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"Keep Your Soul Together"" (1973) is Freddie Hubbard’s fifth studio album released on Creed Taylor's CTI label. The album features Hubbard alongside an ensemble that includes Junior Cook on tenor sax, George Cables on keyboards, Aurell Ray on guitar, Kent Brinkley or Ron Carter on bass, Ralph Penland on drums, and Juno Lewis on percussion. The album’s sound, though occasionally funky, is rooted in creative jazz, showcasing Hubbard in peak form across four of his original compositions.

Though some writers have often underrated Hubbard’s CTI recordings, mistaking them for his later, more commercial output on Columbia, this particular album stands out as a testament to his ingenuity. Hubbard’s blend of bravado and subtlety shines through, as does his ability to fuse technical mastery with emotional depth. His ability to maintain a consistent, rich tone across both slow and fast passages placed him among the greatest trumpeters in jazz history.

Influenced by legends such as Miles Davis and Clifford Brown, Hubbard nonetheless crafted a sound entirely his own, becoming one of the boldest and most inventive trumpeters of the bop, hard-bop, and post-bop eras. His impact on jazz extended far beyond his solo recordings, as he collaborated with many of the genre's greats, leaving behind a powerful legacy. Down Beat magazine described Hubbard as “the most powerful and prolific trumpeter in jazz” shortly after his passing in 2008. His influence continues to shape the world of jazz, inspiring generations of trumpeters and musicians alike. "

Since its release in 2009 The Pains of Being Pure At Heart's self-titled debut has attained the status of a modern indiepop classic, and even more crucially a record that continues to have an impact well beyond the indiepop scene. As one of the key bands in Brooklyn’s late 00s guitar music revival (alongside Crystal Stilts, Grizzly Bear, Vivian Girls, Frankie Rose and others) The Pains paid tribute to everything from C86 to early Slumberland, Sarah and Creation label pop, but with a distinct American flavor drawn from groups like Smashing Pumpkins and The Pixies. This, their debut album, is a brilliantly confident blast of fuzz, melody, tunes and buckets of youthful enthusiasm that was immediately recognized as something very special indeed. Preceded by 3 effervescent singles the album exploded immediately, going places that indiepop records and bands rarely do (like TV appearances on Carson Daly's and David Letterman's shows) and leading to several years of constant touring and the further release of two more well-received albums. Now, on it's 15th birthday, we're happy to bring this crucial album back for a new generation of pop fans, this time on beautiful light blue vinyl with pink and purple splatter. A fitting tribute to a modern indiepop classic.

Jet Set is a collection of 15 carefully crafted guitar-driven songs that prove to be the most diverse and inventive of Los Straitjackets' oeuvre. The album was recorded at The Pow Wow Fun Room studios in Los Angeles with producer and friend Janne Haavisto (of Laika and the Cosmonauts) and includes a few guest appearances by The Basic Cable Horns (from the Conan show) and Finnish actress and musician Irina Bjorklund. Jet Set delivers the high-energy rock and roll instrumental music fans have come to expect from Los Straitjackets. This pressing of Los Straitjackets' long-out-of-print 2012 classic is pressed on orange vinyl and limited to 500 copies.

It's a bird, it's a plane, no, it's the mystical masked avengers Los Straitjackets! Their album The Further Adventures of Los Straitjackets continues their conquest as the champion luchadores of instrumental rock. With the heroic efforts of Eddie Angel, Daddy-O Grande, Pedro Del Mar and Teen Beat, the world-renowned kings of Chopsville are set to release one of their most remarkable albums to date. This 2009 masterpiece features 15 tracks of future vintage sounds straight from planet Straitjacket. Do not succumb to the evil temptations of mediocrity and check out Los Straitjackets' amazing journey to save the world one riff at a time! This long-out-of-print album is pressed on green vinyl and is limited to 1,000 copies worldwide! This marks the first time The Further Adventures of Los Straitjackets is pressed on color vinyl.

Limited edition of 250 copies. The musician & songwriter Stein Roger Sordal is finally ready with his second solo album - "_All I Try to Forget" - the second part of a double album where all music and lyrics is written by Sordal himself (both part 1 & 2 available as a single 18 track CD). Through the years, the renowned Norwegian artist has played in a variety of bands. Internationally, he's mostly known as the bass player and songwriter in Green Carnation, while more and more people also know him as the singer, guitar player and songwriter in the band Sordal. Stein Roger Sordal has played on more than 30 album releases from the 90s and up to now, but last year's "As I Try to Remember_" was his first a solo album, where everything was played by himself. Both albums show Sordal diving into his own catalogue, making acoustic versions of songs he originally wrote for bands like Green Carnation, Sordal, Angels Motel, Plutho and Soxpan. His choices haven't necessarily been the most known songs, but rather those who mean the most to him. The album is sparsely arranged, and consists mostly of vocals, acoustic guitars and piano.

