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“Enta Omri” is Om Kalsoum’s most famous song, composed by Mo-hamed Abdel Wahab, who is still rightly regarded as a prominent mu-sician and composer in Egypt. The creation of this song was the first long expected collaboration of two musical giants, which came at the repeated urging of Egyptian President Gamal Abdul Nasser. There was talk in Egypt on the streets and in the media about what was believed to be a cold relationship between the two legends. Finally, after years of estrangement, Mohamed Abdel Wahab took the initiative and of-fered Om Kalsoum a song by poet Ahmed Shafiq Kamel, for which he had just composed a musical score. To his surprise, she responded pos-itively and started to like the theme upon hearing it a few times. After a month of rehearsals, “Enta Omri” was released in February 1964 to critical acclaim and packed performances. The event was so grand it was labeled “The Cloud Meeting”. With “Enta Omri”, Abdel Wahab opened up the traditional repertoire of the diva to a more innovative style, for which the composer was known for. The use of the electric guitar and a long instrumental intro, fusing oriental themes with Western musical elements, made the song particularly special, securing its place in Egyptian musical history. De-spite some criticism from other Egyptian composers from that era, the song was soon recognised as a milestone and opened a path to modern-ise Arabic music for many other musicians and singers. “Enta Omri” is loved by Arab and non-Arab audiences alike. Paying respect to the great diva, dozens of artists around the world have reinterpreted the song, adopting the intro's catchy guitar melody in their compositions. Souma Records thought it was time to re-release this monumental piece of music on a high-quality vinyl format, together with a repress of “Laylet Hob”, another classic song by Souma.

Yellow Marbled Vinyl

"Matasuna Records" returns to Mexico for a third time to dig for rare treasures. They got their hands on a special gem - two obscure Latin/Jazzfunk tunes by a band called "Colorado" from "Mexico City". The songs were released in 1976 on the Mexican label Peerless and the super rare original 7inch is virtually unavailable. Fortunately, the release is finally available for the first time as an official reissue in a remastered edition. An unjustly under-the-radar Latin jazzfunk highlight!

The song "Colorado", named after the band, opens the "A-side" of the single. The hypnotic fender rhodes puts the listener in the right mood right from the start, before the drums and percussion set the rhythm. The horns also add depth and melodiousness before the song takes a turn and reveals its funky side with guitars, synths and bass. A nice guitar solo also reveals the affinity for rock music without losing sight of the vibe of the song or tipping it a different direction. Definitely a fabulous song that comes up with a lot of ideas and inspirations, offering an unexpected richness in the under 3-minute running time.

The "B-side" also continues musically energetic in the same way with "Para Ti". Here, too, you can feel and hear the playfulness and experimentation of these extraordinary musicians. Atmospherically dense passages alternate with quieter phases and solo parts, before the tension rises again and literally explodes. As in the song "Colorado", rhodes, brass, guitars & bass offer a great and varied interplay. The secret highlight, however, might be the drum and percussion parts in the middle of the track, which will surely enchant not only the B-Boys and B-Girls.

Artist info:

The internet, a source of almost endless knowledge, offers no information about the band Colorado. All the more fortunate that one of the band's founding members, "Emilio Espinosa Becerra", provides detailed info for the reissue.

In 1968 the three brothers "Luis", "Francisco" and "Emilio Espinosa Becerra" from Mexico City started to rehearse together to play wellknown rock & pop songs at friends or family parties. At first, they played on Japanese guitars and a Teisco bass borrowed from a school friend. They saved up money to then buy guitar & bass amps and a microphone, which they always had to rent until then. However, the budget was only enough for Mexican replicas of the legendary Fender Bassman and the Fender Super Reverb. Original equipment was simply unaffordable.

Shortly thereafter, more members joined the band. Three musicians from the school band "Tepeyac": "Marco Nieto Bermudez" (trumpet), "Raymundo Mier Garza" (tenor saxophone) and "Alfonso Romero" (trombone). Another classmate named "Carlos Mauricio Fernández Ordóñez", who studied piano, also joined the group. His father had a chemical factory in the United States and helped bring equipment (amplifiers and a Farfisa Fast 5 organ) - hidden in the back of a truck - to Mexico. In the time that followed, more instruments were acquired, including bass and guitars (from Gibson, Rickenbacher and Fender) and microphones (from Shure) for vocals and horns.

With a larger band and new equipment, they played many parties in their district of "Lindavista" in "Mexico City" and neighboring areas from 1970 to 1973, as well as gigs at various festivals and school events. The group's band name at the time was "Sound Core Brass". However, more and more often people with turntables and speakers showed up at parties, which were also able to heat up. The so-called "Sonideros", a sound system culture that was emerging in the 1960s, charged less than a multi-piece live band, so the band's performances declined.

During those years, three other "Espinosa Becerra" family members joined the band: "Jorge Rafael" (trombone), "Sergio Alejandro" (tenor saxophone) and "Felipe de Jesus" (drums and percussion).

A brother of the musicians, "Carlos Espinosa Becerra", studied electrical engineering at the University. Together with another fellow student, he designed and built a 10-channel console with a variety of functions and features that far surpassed the devices available at the time. They also went to the US again to buy JBL speakers & tweeters to build their own sound system. On another trip to Los Angeles, they bought Phase Linear amplifiers, which offered enormous power by the standards of the time and had an extremely low distortion factor. With this equipment they could turn up the volume really loud and noise-free.

This was also the time when they stopped playing music from English bands & youth groups and changed their repertoire completely. They played mambos, chachachas, pasodobles and tangos on special occasions in big ballrooms and halls. Also, every now and then they hired a string quartet of well-known Mexican violinists to provide the musical entertainment at dinner events.

