Buscar:concussion

2025 Repress

Nickbee is truly a legend in his own time, and an artist and producer who has won acclaim from right across the drum & bass world. Starting out at the early age of 15, releases on Horizons Music, Dispatch Recordings and Close 2 Death earned him the praise of Bad Company, Noisia and Friction amongst many, many more. Now, he is moving on with a new release on Concussion, a label who previously hit you with music from Kantyze and Bowsar in the form of Prelude to Schism and Thanos. Now, make sure you are ready for Another Dimension and Splitting Hairs.

The debut album from Seattle's Delvon Lamarr Organ Trio. The group channels old-school organ combos like The Meters and Booker T & The MGs, but are making it fresh and feel new again!

Die zweite Runde von Remixen zu dem selbst betitelten Album von Urbs ist eine fesselnde Zusammenstellung von zeitlosen HipHop sowie Downtempo Nummern.

Marc Mac: Gibt es zu dieser Person etwa noch was zu sagen Als Teil des UK Duos 4Hero hat er Musikgeschichte geschrieben und sein Visioneers Projekt setzte neue Standards in Sachen organischem HipHop. Sein Remix zu - Get Wid It featuring Tyna aus Neuseeland, besitzt alles, was man sich von diesem Musikgenie erwartet. Ein souliges, harmonisches Meisterwerk, welches auch auf einem seiner legendären Visioneers Alben hätte veröffentlicht werden können.

Peter Kruder hat als Teil von Kruder & Dorfmeister sowie mit seinem Projekt Peace Orchestra Musikgeschichte geschrieben. Sein Remix zu - Happy Days feat. Bagi und Sarah Ann ist eine Reise zurück zu seinen musikalischen Wurzeln, welche ihn berühmt gemacht haben - eine relaxte Downtempo-Nummer. Der Remix weckt Erinnerungen an die Zeit, als seine Musik Millionen von Menschen berührte.

Patrick Pulsinger ist der dritte im Bunde aus der Riege der Helden der 90s. Gemeinsam mit Sam Irl, seinem derzeitigen Komplizen, zeigen die beiden was herauskommen kann, wenn ein Studio-Zauberer mit Techno Wurzeln auf ein Musikgenie mit HipHop Wurzeln trifft. Ihr Remix zu - Code Of The Snake feat. Blabbwona ist eine trippige HipHop-Tech-Dub Nummer mit viel Bass und als solches absolut einzigartig.

Jstar aus London hat sich bereits einen Namen gemacht als Produzent von unzähligen Remixen und Edits auf seinem eigenem Label Jstar. Seine Spezialität sind Dub und Reggae Remixe von HipHop Classics. Er ist ein Großmeister des Digital Dancehall und transformierte den Golden Era Sound von - Why We feat Ward 21 (aus Kingston Jamaica) in etwas absolut Futuristisches.

Flip: Rapveteran von Texta aus Linz, der zuletzt durch sein Soloalbum auf dem New Yorker Raplabel Ill Adrenaline Records aufgefallen ist, bringt einen Remix zu - Holdin' Back feat Wordsworth. Mit einem genialem Chuck D Sample und einem funky Beat setzt dieser Remix Tanzflächen von Alaska bis Auckland in brannt.

Trishes: Last but not least: Moderator der legendären HipHop Radioshow Tribe Vibes auf FM4 und integraler Bestandteil der Wiener HipHop Szene. Für seinen Remix zu - Concussion feat BluRum13 von Oneself, setzte er auf einen heftigen Groove mit lauten Becken um einen Underwater-Funk-Beat zu kreieren und somit einen neuen Hintergrund für diese echt verrückte Geschichte zu gestalten.

Über das Album 'Urbs':
Ganze elf Jahre sind seit - Toujours Le Meme Film', dem letzten Album von Urbs vergangen. Auf Kruder & Dorfmeisters G-Stone Label lieferte der Wiener Musiker, DJ und Producer damals den Soundtrack zu einem fiktiven Film Noir, zog sich aber nach einer Europa-Tournee fast gänzlich aus der Öffentlichkeit zurück. Er sieht sein Schaffen nicht als Karriere, sondern als Teil seines Lebens, welches in den seltensten Fällen einer konkreten Planung unterliegt, und deshalb hat Urbs sich auch bewusst viel Zeit gelassen für sein aktuelles -unbetiteltes - Album.