- Karen Dalton performance featuring seven never before heard songs - Limited pressing on Sky Blue colored vinyl - Old style, Tip-On Jacket, and 8pp heavy insert featuring a treasure trove of newly discovered photos, and a 6,000 word essay by Kris Needs // In 1962, Karen summoned Richard Tucker to join her in Colorado, extolling the healthier lifestyle, and plentiful gigs at Boulder folk club The Attic. Upon his arrival, the pair solidified their personal and professional relationship, riding horses in the mountains, and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured - and rumours of tapes! - have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up. Shuckin' Sugar is the glorious result of three reel to reel tapes that miraculously found their way to us in November, 2018; which featured two complete shows from The Attic in January '63, and a benefit concert for The Congress of Racial Equality (CORE) recorded the following February. Their gigs would often include brief solo sets from Karen and Richard, in addition to the duets, and all seven solo songs of Karen's found on the three reels are included here, as well as five duets, sequenced as close to how it all went down as humanly possible. To describe the record would take a poet, but all I can say is that unveiling a missing chapter in the Karen Dalton story - with six songs we've never heard her sing before - is cause for celebration in Delmore's world.

Diese neue (!) Compilation vereint klassische Radiosessions der TVPs, den Meistern des DIY-Post-Punk und Indie-Pop. Die Doppel-LP enthält zwei BBC-Sessions aus den 80er Jahren, die bei John Peel und Andy Kershaw aufgenommen und ausgestrahlt wurden, sowie ein sehr rares WMBR-Set von 1992 mit Coversongs von Buzzcocks, Raincoats und Daniel Johnston sowie bisher unveröffentlichten Songs (und als digitaler Bonus die WFMU-Session von 1993). "Catchy hooks and schoolboy wit are in abundant supply." Pitchfork Die großartigen DIY-Fähigkeiten der Television Personalities und ihr liebenswertes, klappriges Auftreten haben sie auf so manchen subversiven Trip geführt, sowohl auf Platte als auch bei Live-Auftritten. Aber es war das Radio, das sie zum ersten Mal der Welt vorstellte, in einem Wirbelsturm wiederholter Airplays. John Peel ließ Außenstehende überall in TVPs alternative Welt eintauchen. Und auf dem Höhepunkt des Punk parodierten sie bereits die neue Revolution, ihre Single ,Part Time Punks" wurde zu einem Peel-Hit, und die Nachfrage nach weiteren Songs führte schließlich zu einer Session im Jahr 1980. In den 80er Jahren war Daniel Treacy so zu einem begnadeten Geschichtenerzähler gereift, der die moderne Welt aus seinen eigenen, verschwommenen Blickwinkel beschrieb. Seine Songs waren liebenswert, sofort identifizierbar und witzig, klare, scharfe Beobachtungen von oft magischer Tiefe. Treacy wurde zu einer Inspiration und unverzichtbaren Alternative des üblichen (auf der Insel nicht soo schlechten) Radioprogrammes, eines Mediums, das die TVPs zum Ende der 80er Jahre so gut wie aufgegeben hatte. "Tune In, Turn On, Drop Out" fängt den Weg dieses Pilgers ins Pop-Nirvana ein, ein psychedelisches Wunderland, das von dunklen und grüblerischen Momenten gezeichnet ist. Gehört wie durch ein knisterndes, Vintage-Transistorradio, welches vielleicht sogar unter dem Kopfkissen versteckt ist, so dass diese Skizzierungen der Gesellschaft ganz nah und intim Daniel Treacy's Psyche zeigen. Limitierte Doppel-LP, klassisch schwarzes Vinyl, Linernotes, gratis DLC mit Bonustracks!

The 5th-anniversary release of the renowned vinyl label Artreform marks a significant milestone bridging the past and the future. The label's head, JOSS, a DJ and producer based in Kyiv, continues to unearth talented newcomers. The latest release features a track by a promising Ukrainian newcomer, Wonkie, who is relatively unknown in the electronic music scene. Additionally, the release includes a remix by the European house music superstar IO (Mulen). IO first appeared on Artreform in 2013 with the ghetto banger "Criminal Stuff," leading to multiple collaborations with the label. Two years ago, IO revisited Artreform with a remix of JOSS's single "Justify." IO (Mulen) represents the esteemed history of Artreform while offering a glimpse into its vibrant future.

The new EP showcases a blend of past and future influences. The lead track, "I Meet Somebody," features Artreform's signature minimal house sound with a touch of classic progressive elements. On the other hand, the remix by IO (Mulen) incorporates a modern proto-trance style with hints of old-school UK breaks. "Tubular Bells" is reminiscent of JOSS' mixes, combining sophisticated tech house with trendy dream house vibes. Overall, the release adds new colors and nuances to Artreform's latest work and the label's esteemed back catalog, much like the eye-catching cover of their anniversary record.

Acid sometime, no drugs no crime, dancefloor if you want, tribe by accident, dancefloor if you want... Double pack session anyway. Sorry for that !