During those years, classmate "Pablo Rached Diaz" joined the band, playing tenor saxophone. Pablo was very active and organized many parties. He was also the one who helped the band to record on the Mexican label "Peerless". So in 1975 they were asked by Peerles Records to record their own songs. They had recorded a total of 12 songs - six of these songs were released on three vinyl singles (45rpm). Most of the songs were composed by "Gustavo Ruiz de Chavez Sr.". The band was asked to adopt a more commercial name, and so they had chosen the band name "Colorado". In the course of the releases, the band made some promotional tours and appeared in shows on "Televisa", the most important television station in Mexico in those years.

Later, several members of "Colorado" graduated and began to pursue regular professions. They didn't stop playing at events, but priority was given to more formal duties and the band was no longer as active as it had been in its heyday.

About 8 years ago, the band got back together to play again. The next generation of musicians also joined the band: two sons, a nephew and a brother-in-law of the original band members. Currently, they are back playing at friends' parties and family gatherings in Mexico City.

Synthetic Music From Yugoslavia 1980-1989

"The galloping technical progress in the second half of the last century dominated all spheres of daily life, art and culture. In the music industry machines took over the role of classical instruments and did not stop at RnR, punk nor industrial music. No one could resist the challenge, but also the prevailing trends in the 80s. The music industry was influenced by the electronic virus globally, not sparing even the remotest corners of the planet, producing bands like Depeche Mode, New Order, Soft Cell or lesser known ones like Liquid Liquid, Section 25, The Wake as well as the pioneers of the electronic music Silver Apples, Pierre Henry,etc .
What was going on in the music industry of former Yugoslavia and at Jugoton, the biggest YU music label at that time? The all over answer is given by a new release of Everland Music: Electronic Jugoton - Synthetic music from Yugoslavia 1964. - 1989. Vol. 1

Electronic Jugoton is the first part of two double albums, where the second part will even go back to pre-electronic music from 1964. Both double albums were initially released by Croatia Records (ex-Jugoton) in 2014 on a 2CD set with no less than two and a half hours of material (47 songs, 35 performers), showing the contemporary trend of Jugoton at that time towards avant-garde and provocative directions in electronic music. This untimely compilation is released for the first time on vinyl now on two double LPs, housed in gatefold sleeves by Everland Music, where part 2 will be released in 2023.
The brave and insightful creators of the compilation Electronic Jugoton, veteran crate diggers Višeslav Laboš and Zeljko Luketić, have excelled at reconstructing the musical past of electronic music in Yugoslavia from 1964 – 1989. Jugoton's extensive research included the most exciting and progressive moments of pop and disco music, early rap, electronic responses of new wave, RnR, post punk and industrial bands to the current trend of the 80s, but also pioneers of avant-garde electronic music.

Electronic Jugoton part 1 is officially opened by the band Laboratorija with the song Devica 69, which opens a window to a completely new and experimental world in former Yugoslavia.Laboš and Luketić have boldly chosen the material without reservations, suggesting that for the first time in one place we have a section of forgotten, unique underground bands like Beograd, Data, Brazil, The Master Scratch band, DU DU A and beyond.
Besides the excellent underground bands, we find popular performers of the time performing less well-known songs: Denis & Denis, Oliver Mandić, Slađana & Neutral Design.

Electronic Jugoton part 2 is partly dedicated to unique electronic music in the performance of important Yugoslav punk, new wave, RnR and industrial bands: Zana, Pekinška patka, Električni orgazam and Borghesia, while the second part of the material is focused on avant-garde early electronic music in Yugoslavia, where the works of composers Igor Savin, Branimir Sakac, Igor Kuljerić and Miroslav Miletić were presented. Luketić and Laboš rescued the obscure electronic tune Elektra by Zdenka Kovačiček, who was at that time Jugoslovska Soul and funk diva.

The uniqueness and quality of this compilation are also audio stories for children, which were extremely fertile ground for an experimentation with electronic sounds, as they should be highly imaginative to attract the attention of the childrens. Electronic Jugoton is also the first compilation in which the listener will find fragments of interviews with actors from the time gave for Jugoton Express. This was a series of promo vinyls printed in extremely small quantities in the 80's and intended to be exclusively for radio stations. An average of 30 minutes of promotion material and interviews with musicians were available for the first time through this compilation.

The value of this compilation is time and priceless. The only question is whether you will be fast enough to catch your copy of the limited double vinyl editions!"

Keeping in the Barbershop tradition of drawing on past influences to create something new Snips moved back into his familair Hip Hop terriorty drawing on some classic jazz standards to reimagine some of our favorite Hip Hop classics. This realease will accompany a limited run of T Shirts in collaboration with NYC artist Elijah Maura and London Streetwear brand "Souvenir"

LP with Digital Download Card

"Honestly, this album from Sam Redmore is having it" - Craig Charles

"Very clever. Very Nice." – Fatboy Slim

"Totally loving this. It's been on repeat since I heard it." – Nemone

"Amazing. Where can I get all your stuff?" - Jazzy Jeff

Having established himself first as a DJ and then as a remixer, Sam Redmore is now very much making himself known as an original producer of quality global grooves that can light up any dancefloor, carnival or party.

After garnering early support for his remixes from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and Craig Charles, Sam has built a name for crafting soul-drenched remixes of the classics, with his army of fans eagerly awaiting every new re-work.

Signing to Jalapeno Records for his debut album of original material, Sam has kept the eclectic tastes of all his fans satisfied with a series of very different singles showcasing the wide range of styles he is known for - all picking up rave reviews and a very wide spread of radio support including Radio 1 / 6 Music / Radio 2 / Jazz FM / Worldwide FM in the UK as well as hitting Number 1 most added on US college radio charts (world).

