensure this one makes a devastating effect. 'Wächter Der Nacht' is equally forceful, with hammering
kick drums and minimal driving percussion joined by a brain frying acid lead synth line that will blow up
any DJ set.

The flip maintains the release's rave-spirit whilst taking things into a more melodic direction. Keeping
up the high class pressure is 'Die Prophezeiung', which has hulking kicks leaning into a stiff wind as
hugely texted synths rumble up top to bring real rawness and impact. This one stays relatively stripped
back and builds atmosphere throughout before closer 'Verlorene Seelen' picks things up again with
quick and slick drums, nimble chords and an irresistible sense of techno force that cannot fail to carry
you away.

Blue Vinyl

Acid banger from Poland, in association with Stay up Forever.
Cut by Lawry !! LOUD !!

In their 6 years on air, Flip The Script Radio has become the industry standard, the go-to radio show where fans and industry heads alike flock to hear the next hip hop superstars before they blow up. Steeped in the rich history of the scene, FTSR's focus on real MCs, genuine turntablism and their 'do it for the culture' approach has garnished them praise from every corner of the hip hop universe.

To celebrate their 6 Year Anniversary, Flip The Script Radio has joined forces with Good For You Records and one of the greatest MCs of all time for a very special, limited edition 7" release. We are beyond excited to present this work of art by a cultural icon, one of the best lyricists of all time, Grand Puba. This special edition vinyl release revisits one of Puba's most beloved classics "I Like It", reinvented with an 8 piece band, an acoustic version, featuring freshly re-spit verses by the rap legend himself, breathing new life into this crowd favourite.

Demon Records presents Distortion: Live, the fourth and final edition in a series of expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. The final volume in the series features 8LPs of live recordings from across Mould’s solo career.
8 LPs including –
• 4 live albums – Live At The Cabaret Metro, 1989 (first time on vinyl), The Joke Is Always On Us, Sometimes, LiveDog98 (first time on vinyl), and Live At ATP 2008 (first time on vinyl)
• Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl
with unique splatter effects
• Bonus LP Distortion Plus: Live which features live rarities including B-sides and stand-out tracks from the Circle Of Friends concert film
• Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston Plus -
• A 28-page companion booklet featuring: a new and exclusive foreword by Bob Mould; an interview conducted by journalist Keith
Cameron; an exclusive testimonial from Bully’s Alicia Bognanno; rare photographs and memorabilia

Toronto’s PACKS make music that’s like leafing through a diary entry of a time without visible movement, a subtle beauty that appears only when paying close attention. The band’s debut is a collection of songs that marry the loose but incisive jangle of early Pavement with the barbed sweetness of Sebadoh and the wideeyed wonder of the first Shins LP. Written in two different settings, between the city limits of Toronto where Link was living in 2019, and the Ottawa suburbs where she was quarantined with her parents in the spring 2020, both remain complementary emblems of selfreflection and wry observation of the mundanity of daily life. Packaging: LP Printed Inner Sleeve

Sam Prekop's eponymously titled LP is a study in pop nuances. Simultaneously transporting the listener from mild climes and swinging palms to darkened skies and wind blown steppes, the record will be easily recognized by fans of The Sea and Cake. Known to many as the singer and main songwriter for said group, Mr. Prekop is assisted on this release by Chad Taylor (Chicago Underground Duo), Josh Abrams (ex-Roots, Town and Country), Jim O'Rourke (Gastr del Sol) and Archer Prewitt (The Sea and Cake). Those expecting to find more of the computer beats and trickery found on The Fawn and Two Gentlemen are in for a surprise. Whilst prevalent on "Faces and People" - (a lucious groove overlayed by cornet and guitar), the computer takes a back seat to real strings, drums, piano, electric piano and organ as well as electric and acoustic bass. The subtle grooves, a trademark of The Sea and Cake records, are still present here as Sam and his band blend West African rhythms with a bit of soul, jazz and pop. The resulting record is something wholly original, elegant and earthy. A cauldren, if you will, of sweet smelling and enlightening stew. So line up, grab a spoon, and dig in. All the ingredients and intoxicating aromas necessary for an auditory feast are contained within.

