Поиск:blue

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

We're absolutely thrilled to share the brand new single from the legendary Incognito, featuring the magnificent Joy Rose on lead vocals. This track, "It's About Time," is a powerful, feel-good slice of modern soul and jazz-funk that we genuinely feel is perfectly positioned for major radio playlists and feature coverage!


"It's About Time" delivers everything you expect from the Incognito collective, sounding fresh and vital for 2025. Written by Jean-Paul (Bluey) Maunick, Richard Bull, and Joy Rose, the original version is characterised by its signature lush instrumentation, soulful brass arrangements, infectious grooves, and an immediately uplifting chorus. This release also includes a deep and driving Soulful House Remix from Richard Bull.


We believe this track is a huge, optimistic record that will resonate deeply with audiences, further cementing Incognito's legacy.

Tensal is the solo project of Héctor Sandoval, also known as half of Exium and Komatssu. Since its creation in 2014,
Tensal has become the channel for his most personal vision of Techno, blending diverse rhythms and textures with a
powerful and distinctive identity. Alongside his own imprint Tensal Ltd, he has released on some of the scene’s most influential labels, including Mord, Modularz, Perc Trax, Blueprint, Arcing Seas, PoleGroup, Float, Kynant, KR3, A.R.T.S,
Warm Up and Soma, where he delivered his first LP in 2018.

He has remixed artists such as Slam, Electric Indigo, Anthony Linell, Mike Parker, Shed, Pangaea and Shifted, while his
tracks are championed by leading DJs like Jeff Mills, Richie Hawtin, Marcel Dettmann, Ben Klock, Ellen Allien, Laurent Garnier and DVS1. His DJ sets, built largely from his own productions, have taken him to more than 60 countries
worldwide, with performances at iconic clubs and festivals including Berghain, Tresor, Awakenings and Fabrik.

Beyond Tensal, Sandoval explores different frontiers of electronic music: with Juan Rico (Reeko) he formed Komando Terrorismo Sonico (K.T.S.), releasing the album Insurrección in 2021; in 2022 he launched Syndromania on Oaks
Records, a vinyl-only project fusing Techno with Trance, EBM, Electro and Acid. In 2023 he joined BPitch Control,
releasing several EPs and performing at the label’s We Are Not Alone events, while in late 2024 he debuted on Blueprint
Records with Highland Landscapes, a collaboration with Vince Watson (Amorphic), followed by a joint EP on Mord in
2025.

Ritual Dance - is a sound journey, where futurism and the obsolete merge into a new world. Arash & Quasar (truth and star) - is a duo of electronic producers, friends, DJs, rare record collectors and artists, Pavel Grachev and Vitaly Zhul'kov. Their approach for music making compiles elements of various cultures and eras, resulting in fresh and trippy sonic labyrinths. The title track puts the listener in a state of trance and wild fields, where shaman dance moves take over the existense. Powerful percussion, rich synth textures and traditional instruments are mixed in one. 'Acid Krishna' extends the trip, adding acid basslines and meditative flavour. A true morning anthem of a proper rave trip. 'Lokum' is exploring the deepness of the East through melodies, that sweeten up your adventure away from the daily reality. The flip side starts with 'Opium', where slow beats suck you in the abyss more and more. 'Truth & Star' - is an energy exchange ceremony, where Arash & Quasar become rhythm wizards and dictate how you move and feel, just like snakes dance to the magic flute... The Truth refers to the inner awakening and The Star is the symbol of the external shine. 'Desert' is the final chapter of the trip, evolving into eternity, just like a caravan dissolves in the endless desert, hot air and the blue night... Besides studio work, Arash & Quasar share videos of their own trips and adventures via Youtube-chanel, called DIG LOTO. Together with their best friend, the portative Vestax Handy Trax vinyl player, they search for rare records in remote destinations.