The single Nagu in particular has become a mainstay on daytime 6 Music but each successive release has been finding new fans. From his killer cumbia covers (Tears / Just Be Good To Me) through to the afro-house exuberance of One More Time and leading neatly up to Just Can't Wait, an extremely soulful disco house floorfiller, this is an album with broad appeal both in the UK and overseas.

In the meantime, Sam has been honing his live shows throughout 2022, with festival bookers keen for a piece of the action. Boomtown, Wilderness, Green Man, Kendal Calling and a whole host of others have seen what the punters at Mostly Jazz, Funk & Soul Festival saw last summer, when Sam debuted his live show on the main stage of a key festival on the Saturday afternoon. Anyone who was there and saw the audacious 12-piece live ensemble playing their first show knew they were seeing something special.

Release number three for Deeper Groove with label staple and Irish favourite Glenn Davis. Showcasing that signature classic house sound across three original tracks that nod to the likes of Ron Trent and Kerri Chandler but with a distinctly Davis touch. Deep, powerful and emotive music that moves bodies as much as they move souls.

Drafting in France’s Franck Roger for a remix of ‘Take Me To The Club’ he delivers a skippy shuffler of a rework with a bumping low-end to complete the package.

The Classic Greg Foat Group line-up returns with special guests Art Themen on Soprano Saxophone and Morgan Simpson (Black Midi) on Drums. Heavy Synth and percussive Grooves

Mathias Kaden returns to Rekids with ‘Blackbird’, featuring a remix from Ian Pooley.

Last appearing on Rekids with the ‘Control Your Mind’ EP in 2020, Mathias Kaden now delivers his third release on Radio Slave’s label, teaming up with Zoë Xenia for the mammoth ‘Blackbird’ backed with a pair of remixes from house legend Ian Pooley.

Leading the A-side, ‘Blackbird’ sees Mathias Kaden reach for rumbling basslines, fluttering synths, and lush piano chords to craft a tense, building track enhanced by Zoë Xenia’s soaring vocal performance. Additionally, an instrumental version of the track features on the A2, providing a welcome bonus for listeners and DJs alike.

On the flip, Ian Pooley twists the track into a rattling house jam, with wriggling keys, bouncing low-end sizzling percussion sitting under slices of Xenia’s effortless vocals. Rounding out the release is the ‘Basic Dub’ mix, which sees Pooley playing with classic dub techniques for a sharp instrumental take on the original.

Freestyle's run of reissues continues with the sought-after 1983 UK electro-funk of State of Grace's Touching the Times getting a freshly remastered 12" cut!

State of Grace were a trio formed at the start of the 80s, releasing a handful of singles between 1981 and '84. As SoG's David Inglesfield recalls, "in early 1982 we recorded 4-track demos of 'That's When We'll Be Free', 'Touching the Times' and a third song. When we played them to Mike Collier, who'd released our first single for his Flamingo label, he offered us a contract on the spot and licensed the finished tracks to for release on the PRT label"

Having released 'That's When We'll Be Free' in late 1982, 'Touching the Times' landed on 12" and 7" formats in early summer 1983. "For the demos, we'd used a TR-808 for the drums, and we kept the 808 for the final version of 'That's When We'll Be Free'", Inglesfield continues, "but for the full version of 'Touching the Times' we decided to use a Linn LM-1 for the drums. The keyboard sounds were from a Roland Jupiter 8, Roland SH-2 and Fender Rhodes"

Touching the Times was recorded at The Bridge studio near Putney Bridge, then mixed at The Sound Suite in Camden. "At the time, we were into the Sloane Ranger upper-class English look" says Inglesfield "and for the photo shoot for the original picture sleeve, we wanted an aristocratic type interior, and Broughton Castle in Oxfordshire was selected for this purpose."

The updated centre label image on our reissue shows State of Grace's Adrian & Pat Thomas, and David Inglesfield, in the Camden Mews outside The Sound Suite - located just a short walk from Freestyle's home in Kentish Town.

Belgian duo Chassé keep the acclaimed Black Jukebox series rolling with a 4-track EP that pays homage to classic US house sounds in accomplished style.

‘Fake Real’ kicks off with sunny abandon, all breezy piano chords and synth sax creating an authentic early-’90s NYC house vibe over plump plucked bass and lazily skipping percussion. Deep pads, bright strings and delicate synth arps bring the atmospheric edge.

‘People Dancing’ ups both the chonk and swing factor, getting more jaunty with its live piano chords and lilting rhythm. Hazy, filtered electric piano chords swoon over classic drum hits, the deep and the pumping meeting in perfect harmony.

‘Nightlife’ takes snatches of classic house vocal and peppers them between melancholic chord samples and dramatic snare hits, and a tense breakdown that exacerbates the subtle qualities of this soulful stomper. A few carefully placed organ notes are all that’s needed to draw the most out of the cool bassline funk.

‘True Game’ rounds off this delicious EP, finding itself somewhere between the classic US house vein and the French touch era, where graceful pads cut against jazzy organ chords, pitched-down vocals, garage snare patterns and seductive bass throbs.

One of the most highly awaited records on the planet. In true Bad Company UK style, going against the grain to bring you what you want. Oxygen - Prolix Remix and Dogs on the Moon - Delta Heavy Remix have been immortalised together on one piece of vinyl #1, kickstarting the BCUK Remix vinyl project which has been evolving and developing over the past 7 years, to bring you something very special. As supported by the likes of Andy C, The Prototypes, AMC, Audio and everyone else, these tracks are locked and loaded.
Dogs On The Moon Delta Heavy Remix - A bouncy catchy remix by Delta Heavy, with a bass line and drop that is an energetic anthemic Bad Company UK dance-floor classic. Fit for the old school Drum & Bass heads while also being a perfectly modern new age banger with a fast tempo for those who like to move, dance, run, exercise or just enjoy DnB at its best.