LTD. COLORED VINYL

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

Etruria Beat founder Luca Agnelli unveils his long-awaited debut album, ‘Source Drops’ – presenting a ten-track journey through techno and beyond.
A name at the centre of Italy’s rich house and techno scene for over a decade, Etruria Beat head-honcho Luca Agnelli continues to showcase his talent as a leading DJ, producer and label boss on the international stage. With releases via a host of globally renowned labels, plus standout remixes including Moby’s iconic ‘Porcelain’, the Tuscany native’s reputation has seen him become of the genre’s leading artists when combining energetic, entrancing productions throughout his powerful DJ sets. Yet, the core of his work has always found a perfect home on his own Etruria Beat imprint, with July now welcoming the arrival of his highly-anticipated debut album ‘Source Drops’ – an in-depth musical story presenting growth, development, self-reflection and raw emotions via a collection of ten tracks ranging from powerful peak-time anthems through to EBM influenced cuts and slower, hypnotic productions.
“This is the journey that traces my musical evolution of the last 20 years, discovering more conceptual, deeper musical territories; taking inspiration from what influenced me in my career as a DJ and from my continuous research without musical barriers. A journey always in equilibrium, at times dark and sharp, solar and fluid, that develops a different creative vision in each track trying to convey my most intimate and strongest emotions". – Luca Agnelli
Opening via the slow-blooming builds and atmospheric and waves of ‘Black Mirror’, before diving into the heady and menacing tones of ‘Mutant Circle’, the ten-track project quickly showcases a wide-reaching range of influences and nuances central to Agnelli’s development as an artist over his career. Productions such as ‘Balance’ and ‘Oxigen’ contrast with one another whilst bringing space to proceedings, guided by breaks-influenced percussion, minimal arrangements and warping leads, whilst the driving ‘Resistance’ harnesses classic techno tendencies to provide an energetic and lively, snaking journey through rich soundscapes.
Title cut ‘Source Drops’ brings that trademark Luca Agnelli energy to the heart of the project, merging scintillating melodies, acid-tinged stabs and icy hats to unveil a high-octane ride into the peak-time, whilst ‘Raw Surface’ keeps the tempo high with sweeping leads, oscillating basslines and resonant lasers. Next, ‘Omega’ spirals into an off- kilter ride through glitchy echoed vocals, crunchy percussion and rumbling low-ends, with the epic ‘Losing Control’ welcoming an infectious lead melody at its core guided by punchy kicks and slick drum licks. To close, the package veers to an eerie yet ethereal close as hazy, celestial vocal chants meet panning sirens and swooping electronics – punctuating an expansive and diverse offering from the Italian favourite and shaping up an impressive debut LP in the process.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

This is a pure labour of love, not only is Daniel Vangarde a musical legend, he created, produced and wrote, (together with his musical partner Jean Kluger) acts like Gibson Brothers, Ottawan and La Compagnie Creole, he’s also the father of Thomas “Daft Punk” Bangalter, one of Mighty Mouse’s musical heroes.

Mighty Mouse reveals: I loved the original, and wanted to keep the energy of it in my remix. I kept a lot of the music parts and added a few synth elements and re did the drums to support what was already there. It was much fun, and a little nerve racking. When I got the stems it was like a history lesson and I could hear where Daft Punk must have got some of their influence from, just listen to those vocoders!
I got the seal of approval from Daniel too, as he said…“It did put a great smile on my face too! congratulations, the remix is really good.

The remixer understood the spirit and energy of the music, this is rare.” Now, talking about a compliment!

Mighty Mouse’s mind was blown at this point, so we are excited to bring you this masterpiece in 12” format!

Original compositions for virtual game music recorded in 1995 by Los Microwaves founder David Javelosa. That period in the 90s was one of rare times that Los Angeles was sort of a fun. You'd go somewhere for a drink and hear the late 1950s-early 1960s quirky instrumental pop that became known that year by the "Space Age Bachelor Pad Music" sobriquet. Many of the 14 tracks you are ideally hearing now for the first time were inspired by that long-gone cocktail-glass-shaped crack in time. Made in a tiny Santa Monica studio, surrounded by bits and pieces of torn-apart game consoles, trashed Casios and forgotten keyboards, inventing this set of ephemeral computer-generated sounds. Javelosa remembers what begat the tunes. Thrasher in the Fast Lane, inspired by driving on Bay Area freeways, fast, after hours, an Astor Piazzolla melody blowing with the wind, a party in Mexico City, an exotic perfume, Chet Baker in the background. He's always been fascinated by the concept of computer-generated jazz – still is. The sound of uncertainty, musical cut 'n' paste, excitement when something occurs that maybe has never happened before.

