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Kerri Chandler’s Kaoz Theory kicks off 2022 with Mr. ID’s Language Of Jazz EP, featuring two remixes from the label boss himself alongside two original cuts.

2021 saw Kerri Chandler’s Kaoz Theory continue to move from strength to strength, unveiling material from the likes of Dutch rising star Chris Stussy and of course Kerri himself, here we see the imprint wrap things up with a new addition to the roster, Casablanca, Morocco-based artist Mr. ID.

Up first on the release is ‘Track ID1’, a collaboration between Mr. ID and Youssef Grirane featuring Rita Mdn. It’s a unique six-minute journey through jazzy pianos and organ licks, intricate organic percussion and mesmeric, textural atmospheres. Kerri gives it the remix treatment in style extracting all of the jazziness of the original and retwisting things with the classic Chandler authentic house feel. Next, Chandler employs his revered 623 alias for the ‘623 Again Mix’ version which strips things back to low-slung drums, bumpy stabs and emotive piano lines.

The flip side houses ‘Track ID1’ in all its original glory before ‘Track ID2’ closes out proceedings seeing Mr. ID join forces with Younes Akhraz, rhythmically shifting to a jazzy 4/4 drum groove while wandering keys and warm subs fuel the mystical vibe.

DJ Feedback:

Sasha – Tasty

Laurent Garnier – Love the whole EP

Jimpster – Jazzed up piano house heaven! Love It!

Lea Lisa – Lovely remix by Kerri

Mr. V – Kerri delivers the goods once again!!!

Anja Schneider – Great. Love It.

Archie Hamilton – Nice

Andrew Treagust - Man that's some crazy production – really like it!

Mike W - absolutely classic release. how on earth could you go wrong? the world needs more piano!

Fish Go Deep - All tracks sounding great here. ID1 is a lovely warm groove and Kerri's remixes inject a little dancefloor bump to proceedings.

Daniel Troberg – incredible music

Kiki Navarro – excellent single, loving all the mixes special ID1 and the Kerri Chandler Main Remix

Ben Lovett – Remix mastery from Chandler – wonderful meeting of piano and drum – fire.

Sergio – Excellent example of classic house with personality

Hector Samper – Amazing EP!!!

repressed !

Some people are just not destined to have enough sleep.When you don't sleep enough the world appears to be a different place, compared to the way it is when the mind is fully rested. In such cases very different scenarios may occur.
Starting with a dreamy melody of Roma Zuckerman's 'Sleep not found', which inspired the entire 008 album, and ending with a thirteen minute live recording by a_000, the side project of Alex Backdrop, the entire record has a dreamy and tripped out flow. 008 continues the tradition of gatefold double EPs as conceptual album.All tracks are selected around a particular story, a trip, and presented as a continuous sonic landscape.All tracks are structured in a way that they can be mixed one with another an endless amount of times making a continuous loop, a trip, that needs only end when the party stops. Kraviz works without release dates or deadlines, enabling her to achieve a certain sound bank to shape the story, unmasking the thoughts and unravelling like a dream. A1. Roma Zuckerman - Sleep Not found (North Edit) Apart form the fact that he leaves in Krasnoyarsk in the middle of Russia, very little is known about Roma (short version of the name Roman). But listening to his music and engaging in random short conversations late at night makes it clear that there are really a lot of things going on Romas mind... Minimalistic yet emotionally complex, his music always stands out with it's murkiness and signature moodiness that Roma creates like nobody else.
A2. Deniro - G Deniro continues the record's journey with his new live cut that like pretty much everything he did so far is a beautiful sparse atmospheric groover. He says he wanted it to be angry and it its done with triggering synths from the tr909 and tr808.
B1. Maayan Nidam - Infinite Rattle
Maayan was born in Tel-Aviv. She does not like computers and prefers to record her music live using hardware only. In order to do so she built her incredible studio in Berlin where she recorded "Infinite Rattle'.There is much more to come from Maayan on
B2. Bbbbbb - Prins Polo Caramel milkshake.
Side project by Bjarki-bbbbbb. Like any other normal Icelander, Bjarki really likes ice cream. In Iceland they are absolutely crazy about it.They walk the streets, ice cream in hand, even when its freezing cold outside. But even more than that Icelanders like Milkshakes with all sorts of added cookies and candies. Bjarki's favourite is called Prince Polo after the name of a chocolate bar. He always believed Prins Polo was an Icelandic brand but a couple of months ago somebody proved him wrong.
C1. Exos- dub jazz
In Iceland Exos is a legend. Everybody knows him there. He's been playing incredibly powerful and technically advanced techno sets since the late 90s and releasing delicious dub techno on Icelandic label Thule. Nina always appreciated his subtler, dubbier side, and this short recording a the continuation of it.
C2. Maaayn Nidam - Justice for some
This second live recording was a perfect fit for this album. Maayan has managed to create a particular mysterious night time dreamer here. Sound wise it's even more unique. It took a few times to get the master right, because we wanted to keep the original breathing of the machine that has captured a seriously freaky vibe. Maayan has always been one of Nina's favourite DJs as they share a similar attitude towards music. But after this tune she has also reserved a place in Nina's collective of favourite producers. D1. A_000
This is a side project of Italian native Alessio Meneghello (Alan Backdrop) & Enrico Voltan. . A beautiful 13-minute sonic journey.