 OxygenProlix Remix - An uptempo Drum & Bass remix from the highly talented Prolix, of the classic Bad Company UK deadly sinister theme - Oxygen. The old school Drum & Bass generation are thrilled to see the ‘Drilla Killa’ classic updated for 2022, giving the new age fans who are more and more interested in the foundation of the scene, a slice of the past with a modern twist. This rhythmical beast will get you showing off your best moves while screwing up
your face.


Dj support: UKF, Andy C, A.M.C, DC Breaks, Ed Rush, Audio, Prolix, Futurebound, The Proto- types, Dj Marky, Bryan G, Mampi Swift, Jumping Jack Frost.

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

PROLETARIJAT010 is the result of almost 4 decades of inspirational journey through the life captured by Sev Dah as a musical statement. This double LP is inspired by various music during different periods, strange life events and struggling life on the edge between acceptance and solitude. From Detroit influences to shaking 909 sexy-vibes over to machinery working-class Techno - Sev Dah spiced this LP up with his own (already recognizable) way of processing sounds. This LP is dedicated to the people and the city of Sarajevo and their heroic fight against the fascist occupation during WW2.

ElectronicaA Mountain Of One are set to return to the musical landscape with their brand new track “Custard’s Last Stand”, released 6th August through their new label AMORE via Above Board distribution. It is the first new piece of music the band have released in over a decade.

”Custard’s Last Stand” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, it is a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

“Custard’s Last Stand” EP is out 27th August, and will come with an incredible Dub Versions from dub pioneer Dennis Bovell MBE, as well as another new track “Stars, Planets, Dust, Me”. He has also provided a rare vocal performance.

The forthcoming album will be released this autumn. The whole project has been mastered then remixed for a forthcoming album by the legendary Ricardo Villalobos.

When A Mountain Of One AMO1first started performing, they quickly became one of the most-acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach, led by Mo and Zeben’s almost telepathic understanding.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal records that have stood the test of time, criss-crossing Balearic, folk, jazz, dance, rock and psychedelia.

A Mountain Of One have collaborated to create a coming together of music and virtual reality. With NYX VX, the band have developed a virtual world, one that will help provide inspired opportunities for artists looking to identify, connect and engage with audiences on multiple levels. This is the first stage of a new world that people will be building out and inhabiting, as venue for performances, home for musical and visual archives, space for play and exploration. Welcome to 'Stars, Planets, Dust, Me'.

Watch the teaser, soundtracked by new single “Custard’s Last Stand” HERE

The band also supplied the music for the stunning short film from acclaimed director Daniel Lindegren, filmed in London over lockdown. Check that out HERE

A stellar piece of ambient jazz finally getting the vinyl treatment. 'Green' was Robohands (aka Andy Baxter) debut LP that combines ambient, jungle and hip-hop sensibilities into a relaxing jazz package that rightfully earned its popularity on YouTube. Described as a future classic, 'Green' is an effortless and high quality piece of jazz coming direct from the underground with zero promotion - the talent speaks for itself. 'Lost' is an immediate favourite, a lowkey drum breakbeat over soulfull piano lends itself to a near tropical vibe. 'Dream' is a cozy banger, reminiscent of the instrumentation from Solange in her more recent works, while 'Ascend' feels like an extract from a Studio Ghibli movie - Baxter's concept of setting and atmosphere are perfect. Fans of lo-fi hip-hop and ambient as a genre need to know the name Robohands.

The Best Old School Death Metal album from the Netherlands gets a well-deserved re-issue! Crushing, aggressive, abrasive, pounding, bone crunching... In an age when blast speed drums were still mostly used by grindcore acts (and some pioneers such as Morbid Angel) and now classic bands such as Cannibal Corpse, Suffocation, Deicide were still tiny demo acts, Dutch masters Pestilence released one of the best old school Dutch death metal classics ever to be unleashed upon mankind, the album that made a huge impact upon its release. “Consuming Impulse” is one intense album. one could say this album is definitely up there with classic death metal albums such as Death’s “Leprosy”, Obituary’s “Slowly We Rot”, and Morbid Angel’s “Altars of Madness”. With “Consuming Impulse”, Pestilence created their greatest, most complete album, successfully marrying the primitive brutality of their previous effort ‘Maleus Maleficarum’ with the technicality of their later releases. Whereas their debut album “Malleus Maleficarum” had some hints of thrash metal, this was gone on “Consuming Impulse” although the up tempo beat was still of course very much present. The production was heavy yet remarkably transparent. The riffs of Patrick Mameli on “Consuming Impulse” are simply mind-blowing. Even though quite simple at times they still prove extremely deadly. Try the main riffs in the verses of ‘Process of Suffocation’ and ‘The Trauma’ for starters. Speed monsters like ‘Dehydrated’ and ‘Reduced To Ashes’ were simple compositions but the intensity of this material just oozes out of your speakers. The presence of these straight forward raging death metal tracks was perfect to balance the dynamics and variety of the album. Songs such as ‘Chronic Infection’ and the classic ‘Out Of The Body’ incorporated some great interacting differentiating guitars and much more diversity in pace and riffing.

