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Freak Frequency was a fitting title for the new material Greg Obis was planning for Stuck, the frenetic and twisted post-punk outfit he formed in 2018. Inspired by the doomy social economics of Mark Fisher’s Capitalist Realism, the bleak worldbuilding of horror games Demon’s Souls and Bloodborne, and the bombastic yet arty satire of Devo, Obis channelled his audio analogy into Freak Frequency, an album ringing out with explosive sounds and ideas.

Stuck formed after Obis’ previous projects, Yeesh and Clearance, called it quits in short proximity. Obis is on guitar and vocals, which span from booming theatrics to ecstatic yelps. The project’s rhythm section is completed by shoegaze guitarist-turned-chugging bassist David Algrim and tightly wound drummer Tim Green—also a graphic designer, and the artist responsible for Stuck’s distinctively unified visual aesthetic. Original co-guitarist Donny Walsh contributed freely inventive lines for the first few years of the project, including on Freak Frequency; Ezra Saulnier of Red Tunic, the newest member of the band, now brings calculated contrapuntal riffs to match Obis’ parts.

The building blocks of Stuck include the egg punk eccentricities of Uranium Club and The Coneheads filtered through noise rock power, à la Jesus Lizard or Slint; that melange is glittered with the precision microtones of Unwound and Women. “I want the feeling of immersion and chaos and tension, with a big guitar amp playing a big chord,” says Obis of his inspirations, citing friends and peers Cloud Nothings and Preoccupations. “But I want it delivered by having a lot of smaller points of light poking through.”

In fact, writing for Freak Frequency began while Content’s recording was still underway—beginning with “Scared,” which features acoustic layers under feedback squalls. “Time Out,” with motoric guitars in the sputtering lineage of Wire, was also composed in late 2019. Obis wrote it about the cycles of compulsion and shame woven into social media use, and the way negativity drives algorithmic engagement. It became an exciting exercise for the group in ramping up speed; “I thought I knew how far I could push Tim’s tempos,” Obis recalls. “But Tim kept insisting we do it 20 bpm faster than what I had. He is an absolute monster for playing that.”

Album opener “The Punisher,” a spiral staircase of disembodied guitars and rhythmic slams over a 2/4 beat, came in the aftermath of the January 6 insurrection. It felt immediately emblematic to Freak Frequency, and Obis describes it as his favorite Stuck track: one he wishes he could write again and again. “It hits all the boxes that Stuck can do: it’s goofy, but there’s a lot of intricate guitar interplay, and at the end, there’s a big payoff,” he explains. The last song written was “Do Not Reply,” a pre-album single that came to Obis after engineering for Melkbelly and channelling their earworm melodies. Algrim wouldn’t let it on the record unless Melkbelly’s front person Miranda Winters dueted on vocals; she was happy to oblige, and the gritty epic closes Freak Frequency.

With slippery snark, percussive heft, and funhouse mirrors of sludge, Freak Frequency delivers its needed screeds with gratifying nuance. If Stuck’s interpretation of this messed-up world goes down like a bitter pill, it’s only because its sugar coating is too delicious to keep from eating.

Multiple GRAMMY® Award winners Bruno Mars and Anderson .Paak are releasing their award-winning album An Evening With Silk Sonic on vinyl for the first time on 12th August 2022. The track list includes the hits “Skate”, “Leave The Door Open” and “Smokin Out The Window”. Silk Sonic won International Group of the Year at the 2022 BRIT Awards and are set to open the 2022 GRAMMY Awards. The album entered the UK Album Chart at #9 and remained in the chart for 16 weeks. The focus track on album launch “Smokin Out The Window” peaked at #12 on the UK Singles Chart.

Their debut single “Leave the Door Open,” earned them Best Group at the 2021 BET Awards, entered the UK singles chart at #20 and is now certified Gold in the UK. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

ABOUT SILK SONIC:

The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 2 billion streams with over 510 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Decca Records is proud to partner with Striking Distance Studios and composing team Finishing Move Inc. to release the original game soundtrack for The Callisto Protocol – one of the most highly anticipated video games of this decade. Set on Jupiter’s moon Callisto in the year 2320, The Callisto Protocol is a next-generation take on the survival horror genre. The game challenges players to escape the maximum-security Black Iron Prison and uncover its terrifying secrets.