2024 repress

We are proud to present our second album “Cosmic Transmission”. In another time it felt like, only an unpredictable extreme event could change the way we choose to live together. Now it feels so crazy, it can be overwhelming, but always remember we are just a tiny micro spaceship traveling through a gigantic universe. When nothing is safe, all is possible. We are one - one love. M&D

For its new release, the Parisian crew Discomatin picked a lesser known banger of the boogie era, Maudit DJ by Clara Capri. Produced in Belgium by Jay Alansky with lyrics
written by his sidekick Jacques Duvall, this EP brings together an Italo discoesque bassline surrounded by shiny synths and irresistible guitar licks. On top of that, Clara Capri sings
with a high-pitched voice. Maudit DJ is a real celebration of the nightlife. Fortunately, it’s brought here with all 3 versions transferred from the original tape masters: the extended “Version Longue” with its great introduction sounding like strong early house, the shorter “Version 45 Tours” if you’re in a hurry and, last but not least, the instrumental version for those too shy to play the vocals. But let’s head back to the 80’s: Jay Alansky
and Jacques Duvall are having a real success. They just produced famous Belgium female artist Lio’s first hits and have access to Dan Lacksman’s studio in Brussels - member of Telex with Marc Moulin. During this euphoric period, they met Clara Capri, a young Italian girl really crazy about Disco, swearing only by Giorgio Moroder or Chic. Her two buddies decide to concoct her a real hymn to the dancefloor. For them it sounds like the perfect
time, considering the duo always dreamed of being like a shadow production team, just like Motown’s very own Holland-Dozier-Holland. With a great care to the production and the
sound and with the best technologies from the era, they managed to create this French dance music attempt, at a moment when nobody was speaking about French Touch.
Thanks to Discomatin, it’s now available to the real connoisseurs with an exclusive insert which contains lyrics, again with fantastic illustrations from french artist Camille de Cussac.

There must be something in the air just now over in Italy with a steady stream of brilliant disco and house releases emanating from the country. Of all artists doing the business recently DJ Rocca has definitely stood out as being behind more than his fair share of incredible music.

Rocca is a veteran of the scene producing since the 1990’s. Recently he has had stand out tracks working with some of the key artists of the scene including Dimitri From Paris and Daniele Baldelli. There have also been a huge number of solo projects and remixes for everyone from Blaze to Andrew Weatherall to Soul Clap. It’s a varied and expansive list which shows the depth of his production skills.

His latest release a three track EP ‘Journey to Kizimkazi’ comes courtesy of one of the stand-out labels of 2019 in Samosa Records. This one is heavy on the Afro Disco feels with Combo Rox, Ju Ju Jackie and Kuma Rox all coming from slightly different angles of the genre.

Lead track ‘Combo Rox’ is peak-time hands-in-the-air disco goodness. Huge brass hooks cruise next to a bounce of a bassline, ever so funky guitars, smooth keys and a monster vocal hook. This is a track with everything in needs to cause a serious dancefloor commotion.

On the flip ‘Ju Ju Jackie’ combines a much heavier percussive drum line with multiple percussive motifs, it’s a track which will take no prisoners. Yet more off the wall vocal hooks merge perfectly with the carnival atmosphere of the percussion and some crazy brass licks. A unique and exciting track.

Last up is Kuma Rox a deeper hypnotic groove of a track, warm tribal vocals, smooth keys, a sparse but hooky bassline and brilliant percussion give this one a real timeless class.

Another top of the class release from Samosa.

We are honored to release the debut album from Violet, the alias of Inês Borges Coutinho, Lisbon born and raised DJ, producer boss of Naive records, co-founder of Rádio Quântica, and mina resident. Violet began producing music in 2012 and has released music on One Eyed Jacks, Love on the Rocks, Paraíso and Naive. Inês uses her seemingly boundless energy to amplify other artists all the while progressing her own creative practice.

