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one of Norways leading guitarists, and is known as an important driving force in the spread of blues music in his home country. Busk traveled to the United States early on to play in the band of the American blues artist Rock Bottom, and later returned home to start building his own solo career. "Venus Texas", his fourth album showed a shift in style. While the previous albums were characterized by driving and swing-based blues rock, "Venus Texas" is more soulful in expression. The album got rewarded with great reviews and also a Norwegian Grammy award. Now on vinyl for the first time.

Mancunians Aerial Salad describe their cross-genre sound as “Madchester Punk,” a nod to their heroes in Happy Mondays, XTC, and Carter USM, spiced with the current furore spearheaded by burgeoning Brit-wave bands like Yard Act, Shame, and High Vis. Their second album ‘R.O.I’ leans on these influences, driven forward by pure rock’n’roll swagger while conjuring a late stage, capitalist hell scape through brutalist lyrical narratives. To put it mildly, Aerial Salad is the band you want to see play the breakdown of establishment’s after party, and you already know you’re gonna love it! This is an album that moves seamlessly from pulsing post-punk beats to unstoppable stadium rock anthems. ‘The Same 24 Hours (As Beyoncé)’ is Britpop rallying against the fake facade of influencer culture, ‘All Yer Dreamin’ is Mark E Smith at the Hacienda, ‘Chances’ is Oasis taking on Talking Heads. Aerial Salad find space to explore new genres without losing the sense that this is a band born out of the hard touring, DIY punk scene, a community that continues to be close to their heart. The northern three piece want us to know they’re as authentic as it gets. Injecting that raw chaos and violent charm from the stage straight into their recordings. Their goal is to make themselves known to everyone and anyone, from rave heads to indie kids, poets to rockers. ‘R.O.I’ is fantastical while acutely bedded in modern post-Brexit, Un-united Kingdom canon. We’re all trying to find our places in this new world, let Aerial Salad be the soundtrack.

US progressive metal band EXIST make their return this Spring with their fourth album, Hijacking the Zeitgeist, set for release via Prosthetic Records on April 12. EXIST’s latest full-length sees the group expand upon their established dichotomy of extreme metal technicality and sanguine atmospherics with an intentionally more concise approach to songwriting, resulting in the most direct and emphatic album of their 14 year career. Similarly to 2020’s Egoiista, EXIST took on a keen co-production role as recording sessions commenced in early 2022, with the band emphasising a collaborative approach to the songs arrangements. Drum co-production was handled by John Douglass (Mr. Bungle, Entheos and The Contortionist) before vocals were handled by Mike Semesky in the winter. Hijacking the Zeitgeist’s sonic heft isn’t without its diaphanous counterpoints too, as Phelps and new addition Charles Eron (guitar and synths) craft deceptively complex interplay on album high points in Thief of Joy (featuring Sanjay Kumar of Inferi and Wormhole), Blue Light Infinite and soaring closer Window to the All. EXIST’s sonorous sonic landscape is bolstered by immersive rhythmic lock-ins between Alex Weber (bass and vocals) and Brody Smith (drums), that shine in Anup Sastry’s mix and Kris Crummett’s mastering work. At the core of Hijacking the Zeitgeist lies a multifaceted exploration of algorithmic rabbit holes, conspiratorial paranoia, and the universal traits that lie within humanity - these cautionary tales are tied together in striking detail with album art by Sebastian Jerke. EXIST treats both the allure and perils of both digital mazes and the real world, with equal parts wide eyed awe and horror.