Los Angeles born Nita Strauss has become a force in music. After reaching mass acclaim with her first album, Controlled Chaos, she returns with her second full-length on Sumerian Records, The Call Of The Void. Featuring the highly popular "Dead Inside," and "The Wolf You Feed," the album is a combination of melodic sounds and hard-hitting riffs that Strauss has become known for, proving time and time again that she has solidified her presence as one of Rock's greatest

Fünftes Album von Holy Wave aus Austin, Texas. Im Tarot steht die Karte der Fünf Kelche für Verlust und Trauer. Die Karte zeigt eine verhüllte Gestalt mit gesenktem Kopf, die über drei verschüttete Kelche blickt, während sie die beiden verbleibenden Gefäße ignoriert. Die Fünf Kelche wird im Allgemeinen so interpretiert, dass sie ein verzweifeltes Verharren in der Vergangenheit und die Unfähigkeit darstellt, die positiven Dinge der Gegenwart zu schätzen. Die Tarotkarte wurde zur Muse für das sechste Album von Holy Wave, "Five of Cups". Zu Beginn ihrer Karriere lehnten sich Holy Wave in ein ruhiges Reich der Psychedelik zurück und verzichteten auf lange Jams und Gitarren-Heldentaten zugunsten eines verträumten Pop-Ansatzes. Als sich die Band weiterentwickelte, wich der frühe Sgt. Peppers-meets-the-Velvets-Sound ausgefeilteren Melodien und einer ausgefallenen Instrumentierung und lenkte ihre Musik weg von sonnengebleichter Nostalgie hin zu einer farbenfrohen Dimension, in der sich Klänge der Vergangenheit, Gegenwart und Zukunft vermischten. Wie Pink Floyd in den frühen 70er Jahren haben Holy Wave es verstanden, auf ihrem neuen Album aus dem Pathos ein Gefühl tiefer Erheiterung zu zaubern, indem sie dunkle Elemente durch eine Linse filtern und sie in ein Kaleidoskop des Lichts verwandeln. Five of Cups eröffnet mit dem Titeltrack, der von Anfang an den auditiven und thematischen Modus Operandi des Albums festlegt. Die lysergische Texturpalette von Holy Wave wird sofort in den wabernden Synthie-Leads und dem Gitarren-Jangle des Songs deutlich, aber die untypischen Akkordfolgen und die Gesangsmelodie lenken die Musik weg vom anodynen Eskapismus hin zu einer nachdenklichen Auseinandersetzung zwischen Selbstbestimmung und Defätismus. Holy Wave reiten weiter auf dem wehmütigen und phantasmatischen Zug von "Bog Song" und schwanken zwischen Anschwellungen von strengen Moll-Akkorden und überlagerter elektrischer Orchestrierung. Die zuvor veröffentlichte Single "Chaparral" spielt mit der Nostalgie der Band und verwebt Verweise auf ihre Vergangenheit in El Paso zu einem Teppich des transzendentalen Triumphs. Wie so oft bei klassischer, albumorientierter Rockmusik entfaltet sich die wahre Magie erst in der zweiten Hälfte von Five of Cups. Auf "The Darkest Timeline" rekrutieren Holy Wave ihre Freunde Lorena Quintanilla und Alberto Gonzalez von dem Psych-Duo Lorelle Meets The Obsolete aus Baja California, Mexiko, um ihren berauschenden After-Mid-Night-Grooves zusätzliche ätherische Schichten hinzuzufügen. "Nothing in the Dark" funktioniert nach einem ähnlichen Prinzip, wobei ein gleichmäßiges, treibendes Schlagzeugmuster als Fundament für bandverwaschene Synthesizer, arpeggierte Gitarrenakkorde, Fuzz-Sounds und ruhige Vocals dient. Die Überlegungen von Five of Cups zur Bekämpfung von Niederlagen und Enttäuschungen werden im letzten Stück des Albums, "Happier", direkt aufgegriffen. Wieder einmal auf der melodischen Linie zwischen Melancholie und luftiger Raffinesse, untersuchen Holy Wave das synthetische Konstrukt des Glücks in unserem modernen Zeitalter und wie oft die Erlangung von Komfort jegliches wahre Gefühl von Freude vermissen lässt. Dennoch ist dies kein nihilistisches Klagelied. Vielmehr ist es eine beschwingte Erinnerung daran, dass die Bandbreite menschlicher Erfahrung von Natur aus Höhen und Tiefen erfordert und dass Euphorie oft in der Suche außerhalb des Vertrauten zu finden ist.