Comes in a bloody gatefold sleeve. last page with a very un-understandbale funny tracklisting : check photo ^^

For the hotly anticipated third release on her critically acclaimed new record label Uppers and Downers, Dr. Rubinstein has tapped one of her favorite producers--Yerevan's Dave N.A.--to take the helm and deliver a smart and stunning rave EP pitched at the intersection of acid and jungle. A prolific producer, adventurous DJ, and co-founder of the ABC Community, Yerevan's collective hub for amplifying breakbeat,jungle, and drum & bass sounds in the Armenian rave community, Dave N.A. is no stranger to Uppers and Downers, just having contributed a vivacious, jungle influenced reinterpretation of Rubi's track "Extacid" to the label's second release, Rubi's Acid Spa Remixes. For the past decade, Dave N.A.'s productions have reliably offered a fresh, frenetic yet finely tuned take on classic rave genres and their acid-drenched antics while exploring the cutting edge of international experimental bass and hard rave idioms. 'XLSoundwaves' proves to be no exception, taking listeners on a boisterous yet atmospheric, tight yet sprawling sonic journey that combines acid, jungle, hard trance, breakbeat, and IDM influences amid a striking wash of captivating, high-definition ambient studio sound design.
'XL Soundwaves' kicks off with "BFLY," an expansive track that features tunneling hard trance 303 lines deftly weaving through bouncy jungle breaks at a sprightly 165, all emerging from and ultimately fading back into an ethereal plenitude of ambient pads punctuated by a soulful, resonant vocal refrain. Next up, "Radiance" offers an infectiously groovy, sidewinding jaunt through cheeky acid breaks that evolves into a crescendo of lush, eyes-to-the-sky ecstasy. "XL," the EP's third offering, brings the heat with fat basslines, frequent turntablist rave licks, and a freaky sense of humor, almost cinematically projected onto a vast horizon of sumptuous strings. The EP comes to closewith "A.I.R.," a thoughtful banger with a mischievous IDM sensibility that sets acid jungle adrift on an ocean of shimmering orchestral sampladelia and ambient synth radiance.
To some, Dave N.A.'s acid jungle opus might seem like an unexpected plot twist in thecuratorial trajectory of Uppers and Downers. Much to the contrary however, the 'XL Soundwaves EP' is a perfect early release, helping to establish the mission of Uppersand Downers as continuing the search across diverse international rave genres, traditions, and communities for producers and productions that resonate with Dr.Rubinstein's lifelong pursuit of soundtracking her ideal rave: one that offers ravers access to an ecstatic, joyful, affirmative, and inclusive sense of home, of feeling at homewith both oneself and one another through the music.

Black Truffle is thrilled to begin 2025 with a rare solo release from Konrad Sprenger, alias of elusive Berlin composer-producer-instrument builder Jörg Hiller. A prolific collaborator, Sprenger has worked extensively with icons of American minimalism such as Ellen Fullman (with whom her recorded the gloriously eccentric song album Ort) and Arnold Dreyblatt (as a core member of the Orchestra of Excited Strings since 2009), as well as releasing their music on his impeccably curated label, Choose. As an instrument builder and installation artist, he has overseen the creation of a computer-controlled multi-channel electric guitar and, with Phillip Sollmann, a modular pipe organ system designed to be reconfigured from space to space.

In much of Hiller’s work, a scientific approach to acoustic phenomena co-exists with a pop sensibility and a sly sense of humour. Nowhere is this unique combination more in evidence than in his slim body of solo work, beginning with the startling diversity of instrumentation and compositional approaches heard on the short pieces of Miniaturen (2006) and Versprochen (2009), followed by the more single-minded exploration of the computer-controlled electric guitar on Stack Music (2017). Set brings together these various strands of Sprenger’s work into a wildly infectious, playful epic, performed by the composer and the mysterious Ensemble Risonanze Moderne. On the LP’s second side, we are also treated to a guest appearance from longtime collaborator Oren Ambarchi, on whose recent solo releases Simian Angel and Shebang Sprenger has made key production contributions. Ambarchi’s signature stuttering, swirling harmonics weave through a sparkling assemblage of electric guitars, acoustic instruments, percussion and electronics—though, given the deft use that much of Sprenger’s recent production work makes of midi-controlled sampled instrumentation, it’s anyone’s guess where the acoustic ends and the digital begins here.

As soon as the needle drops on the first side, we are inside a musical world that Set will inhabit for its 33 minutes: sparkling guitar harmonics and palm-muted notes, tuned percussion, crisp electronic drum hits, flashes of horns, and untraceable bursts of synthetic sound are arranged into a skittering polyrhythmic framework calling up the detail-rich percussive constructions of contemporary techno filtered through the pointillism of the post-serialist European avant-garde. Behind this shifting mist of particulate sound, winds and strings sound out held chords, reminiscent of Arthur Russell’s Tower of Meaning in their epic yet seemingly aimless drift. The relationship between elements is mysterious, appearing both carefully considered and almost random. Though never straying too far from where it begins, as the piece moves along, it spotlights increasingly bizarre instrument choices (shakuhachi and steel drums, anyone?) as well as momentary liftoffs into motorik propulsion. Set is a fascinating, mercurial thing: at once propulsive and fragmented, essentially static in form yet ever-changing in detail, unabashedly egghead in its construction yet sure to get the feet tapping.