Here is #3, the third album of Bed Bunker! Six-strings, synth and drum machine, Bed Bunker provides the perfect mix of hardly ever heard experimental-rock for fans of Mudhoney, Alan Vega and Suicide. GENRE: SYNTH-PUNK

OLUMA wurde 2021 von dem Bassisten Gregor Nicolai, dem Schlagzeuger André van der Heide und dem Saxophonisten Roman Polatzky gegründet. Die instrumentalen Kompositionen der neunköpfigen Band lassen sich dem Global Groove zuordnen. Sie schaffen dichte Grooves, die von energetischen Brass-Lines bespielt werden und in virtuose Improvisationen münden. Die vier Bläser können das Publikum aber auch schwebend und leicht in eine träumerische Welt begleiten. Die multikulturelle Szene Berlins mit ihren unterschiedlichsten musikalischen Einflüssen haben André und Gregor geprägt und zusammengebracht. Dazu kommt die Liebe zu handgemachter Groove-Musik, die Leidenschaft zu tanzbaren Beats. Roman trafen sie im Dunstkreis der Musikhochschule Leipzig, wo sich die internationale Band gefunden hat. Der Albumtitel Cooking Time entstand nicht zufällig: Die Musik entsteht in gemeinsamen Songwriting-Sessions, bei denen Beats gebastelt und Ideen eingesungen werden. Die Band gewann den Delay-Nerd und Afrobeat-Liebhaber Umberto Echo für ihre Aufnahmen, der mit Verwendung alter analoger Technik einen nostalgisch anmutenden Sound schafft, welcher auf moderne Produktion trifft. Mit ihrem Debut-Album möchte OLUMA die Idee teilen, dass Musik einen Beitrag zur globalen Verständigung leisten kann und Menschen verbindet. Carolina Vallejo vom Label One World Records hat dafür genau die richtige Umgebung bereit gestellt. OLUMA präsentiert ein klangvolles Zeugnis für die universelle Sprache der Musik. Ihre mitreißenden Auftritte und ihre künstlerische Vielfalt machen sie zu einer der aufregendsten Bands der gegenwärtigen Musikszene.

A playful, funky album, born from the desire to be live again; a playful and funky band that will tour extensively in Belgium and the Netherlands from April. First single 'Walk On Red, Stop On Green' sets the tone of this new album. A simple structure, over which a web of
rhythm is woven using instruments from old drum machines: the Roland CR-78, in dialogue with live drums and percussion. Lots of sax, tenor and baritone! A pumping bass. A frisky pizzicato violin. Vocals based on the 'Boy Scout Trail' principle; the leader sings and the others repeat. And then of course the classic keyboards: the Fender Rhodes, the Hohner Clavinette D6, the L-100 Hammond organ. And many analogue synthesizers: a rippling Juno-106 draws the path to be followed, which is crossed with phrases from other museum
pieces: Crumar's Stratus, Farfisa's Synthorchestra, Sequential's Prophet-10. Or the Casio Club M-100, which is actually a toy, but has been subtly coloring SKC's songs for years! In addition to his own work, also covers of Prince (The Future), Dez Mona and Alain Bashung.

Gimme, Gimme, Gimme Desire, an everlasting grip of that youthful energy, that fire and fury you felt playing a style of music that gives you a lifelong addiction and appreciation. If you’ve once been part of that certain something, that became part of your identity, it never lets you go. Drummer Sascha, bassist Jan, guitarists Philipp and Tobias know how it is getting older but still feeling the fire. The four friends shook up the scenes out of Frankfurt in the 90s and 00s. They played in different bands, they toured Europe and the US of A, they were mods, punks, hardcore kids. And they never lost their connection and love for their music. That’s why they got together some years back, rehearsing and writing songs just for the heck of it. Out of pure desperation the four of them were thinking about staying a goddamn instrumental band, maybe working with projections and shit to fog the fact that there was something initial missing: a singer. The road was calling their names, and they wanted to play shows and let you and you and you know what they got... So, they gave it one last try to find somebody to fill the void behind the mic. What helped was a platform – basically Tinder for musicians – to find that certain somebody. They kept it simple and only dropped one thing: #blackflag. On the other side of the screen there is Sam, a mystical, ghostly punkrock fairy. Sam shares that same hashtag, and she wants to sing. So, why not give it a try? Sam takes the offer, shows up in the rehearsal space, and the rest is history. Sam owns it. Sam is prepared. Sam can sing, scream, kick ass and has the lyrics to back it all up! On different occasions they now set stages on fire. They played a sweaty show in a packed Molotow cellar at Reeperbahn Festival, they joined the “Female Fronted Is Not A Genre” festival at legendary SO36 in Berlin and took the place by storm. They are ready. They were born ready. And they have that record to prove it. As any classic hardcore/punk LP it’s almost over before it started. Ten songs in twenty minutes. That’s the way. I Am A God sets the tone: “You think that I’m a girl?”, Sam asks, “Let me tell you I am a god/ And you know that I’m heaven sent.” What else would Sam be? The legendary hashtagged Californian hardcore icons drip out of every note here. This is old-school knowledge, played today. Fast, furious, and packed with energy. But it’s way more than just a bland tribute. It’s a middle-finger that finds its own direction. Salary Man allows itself a certain amount of melody – also carried by Sam who obviously can do more than bellow. Or Somewhere that shows that The Pill is a more dimensional band that can even Hüsker Dü things up if they are willing to. The Bitter Pill presents itself surprisingly angular and kind of melancholic. And What’s New almost makes its way into post-hardcore territory. Inbetween Switch and Off give you all the Greg Ginn vs. Dez Cadena your damaged souls were desperately striving for. The debut album Hollywood Smile will be released on April 5th, 2024 by Hamburg’s Sounds Of Subterrania.