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Vinyl comes with a 20-page handmade booklet, an individually signed and kissed handkerchief of Cindy (some of them even have her teardrops on them) and a huge fold-out poster! Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

This festive vinyl brings together the best of blues and R&B holiday spirit! From Sonny Boy Williamson's soulful "Sonny Boy's Christmas Blues" to Carla Thomas's sweetly nostalgic "Gee Whiz, It's Christmas," each track adds a unique flavour to the season. Detroit's wild Nathaniel Mayer shouts out in "Mr. Santa Claus (Bring Me My Baby)," while Chuck Berry gives us a laid-back "Merry Christmas Baby." The set captures raw teen R&B from the `50s with Cleveland's Hepsters and their catchy "Rock 'n Rollin' with Santa Claus," plus California's Youngsters spinning a cautionary tale with "Christmas in Jail." The classic Penguins bring warmth with "A Christmas Prayer," and Jimmy McCracklin's "You're the One" adds a bluesy, downbeat edge. Closing with the Ronettes' lush "Sleigh Ride," Big Dee Irwin and Little Eva's spirited duet on "The Christmas Song," and Babs Gonzales' jazzy New Year's ode "Watch Them Resolutions," this collection is the ultimate groove for a holiday celebration that lasts right through New Year's. Perfect for any record player, it's a swinging, soulful holiday feast!

Green vinyl. This festive vinyl brings together the best of blues and R&B holiday spirit! From Sonny Boy Williamson's soulful "Sonny Boy's Christmas Blues" to Carla Thomas's sweetly nostalgic "Gee Whiz, It's Christmas," each track adds a unique flavour to the season. Detroit's wild Nathaniel Mayer shouts out in "Mr. Santa Claus (Bring Me My Baby)," while Chuck Berry gives us a laid-back "Merry Christmas Baby." The set captures raw teen R&B from the `50s with Cleveland's Hepsters and their catchy "Rock 'n Rollin' with Santa Claus," plus California's Youngsters spinning a cautionary tale with "Christmas in Jail." The classic Penguins bring warmth with "A Christmas Prayer," and Jimmy McCracklin's "You're the One" adds a bluesy, downbeat edge. Closing with the Ronettes' lush "Sleigh Ride," Big Dee Irwin and Little Eva's spirited duet on "The Christmas Song," and Babs Gonzales' jazzy New Year's ode "Watch Them Resolutions," this collection is the ultimate groove for a holiday celebration that lasts right through New Year's. Perfect for any record player, it's a swinging, soulful holiday feast!

Get ready to trim your tree with a rollicking mix of mid-century Rhythm & Blues holiday gems. This vinyl is packed with everything from soulful longing to boisterous celebration, featuring legendary artists like Charles Brown's heart-wrenching "Please Come Home for Christmas" and the Dominoes' gorgeous "Christmas in Heaven" with a young Jackie Wilson on vocals. Dive into the bluesy mischief of Jimmy Butler's playful "Trim Your Tree" and the fiery gospel of Marvin Williams' "When Was Jesus Born." From the sweet soul stomp of Big Dee Irwin & Little Eva's "I Wish You a Merry Christmas" to Lightnin' Hopkins' funky "Happy New Year," each track captures a unique holiday spirit. This lively collection is sure to be a December favourite, filled with both cheer and heartbreak, grit and grace_an unforgettable Christmas party on vinyl!

Pink vinyl. Get ready to trim your tree with a rollicking mix of mid-century Rhythm & Blues holiday gems. This vinyl is packed with everything from soulful longing to boisterous celebration, featuring legendary artists like Charles Brown's heart-wrenching "Please Come Home for Christmas" and the Dominoes' gorgeous "Christmas in Heaven" with a young Jackie Wilson on vocals. Dive into the bluesy mischief of Jimmy Butler's playful "Trim Your Tree" and the fiery gospel of Marvin Williams' "When Was Jesus Born." From the sweet soul stomp of Big Dee Irwin & Little Eva's "I Wish You a Merry Christmas" to Lightnin' Hopkins' funky "Happy New Year," each track captures a unique holiday spirit. This lively collection is sure to be a December favourite, filled with both cheer and heartbreak, grit and grace_an unforgettable Christmas party on vinyl!