A must for all Thin Lizzy fans out there, "Selected BBC Peel Sessions" digs into the vast vault of the band's Peel Sessions to present the best of the best, and you know that's a lot when talking about Phil Lynott and his bandmates, known for being one of the best live bands (in and out of the studio) ever. 10 mind blowing tracks of pure Lizzy bliss ranging from 1973 to 1977, with amazing sound and beautiful art, what are you waiting for?

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

A fantastic little record – and very much the kind of set that the Strata East label was created to represent! The music here would hardly have found a home on the bigger jazz labels of the period – not because it's too avant-garde or non-commercial, but just because it's so deeply personal and powerful – the boldest vision on record of trombonist John Gordon, who composed a mind blowing suite of tracks for the first side of the album, as well as some equally great tunes for the second half! Gordon leads the group on trombone – with solos that are soaring and soulful, alongside work by the great James Spaulding on alto and flute, Waymond Reed on trumpet, John Miller on piano and keyboards, Lyle Atkinson on bass, and Frank Derrick on drums! If you know some of the other players here from their own work of the time, you know you're in for a treat – as the music has this fantastic sound of strong individual voices coming together, instruments lifted high on a mission of music – with results that are as fantastic all these many years as they were in the 70s.

Re-mastering by: Cicely Baston at Alchemy/Air Mastering, London

Electric blues guitarist Melvin Taylor had been sporadically recording solo albums for 20 years when Dirty Pool arrived — and was somehow just beginning to find fame. Already a hit in Europe, it had taken a steady run of performing in Chicago’s famed blues clubs to slowly earn Taylor a well-deserved reputation as an equal talent among the giants before him, such as Otis Rush, Albert King and Stevie Ray Vaughan.

While early records like Melvin Taylor Plays the Blues For You show off an equally amazing jazz side, Taylor traded away his Wes Montgomery-inspired runs for more Luther Allison/Jimi Hendrix attacks with the formation of the trio Melvin Taylor and the Slack Band in the mid ’90’s.

The title song of the second album by that outfit, “Dirty Pool,” is actually more the balls-to-the-wall, no-compromise, hard-rockin’ electric Texas blues of Vaughan and Johnny Winter than the sweet Chicago soul of Buddy Guy.

Indeed, three tracks on this 1997 release, including “Dirty Pool,” were SRV tunes. Other standards, like “Kansas City” and “Floodin’ in California” also have more of a Lone Star State approach to them. But the Jackson, Miss.-born Taylor’s guitar is cleaner than his forebears and technically, he even surpasses them, yet the anger and sorrow of the blues is readily evident in his playing.

This rare combination of qualities really comes out in a slow blues tune like his solo in “Dirty Pool,” which after repeated listens, still makes me head shake in disbelief when I hear it.

“Too Sorry” is a good example of how well Taylor fares when he treads in Jimi Hendrix territory, whereas his rhythm work is the best I’ve heard from a lead guitarist since Vaughan; listen to “I Ain’t Superstitious,” “Born Under A Bad Sign” and the funky “Telephone Song” for your proof.

It also helps that Taylor’s drummer James Knowles is well in synch with him, while Ethan Farmer completely owns the low end of the sound. Farmer’s peppering bass lines in and “Floodin’ in California” is the textbook way electric blues bass should be. Overall, a tight little band.

Taylor’s vocals certainly won’t draw any comparisons to the Wide-Brimmed–Hatted One but he holds his own just fine until it’s cuttin’ time. This is right at the top of my list of best blues guitar playing on record over the last couple of decades. If you decide to give this one a listen, prepare to be blown away.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

678 records are proud to present an historical concert recording of the legendary ethnic kraut-jazz formation Pork Pie. It is difficult to define the music of Pork Pie. It ranges from rhythmic Jazz-rock and meditative Indian sounds to Brazilian songs, and from acoustic improvisations to electric “space” sounds. Paris, December 1973: Pork Pie was founded by piano player Jasper van 't Hof (then 27 years old) and guitarist Philip Catherine (then 31 years old). They had met up with Charlie Mariano, who was 51 years old then, and whom they knew from his playing with Charles Mingus in the fifties and sixties. He had left America, lived in India for some years and founded his new home in Europe. Jasper and Philip were nervous to ask him if he would like to start a band with them but he immediately accepted the invitation. After some concerts in Holland, Germany and France the group recorded their debut album Transitory in May 1974 in the studio of the legendary engineer Conny Plank for MPS-BASF. It became an immediate success and Pork Pie were subsequently booked for many European jazz festivals. Their legendary concert on the first of November 1974 in the Berliner Philharmonie during the Berliner Jazztage was a milestone in the bands existence. The concert hall was packed to the rafters with 2500 over enthusiastic people who were totally overwhelmed by the amazing live sound of Pork Pie in which each of the five individual musicians took his own part, but never once lost the unique togetherness.