Author, charity boss, furniture repairer, tv star, there's not much that Jay Blades hasn't covered. Now to add to his CV, this fine hand-picked compilation of unreleased Peckings recordings.

Jackson C. Frank's eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside.

Frank's backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank's only LP.

For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener "Blues Run The Game" to the stunning melancholy of "Milk And Honey," Frank's nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no '60s folk record that is simultaneously as rare and influential as Jackson C. Frank's self-titled debut.

The first ever vinyl reissue of Troum's »Symbiosis« EP includes unreleased extra track.

The 5 tracks were recorded from May 2000 – August 2002 and consisted of guitar-only solo pieces by both members. Forming a unity out of singularities, merging the contradictions, this first re-issue has an additional unreleased bonus track, a reworking of older material recorded with the same approach. Finalized in march 2023.

Troum is a duo located in Bremen, Germany, established in early 1997. The two members GliSch and Baraka

The original »Symbiosis« CDEP was released in January 2003 as a limited edition in a handmade 3D pyramid-box (200 copies) as Transgredient TR-02. An additional standard edition came in a stickered & handcoloured cardboard cover with obi.

012’s upcoming Various Artists "Lunae" is an enchanting ode to the depths of dub and deep techno. This imminent work sees a collaboration of talented producers: Danieli, Vera Logdanidi, Blazej Malinowski, and label head, Claudio PRC. Each artist brings their unique signature, unveiling an extraordinary and genre-defining musical experience. Dub techno vibrations intertwine with ambient layers and hypnotic rhythms, carrying the listener to a dimension where time seems suspended and emotions flow freely. “Lunae” it's a total immersion into an enveloping and adventurous atmosphere, embracing the depth of the human soul while merging with the immensity of sonic space.

PHANTOM OF THE AFTERS is the 3rd album from Irish rapper Kojaque, out on his very own Soft Boy Records. With landmark projects Deli Daydreams and Town’s Dead, that saw him 2x nominated for Choice Music Prize, receive support from Radio 1, 1xtra, 6Music, support Loyle Carner & Lana Del Rey and headline festivals across Ireland, Kojaque changed the rap landscape (and Irish culture) for good. Collaborations on his latest project include Biig Piig, Wiki, Charlotte Dos Santos and Gotts Street Park. The album traces blurred outlines of childhood trauma, depression, grief and love, interweaving the physical and emotional journey of central character Jackie Dandelion with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. Kojaque has created a cinematic-universe that is bigger in scope but also more tender and intimate in approach than ever before. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the album’s iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

With songs that are cocksure and contemplative, brutally honest but also refreshingly myth-making, PHANTOM OF THE AFTERS marks a new era from Kojaque: one of his generation’s most unique talents. In suitably audio-visual style, the album traces blurred outlines of childhood trauma, depression, grief and love. It interweaves the journey of central character Jackie Dandelion from Dublin to London with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