Presenting a brand new vinyl compilation featuring artists from the electic Funkiwala label – from Brasillian Afrobeat to Bengali Funk to Indo-Cuban-Nigerian Jazz to European Jazz Soul to traditional Baul Myticism - 3 newly released tracks by Phil Dawson, Cubafrobeat and Lokkhi Terra, with other tracks previously released digitally or on CD only - "if further proof were needed that London is a hotbed of cross-culturally inspired expression, it's new record label Funkiwala"Evening Standard

1. QUE BELEZA - Phil Dawson feat Nina Miranda and the +2s (Domenico, Moreno and Kassin)

A funky version of a Tim Maia classic from the legendary 'Racional' period. Guitarist Phil Dawson grooving with Brasillian musicians Moreno Veloso, Domenico Lancelotti and Kassin Alexandre (the +2s), vocalist Nina Miranda and co-producing with Marco Dalle Luche

2. ON A SUMMERS DAY - Archie the Goldfish -

A project co-led by trumpet player Graeme Flowers and guitarist Chris Bestwick. This track is a nod to the great Miles Davis electric albums of 50 years ago, taken from a 5-track EP "Water & Light' incorporating elements of jazz, drum & bass, funk and hip hop (released in 2021)

3. ENI AGEE - Cubafrobeat -

Formed out of the collaboration between London fusionistas LoKkhi TeRra ("probably the worlds best Cuban-Afrobeat-Bangladeshi group"Songlines) and UK's Afrobeat Ambassador Dele Sosimi ("A true legend"Clash), Cubafrobeat was initially the name of their critically acclaimed album from 2018 (" A total Stonking Blinder"All About Jazz). This has evolved naturally into an entirely new musical beast – and this is their first single.

4. HARMONIUZINHO - Lokkhi Terra

Taken from their debut CD album "No Visa Required" (2010), this is one of the tunes that put Lokkhi Terra on the map. Recorded in Kishon Khan's home studio the track captures the beginning of this London band's journey.

5. KANDE REVISITED - Lokkhi Terra

This a reworking of Lokkhi Terra's version of a classic Bangla Folk song written by Hason Raja. Maintaing the spirit of unique sound clashes, the track combines a typical London Afro Funkiness with the sublime Bengali vocals of Aneire Khan, Sohini Alam and Aanon Siddiqua. The original version was released on their 2012 CD album "Che Guava's Rickshaw Diaries".

6. NUORACLE - Justin Thurgur

Originally released as a digital single, this release from Justin Thurgur, composed in collaboration with Kishon Khan, is a Cuban Jazz track that features driving Timba bass lines and Afrobeat inflected horns and is a nod to the Nuyorican Latin Jazz scene of the '50's, '60's and '70's, which has been a big inspiration to them.

7. EU TOPO - Beiju

Beiju is the combined work of two unique practictioners: Firstly, Adma Macedo Newport from Salvador da Bahia, a singer who has integrated the great Afro-brazilian musical traditions of her native city with that of those she's lived in on her travels. Secondly, Phil Dawson, a London-based guitarist and music writer who has collaborated with many stylistic originators internationally, including those from all four corners of Africa. .

8. SHADHO KI RE AMAR - Shikor Bangladesh All Stars

Taken from their debut album "Soul of Bengal" - This Folk super group is made up of legendary session musicians from Bangladesh. This track features the late great Baul Rob Fakir and is written by the great mystic, Baul Lalon Shah, whose songs are still be found throughout the Bengal today.

Unique and much lauded classic soulful blues-rock band XANDER AND THE PEACE PIRATES will release their hotly anticipated new album Order Out Of Chaos on 6th May. This is preceded by their explosive single “Leave The Light On” released 4th March with an amazing video giving a tantalising taster for the main course of songs to be unleashed on their upcoming album. Order Out Of Chaos is replete with heart-warming songs with soul-searching meanings. There’s also a tumultuous sea of sounds to be discovered on Leave The Light On that will send shockwaves through the ears of connoisseurs of classic rock music. And creating musical shockwaves is something that Xander And The Peace Pirates specialise in ever since brothers Keith and Stu Xander were discovered on YouTube by former Gibson Brands CEO Henry Juszkiewicz and quickly grabbed the attention of music industry figures such as Eddie Kramer (Jimi Hendrix, Led Zeppelin, Kiss, Rolling Stones) and Rick Allen (Def Leppard). After their 5-year tenure as the resident band at Liverpool’s iconic Cavern Club, they went on to support the likes of Joe Bonamassa, Joe Satriani, Manfred Mann’s Earth Band, The Temperance Movement, ex-Whitesnake’s Bernie Marsden and even Bon Jovi at Old Trafford Stadium to name but a few.

2022 Repress

2x12", high gloss photo like gatefold sleeve, 180g Vinyl , WAV&MP3 Download code included
Following their debut EP with 'Ezra Was Right' and support from the likes of Gilles Peterson, Grandbrothers are presenting their debut album 'Dilation". Twelve modern Experimental / Ambient / Piano pieces, whose sounds are generated completely out of a grand piano using small electromagnetic hammers. Grandbrothers are Erol Sarp and Lukas Vogel. After meeting at university in Dusseldorf, Erol and Lukas formed Grandbrothers to tie together their respective musical backgrounds and disciplines: Erol is a trained jazz pianist, while by day Lukas constructs synthesizers at Access Music. Together, they create a sound that combines classical composition with modern, experimental production and sound design. Their first song, 'Ezra Was Right', earned an early supporter in the esteemed Gilles Peterson, who included the track on his Bubblers 10 compilation and played it numerous times on his Worldwide radio show for BBC Radio 6 Music, with the song eventually being voted #7 by listeners in his end-of-year poll in 2013. A full EP on FILM followed - backed by remixes from legendary Manchester DJ Greg Wilson, Optimo's JD Twitch, and Kim Brown - which sold out its initial run within ten days. Now, Grandbrothers present their debut album, Dilation. The product of two years work, Dilation builds on some of the ideas established on 'Ezra Was Right' while exploring further elements of minimalism, ambient music, IDM, and techno.

New York electronic experimentalist Nicky Mao's 4th full-length, Silvercoat the throng, emerged against the backdrop of lockdown, compelled by an intuitive directive: “resist the urge to fill the space.” Compositionally this translated as a simmering, shadowy energy, veiled but variable, traced in a composite of strings, synthetics, rhythm, and voice. The title alludes to a poetic notion of “possibility, rescued from darkness,” which aptly evokes the shape-shifting, devotional feel of these ambitious and elegant sound designs, crafted in defiance of impermanence, driven by the pursuit of becoming “more and more articulated, differentiated.”