"Dubrovnik Blues" on Vinyl: The Australian Super-Band That Changed Everything! Attention all lovers of raw, unfiltered rock'n'roll! Bang! Records proudly presents the vinyl reissue of "Dubrovnik Blues", the celebrated debut LP from The Dubrovniks - the Australian super-group born straight from the beating heart of the country's punk underground. Formed in Sydney in 1986 (originally as The Adorable Ones), The Dubrovniks brought together true icons of the Aussie scene: James Baker, legendary drummer for Beasts of Bourbon, founding member of Hoodoo Gurus, and a driving force in The Scientists; Roddy Radalj, co-founder of Hoodoo Gurus and veteran of The Scientists; and Boris Sujdovic, who also played with both The Scientists and Beasts of Bourbon. Far from being "just another debut," Dubrovnik Blues was an instant statement of intent - a wild blend of garage rock grit, glam swagger, punk attitude and classic rock'n'roll hooks. Think The Troggs and T. Rex colliding with the spirit of the New York Dolls. Originally released in August 1989 on Timberyard Records, the album went on to earn a nomination for Best Independent Release at the ARIA Awards in 1990. Now, Bang! Records brings this cult gem back to life on vinyl - a must-have for collectors, vintage-sound purists, and anyone ready to relive (or discover) the raw, electric energy of late-80s Australian rock at its finest.

rstmals auf Vinyl erscheint das 2011er Album ""If You Want Loyalty, Buy A Dog"" von Little Axe, dem Blues-Alter Ego des Gitarristen Skip McDonald, Mitglied von The Sugarhill Gang, Tackhead und anderen, sowie Arrangeur eines Großteils des On-U-Sound-Katalogs. Für Vinyl editiert von Adrian Sherwood. Neu geschnitten von Frank Merritt im The Carvery. Schwarzes Vinyl in bedruckter Innenhülle. Design von Chris Bigg von v23. Limitierte Auflage.

"Ein wunderschönes, sanft funky und zutiefst trauriges Album – entgegen aller Erwartungen hat McDonald musikalische Elemente, die wenig mit Blues zu tun haben, aufgegriffen und daraus die tiefste Essenz des Blues herausgearbeitet. Es gibt keinen einzigen schwachen Track auf diesem Album. Es ist ein ungewöhnlich bewegendes und eindringliches Dokument von einem der unbesungenen Helden der amerikanischen (und, seltsamerweise, jamaikanischen) Roots-Musik." - Rick Anderson

OOOOH! by Alex Bad Baby Lukashevsky with Cocoa Corner (2025)

Celebrated veteran of Toronto’s music scene, known for his boundary-pushing approach to folk and avant-garde music, twists rock music into strange and brilliant new shapes with the help of young jazz players, U.S. Girls, and his own immensely talented son.



OOOOH! is hard on the outside and soft on the inside. Made in the spirit of unity,
humanity, and poetry — disobediently renouncing the glory of personal triumph for the
generosity of an honest experiment. On the last track of the album you’ll hear “Or do you only ever never want to make a single enemy? / That’s not freedom or humility / It’s nothing, honestly.” Oooh, that's a bad baby!

A celebrated Toronto songwriter and performer, Alex Lukashevsky has always been disobedient. Which simply means, nothing is off the table when he’s looking for his
poetic voice; when trying to find the realest I of the teller. As he sings on the lead track “that musician that’s dead” The musician is radical/ it’s the world that’s demented/ listening with their eyes, the music looks dented/ they’re over-represented.
OOOOH! was recorded in January 2024 at Sound Department in Toronto, engineered by Patrick Lefler (ROY), mixed by Grammy-nominated producer Matt Smith. All the songs were tracked live off the floor in two days, with one extra day for recording vocals, to keep the recording fully alive and breathing. As leader of Deep Dark United, as a solo performer, and a sideman in Brodie Wests’ Eucalyptus and Luka Kuplowsky’s Ryokan Band, Alex has been an outsized influence on the Toronto music scene that spawned acts like Broken Social Scene and Owen Pallett. (Pallett, who has toured with Lukashevsky, went so far as to record an entire album’s worth of Alex’s songs, backed
by a full orchestra.)