The record drops alongside one of its more brooding moments, ‘WHAT IF?’: a soulful ode to anxiety, and the crippling impact of fear in moving forward in life or your relationships. “I’ve been obsessed with Charlotte Dos Santos ever since I heard her project Cleo,” Kojaque comments. “She’s just got such a distinct voice and sound. I sent the track over hoping she’d be into it and she sent me back a near perfect hook.” A fully independent artist, Kojaque has brought a stellar lineup of guests together on his latest work: from Biig Piig, Charlotte Dos Santos and NY rapper Wiki (who featured on ‘JOHNNY MCENROE’) to Gotts Street Park (‘BAMBI’) plus production credits such as Calvin Valentine (Ryan Beaty), Tony Seltzer (Eartheater, Freddie Gibbs) and Karma Kid (Hak Baker, Shygirl).

PHANTOM OF THE AFTERS will see Kojaque continue to blaze a trail around the world. He first came to prominence with the genre-bending concept record Deli Daydreams: it became the first mixtape to ever be nominated for the Choice Music Prize, and demonstrated his prowess not only as a polymathic artist, but DIY label-head (co-founding Soft Boy Records, which was subject to a Boiler Room documentary) and visual artist (Kojaque has received a prestigious Royal Hibernian Academy Award for his film-making). Even as the rest of the world sat up and paid Irish Art some long-overdue attention, Kojaque’s creative output has remained thrillingly uncompromising. Tour-de-force debut album Town’s Dead examined everything from gentrification, masculinity and mental health to a gnarly love-triangle unfolding on New Year’s Eve, held together by a multi-hyphenate attitude. Once again nominated for the Choice Prize, Kojaque played a sold-out UK & European headline tour around the restrictive local lockdowns, with the album landing additional support across the likes of Radio 1, 1xtra, 6Music, plus shows with Lana Del Rey and Loyle Carner (who also sampled Kojaque on hugo). With his landmark projects to date, Kojaque changed the rap landscape (and Irish culture) for good. On PHANTOM OF THE AFTERS, you sense he’s just getting started.

Find all the greeatest songs of the King of Rock & Roll in a nice 5LP boxset

This one-off 1973 release turned out to be the only recordings of Chicago veterans Channel 3. Powered by a brilliant Carl Davis production, a sublime William Sanders arrangement and a sterling Willie Henderson rhythm, 'The Sweetest Thing' is quite simply a masterpiece of Chicago Soul which has become even more popular over the years. A mint original is £250+ these days so this has been long overdue for a 7 Inch release.

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

Keyboardist and composer Carl Moore originally wrote, recorded and pressed only 100 (!) copies of these tracks, grabbing a quick moment of studio time during a tour of Japan in the early 1980s. Moore’s purple patch saw him becoming peers with artists such as Phyllis Hyman, Jean Carn, Janet Jackson and ‘The King of Gospel’, James Cleveland.

Carter Lake is an energetic 2 minutes 30 second blast of pure dance floor joy, that looks back at carefree days, teenage love and love lost. Moore’s voice soars, and showcases his love for the powerful stylings of jazz and gospel. On the flip, Must Be The Beat sees him explore very different textures and could easily be a long lost Prince recording found in the vaults in Paisley Park. Sounding like something jammed late at night, this one is perfect for the afterhours when there are 30 sweaty dancers left on the floor at 5am that just don’t want to go home!

This is the first release on Sweet Free Association, a new label founded by Sam Don, the DJ and curator responsible for the recent lovers rock and UK soul comps For The Love of You and Just A Touch. Born out of the wish to find another way of sharing ‘the fruits’ from his Free Association radio show and parties, these impossibly rare disco tracks are now available to a wider audience for the first time, as the vast majority of the original copies have been long lost.

Mastered at The Carvery, the lo-fi recordings have been skilfully lifted by Frank Merritt to sound big in the club, while retaining the original charm in the sound that made the tracks stand out to Sam in the first instance.

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as QUANZA, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, LYMA, Misto Kay and Jazz n Dance.