"SAMURAI'S boss only released his debut EP 'RATS' in 2021 (after a quarter-century in the game), but his brutalist productions are already essential. Landing somewhere between Dylan and death metal, iron-clad breaks clash against the digital roar of techstep bass across opener 'Raven', title track 'Sacrifice', and the searing 'Temple'. The dubby halftime ritualism that's become Samurai's calling card is never far away though, and the sinuous 'Anaconda' made with label regular Sam KDC is a prime example, providing a less hectic yet equally intense ride." DJ Mag

Electronic Music from 1972-2022 seeks to frame ¬fty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 ("Three Confusongs" and "Ryound Thygizunz", featuring the voice and poetry of Stefan Weiser – later known as Z'EV) up to the present. This collection is not meant as a de¬nitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival release marking Carl Stone’s

evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving.

With his sophomore full-length album, Born Hot, Chris Farren paired polished, up-beat pop songs with lyrics full of self-examination and insecurity, all while developing a newfound sense of humor when it came to promoting himself. Stereogum called it “a tongue-in-cheek exploration of ideas of confidence and self-loathing," while The Atlantic featured it on their “Best Albums of 2019” list.

On his third full-length album, Doom Singer, Farren injects his latest work with a newfound sense of power and cohesion. Collaborating for the first time with outside drummer Frankie Impastato (Macseal), Farren's songs take on a whole new dimensionality, with Impastato's live drums bringing a fresh spontaneity to the tracks. Doom Singer marks another significant milestone in Farren's career as it is the first time he collaborated with a producer, multi-instrumentalist Melina Duterte (Jay Som, Bachelor, Routine). Her masterful production experience adds a layer of sophistication to Farren's sound, creating a rich and multi- dimensional sonic landscape that takes his music to new heights. With Duterte's keen ear and meticulous attention to detail, the album resonates with a level of clarity and depth that showcases Farren's songwriting and vocal abilities in a whole new light.

Chris Farren’s music has been praised in outlets such as MTV, Stereogum, and The Atlantic, who describes his music as having “bright-eyed hooks, sparkly orchestration, and tight songwriting.” With numerous world tours alongside artists such as Jeff Rosenstock, The Gaslight Anthem, Laura Stevenson, and others, Farren has been building a dedicated following of fans who connect with his introspective lyrics and infectious pop sensibilities.

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

The pre-cursor to Mid-Air Thief's cult-acclaimed album Crumbling,
Gongjoon Doduk exhibits a distinct universality, merging disparate
sounds and styles into a cohesive, electronic-infused folk amalgam that tactfully blurs the lines between organic and synthetic
Listeners are led through enrapturing passages of swirling melodies underscored with eloquent plucks, strums, and bursts of bubbly glitches. Individual phrases drift into one another as if in a dream, cohered by entrancing hooks and vocal soundscapes. Gongjoon Doduk is a compelling accomplishment of both composition and production, bending as it does to its unique contours of consonance and dissonance, always resolving to a place of calm and beauty.

Now here's a cover album with a few interesting angles to it -
First there is the fact that Matthews Southern Comfort have a, let's call it:
Woodstock history - Well over 6 million spotify streams confirm the
legendary status of Matthews Southern Comfort's global hit
And of course: although this collection is called the Woodstock Album, the song
itself is not featured on this album as it was written post festival and therefor
never performed at Mac Yasgur's farm.
In 2022 MSC were looking for a way to reactivate the band as a viable and touring
unit again. The concept they came up with was a Matthews Southern Comfort reinterpretation of songs that were all performed at the Festival by artists like Joe
Cocker, Creedence Clearwater Revival, Jimi Hendrix, John Sebastian and The
Grateful Dead
The songs very much speak for themselves, as do these new versions with a
distinct Matthews Southern Comfort signature.