M.I.T.A. makes his debut on FJAAK's CROWD label with the highly anticipated Night Owl EP, a fresh offering that sees the producer delving deep into his signature sound, blending intricate rhythms, atmospheric textures and hard-hitting beats to create an immersive journey through the nocturnal world. The Night Owl EP unfolds across four meticulously crafted tracks, opening with the title track listeners are plunged into a brooding soundscape characterized by pulsating basslines and haunting melodies, embodying the enigmatic energy of the night. 'Ego Bash' follows, delivering a high-octane groove infused with relentless percussion and electrifying dynamics, a track destined to ignite the dance floor. On the flip side, 'Broadcast Chatter' takes a more experimental route, weaving intricate sonic details and hypnotic loops into a piece that commands attention with its depth and complexity. Rounding out the EP is 'Venus of Intensity', a visceral and emotive closing track that builds to a crescendo of raw power, leaving listeners in awe of M.I.T.A.'s ability to balance intensity with elegance. With Night Owl, M.I.T.A. cements his place as one of the most exciting names in the Italian contemporary electronic scene. This EP not only highlights his skillful production but also his artistic vision - whether experienced in the dark corners of a club or through headphones on a late-night drive, Night Owl promises to leave a lasting impression.

Singer, songwriter and multi-instrumentalist Victoria Canal releases her long awaited debut album, Slowly, It Dawns via Parlophone Records.

Slowly, It Dawns finds Canal embarking on a path that mirrors the unravelling of the human experience. “Life does feel like the sun rising,” she shares of the record’s evocative title. “You come into the world with very little clarity on the way things are – everything's a little hazy and confusing. Then, as you get older, your eyes adjust to what life is; it gets messy and complicated, then spiritual and expansive.”

Written over the course of the past three years and recorded between London and Los Angeles, the album captures this sentiment as much musically as it does lyrically. From the sun-kissed indie pop of ‘June Baby’ and cuban-inflected sizzle of ‘California Sober’, to the meditative instrumentals of ‘Totally Fucking Fine’ and the cinematic desperation of ‘Cake’, Canal’s stunning range is on full display across 12 revealing tracks.

Rufus Wainwright’s Dream Requiem is an extremely prestigious project, the result of a commission from major cultural institutions in the US, UK, and Europe. This world premiere recording features a new composition by the legendary, Grammy-nominated musician, who has collaborated with the who's who of the pop music world. With narration by Meryl Streep.

The music industry, once revered as a realm of artistic expression and creativity, has gradually transformed into a breeding ground for commercial nonsense. The rampant commercialization of music has resulted in an environment where genuine talent often takes a backseat to profit-driven motives. It’s high time we unmask and challenge the prevailing commercial bullshit that plagues the music scene today.

In the midst of all this commercial nonsense, it’s essential to recognize that there is a thriving underground and independent music scene where authenticity and creativity still flourish. Listeners can play a vital role in reshaping the music industry by supporting independent artists, seeking out diverse sounds, and rejecting the homogenized offerings of major labels.

To combat the commercial bullshit in the music scene, we must prioritize artistry over profit, diversity over uniformity, and creativity over conformity. Only by championing these values can we hope to revive the music industry as a bastion of authentic expression and genuine talent, free from the shackles of commercial exploitation.

Russian vinyl botherer and producer DJ Vadim has pulled in some serious reggae talent on his 11th album.

It all kicks off with a double whammy of Demolition Man’s classic pipes on the rootsy Fussin N Fighting and the dubby Sometimes, featuring Inja shouting out to the people struggling to rise from dark situations. The mariachi trumpet, married to the smooth chorus vocals, provide a subtle counterpoint to the rapper’s imploring flow. Sultry dancehall’s the order of the day for Call On Me, with Eva Lazarus pushing out a proper earworm of a chorus that plays beautifully off the Jamaican-accented Brummie spit of Serocee. Three tracks in, and Vadim’s already traversed several decades of musical development whilst keeping the narrative pleasingly consistent.
Murder Murder channels the spirit of Damian Marley for a politically-charged reggae hip hop rampage, then the unmistakable voice of Max Romeo pops up on Judgement, a fire and brimstone cut in the great tradition of such offerings. It also showcases one of the main themes of this release: the bringing together of cultures and musicians. Abstract Rude and YT provide rap responses to the veteran, with the production lightly upgrading the familiar sonics with a few echo-electro flourishes here and there.

ein neues Album der österreichischen Independent Band

Hey guys,

At the end of last year, we celebrated the release of Jo “Schlammpeitziger” Zimmermann's brand new album “Meine Unterkunft ist die Unvernunft” on his 60th birthday at Kompakt Recordstore. Now we are delighted to present the accompanying remixes. An illustrious group of long-time companions has come together to pay tribute to the master of electronic eccentricity with remixes. Schlammpeitziger says thank you in his own way by immortalizing all the contributors with finely selected photos, hand-decorated on the cover.