In the past 44 years Jasper van 't Hof always retained fond memories about this special concert. Fortunately, in his personal archive (which was for a while stored under a tarpaulin in his garden!) a master tape was discovered & had survived intact. P-Dog & Zembie (a.k.a. Sander Huibers & Frank Jochemsen) dug it up, played it on a tape machine, were totally blown away by the music and initiated this limited vinyl only release. It comes in a hand silkscreened cover designed by Piet Schreuders.

line up

Hereby a classic japanese acid folk tale, also credited by the wizard master Julian Cope in his ‘Japrocksampler’ top 50 list. Tokedashita Garasu Bako, or Melting Glass Box, was a studio-only project of Nishiokai Takashi (Itsutsu No Akai Fusen), “Singing Philosopher” Tetsuo Saito and Takasuke Kida (of influential psychedelic freaks Jacks). Guest musicians included Kazuhiko Kato (Folk Crusaders, Sadistic Mika Band), Kazuo Takeda (Blues Creation) and mastermind Haruomi Hosono (Apryl Fool, Happy End, YMO).

Their sole release licensed in 1970 on URC (Japanese independent record label specializing in folk, co-founded in February 1969 by Hayakawa Yoshio, guitarist for the psychedelic band Jacks) became soon after a cult record leading the way for the eastern psychedelic renaissance. An authentic lysergic trip filled with mind-blowing electric guitar leads and many studio tricks thrown in! Get lost, now or never !

What Did You Expect from The Vaccines? is the debut studio album by English indie rock band The Vaccines. It was released on 11 March
2011, entering the UK Albums Chart at #4 and going on to become the biggest-selling debut by a band in 2011.

The Vaccines were formed in West London in 2010 by Justin Hayward- Young (lead vocals, guitar), Freddie Cowan (lead guitar, vocals), Árni Árnason (bass, vocals) and Pete Robertson (drums, vocals). The band have released four studio albums and have sold more than two million records worldwide. They have performed at the world’s biggest festivals and toured with acts such as The Rolling Stones, Arcade Fire, Arctic Monkeys, The Stone Roses, Red Hot Chili Peppers, Imagine Dragons and Muse.






RELEASE: 25-6-2021

What Did You Expect from The Vaccines? drew comparisons to The Ramones and The Jesus and Mary Chain and contains 6 singles; “Wreckin’ Bar”, “Post-Break-Up Sex”, “If You Wanna”, “All In White”, “Nørgaard” and “Wetsuit”.

The 10th anniversary edition on black vinyl contains an exclusive, brand new insert + a free download coupon for the original album + unreleased What Did You Expect From The Vaccines? Demos album.

Recorded during the thick of the Covid lockdown, Kevin, Tony, & Eric hunkered down in their studio and turned their energy inward. With all live shows and future tours canceled, Brainstory had no other outlet besides their rehearsal space which had been converted into a makeshift studio. Stepping up to the obstacles of the moment, they recorded and produced an EP of brand new music. They were already highly skilled musicians two years ago, but time in the studio with Leon Michels producing Buck and playing alongside bands like Holy Hive and Chicano Batman had a profound effect on them. Their ears have developed, their ethos and their drive has matured, their musicianship is full-blown; hence the name of the EP, Ripe. Ripe is a seven song journey into who Brainstory are as people and as a band. They are lighthearted and fun but never anything less than dead serious about their artistry. In choosing to record a mostly instrumental record, they have departed from their 2019 debut Buck and are showing more of their Jazz roots. Ripe pulls from Jazz, Hip Hop, 70s Funk, 60s Soul, and life in Southern California in the year 2021. Kev's intro to the EP is a testament to their thing, his goofy and charming "let's go baby_.less go baby" is welcoming and fun and then "Scissors" drops - serious as can be. The first vocal number we hear is "Seasons", a song about maintaining through the challenges of 2020 that would make Roy Ayers proud. "Long Day" and "Rogers" are drenched in reefer and psychedelia and promise a moment away from reality if listened to in headphones. "Bye Bye" is another stone cold ballad from the group that is destined to be a staple in sweet soul sets around the globe. Ripe is a welcome ray of sunshine as we all shake off the darkness of 2020 and will hold fans over while they finish recording their full length sophomore album due out in 2022.