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.” In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

This Moment' - Shakti's first new studio album in more than 45 years - is
a work of immense depth and radiant optimism
With John McLaughlin (guitar, guitar synth) and Zakir Hussain (tabla) joined by
vocalist Shankar Mahadevan, violinist Ganesh Rajagopalan, and percussionist
Selvaganesh Vinayakram, the Shakti of now is a powerfully dynamic collective,
defined by deft interplay, dazzling unison passages, extraordinarily dexterous
improvisations, and the ability to draw from a vast well of global traditions and,
miraculously, put them in conversation with one another.
As a cornerstone of what is now called World Music, the vision and virtuosity of
Shakti has inspired generations of musicians from around the world to explore
sonic hybrids once thought impossible. Born of the musical and spiritual
brotherhood shared by the revolutionary British guitarist and bandleader John
McLaughlin and master Indian percussionist Zakir Hussain, Shakti's soulful,
organic intermingling of Eastern and Western musical traditions has proven
transformative for both the band's members and its listeners. Fifty years after the
informal conversations and jam sessions that sparked the band into existence,
their music continues to resonate and evolve.
Despite the large gap in their studio discography, Shakti has persisted
intermittently over the years as a live proposition, releasing several concert
recordings. "Shakti is very much a 'live' band, " explains McLaughlin. "A part of the
problem with making a studio recording has always been the fact that we live on
different continents, and we all follow our individual careers – in addition to
working together in Shakti. 'This Moment' is the result of me calling everyone in
the fall of 2021 and persuading them to use today's recording technology to
realise it."
Recorded and mixed in the U.S., Monaco, India, and Great Britain, This Moment is
nevertheless cohesive, bound by the deeply held bond shared by the players - a
bond that is audibly apparent across the album's eight tracks.

Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy
Nominated pianist and composer Toshiko Akiyoshi - then known as
Toshiko Mariano
Women have long been denied the credit they deserve in jazz. It must be noted
that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many
fronts. Jazz has been a patriarchy community from the beginning, and even
critical praise of her playing could not help but take note of her gender. Leonard
Feather, for example, writing at the time in the Encyclopedia of Jazz called out
Akiyoshi's playing as "fiery, powerfully articulated and exceptionally fluent," but
added that there was "nothing delicately feminine." Even today it is still hard for
people to see Jazz in any other way. We are pleased to be a part of shifting the
narrative and shine a spotlight on this talented artist and this wonderful album.
While she was later to compose using themes, harmonies, and instruments
connected to her Japanese heritage, this album captures the pianist early in her
career playing a straight ahead, harp bop style. This was already her 7th album as
a band leader, and it is a shining example of her confidence and mastery of her
instrument and as a band leader. Recorded at the Nola Penthouse Studios in New
Your City in December of 1960, the LP includes extraordinary liner notes by
Candid A&R man and producer Nat Hentoff giving a context and insight that adds
to the experience of hearing these extraordinary performances

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

"When the call came from WDR Rockpalast, we were thrilled - And the joy
grew from day to day," says Peter Bursch, head of the German Krautrock
legend Broselmaschine, founded in 1968 by "Germany's most famous
guitar teacher".Back in 1968, the Heinrich-Robert coalmine in Hamm was
still in its full bloom
Coal had been mined there since 1901, the year in which the Heinrich and Robert
shafts - as they are called in miners' jargon - were "abgeteuft", followed by the
Franz shaft in 1923. On November 10, 1997, the colliery closed its doors forever.
In the colliery's former wage hall, where the miners used to receive their
envelopes with their weekly wages, Broselmaschine rolled out carpets, plugged in
cables and set up their instruments on April 20, 2021. The high-ceilinged rooms
not only provided a matchless scenery, but also the basis for a unique ambient
sound. The perfect setting for Broselmaschine. But Corona had almost
completely paralyzed public life at this point; the pandemic was taking its toll on
the entire cultural scene. Spectators were not allowed to the events. The artists
and bands gave concerts anyway, sometimes from their flats, rehearsal rooms or
in small, empty clubs, and then came to the fans' homes via live stream. This also
applied for the WDR's Rockpalast with its "Offstage" series. The makers of
Rockpalast organized concerts with performances by artists in special places
that were deserted during the lockdown. That had its own charm and was
something very special.
This was also the case with Broselmaschine. The band played almost exclusively
songs from their latest studio album "Elegy" from 2019, as well as the title track
of the previous album "Indian Camel" and as a finale the Marc Bolan cover of
"Children Of The Revolution". Broselmaschine put on a great performance, no one
missed the audience that was not physically present. But it was there, this
audience. And it was in the hearts of the musicians. You can feel this with every
note this outstanding band was playing. Never were Broselmaschine more
musically valuable than on that special occasion.But judge for yourself.
Unique Rockpalast concert OFFSTAGE from the Corona era, recorded on April 20,
2021 at Heinrich-Robert colliery in Hamm, Germany - also available on vinyl