Collaborations with travis from ONO, Speaker Music, and Muqata'a further expand the album's lyrical, liminal palette, meshing elements of experimental techno, spoken word, neo-classical, and industrial noise into a fluid, encrypted dialect all its own. Mao speaks of creative strategies of solidification and reification, encounter and transformation, pure being and punctuation – a multitude

of sparks, fuses, and forking paths leading across fresh thresholds and twilit terrain. Taken as a whole, Silvercoat captures Hiro Kone at the peak of their powers, alchemizing disruption and decomposition into regenerative interior worlds: “Within the darkness and absence is an opportunity for discovery.”

Demon are proud to release “Eddie Piller Presents British Mod Sounds Of the 1960s”, the follow up the “The Mod Revival”. This 2LP set serves an introduction to 'British Mod Sounds of the '60s’ and features 34 tracks.

Curated by Acid Jazz Records and Modcast founder Eddie Piller, this collection features the stapes of the British Mod scene including Small Faces, The High Numbers, The Action, The Fleur De Lys, The Kinks, Spencer Davis Group, The Creation, Rod Stewart, The Yardbirds, and The Love Affair.

"Be in with the In Crowd once more."
Every great youth cult deserves a great soundtrack, and when the '60s Mods adopted classic American R&B, with a side order of hip Jazz, they undoubtedly found the right music for their exuberant and stylish way of life. And yet, buying expensive imports, hoping for a local release or praying for a rare visit from overseas talent was never going to be enough to satisfy British youth with a thirst for the latest sounds. Certainly not those on the dancefloor and definitely not those with their own musical ambitions.

It was a music scene that began with imitation, before skill and imagination lead curious minds to innovation, a scene that evolved from average (at best) copies of releases on the Chess, Motown and Stax labels, to become something more sophisticated,something quite unique, something very British.

Under The Sun is the follow-up to the astonishing Roots and contains yet more absolutely essential Nucleus material. Originally released on Vertigo in 1974, Under The Sun was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

Under The Sun opens with the crisp, medium tempo “In Procession”. It’s a typically inventive Carr track with layers of dramatic, riff-led themes and repeating brass blasts. Bryan Spring’s “The Addison Trip” is a moody funk piece, with Kieran White guesting on wordless vocals. Roger Sutton contributes some fine bass guitar on this track, particularly the great solo at around the two minute mark. The excellently-named cool, jazzy ballad “Pastoral Graffiti” paints bucolic pictures with its mellow sonics, plaintive horns and Bob Bertles’ flute.

Sutton’s superb, bass-driven “New Life” brings a different dynamic. Horns, guitar and electric piano swirl over the head-nod bass motif and a killer Ken Shaw guitar solo. A false fade out halfway through brings in a new bass riff that’s picked up by the whole ensemble as Carr wah-wah noodles over the top. It’s full-on. The gorgeous, laidback “A Taste of Sarsaparilla” is exactly that - closing out the first side with a cute blast of what is to come over on the killer flip.

The whole of Under The Sun’s second side is a suite of three “Themes” written by Ian Carr. The uptempo first theme “Sarsaparilla” is comfortably one of Nucleus’ best. What would’ve been a cluttered mess in the hands of most is instead an effortless lesson in clarity and zing. Between Geoff Castle’s electric piano solo, the relentless funky drumming and more wild wah-wah trumpet from Carr, Nucleus show you how it’s done.

The languid groove of second theme “Feast Alfresco” is much more typical of “classic” Nucleus and sounds like something that might’ve been on Roots. A Bertles baritone solo and a guitar solo from Shaw weave around the core, serpentine brass theme.

The darker “Rites of Man”, the third and final theme, is a slow build to a solid bass and electric piano riff, shored up by some tricky brass. Carr takes the theme even further and there’s still plenty of room for soloing from all corners of the Nucleus. As usual, the dynamic Sutton/Spring, bass/drums duo is holding down the rhythm for the rest to jam around.

This Be With edition of Under The Sun has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The bleak, rain-dappled cover matches the melancholic vibe of the record and has been restored as the finishing touch to this long overdue re-issue.

Key player of the French electronic music scene, DAMIEN ALMIRA launches his new vinyl only label ALMIRA RECORDS.
On the 1st release, he take his famous pseudonym TIMID BOY to deliver a contemporain house banger.

IO MULEN makes a future house remix, an new classic from the Ukrainian microhouse hero.

New EP from rising star Mehlor. Four House bombs with different flavor from Uk Garage to 90s rave classic. A complete EP with unexpected twist and turns that stands out from the pack.

The cosmic funk sounds of Crazy P are sure to endure through the ages but it's always good to hear classic tackle through a fresh lens. And so it is that Walk Don't Walk asks four crucial artists to add their own spin to some fine originals. DJ Nature brings his textbook rawness and heaviness to 'SOS' while Ilija Rudman's take on 'Night Rain' is lovely downtempo boogie funk. Running Back label head Gerd Janson is in dazzling disco mode on his take on 'We Will F**k You Up' and last of all is a super vibe and atmospheric house joint from Ron Basejam.

Sanna Mun debuts on her imprint, Katabasis, with a three techno cut EP (vinyl & digital).

Sanna Mun is an interdisciplinary artist based in Berlin. Her approach to production is inspired by her work as an archaeologist, using digital modeling and field recordings of ancient sites to extract their psychoacoustics. Sanna's multifaceted sound ranges from ambient to mental and classic techno. Her sense for organically evolving motifs drives her live sets, which resolve to induce a state of meditation. Sanna's music has already received support from O Phase, Developer, and other mainstay techno names.