Hey Leute,

Ende letzten Jahres haben wir die Veröffentlichung des brandneuen Albums "Meine Unterkunft ist die Unvernunft" von Jo "Schlammpeitziger" Zimmermann, zu seinem 60sten Geburtstag, groß im Kompakt Plattenladen gefeiert. Nun freuen wir uns, die dazugehörigen Remixe vorstellen zu dürfen. Ein illustrer Reigen langjähriger Weggefährt*Innen hat sich zusammengefunden, um dem Meister der elektronischen Verschrobenheit, die Remix-Ehre zu erweisen. Schlammpeitziger bedankt sich auf seine Art, indem er alle Mitwirkenden mit fein ausgesuchten Fotos, handverziert auf dem Cover verewigt.

The Gentle Spring are a new group, formed by Michael Hiscock, Emilie Guillaumot and Jérémie Orsel. Michael has an illustrious pop history, having been a founder member of The Field Mice, possibly the most beloved band on Sarah Records in the 1990s. And with The Gentle Spring, it seems that history is repeating itself…

When Michael and his friend Bobby Wratten formed The Field Mice, the two of them very quickly created a set of songs whose emotional honesty, raw guitars and perfect pop melodies pierced the hearts of a generation of indiepop fans, kids who were unmoved by the posturing of mainstream indie, and who didn’t want to spend time in fields dancing at 24-hour raves. The Field Mice were the band who defined the meaning and the spirit of Sarah Records. Defiantly in love with pop, defiantly un-macho, defiantly…sensitive. And now, remarkably, Michael has done it again. With his new musical partner Emilie, The Gentle Spring have created a fresh new iteration of indiepop music. Once again, the songs are unafraid of raw emotions, brutally honest and is still in love with big pop melodies.

They are still….sensitive. But life is seen through a different lens now. There is wisdom, there is experience, and there is the ability to look back at the world with a mixture of regret and joy. These are very adult songs, and the arrangements reflect this. Rich acoustic guitars and Emilie’s haunting keyboard have replaced hectic drum machines and urgent distortion. And there is a third element to this music. Jérémie Orsel’s sophisticated guitar adds textures and melodies that give these songs a real depth, while maintaining an enigmatic distance, never quite overwhelming the vocal line. So things are clearer now.

But feelings are just as strong. The pain of unrequited love that made Field Mice songs so poignant hasn’t gone away. In some ways, the thought of roads not taken is more profound when experienced in retrospect. I Can’t Have You As A Friend entertains this notion, still moved by the allure of a different life, but shuddering with fear at what might have happened. Also still haunted by the past, The Girl Who Ran Away conjures up the ghost of a previous failed relationship, which threatens to undermine happiness in the present. In Severed Hearts, sung by Emilie, there is the stark recognition that some endings really are final: sometimes there can be no reconciliations. But the song cleverly moves on from this: it acknowledges that, even after the worst emotional loss, you have to pick yourself, you will move on. It’s sophisticated and it’s mature – but it will still break your heart. Sugartown is another song that plays this trick on you. It insists that there will always be lightness and shade. It warns you against complacency, but does it so kindly that you feel like you’ve been embraced. When Michael’s and Emilie’s vocals combine in the final chorus, telling us that we don’t live in Sugartown, you know they are right – and yet the sweetness of the singing makes you feel that – just for a moment – you do.the band perform as a trio and have already found a keen audience in France, where they are based. During a short tour of the UK in January, to coincide with this release, British audiences will get their first opportunities to see The Gentle Spring play these new songs live

Israel "Cachao" Lopez is a legendary, influential figure in Cuban music history.

Cannonball Adderley Quintet in Chicago is revered among jazz aficionados as an essential document of late 1950s hard bop

It captures two of the greatest saxophonists in jazz, Adderley and Coltrane, at a time when they were both at a creative peak. The album is a vital recording from a golden era in jazz, featuring a rare and electric partnership between two saxophone giants. Its hard bop foundation, infused with hints of modal jazz, places it among the most important recordings of its time. The album was recorded the February 3, 1959 during a time when Adderley was playing as part of Miles Davis' group, and it captures the quintet during a pivotal moment in jazz history. On Cannonball Adderley Quintet in Chicago, you can hear Coltrane at a transitional stage, balancing between his earlier bebop style and the modal, more avant-garde approaches he would later pursue. His interaction with Adderley is fascinating because it blends his dense harmonic language with Adderley's more traditional, bluesy approach.Cannonball Adderley had been recruited by Miles Davis in 1957, joining what would become one of the most influential jazz groups of all time. Adderley's style was deeply rooted in the blues, and he brought a strong sense of soulfulness and swing to the Davis group. While Davis' style was often cool and restrained, Adderley's alto saxophone was the opposite: robust, fiery, and emotional. Adderley's command of the instrument was remarkable, and his ability to balance technical prowess with a highly accessible, bluesy feel is on full display throughout Cannonball Adderley Quintet in Chicago . His solos are expressive and lyrical, often imbued with a sense of joy and exuberance. This makes for a perfect contrast to Coltrane's playing, which at this point was becoming more dense and harmonically complex

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

Do names such as EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down sound familiar?