Throw on your platform boots and stomp along to the latest 7' double Aside vinyl single and digital release of "Rock N Roller" and "Rock N Roll
Angel" out on Curation Records in May 2023! It's pure bubble glam crunch
rock madness!
Hammered Satin is a glam rock band from Los Angeles California
established in late 2010
Stylistically pulling from what is now known as unkshop Glam from the 1970's. In
other words, they aspire to sound not like David Bowie himself but more like the
hitless wonder wanna- be Bowie's, Bolans, Quatro's, Sweets, Muds ect ad
nauseam. There are also punk or 'Proto Punk" and Bubblegum elements to
Hammered Satin's music that seemingly goes under the radar. The current 2023
lineup includes the three founding members. Noah Wallace lead vocals (formerly
of Teachers's Pet, S'cool Girls), Dan Sandvick Bass, Conor Berhle guitar, and
glampa Don Bolles drums, vocals (formerly of The Germs, Celebrity Skin, 45
Grave among many others). To date Hammered Satin have released two albums,
four two song 7" singles, and four digital-only singles. Their music has made it
onto a few TV shows such as Showtimes 'Dice", and Netflix's cartoon Mr.
Peabody and Sherman. The band has even managed to garner press in Rolling
Stone magazine more than once which is unheard of for an underground band.
Other noteworthy moments were direct support slots for The Ark in Sweden and
The Black Crowes in Las Vegas.

With a sonic palette coated in majestic melodies, luscious sound design, and masterful mixdowns, drum & bass duo GLXY have been creating some of the highest calibre liquid drum and bass since their emergence in 2015. Raising the levels once again with their latest body of work, Shogun Audio proudly presents the 'Fear, Ego' EP, a six-track, stripped-back masterpiece that sees Jon & Tom combine a handful of idyllic productions with collaborations with Lenzman, Halogenix, and Zoe Kypri.

Hot off the back of their 'By Design' EP, this latest project sees the duo further cement their beguiling signature sound whilst venturing into new spaces that encapsulate their ability to continuously keep things fresh year after year. Emitting sumptuous amounts of soul, sonic serenity, and superb sampling, the 'Fear, Ego' EP effortlessly wanders across moods in the most brilliant of fashions.

Whether you're listening to groove-laden sounds of 'Unconditional', their first collaboration with Halogenix, the dark and techy sounds of '3C Roller', or Lenzman's vibrant remix of 'New Soul', this EP is packed full of flavours that will appeal to fans across the drum & bass spectrum.

“Enter a path few can follow, but many can appreciate. A studio or sound’s dub-plates are like a Shaolin monk’s sacred teachings. London-based Alpha & Omega take us into their world of mesmerising roots and divulge their exclusive ‘specials’.”
MUZIK

“Through minimal manipulation, (Alpha and Omega) deliver the listener to a place of great sonic peace.” OPTION MAGAZINE

“The compelling presences at the heart of these airy sonic worlds have a harder edge than some of their ancestors.”
WIRE

“Massively thunderous bass lines, galloping drum tracks and a willingness to tastefully adorn dubs with digital flutes and various electronic sounding washes.”