Katabasis started out as an experimental techno event at Sameheads in Neukolln, Berlin in collaboration with local musicians and visual artists. The vision behind the project is to springboard underrepresented artists reinventing minimal, hypnotic and early techno. Its name and imagery derive from Western esotericism, rooted in Sanna's experience as an archaeologist specializing in occult sciences. The label's first release features tracks exploring Pythagoras' musica universalis, planetary frequencies informed by her studies with Luz Peuscovich.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book "Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

Reissue of this italo disco classic from 1983 with Flemming Dalum and Victor Ark remixes!

Robbie Williams hat die Veröffentlichung seines kommenden Albums "XXV" angekündet, das am 9. September 2022 erscheinen wird. Das Album feiert 25 Jahre Robbie Williams als Solokünstler und enthält unzählige Nummer-1-Singles und Fan-Favoriten. Die Titel wurden von Jules Buckley, Guy Chambers und Steve Sidwell neu orchestriert und mit dem renommierten Metropole Orkest in den Niederlanden neu aufgenommen. In seiner bisherigen Musikkarriere hat Robbie insgesamt 17 Alben in den Charts platziert, sowohl als Solokünstler als auch mit Take That. Damit gehört er zu den drei Künstlern mit den meisten Nummer-1-Alben aller Zeiten im Katalog.Robbie Williams a annoncé la sortie de son prochain album «XXV» pour le 9 septembre 2022. Cet opus célèbre les 25 ans de Robbie Williams en tant qu'artiste solo et contient d'innombrables tubes dont le légendaire «Angels» qui a catapulté Robbie vers une renommée internationale et qui reste son single le plus vendu à ce jour. Les titres ont été réorchestrés par Jules Buckley, Guy Chambers et Steve Sidwell et réenregistrés aux Pays-Bas avec le célèbre Metropole Orkest. Au cours de sa carrière musicale, Robbie a classé au total 17 albums dans les hit-parades en tant qu'artiste solo ou encore avec Take That. Il fait ainsi partie des trois artistes dont le catalogue compte le plus d'albums numéro 1 de tous les temps.

Rund 135 Jahre umspannt das Repertoire von Igor Levits neuem Album "Tristan": die Zeit von etwa 1837 bis 1973. Ganz unterschiedliche Genres treffen aufeinander; nur eines der Werke wurde ursprünglich für Soloklavier geschrieben. Levits Annäherungen an existenzielle Grenzerfahrungen - den Tod in "Life" (2018), die Begegnung mit dem Spirituellen in "Encounter" (2020) und jetzt, in "Tristan", die Verbindung von Liebe, Tod und Erlösungsbedürftigkeit - bringen es mit sich, dass wiederum nicht allein Meisterwerke für sein Instrument im Mittelpunkt stehen, sondern vor allem Kompositionen, in denen gewisse thematische Assoziationen eine möglichst persönliche Gestaltung finden. Dabei kreisen Levits eigene Gedanken bei "Tristan" weniger um die Liebes- und Todesthematik als solche, sondern vielmehr um Erlebnisse der Nacht und des Nächtlichen - als dunkle Gegenwelt zum bewussten Handeln bei Tage. Psychische Ausnahmezustände geben den Ton vor: "Die Nacht hat so viele Gesichter. Sie kann Zuflucht und Kontrollverlust bedeuten, sie steht für Liebe und Tod, und sie ist die Zone tiefer Ängste", sagt Levit. "Im Adagio von Mahlers Zehnter Sinfonie gibt es den berühmten Aufschrei des dissonanten Schmerzensakkords, und Wagners 'Tristan und Isolde' inszeniert geradezu eine Art emotionale Kernschmelze. Alle wesentlichen Geschehnisse des Stücks spielen sich in der Nacht ab. Auch Hans Werner Henze spricht in seinen Erinnerungen an die Entstehungszeit von 'Tristan' von Alpträumen und traumartigen Halluzinationen." Henzes "Tristan - Préludes für Klavier, Tonbänder und Orchester" - ein schwärmerisch-raffinierter Hybrid aus Soloklavier, Elektronik, Konzert und Sinfonie - bildet das Herzstück des Albums. Es ist die erste Orchesterproduktion Levits überhaupt. Unter der Leitung von Franz Welser-Möst hatte Levit das suggestive Werk, von dem bisher nur die kompromissbehaftete Aufnahme unter Leitung des Komponisten greifbar war, bei den Salzburger Festspielen als auch mit dem Gewandhausorchester in Leipzig aufgeführt; im Zusammenhang mit den Leipziger Konzerten entstand 2019 die vorliegende Aufnahme.Franz Liszts dritter Liebestraum ist heute als sentimentaler Show-Stopper aller Klavierpoeten bekannt. Dabei ist auch dieses Nocturne in As-Dur durchaus tragisch grundiert. Zurück geht es auf ein Kunstlied Liszts auf Verse von Ferdinand Freiligrath (1810-1876). Der Beginn des Gedichts lautet: "O lieb', so lang du lieben kannst!, O lieb', so lang du lieben magst!, Die Stunde kommt, die Stunde kommt, wo du an Gräbern stehst und klagst!"Nächtlich Verzweifeltes auch bei Mahler: Ende Juli 1910, mitten an der Arbeit am ersten Satz seiner Zehnten, erfuhr der Komponist von einer Affäre seiner Frau. Igor Levit spielt dieses Adagio in einer wenig bekannten Klaviertranskription des schottischen Komponisten Ronald Stevenson, für dessen große "Passacaglia on DSCH" er sich zuletzt so stark eingesetzt hat. Erst in "Harmonies du Soir", der elften der 12 "Études d'exécution transcendante" von Franz Liszt, scheint, bei aller Verdichtung pianistischer Majestät, eine Versöhnung auf. Die am Ende des Programms erklingenden "Abendklänge" bilden das friedliche Gegenstück zu den Ekstasen und Alpträumen, die den Nachtgeweihten bei Wagner oder Mahler widerfahren.