Then there's one more for you to remember - GASMIASMA - a band which consist of active or past members of all those legends mentioned. 783 label is proud to present a new release of GASMIASMA - NOLA based punk monolith. Get yourself ready for intense and filthy hardcore punk noise.

As all true classics, GASMIASMA recorded an EP that collected dust for ages before getting full-blown official release it deserves. "At War With Punk" and "Krvs Kadavers" (live recording from KRVS Radio in Louisiana), has been only released on limited cassette tape in USA.

Now, both materials are compiled into 28-minute-long blast-punk source of moshpit!

Still not convinced? Let's also add the fact, that Poffen of mighty Totalitar sharing his vocals one of the songs!

GASMIASMA is one of New Orleans best kept secret!

It doesn't matter, if you're into hardcore / punk, metal, crust or even grindcore - this release is not something you would like to miss!

Available as jewel case CD, MC tape with mini-poster and (black or limited, monochrome A-Side/B-Side) LP.

PEACE THROUGH SWIFT DEATH!

Hype sticker on the shrink-wrapping
Service to relevant key metal media
Stream features, interviews, and social media campaigns around the release date
Former and active members of EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down playing raw and fast hardcore / punk.
Video for title track "At War With Punk" premiered via Decibel Magazine

Do names such as EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down sound familiar?

Then there's one more for you to remember - GASMIASMA - a band which consist of active or past members of all those legends mentioned. 783 label is proud to present a new release of GASMIASMA - NOLA based punk monolith. Get yourself ready for intense and filthy hardcore punk noise.

As all true classics, GASMIASMA recorded an EP that collected dust for ages before getting full-blown official release it deserves. "At War With Punk" and "Krvs Kadavers" (live recording from KRVS Radio in Louisiana), has been only released on limited cassette tape in USA.

Now, both materials are compiled into 28-minute-long blast-punk source of moshpit!

Still not convinced? Let's also add the fact, that Poffen of mighty Totalitar sharing his vocals one of the songs!

GASMIASMA is one of New Orleans best kept secret!

It doesn't matter, if you're into hardcore / punk, metal, crust or even grindcore - this release is not something you would like to miss!

Available as jewel case CD, MC tape with mini-poster and (black or limited, monochrome A-Side/B-Side) LP.

PEACE THROUGH SWIFT DEATH!

Hype sticker on the shrink-wrapping
Service to relevant key metal media
Stream features, interviews, and social media campaigns around the release date
Former and active members of EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down playing raw and fast hardcore / punk.
Video for title track "At War With Punk" premiered via Decibel Magazine

When Greg Freeman quietly released his debut album I Looked Out in 2022, it was immediately clear to the small community who heard it that the Vermont songwriter captured something intangibly exciting and distinctly American. Across 10 explosive songs that meld knotty indie rock with pastoral twang, he sings with a zealous urgency of shipwrecks, biblical visions, doomed drifters, dams breaking, and lives left in rearview mirrors. His evocative writing paints a world where revelation or ruin is behind every corner but it always leaves room for hope and human connection. A resoundingly confident LP, it’s a testament to Burlington’s vibrant music community and the pure magic of opening yourself up to creative risks and collaboration.

Now, for the first time, I Looked Out has been pressed to vinyl. Out digitally on Nov. 20 and on vinyl Jan. 17 via Canvasback/Transgressive, two bonus tracks are also available. On the digital release, there’s an acoustic duet version of “Long Distance Driver” with Merce Lemon, and on the vinyl, there’s the noisy sound collage “Sound Tests, Scraps, Lists.” Greg Freeman will release new music and this album’s full-length follow-up in 2025."

With his Electric Blues All-Stars, Kai Strauss has made a name for himself all over Europe with dynamic, driving live shows and award-winning CDs, featuring an individual style that’s based on the urban blues tradition, but taking in big chunks of soulful and funky grooves. And this band knows how to rock the house!
For “Wailin’ In Vienna”, Kai has realized his long-standing plan to record an old-school blues album, going back to his roots and beyond. And the results are nothing short of spectacular, with 15 self-composed songs that cover lot of traditional ground: swinging R&B, 50’s Chicago blues, instrumental shuffles, even some bluesy jazz, a minor-key cha-cha and a tribute to Bill Doggett and his guitarist Billy Butler.
Although the shadows of T-Bone, the three Kings and others loom large over the proceedings, Kai Strauss never fails being his own man. Of course it helps when you can realize such a project with a team comprising some of the best players in this style: Dani Gugolz and Peter Müller have been a steadily swinging rhythm team for 35 years. Pianists Dave Ruosch and Andreas Sobczyk combine tasteful chordal work with cascading treble runs. Sax Gordon has been a first-call R&B horn man for decades. Gerry Lülik’s is one of Austria’s foremost bluesharp players. Pianist Christian Dozzler, who came up in Vienna but has long made his home in Texas, can be heard with the likes of Anson Funderburgh when not doing his own thing. Finally, the two guitar greats heard alongside Kai hardly need much introduction: Rusty Zinn and Alex Schultz have been among the top tier of traditional blues string-benders since the 1990’s. Here, they are mostly heard in a supporting role for their friend and colleague, but ready to step out in style when called upon.