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

Raised on Colombia's Caribbean coast and united by its capital, Bogota, Ghetto Kumbé combines the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world. The secret behind their irresistible electronic ritual lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album's co-producer, The Busy Twist, adds all the legacy of UK's Bass scene to the Afrofuturistic sounds of the 3 Colombians. Inspired by the different revolutionary movements emerging all over the world, Ghetto Kumbé will release their first full-length album in July 2020 on pioneering Latin Ameri-can electronic label ZZK. Their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves. Using musical motifs from Africa and Colombia's Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Tech/House, Ghetto Kumbé creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. Their first single to come out, `Vamo a Dale Duro', is a fluorescent criticism of the unjust divide between the poor and the rich, the rising prominence of dirty politicians, and the ethics of the capitalist sys-tem while encouraging people to stand up and fight for a dignified existence. The al-bum's tone fluctuates fluidly between tracks that include ancestral chants, voices both deep and resounding, and anthems to uplift and inspire, as well as features by up-and-coming Réunion island artist Melanie and the Palenque-based folk/hip-hop band Kombilesa Mi. In the Americas, Ghetto Kumbé has become one of the most important alternative groups to come out of Colombia. They've played Barranquilla's world famous Carnival, Bogotá's recent Boiler Room, and have even opened for Radiohead. The ancient yet modern sound of the three powerful musicians has made them a legitimate representative of the new Afrohouse scene burgeoning all over the world.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

From teddy grahams to pussy hats, California forest fires to cash cabs, the stuff of American nostalgia and horror adorns a personal reckoning on Christina Schneider’s triumphant third album as Locate S,1. With a name culled from a Daschel Hammitt noir novel, Wicked Jaw pulls from wildly disparate references and textures to survey the history of American pop music. Like Pat Benatar soundtracking an Adam Curtis documentary, the album trades in dramatic juxtapositions across its kaleidoscopic ten tracks. Only Schneider could pull off singing a line like “season finale 2020 death machine” as a soothing lullaby, but jarring contrasts echo the tumultuous personal journey woven throughout. “I was in hell ... and loving it,” Schneider said of her childhood, describing a murky cocktail of sentimentality and despair. “It’s like when you escape the matrix and then you remember your wonderful time in the matrix.” The Athens, Georgia based songwriter, producer, and virtuosic pop connoisseur authored the album over two years while beginning treatment for childhood sexual abuse by a relative. “I was using these songs as an expression valve for all of these

On January 28, 2022, Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and triumph. The accolades the album has received in the year it has been out speak volumes. Performing on The Stephen Colbert Show, selling out multiple US tours, cleaning up in the best of 2022 lists, and then crushing an NPR Tiny Desk on the 1 year anniversary of the album.

Piece Of Me continues to find its way to new ears and has already proved itself a timeless classic. So where do you go from here? When Ghostface Killah reaches out and says he wants to do a remix of the title track you do that. The A side, "Piece Of Me" (Remix) features Ironman himself who puts down a verse about a relationship that ran its course but no one is sure they did the right thing in. Ghostface sounds right at home over the gully Leon Michels produced track and takes the already rock solid tune to another level. Then what do you do for a B side.... You call The Chocolate Boy Wonder, Pete Rock and get him to remix "Joy & Pain". Pete takes one of the stand out tunes on the album and gives it an entirely different energy with thundering drums and a bassline that shake the windows in the car.

'In Tense' from New York-based composer and bassist Harish Raghavan, following his 2019 debut 'Calls For Action' this new and all-original output was recorded at the end of 2020 in the midst of the COVID-19 pandemic. The album's six tracks were written especially for the exceptional band of drummer Eric Harland, guitarist Charles Altura, Joel Ross on vibraphone and marimba, and Morgan Guerin on woodwinds.

Hot on the heels of his successful first Rubi Records release, Ashley Tindall, AKA Skeptical, comes with another three-track EP showcasing his evolving and expanding sound. The opener, 'Rhubarb', shows clear influences of fatherhood, with sampled sounds of happy childhood leading into what is possibly Skeptical's deepest track to date. While this is no piece of bland 'intelligent' D&B by any stretch, the build up intro of warm pads that leads into a chilled head-nodder stands a good chance of having you listening with eyes closed, smiling as fond memories wash over you. Next up is the deceptive 'Capsize'. Starting with the strings of an old sea shanty, the track sounds like it will follow the more chilled route of 'Rhubarb', before the introduction of some twisted minimal sonics and trademark 'steppy Skeppy' drums quickly change that notion! The swift addition of a fizzing, rubber-band b-line completes the switch up and you're sailing on far from calm waters. The return of the shanty violins amidst this is inspired, showing that breaking from the expected norm is not just something that this producer isn't shy of doing, but something he does exceptionally well. To round off, Skeptical steps back into more typical sonic territory with a slice of intense D&B minimalism titled 'Foiled'. This deceptively simple-sounding track hides a wealth of meticulously-crafted and perfectly-balanced elements that deliver a somewhat claustrophobic atmosphere that will appeal to lovers of the outer-edges of cutting-edge D&B. Skeptical's new EP promises to be just as successful as his first release, showcasing his unique and evolving sound.