Hailing from a city known for club anthems, Tha God Fahim has taken the road less traveled, channeling hip-hop’s grimy roots with complex, street-level lyricism and dusty, sample-heavy production. In the midst of his meteoric rise, the Atlanta artist released "Wide Berth", a rugged masterpiece executive produced by mysterious rap phenom Mach-Hommy. Featuring production by Camoflauge Monk along with Fahim himself, this 2018 classic is now available on vinyl for the first time ever, complete with new artwork.

Blue - also Antony Costa , Duncan James , Lee Ryan
und Simon Webbe -, das ist so ein Name, der einen
automatisch in die Boygroup-Ära transportiert: Sie waren
nicht nur einer der größten und erfolgreichsten Acts jener
Hochphase, sondern vor allem auch einer der besten. Auf
den drei Alben, die ihnen in den Nullerjahren
Spitzenplätze in den Charts (u.a. 3x #1 UK, 1x Top-10
DE) und reichlich Platin bescheren sollten, verschränkten
sie lässigen R&B mit hochauflösender Pop-Perfektion und
emotionalen Balladen, was der im Jahr 2000 gegründeten
Boygroup nicht nur 16 Millionen verkaufte Albumeinheiten
bescherte. Auch zwei BRITs räumten sie ab im
Königreich, wo sie gleich 11 Mal die Topregion der
UK-Singlecharts aufmischen konnten und davon gleich
noch drei Mal die #1 belegten.

Parallel zur Stadiontournee werden Blue im Herbst ihr
sechstes Album Heart & Soul veröffentlichen - ihr erstes
fürs neue Label Tag8 Music/BMG. Der neue Longplayer
unterstreicht und zelebriert all das, was die Band während
ihrer ersten Blütezeit ausmachte, denn er spielt immer
wieder auf die Vergangenheit an, bringt aber auch
kontinuierlich Neues ins Spiel. Ihr Trademark-Sound
schwingt im sorglos-ausgelassenen Titelsong, der von
MNEK (Beyoncé, Little Mix) mitkomponiert wurde,
genauso mit wie in der gefühlvollen Ballade "Magnetic",
bei der die Jungs mal wieder ihr ganzes umwerfendes
Stimmvolumen auspacken dürfen. Mit der Leadsingle
"Haven't Found You Yet" legen Blue einen Instant-Classic
vor, der klanglich eher in Richtung Justin Bieber oder
auch jüngere Coldplay-Hits geht. Man hört, dass sie
unbedingt alles geben wollten für Heart & Soul

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.
The band’s 1990 debut, ‘Smoke ‘em if You Got ‘em’, made quite the first impression
with frantic stand-up bass, fiery guitar playing, and the Rev’s wild howls stirring up a
volatile cocktail of ‘50s rockabilly, punk energy, and sly humour. AllMusic said of the
album, “it’s all sleaze, it’s all wrong, and it’s all so very, very right,” while, on
encountering the hit single ‘Psychobilly Freakout’, Beavis and Butthead raved “This
dude is weird!” “Yeah, yeah, he’s like… our kind of people.”

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.

1993’s ‘The Full Custom Gospel Sounds Of’ stepped things up a bit, with fuller
production by fellow Texan Gibby Haynes of the Butthole Surfers. In addition to the
hilarious ‘Bales of Cocaine’, the album features the furious ‘400 Bucks’, the
atmospheric creeper ‘The Devil’s Chasing Me’ and ‘Wiggle Stick’. On seeing the
video for the latter, Beavis declared, accurately, “Yes! This guy RULES!” while
Butthead agreed, “Yeah… this guy ROCKS! ROCKS!!”

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.

1994’s ‘Liquor In The Front’ gets even more aggressive - heavy, even - sonically,
with production by Ministry’s Al Jourgensen and the high-velocity opening pairing of
the high-velocity instrumental ‘Big Sky’ and the blistering lament ‘Baddest Of The
Bad’. The highest selling of the Rev’s first three albums, ‘Liquor In The Front’ was
originally co-released with Interscope Records, with the album hitting #18 on the
Billboard Heatseekers chart and the single ‘One Time For Me’ hitting #40 on the
Modern Rock chart. In the words of AllMusic, “for sheer crank, nothing in his catalog
can touch it.”

Recorded in 1971 by a 27-year-old pastor and an after school program choir, Like A Ship is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess/Cadet maestros Gene Barge, Phil Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield-esque political soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khaled, Barrett created a rapturous, crossover gospel classic that's still wildly relevant.

The 2018 Halloween movie has the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.

The legendary record label Brunswick Records is home to a
plethora of amazing recordings from classic soul to rhythm &
blues. In this collection we trawl through the vaults to present you
with twelve of the finest funk inspired tracks which are sure to get
you perspiring on the dance-floor.

Classics come in the way of Gene Chandler’s scintillating cover
of James Brown’s There Was A Time, Erma Franklin’s Light My
Fire from her timeless album Soul Sister and Exit 9 with Miss
Funky Fox - a remarkable addition to the Brunswick catalogue
given these musicians were only between the ages 16-20.
Dig a little deeper and we have supreme album cuts from Jackie
Wilson, The Eliminators, The Young-Holt Unlimited, The Lost
Generation, Total Eclipse and Willie Henderson. All of which will
get your reaching for your original album copy.

Pressed on 140g black vinyl with a printed inner sleeve and
artwork reflecting the original Brunswick releases. This is an
essential addition to anyone’s record collection.

High Roller Records, black vinyl, ltd 350, 5mm spine cover, 425gsm heavy cardboard, 12 page booklet, A5 photo card, printed inner sleeve, poster, Original transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in June 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue of this eternal NWOBHM classic!