The second album by the Dutch group Our Throne marks the transition between seasons. Moving on from the cold, desolate vibes of their impressive debut, 'Withered and Forgotten', the band now welcomes the autumn with 'Amber and Gold'.

Featuring the recognizable style of "MXM"—who's also behind Cold Body Radiation and An Autumn for Crippled Children—alongside his bandmate “J.,” this follow-up album is a solid recommendation for fans of Atmospheric Black Metal and Blackgaze.

Our Throne taps into nature's raw energy to create a sound that's aggressive yet gentle. In tracks like 'Amber and Gold', it's clear how the band captures a bittersweet feeling, blending melancholy with a touch of hope—a connection that resonates deeply for those willing to immerse themselves.

'Amber and Gold' delivers on what it sets out to do, standing out as a memorable release that showcases the evolving artistry of these musicians. Released by Flowing Downward Records.

Co-produced by Guy Massey (Spiritualised, The Divine Comedy, Kylie) and Sophie Jamieson, I still want to share is an album exploring the push and pull, merry-go-round nature of anxious attachment and how it weaves, cuts and steals through familial and romantic relationships. Throughout the record is a perpetual longing to belong, a yearning to learn how to love and let go, and a continual missing of the mark. Each song clings tightly to the possibility of home, but never arrives there. The album was recorded in North London between Guy’s studio and Konk Studios, with string arrangements from Josephine Stephenson (Daughter, Ex:Re, Lisa Hannigan) and drums from Ed Riman (Hilang Child).

Last release of a productive year for Feral Child sees a fabulous mini LP from London based, Japanese Psych band BARBICAN ESTATE. Six beguiling tracks of atmospheric, occasionally acid folk flavoured, melodic > freakout shifts, taking in tips of the hat to Popol Vuh (check Miri’s beautiful vox on “Angel”), Amon Duul and fellow countrymen Acid Mothers Temple and Kikagaku Moyo amongst others. Formed in 2019, this three-piece consists of Kazuki Toneri (guitar, sitar), Miri (bass, flute, vocals), and Koh Hamada (drums, percussion). Each member is well-versed in music, film, and various other arts, drawing inspiration not only from experimental, psychedelic rock, and noise music but also from art across the world, both past and present. Their music weaves solid, architectural elements with destruction into a dark and gloomy soundscape, is often described as "dark psychedelic." They released their first album, “Way Down East”, in 2021. In 2022, they relocated to London, where they performed on UK tours and at festivals. Having already played nearly 50 live shows, they are gaining attention in the local scene. Their latest EP, "Viscum" was released in June 2024. “Barbican City of Tokyo” is a compilation of tunes previously consigned to digital release only that label head, Dom had free rein to assemble an EP from, which luckily the band wholeheartedly agreed upon! …and all four tracks appear on vinyl here for the first time. This release hopefully cements a growing interest in the band’s fabulous music, and early reviews of both the LP here and their live shows are overwhelmingly positive.

MAMMOTH is a grabber right out of the gate, every step they take is unleashed with deadly economical precision. They may flash on Lynyrd Skynyrd and other vintage southern rock traditions but the brilliant way the vocals are recorded and the to-the-point interlocking guitar moves will fire up anybody into any sort of hard rock. They can rip it up with hot leads, probably jammed out on these songs at live shows but lucky us, they laid them down for all times here with the sort of thought out unified force and construction that screams hit radio. Loads of personality, accessible, produced and mixed with the clarity of classic rock that never loses it's perfectly deployed impact. The uncluttered arrangements leave plenty of space, crafted with the kind of balanced mojo in the mix where every detail adds to the whole. Down and dirty but also achieving a universal pop-friendly appeal! The Mammoth LP was recorded in 1981 at Relayer Studios in DeLand, Florida with the two guitars, bass and drums quartet line-up sounding like it could have been a decade earlier. Buzz Fetters on lead guitar, Bill Abell on rhythm guitar, Joey Costa on bass and Ron Herman on drums… with everybody contributing to the vocals. Rather than having a strong up front emotive singer the lead vocals here are multi-tracked and integrated into the songs with plenty of attitude but also a genre-transcending presence… you can imagine the vocal ambience working in punk, glam, even psychedelic contexts. Mammoth have a sound informed by roots music but it is really in the rear-view mirror the way they roll. The songwriting here is terrific, they have a way of saying things that comes off as sincere but not too serious. You get plenty of in-your-face hard rock action but also several melodic tracks that have a more reflective charm to round out the trip. AND… when you hear their brilliant ode to southern rock titled "Southern Sounds" I challenge you to find any song about the subject more delightful. These guys keep it real, whether they're being bad ass or vulnerable they express themselves with 100% genuine feeling as contagious and life affirming as it gets!