Brand new album from Nine Mile Station.
• With tracks mixed by the late, great and legendary Al
Schmitt whose 23 Grammy's is a record
among producers and engineers.
• One of Schmitt's last before he died in April 2021…
bookended by sessions with Neil Young and Willie
Nelson.
• First vinyl pressing is exclusive as the track ‘She Walks’
was later replaced with ‘Who You Love’, inspired by
the growing hostilities to the LGBTQ community.
Lead singer Will Hawkins discovered NMS guitarist
Fernando Perdomo while watching the awardwinning documentary Echo in the Canyon which featured
Fernando performing with Jakob Dylan, Fiona Apple,
BEck, Brian Wilson, Roger McGuinn, Michelle Phillip and
Neil Young.
Coachella Valley Weekly called the NMS debut album the
“best heartland rock album in 30 years” and
MusicConnection commented on their live show: “Nine
Mile Station is a rockin Americana music band like no
other!

The Side Eyes are back with the follow up to their 2017 self-titled debut album and are asking the question What’s Your Problem? Anyone suspecting that the Southern California band may have mellowed out in the five years between albums will have those suspicions shattered within the first twenty seconds of the opening track “Get Me Out.” If anything, the band is now harder, faster and angrier than they were the first time around. Vocalist Astrid McDonald is in fiery fine form calling out everything from phonies to shit-talkers to people that simply aren’t nice. Brothers Kevin and Chris Devine on guitar and bass and drummer Sam Mankinen thunder through the twelve tracks here at a breakneck speed that is positively pummeling. While The Side Eyes sound like a throwback to early Southern California hardcore punk rock like Circle Jerks and the Adolescents, the band also sites more recent bands like Ceremony, Glue and Babes In Toyland as influences. Produced by Steve McDonald (Redd Kross / Melvins) and clocking in at under twenty minutes (while spinning at 45 RPM), What’s Your Problem is a modern punk rock gem that blows past the sonic barriers of their past inspirations. This is great stuff!

Repress!

First in a series of collaboration albums between Lokkhi Terra (described by songlines as the "probably the world's greatest Afrobeat-Cuban-Bangladeshi band") and Bangladeshi folk legends the Shikor Bangladeshi All Stars. This first outing is a Roots meets Roots affair. "The international power of Reggae" David Rodigan Radio1xtra

Written whilst Lokkhi Terra were on tour in Bangladesh, and recorded between Dhaka and London, the two tracks and corresponding dub mixes on side B reflect the bands long love affair with Roots Reggae. They were first perfromed on Bangladehi TV for a show called "The Bengal Tiger's Revenge", and then showcased at UK"s Womad Festival in 2015.

"should not have worked, but really did. Kishon Khans keyboard and artistic direction allowed the Bangladeshis to meld with his Cuban rhythm section to really fine effect, blending Latin, Afrobeat, Jazz, Dub and all manner of other elements to create something truly exceptional" United Reggae