‘Bed of Roses’ contains 10 songs made as a sort of childhood-teenage memories diary, a return to things Inês liked then and also the difficult things she’s been through. The feeling behind the album is self forgiveness in an optimistic way but also in an adult way, aware of the bruises (thorns) but also of the invaluable love and life experiences (roses). The title comes from the Bon Jovi song that Inês loved as a 9-year old and doubles as an intent of positivity paired with the inescapable darkness of life. Inês says, “I wrote this music as a healing device that I hope can somehow help heal others too.” All songs have been mastered by George Horn at Fantasy Studios. The jacket features an original design by Eloise Leigh that incorporates themes of self-inspection and hope mixing a teen bedroom girly vintage scrapbook aesthetic with contemporary 3D mapping techniques. Each LP contains a postcard featuring a childhood photo of Inês with notes.

Nach dem durchschlagenden Erfolg ihres selbstbetitelten Debüts legt „Rise and Shine“ die Messlatte noch höher – mit prägnanterem Songwriting, furchtloser Musikalität und jenem Feuerwerk auf den sechs Saiten, das zum Markenzeichen der Band geworden ist. Es ist ein Album, das die Tradition des Lone Star ehrt, ohne sich von ihr einengen zu lassen. Hätte das texanische Gitarrenspiel eine definitive DNA, würde sie dem gemeinsamen Werdegang von Moore, Moeller und Dayton sehr ähnlich sehen. Seit mehr als drei Jahrzehnten hat jeder von ihnen seinen eigenen Weg durch Blues, Rock, Country und Americana beschritten. Moore brachte schwebende, gefühlvolle Psychedelia zurück in den Blues; Moeller bereicherte die Austin-Szene mit messerscharfem Funk und wildem Saitenbending; und Dayton injizierte Punkrock-Adrenalin in das Herz des Outlaw-Country. Insgesamt haben sie sich zu einer der spannendsten Gitarrenbands entwickelt, die Texas seit Jahren hervorgebracht hat. Seit der Veröffentlichung ihres Debüts haben sich die Texas Headhunters mit ihrer furchtlosen Mischung aus Blues, Rock, Country-Soul und Roots-Musik breite Anerkennung verdient. SiriusXM spielte gleichzeitig drei Songs der Band in den Sendungen „Outlaw Country“, „Bluesville“ und „Little Steven’s Underground Garage“, wo sie zudem die begehrte Auszeichnung „Coolest Song in the World“ erhielten. Auch die Kritiker zeigten sich begeistert. „Guitar World“ und „Guitar Player“ lobten das Trio als „Triple-Guitar-Threat“, das „die Lone-Star-Tradition am Leben erhält“, während „No Depression“ ihre Liebe zum „rauen Barroom-Blues“ feierte. „Goldmine“ bezeichnete sie als „das Original“, The Alternate Root erklärte: „Kein Füllmaterial, nur Riffs“, American Blues Scene lobte ihre „Vollgas-Rückkehr zu den Wurzeln“, und Blues Rock Review fasste es einfach zusammen: „Jedes einzelne Mitglied ist ein meisterhafter Musiker, aber als Trio sind sie außergewöhnlich.“ Mit „Rise and Shine“ beweisen die Texas Headhunters, dass authentische texanische Gitarrenmusik immer noch am besten laut, locker und kompromisslos lebendig serviert wird. Formate: - CD im Mini-Gatefold Sleeve inkl. bedruckter Innenhülle - Yellow Rose Vinyl inkl. bedruckter Innenhülle

No more hiding behind the unknown alias — Wilba steps out as the Tool Trader behind the Party Tool series for 3.0!

Stripped back and built for the floor. Tough, rolling grooves, acid-tinged leads and those trademark tripped-out vocals, all wrapped around a set of chunky, no-nonsense tools. The chunkiest instalment in the Party series yet — rinse it.

Oscar Perry may not be a household name even in soul/blues circles, but this Texan's fine and expansive body of work deserves greater recognition. Throughout his career, he demonstrated multifarious talents as a producer, arranger, singer, songwriter and guitarist. He first cut his teeth in the late 1960s on Don Robey's Duke/Peacock/Backbeat set-up, writing for Bobby Bland amongst others. Once his contract with Robey had lapsed, Oscar signed with the equally colourful character Huey P. Meaux, for whom he recorded a slew of excellent albums on the Crazy Cajun imprint. It is the source of the three self-penned tracks presented here. Echoes of Jerry Butler can be heard on the string-laden emotive ballad "We'll Spend Tomorrow Falling In Love" (co-written with studio engineer Mickey Moody) with its femme support, whilst the piano-led deep beat-ballad "End Of The Road" was subsequently recorded by Bland on his Dreamer LP for ABC-Dunhill in 1974. The strong, mid-paced, bluesy "I Give Up You Win" completes this wonderful EP.