Urbs: - Der Vorgänger "Toujours Le Meme Film" kam bei sehr vielen Leuten extrem gut an, und über die Jahre habe ich mitbekommen, daß es manchen Leuten richtig viel bedeutet. Das war eine gewisse Belastung, weil man diese Leute natürlich nicht enttäuschen will. Mittlerweile denke ich, daß genug Wasser die Donau runtergeflossen ist, um vielleicht den einen oder anderen mit etwas ganz Neuem zu überraschen. Die Leute, die mich kennen, wissen ja, daß ich im Grunde immer dopen HipHop produziert habe.'

Konsequenterweise handelt es sich diesmal nicht um ein Instrumental-Album sondern um eine Sammlung von 12 souligen HipHop Nummern, die mit handverlesenen Vokalisten der internationalen Rap-, Dancehall- und Soul-Szene aufwarten. Neben den New Yorkern Wordsworth von EMC sowie R.A. The Rugged Man, finden sich unter anderem Ward 21 aus Kingston, Jamaica, Voice Monet aus New Orleans, Blu Rum 13 von One Self aus Washington DC, als auch alte Weggefährten wie dem Wiener Skero oder dem Wahl-Münchner Blabbwona von Abstract Art auf dem Album.
Auf die Frage, wie es sich anfühlt, nach mehreren Instrumental-LPs erstmals ein Album mit Vokalisten aufzunehmen, erwidert Urbs mit einem Augenzwingern: - Generell war es für mich schwierig die Songs loszulassen und mich den MCs auszuliefern. Man verbringt viel Zeit mit einem Stück und baut eine gewisse Beziehung auf. Die Musik erzeugt Bilder im Kopf und hat oft eine schwer fassbare Bedeutung für den Producer. Dann geht ein MC drüber und es ist ein bisschen als würden die brutalen Freunde deines älteren Bruders dein Kinderzimmer verwüsten- in deiner Anwesenheit.'

Wieso das Album keinen Titel trägt, ist auch schnell beantwortet: - Dieses Album ist nun sozusagen meine Leistungsschau auf diesem Gebiet und durch den unendlich langen Reifeprozess, ist es auch schön intensiv eingekocht und auf dem Punkt. Deshalb auch keine Intros, keine Interludes, kein Titel, no Gimmicks, einfach 12 gute Songs - Punkt.'

Neben dem Album werden auch zwei EPs mit Remixes von Retrogott, Brenk Sinatra, Visoneers (Marc Mac von 4 Hero), Peter Kruder, Cookin' Soul, J*Star, Flip (Texta) und anderen veröffentlicht. Für das Artwork zeichnet DJ DSL verantwortlich.

Headless Horseman returns to 47 for the label's first 2018 release, 47014. The new solo EP will drop as 12' vinyl and digital download via Tommy Four Seven's imprint on February 23rd.

The four tracker features dense techno with individual moods. 'Revelation" is a downbeat lurching machine-giant with repeat climaxes. 'Concussion" is broken and feverish, with sculpted layers of pressure. The momentum of 'Locust" drives on the edge of an untravelled path and cannot rest. The final track "Gravity" is subtle and snarling, with a slowly ascending melody, scraping against future and past.

Razor, a thrash metal legend! The most valuable Canadian export since the Toronto Maple Leafs. When Dave Carlo and his band took to the stage at the legendary Headbangers Open Air Festival a few years ago, the crowds went completely wild. This enthusiastic reaction suggests that Razor may have more fans today than they did in their heyday in the mid-1980s. So the re-release of “Shotgun Justice” on vinyl comes just at the right time. The album comprises 14 tracks and features immortal classics such as “United by Hatred,” “Stabbed in the Back,” and “Brass Knuckles.” Shotgun Justice was originally released in 1990 on CD only on Dave Carlos' own label, Fist Fight Records (distributed in North America by Fringe Records). It was the first Razor album with Bob Reid on vocals (who had replaced Stace McLaren, aka Sheepdog).