"Awesome Cross-Cultural Collaboration" London Jazz News

SUPERB NEW ALBUM BY STRAWBS. FEATURING DAVID
COUSINS, BLUE WEAVER AND JOHN FORD.
• RADIO COVERAGE, REVIEWS IN NATIONAL PRESS, CLASSIC
ROCK, UNCUT, MOJO, RECORD COLLECTOR AND PROG
MAGAZINES PLUS WEBSITES AND FANZINES.
Vinyl LP edition of ‘The Magic Of It All’ by Strawbs,
recorded in Cape Town and featuring David Cousins, Blue
Weaver, and John Ford from classic 1970s line up joined by
some of the finest musicians and singers in South Africa.
Strawbs were high in the charts with ‘Grave New World’ and
‘Bursting At The Seams’ 50 years ago which coincided with a pivotal
moment in the struggle for freedom in South Africa, when students
and workers launched a new wave of resistance against so-called
“resettlement”. The resistance in South Africa identified with
Strawbs songs, especially ‘Part Of The Union’, ‘Lay Down’, and
‘New World’.
Recognising this, South Africa documentary maker, Niel van
Deventer, approached David Cousins with the idea of producing a
documentary about Strawbs and the band’s influence around the
world. Niel wanted to film while new songs were being recorded in
a Cape Town studio. David Cousins came up with a bunch of his
finest songs; Blue Weaver flew over to produce the sessions and cowrite some of the material, while John Ford joined in with his
contribution to the songs from New York.
Featuring brand-new songs recorded at the Academy Of Sound
Engineering in Cape Town, with engineer Peter Pearlson worked
with Paul Simon when he was recording South African musicians for
the ‘Graceland’ album. The South African musicians on this album
include Mauritz Lotz, Schalk Joubert, Kevin Gibson, Byron
Abrahams, Simangele Mashazi, Marzia Barry and Luna Paige.
Cathryn Craig and Nicole Tee joined the singers from the UK. The
documentary The Magic Of It All will be released later this year.

“Where are you, my sunny feeling I knew as a kid?” This is the question that Origami Angel asks with their latest output, a sharp and shining 8-song mixtape called The Brightest Days. Its opening title track begins with one of many new tricks for the DC two-piece––a ukulele––but quickly turns left-field as childhood innocence makes way for blistering intensity and hopelessness. Told through the lens of a shitty east coast summer, The Brightest Days was written throughout the spring and summer of 2020, and later recorded in August 2022 with producer Drew Portalatin, with assistance from Jake Chekoway and vocalist/guitarist Ryland Heagy (he/him). Across the mixtape are some of the most creative and adventurous moves Gami has ever made. Not quite an EP or an LP, the differences between each track on The Brightest Days is what makes it such a special release, and thus garnering the ‘mixtape’ moniker; diving into specific tones and different vocal techniques on each track allowed Heagy and drummer Pat Doherty (he/him) to shine in ways they never have before. The Brightest Days may be few and far between—with that gap stretching further each day—but as a mixtape, it’s a cloudless collection of the most realized and strongest music that Origami Angel has written yet.

ESSENTIAL laut The Rough Guide To Reggae! Das berühmteste Album der Band von 1977 wird jetzt offiziel als LP im Original-Coverartwork wiederveröffentlicht! Hier handelt es sich um einen echten Klassiker der in keiner Vinyl-Abteilung fehlen darf.

Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as Elevator Madness (1996). All of these albums came out on vinyl but one of the best was the singular Closed Circuit (2001) which, unfortunately, only came out on compact disc and was somewhat lost to time until now. After Grapefruit released his collection of singles and unreleased songs called Last Ticket Home in 2019, Jefferies mentioned he’d always hoped one of his personal favorite solo albums could someday be heard on vinyl as it was intended. Grapefruit is proud to finally be able to highlight Jefferies’ last album of lyric-based songs by releasing Closed Circuit on vinyl, remastered and with new artwork and insert. This album features all of Jefferies’ signature tense and dark, piano-driven rock and moody balladry, along with themes of personal isolation and domestic ambivalence. It’s a tour-de-force that has remained in the dark too long.

This is the album that started it all! Right from the opening guitar chords of "Right Side of My Mind" to Metal Mike's high-pitched vocals -which always sound funny when he's trying to come across all angry, "Inside My Brain" is a non-stop psycho analysis backed up by blaring, tongue in cheek anthems suitable for all those who can't seem to express their anger. Being one of the pivotal bands that fueled the early Southern California punk scene, The Angry Samoans were one of the first bands to prove that one can express their frustrations of day to day life and still have a sense of humor about it; as evident with songs like "You Stupid Assholes" and "My Old Man's a Fatso." And to top it all off, this album was produced by Fear vocalist and all around jerk Lee Ving, who did a decent job capturing The Samoans raw energy. - Allmusic