Lukashevsky has approached each of his albums and projects as something completely new, using only the musical boundaries he creates with each song. Even when he
has recorded songs with nothing but his voice and his own acoustic guitar accompaniment, the results are never “stripped down” or “back to basics,”
Gong! How do you get to heaven / have fun! have fun!
It’s cool to approach music as a game of “spot the influence”; Burt Bacharach-meets-Black Flag; Lana Del Rey-meets-LCD Soundsystem etc. Glorified mash-ups are promising because of their conversational nature. But they can turn us into hyperboreans; blowing cold air beyond ourselves while doing what we can to remain warm. To devise a game or a narrative is to have a winner and a loser, but we all know that just as you win/ so you lose. And does anything really change? Alex Lukashevsky and Cocoa Corner are more at ease drawing blind contours or playing an old game like consequences. They let things add up without knowing particularly how. Cognition is recognition.

Lukashevsky, in addition to writing all the songs, plays guitar and sings on OOOOH!, doing both in ways that are soulful and spikey at the same time. Joining him on guitar and vocals is his oldest child, Charlie Lukashevsky, who, at 23, is already a talented performer and songwriter in his own right. Cocoa Corner also includes Aidan McConnell, an in-demand drummer and composer, Jack Johnston, a jazz bassist and Barry Harris acolyte, and percussionist Evan Cartwright (The Weather Station, U.S. Girls, Cola, Tasseomancy), who plays steel pan and marching drum.

Working with his son and with other younger musicians is central to the album’s
unpredictable aesthetic. It reinvigorated the sound in unexpected ways. Lukashevsky says, “I had to reconsider my own instincts. I had to deal with being 99 years old.”
In addition to these performers, the album includes a tasty contribution from Meg
Remy, the visionary musician and producer who is the leader of the critically acclaimed
project U.S. Girls. Remy duets with Lukashevsky on the imagistic and sprawling album
closer “things keep happening.”
About that album title: OOOOH! is taken straight from “that musician that’s dead” an
arch and unhinged comment on the exertion required to navigate a lifetime of music making.
Lukashevsky’s delivery of that one emotive word is a kind of cultural posture, but also a
hundred percent primitive expression. The impact is never less than visceral. His vocal
delivery ranges through rich baritone blues to keening falsettos to a kind of sprechstimme that periodically steps out from the music to grab the listener’s shirt. He
doesn’t sound too nice, but he is sincere. When life gives you lemons lament.
For OOOOH! his first official full-length album since 2012’s Too Late Blues, (a collection of knotty-yet-effervescent tunes built upon the enchantingly serpentine harmonies of Lukashevsky and his vocal collaborators, Felicity Williams (Bahamas, Bernice) and Daniela Gesundheit (Snowblink, HYDRA)), Alex has once again broken apart and rebuilt his own approach to music. Or rather (because that sounds too over-determined), he
has allowed his music to build itself into strange new shapes that only fleetingly and
coincidentally, but happily, resemble anything that might be called rock and roll. There is some editorializing within the song’s lyrics— Lukashevsky even cheekily contributes to the “spot the influence” game with the line “Muddy Waters, Rite of Spring!” a funny preemptive strike against anyone already reaching for some variation of avant-blues to describe what the song is up to here. In fact there are many names checked on this record (literally and in spirit); they are the lily pads that trace the path of this expression! Palestrina, Peter Pears and Benjamin Brittain, Andrés Segovia, Stravinsky, Lotte Lenya, Alice Coltrane, Skip James, Chuck Berry, D’Gary, Betty Carter, Mukhtiyar Ali, Chuck D, Yoko Ono, Hailu Mergia, David Bowie, Jane Siberry. rhythm is a skeleton mansion / haunted by melody / feckless prodigy / the world is under a spell / cast by some demon angel / Practice day and night / Try as hard as hell / no one can sing that well Musicians are often worried by the way in which they are prepared to fail rather
than how they would like to succeed; it’s such a deep concern that it tempers their creativity and shackles their process. Current cultural proclivities, tend to comfort a certain kind of artistic failure and abnegate another kind. How many testimonials, full of heartfelt care and investment, have you heard for Taylor Swift, and yet a craftsman like Chris Weisman is often dismissed easily as though he’s doing something anti-social. what’s throwing itself in my ears and my eyes / arrogant devil ad hominem christ.
The music you will hear on this recording veers off in multiple directions at once,
and features a rock and roll spirit with a divergent heart. This is no sclerotic clomp of the Average Rock Song, but in fact a flood of humanity in all its darkness and moodiness and unpredictability. If most performers make songs that are like sports cars or pickup trucks to drive around, Lukashevsky has built something more akin to a rowboat in a tree: it’s weird and beautiful.