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

“Longtime fans will be pleased by the sonic variety on offer… for truly hardcore bass concussion addicts.” - The Wire “The Bug continues to be one of the best and most interesting producers out there of all time.” - The Needle Drop Burials / Mud features new renditions of the Machine LP tracks “Drop (Machine Sex)” & “Buried (Your Life Is Short)” with blistering vocals from LOGAN (on Bury Dem) & the previously released “Deep in a Mud (ft MAGUGU)”. The 12” is rounded out with 2 unique DUB versions of “Bury Dem” & “Deep in a Mud”.

Taupe’s latest album release, waxing | waning delivers jazz experimentalism, ‘skronk’, avant-rock, and electronics, by the Glasgow-based trio, due out via Minority Records. Across its seven tracks, waxing | waning captures Taupe’s approach – bold and boundary pushing – shaped by a fresh shift in the band’s dynamic and compositional approach.

Taupe’s waxing | waning, co-composed and realised by its players in a studio that was once an undertaker’s premises in Glasgow, is an absolutely affirmative album, an act of cultural defiance in desperate times.

Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn. However, waxing | waning is from its opening, stuttering blasts, an exercise in seeking out and claiming new territory, finding unique and novel permutations in which jazz, rock, electronics interbreed at breakneck pace. Here is a group determined to say and do things they don’t get to say and do elsewhere in their musical lives.

‘Lemonade Tycoon’ hits the ground skronking. It’s cubistic jazz, cumulative in its impact, avoiding the white lines of the conventional freeway, bridling, bustling, coming at you from all angles – a three way conversation of astonishing rapidity, fast track, telepathic communication – everyone from James Chance to Albert Ayler coming at you at once, before morphing in to a spidery scrawl of electronics and furious percussion. ‘Anti-Bird-Spike BirdNest’s‘ title somehow sums up the sort of mental images evoked by the music – its sheer creative disobedience, as if being chased in vain, like a delivery rider evading capture by ICE agents -– shapeshifting, assuming different shades, sprouting metal quills and, in its midsection, seeming almost to swallow itself alive, before regurgitating itself in a sublime mess.

‘Interlude (Stride)’ is not exactly ambient, more a horizontal enmeshment of percussion, drones, reverberant noise, electronics, a sonic mulch. ‘allcapsallbold' reminds of early Aksak Maboul, in its playfulness, a haywire series of short phrases, subject to mechanical interference, a complex weave of irregular rhythms, increasingly eloquent sax phraseology and caustic guitars, which land heavier and heavier. ‘Pet Boss' is the new jazz equivalent of a highly evolved, mature conversation among brilliant equals, sharp, empathetic, complementary, rising to a collective, joyful noise. On the title track, electronics descend like a shower of bright particles, intensifying in their luminosity, whitening the skies, as sax and drums kick up a tempestuous, spontaneously sculpted noise that summons the ghosts of the great free jazz players, before a dark calm descends slowly. Finally, ‘Turn Push Kick’, a burgeoning chatterstorm of electronics, before the group kicks in, at angles to one another, led by abrasive guitars, reminiscent of Sunn O))) in their ritualistic concussion, riffing, digging deep amid squealing sax and piledriving percussion.

Limited Translucent Orange Vinyl is for Indies only. For Fans Of… Booker T & The MGs, The Meters, Soulive, John Patton, Jimmy Smith… Originally released for RSD in 2018 and immediately sold out. The Delvon Lamarr Organ Trio may have this KEXP session to thank for much of the notoriety they have received since it first premiered. Since then, they've secured a record deal, a world renowned booking agent, a publishing deal, international sponsorships, and will be embarking on a national tour this spring. This session was released on vinyl for the first time for Record Store Day 2018, marking the first full KEXP session ever to be pressed on vinyl. Now it’s available once again on black vinyl, CD, and cassette. Tracks: Move On Up, Memphis, South Leo St. Stomp, Concussion, I Don't Want To Play That, Tacoma Black party, Top Going Down, Bottom Going Up.