“Pound for pound, Simon Joyner is my favorite lyricist of all time. He has shades of all the greats (Van Zandt, Cohen, Dylan) but exists in a space all his own…He truly is an American songwriting treasure.” - Conor Oberst REISSUED!!! Omaha, Nebraska native and singer/songwriter SIMON JOYNER has been writing about the dizzy and dark aspects of the human condition since 1992. The Cowardly Traveller Pays His Toll was originally released in 1994, on Sing, Eunuchs!, exclusively on vinyl, and marks the first major critical milestone in Joyner’s lauded career. John Peel famously played it in its entirety on his BBC radio program and Joyner’s underground cult status was solidified; in all of John Peel’s years in radio he had only played a record in its entirety three other times.

Tours (France) -based post-psych and deep-shoegaze powerhouse Stuffed Foxes are set to release their third LP, Standardized, on December 6th, 2024, via Bristol’s Stolen Body Records and French labels Reverse Tapes and Figures Libres. Songs / Revolving and Songs / Motion Return, a discographic diptych released in 2022, established Stuffed Foxes as accomplished ambassadors of the French rock scene. True to its predecessors, Standardized was recorded live in the Rennes studio of producer and musician Thomas Poli (Laetitia Sheriff, Dominique A). Mastering was entrusted to Matt Colton (Spiritualized, Swans, Shame). Early on, the six members transformed their youthful camaraderie into an adventure, embracing communal living (sharing a leaky roof had to be an integral part of the ride) and diving into the underground with their label, Reverse Tapes, a source of endless exciting music. They also adopted a democratic approach to creation fueled by endless jams, with the sexted striving to compose together from the outset. It is from this collective spontaneity that the unique expression of their music is born: long, hypnotic tracks, swirling mists of noise, and moments of vocal urgency that should be experienced in person during their invariably cathartic and incendiary concerts. It is a band that strives to stay true to its ethos, its soul haunted but never enthralled by the ghosts of its musical ancestors and battered icons. Their influences create joyful chaos: the musical walls of noise of My Bloody Valentine, the No-Wave drones of Swans, the psychedelic vapours of Brian Jonestown Massacre and the Post-Shoegaze eclecticism of Six-By-Seven. Standardized opens with Biting the Dawn, a Noise elegy that builds with relentless intensity. Léo's recitative voice soars above a searing blend of saturated guitars and echo-drenched drums. Next, Merry Xmas unleashes sharp, incisive guitar riffs reminiscent of Gang of Four and Fugazi, only to surprise with a dramatic twist that builds to a breathtaking, soaring climax echoing the brilliance of Ride’s most epic moments. Rough Up emerges as a Velvet Underground-inspired ballad, built on two simple acoustic guitar chords and an organ, showcasing a more subdued and vulnerable side of the band. In contrast, Standardized plunges into a powerful trance, unleashing a massive, deliciously primal wall of saturation with raw, unfiltered intensity. With Standardized, Stuffed Foxes appear to have reached an aesthetic milestone, transcending the semantics of the genres that once defined them. They have ‘de-standardized’ their sound and embraced a sense of freedom, opening up to the possibilities of a wider creative spectrum. Stuffed Foxes - Pretend to Be a Dog (Gamelle) (Official Video)

When Greg Freeman quietly released his debut album I Looked Out in 2022, it was immediately clear to the small community who heard it that the Vermont songwriter captured something intangibly exciting and distinctly American. Across 10 explosive songs that meld knotty indie rock with pastoral twang, he sings with a zealous urgency of shipwrecks, biblical visions, doomed drifters, dams breaking, and lives left in rearview mirrors. His evocative writing paints a world where revelation or ruin is behind every corner but it always leaves room for hope and human connection. A resoundingly confident LP, it’s a testament to Burlington’s vibrant music community and the pure magic of opening yourself up to creative risks and collaboration.

Now, for the first time, I Looked Out has been pressed to vinyl. Out digitally on Nov. 20 and on vinyl Jan. 17 via Canvasback/Transgressive, two bonus tracks are also available. On the digital release, there’s an acoustic duet version of “Long Distance Driver” with Merce Lemon, and on the vinyl, there’s the noisy sound collage “Sound Tests, Scraps, Lists.” Greg Freeman will release new music and this album’s full-length follow-up in 2025."

Serenity Blue vinyl, 12" EP. Saturdays at Your Place is an alt-emo band from Kalamazoo, Michigan. 'always cloudy' is the band's fan-favorite 2023 EP, now available for the first time on Wax Bodega. The EP features their hit #1 streaming song, "tarot cards", with over 7M streams globally. The band is quickly becoming a household name in the emo scene, their sound consisting of both heavy and twinkly guitar parts, group vocals and heart on sleeve lyrics.

First track is a real great 140 BPM acid techno sound, in the best of what could be a DBN continuum... Then comes the Anticore Broken speed Acidcore 160 BPM rolling kick nightmare (320 BPM?)... DBN style again... Next is more classic Acid nowadays ??? Mental acid Tribe based on a 170 BPM kicking sound... Number 5 is pumpin and acid mental as well... 168 BPM. Last track is the hardcore track, very in the Kille Me / Duracell style. And i love that:) BIG NARCOSIS !!