MANU LANVIN, der wohl angesagteste Sänger und Gitarrist der französischen Blues-Szene, veröffentlicht am 24.10.2025 sein neues Album „Man On A Mission“ (GEL Productions/PIAS).
Der Franzose, der es in seiner Karriere mittlerweile auf über 900 Liveshows in ganz Europa und in den USA gebracht, bereits mit Kollegen mit Taj Mahal, Beverly Jo Scott, Johnny Gallagher, Popa Chubby, Paul Personne und Calvin Russell zusammengearbeitet hat und dessen bisherige Album-Releases allesamt den 1. Platz der französischen Blues Charts erreicht haben, präsentiert auf seinem neuen Album „Man On A Mission“ 13 Songs, die den Blues mit Einflüssen aus Rock, Soul und Pop auf moderne Weise interpretieren und die Vielseitigkeit des Musikers und Produzenten MANU LANVIN aufzeigen. Aufgenommen wurde „Man On A Mission“ in Paris, Nashville, Montreal, Fort Lauderdale und Sheffield.

Jazz saxophonist Hank Mobley’s 1957 album Jazz Message #2 was originally released on Savoy in 1957. Featuring five cuts, including three Mobley compositions, the album features an ensemble of players, including Lee Morgan (trumpet), Hank Jones (piano), and Doug Watkins (bass). This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

180 Gram Vinyl Celebrate the holiday season with this fiery collection of vintage R&B, gospel, and soul, guaranteed to bring the Christmas spirit to life! This vinyl release features a handpicked lineup of legends like Chuck Berry, Sonny Boy Williamson, and Charles Brown, delivering everything from foot-stomping hits to soulful serenades. Highlights include Freddy King's heartfelt "Christmas Tears," Lightnin' Hopkins' gritty "Merry Christmas," Carla Thomas' soulful "All I Want For Christmas Is You," and the lively classic "Run Rudolph Run." With rare holiday gems spanning raw blues, swinging gospel, and smooth soul, this album is the ultimate soundtrack for a cool Yule.

180 Gram, Yellow Vinyl Celebrate the holiday season with this fiery collection of vintage R&B, gospel, and soul, guaranteed to bring the Christmas spirit to life! This vinyl release features a handpicked lineup of legends like Chuck Berry, Sonny Boy Williamson, and Charles Brown, delivering everything from foot-stomping hits to soulful serenades. Highlights include Freddy King's heartfelt "Christmas Tears," Lightnin' Hopkins' gritty "Merry Christmas," Carla Thomas' soulful "All I Want For Christmas Is You," and the lively classic "Run Rudolph Run." With rare holiday gems spanning raw blues, swinging gospel, and smooth soul, this album is the ultimate soundtrack for a cool Yule.