Hammered Hulls' debut LP, Careening, may very well be the last record to be recorded and mixed at the famed Washington, D.C. area recording studio, Inner Ear. Engineered by studio owner Don Zientara and produced by Ian MacKaye, Careening was started right before the pandemic lockdown and completed in summer/fall of 2021.

A new band of long-time players, Hammered Hulls' music hews close to some of their early influences. Alec MacKaye is the voice, Mark Cisneros is the guitarist, Mary Timony takes a nimble and rarely-heard turn as bassist, and Chris Wilson commands the drums. Each of them bring their individual imprint to the total sound. This concussion of strength upon strength, unified by vulnerable songs, only barely contained, is the signature sound of Hammered Hulls.

For their sixth instalment, Lowlife Cartel follow up to their last two compilations (“Pimps Improvisations” in 2018 and “Omnia Vanitas” in 2020) with a new six-track VA named “Kodoku”; a vortical release, both bold and forward-looking, while fully geared for the club environment. Taking its title from a poisonous magic from the medieval Japanese era obtained by placing several venomous insects in a jar and letting them kill one another until only one survives, “Kodoku” - which interestingly also translates as “solitude” - features a cast of producers old and new to the fold including Saverio Celestri, the faceless △, Prince de Takicardie, Tundramane & Ko$te, Solar Alliance and Shampoo.

A staple element of the Lowlife Cartel bunch, Saverio Celestri paves the way and dishes out one of his signature jagged, EBM-informed weapons in “Sundays”. Through this hotchpotch of acid-steeped bass entangled with a frantic newbeat-ish swing and razor-sharp synthwaves, the Italian producer shows off the raw and playful facets of his craft to optimal effect. Unknown contributor △ clocks in with “Crachats de Lune”, a proper ominous banger going straight for the jugular with its clever mix of dusty, drum-laden churn, processed vox stabs and sci-fi-indebted laser bursts flashing by unrelentingly. Tailored for hi-octane action at the defunct Boccaccio or Hacienda, Prince de Takicardie “Jam’on’Acid (House Mix)” blows the winds of euphoria across the club like it was done in 1995. Vibing to a pulsating mix of rabid snares, 303-vehicled charges and mangled vocal samples on a classic free rave tip, throwback material that packs a punch.

Flip it over and here is North-American duo Tundramane & Ko$te shifting the scope to Memphis chopped-and-screwed in true hardcore fashion. Straight-out aggression, “Brick To The Face” lives up to its title, so expect leaving the place with a few teeth out your mouth and a good concussion, though more side effects could appear over repeated listens. A radical U-turn from the previous, Ute.- related triplet Solar Alliance - alias Ekkel, Oprofessionell and Mikkel Rev - bring their dashing trance touch to the comp with “Quest for Kiba”, an uptemp maelstrom for the senses, swirling and whirling up until space and time make no damn sense any more. Topping off that versatile tour de force, Japanese producer Shampoo adds his delectably sensuous spin on the record with the lush, sample-heavy lo-fi appeal of “四季ノ歌”. Unpolished feelgood vibes, sun- streaked soulfulness and deft-handed MPC wizardry are on the menu for this ultimate ride and jolly finale.

Hailing from the land down under and busy taking the northern hemisphere by storm, Gecko Force leader Reptant joins forces with TRUST for 'Halls Of Perception'. Five tracks of blistering electro bass, percussive beat workouts, and bleepy moments of transcendent bliss.

Repress, note new price. Black vinyl issue of the long sold out RSD compilation. Housed in heavy duty slipcase box. FOR FANS OF… Daptone Records, Big Crown Records, 45s, Soul, Funk, R&B. This is the follow up to our first volume of Soul Slabs, which is a collection of tracks from our 7” release series. For many of them, it's the first time they'll be appearing on an LP. Soul Slabs Vol. 2 is a collection of A-sides from the 7” catalog of Loveland Ohio’s Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, Kelly Finnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Soul Slabs Vol. 2 is a collection of A-sides from the 7-inch catalog of Loveland Ohio's Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, KellyFinnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!