2024 Reissue

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

"Full Cold Moon" ist eine Sammlung von EPs, ursprünglich 2014 erschienen, und nun auf 180g Icy Blue Glitzervinyl neu aufgelegt werden. Mehr als ein Sampler ist es ein Dokument des Übergangs in einer Zeit, in der Cold Cave ihren Sound über ein Spektrum von Isolation und Intensität ausdehnten. Von gitarrenbetonten Synthie-Hymnen über reduziertem Cold-Wave-Minimalismus bis zu dystopischen Spin-Outs fangen Tracks wie der ungewöhnliche Underground-Favorit "A Little Death To Laugh", "Oceans With No End", "God Made The World", "Black Boots" oder "Nausea, The Earth And Me" eine Zeit der Klangforschung und rastlosen Neuerfindung ein. Geschrieben während Wesley Eisolds Umzug von New York nach Los Angeles – einer Zeit, die geprägt war von Selbstreflexion und Distanz zum größeren Kontext von "Cherish The Light Years" – kehren diese zwölf Tracks zum nüchternen und einsamen Geist von "Cremations" und "Love Comes Close" zurück. Minimalistisch und doch mitreißend, ist "Full Cold Moon" Cold Cave in ihrer experimentellsten, essentiellsten und emotionalsten Form.

Kreisch! The Lemonheads kehren mit ihrem ersten Studioalbum mit ausschließlich Originalmaterial seit fast 20 Jahren zurück. Nach Jahren des Schreibens, des Umherziehens und des Neuanfangs sowie der Veröffentlichung der Single "Fear Of Living" kehrt Evan Dando mit 11 Original-Lemonheads-Songs zurück. Seit langem in Arbeit, geprägt von wechselnden geografischen Gegebenheiten, entstanden mit einer Reihe willkommener Gäste, ist es eine kühne, melodische Bestätigung einer der markantesten Stimmen des Alternative Rock. Dandos Wohnsitz in Brasilien, wo ein Großteil des Albums aufgenommen wurde, hat ihm in den letzten Jahren einen ruhigen Perspektivwechsel ermöglicht - eine Chance, sich neu zu orientieren, sich wieder zu verbinden und seine Songs endlich in den Fokus zu rücken. Das Ergebnis ist ein Album, das sowohl frisch als auch vertraut klingt: verwurzelt in den Merkmalen der besten Arbeiten der Lemonheads, aber erweitert durch jahrelange Lebenserfahrung und eine neue Umgebung. Love Chant wurde von dem brasilianischen Multiinstrumentalisten Apollo Nove produziert und bringt alte Freunde und neue Partner zusammen: J Mascis (Dinosaur Jr), Juliana Hatfield und Tom Morgan sind wieder mit an Bord, zusammen mit dem Produzenten Bryce Goggin (Pavement, Antony and the Johnsons), Erin Rae aus Nashville, John Strohm von den Blake Babies und Nick Saloman von The Bevis Frond. Und Adam Green von der New Yorker Kultband The Moldy Peaches ist als Co-Autor an dem lockeren Country-Abstecher "Wild Thing" beteiligt. In den letzten Jahren hat sich der Einfluss von The Lemonheads noch verdeutlicht, Acts wie MJ Lenderman, Courtney Barnett und Waxahatchee haben Dandos Songs gecovert und loben die emotionale Klarheit, den melodischen Instinkt und die ironische Intimität, die seine Texte auszeichnen. Diese generationsübergreifende Resonanz macht Love Chant zu mehr als einer Rückkehr - es ist eine Erinnerung an das, was diese Band in erster Linie ausgemacht hat und jetzt noch um einen späten Höhepunkt erweitert wird. Inklusive der Vorab-Singles "Deep End" und "In The Margin". "The Lemonheads' ability to merge punk rock's energetic simplicity with lush, melodic hooks is both timeless and influential." Pitchfork. CD (Digipak) oder LP (embossed vinyl sleeve artwork)