,Manchmal wird das Leben so düster, dass es sich wie ein böser Trip anfühlt", reflektiert Lily Seabird über die Zeit, die zur Entstehung ihres neuen Albums ,Lightspheres on Their Way" führte. Seabirds drittes Album innerhalb von ebenso vielen Jahren bei Lame-O Records beschäftigt sich mit Sterblichkeit und der Ehrfurcht vor dem Menschen Innersten und verbindet ihren trubadurhaften Folk mit einer grungigen Rock- Sentimentalität. Obwohl das Album aus einer Zeit der Abrechnung und Erneuerung hervorgegangen ist, orientiert Seabird ,Lightspheres on Their Way" an einem ganzheitlichen Realismus, der den Geist beflügelt, mit lockeren, erdigen Arrangements, die Intensität und Tiefe sowohl mit twangiger Weite als auch mit mitreißendem Drive verbinden. Über die neun Titel des Albums hinweg kreist die in Vermont lebende Sängerin und Songwriterin um das Konzept der ,Lichtkugeln", einer katalysierenden Präsenz oder Kraft, die immer wieder auftaucht und Geschichten, Gefühle und Lebenswege verändert. ,Eine Lichtkugel kann so vieles sein", sagt Seabird, ,ein tatsächliches Licht wie ein Stern, die Sonne, ein UFO; Scheinwerfer, eine Taschenlampe in der Nacht; aber auch das Leben, Lebewesen, Menschen, Beziehungen." Obwohl ,Lightspheres" einen Höhepunkt in Seabirds Songwriting markiert, betont sie, dass ,die emotionalsten Teile des Albums instrumental sind." Der Crazy-Horse-Stomp von ,Portal to the Past" und anderen Stücken geht in weitläufige, jamartige Zwischenspiele und Outros über, in denen Seabird und Rick Soszynski sich an verzerrten, rauen Gitarrenklängen erfreuen. Sie wirken wie Momente der emotionalen Entspannung, als würde man die Fenster herunterkurbeln und sich der Weite der offenen Straße hingeben. Lightspheres ist ein Beweis dafür, welche Tiefen man in seiner Kunst erreichen kann, wenn man aufhört, die Geschichte dessen zu erzählen, was einem widerfahren ist, und stattdessen darüber spricht, wer man ist.

Starkes Albumdebut des Surf-Psych-Groove-Instrumental-Trios Goblyns. »Hunki Bobo« brauch sich hinter Größen wie The Meters, W.I.T.C.H, Khruangbin und Can nicht verstecken. The Meters, W.I.T.C.H, Khruangbin und Can: das sind nur einige der Bands, die die Psychrock-Newcomer Goblyns als Einflüsse auf ihren Sound nennen. In Südafrika gegründet leben die drei Bandmitglieder mittlerweile in Berlin und Amsterdam. In Europa schrieben die Drei auch die Songs für ihr Debutalbum. Die acht Tracks auf »Hunki Bobo« wurde in einem fünftägigen Studiorausch im schwülen Juli 2023 unter der erfahrenen Leitung von Andre Leo aufgenommen. Leo ist vor allem für seine Arbeit mit Medicine Boy und Wombed bekannt und hat zusammen mit den Musikern etwas ganz besonderes erschaffen. Das Album hat eine einzigartige Dynamik und steckt voller Energie. Jeder Song strahlt einen Groove aus, dem man sich schwer entziehen kann. Ob düstere Krautrock-Hypnose, grooviger Surf, Psychedelica. Goblyns fesseln den Hörer an das gesamte Album.

Nachdem sie jahrelang durch's Netz, durch Köpfe und Herzen geisterte, hier nun endlich das Debüt-Album, auf dem die mittlerweile in Berlin ansässige Formation ein graziöses Kleinod liefert, das Melancholie und Aufbruchstimmung in sich vereint und mit seiner wundervollen Inszenierung sofort unter die Haut geht. Voodoo Beach liefern mit »Wonderful Life« Postpunk / Noiserock auf höchstem Niveau. Ähnlich wie Karies, Die Nerven, Friends Of Gas oder Messer, haben sich Voodoo Beach durch 90er Jahre Noiserock prägen lassen und vermengen diese Einflüsse mit offensichtlicher Liebe zu Postpunk und Shoegaze. Harte Anschläge treffen auf durch den Äther wabernde Gitarren-Riffs, walzende Basslines und packendes Drumming. Faszinierend die Chords der Gitarre mit einem manchmal leicht nahöstlichen Touch, aber immer im Postpunk-Noiserock-Psychedelic-Modus. Darüber thronen die verrauchten Vocals von Sängerin Heike Rädeker, deren vorgetragene Texte so ehrlich sind, dass sie weh tun. Mit Hendrik Otremba (Messer) und John Moods (Fenster) konnte die Band tolle Gastbeiträge für das Album gewinnen. Eine der Platten des Jahres!

Brennan Wedl"s self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way. It"s an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady. Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are. Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co-produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana - "grungetry" as they affectionately call it - capturing all tracks within a 10 day stay at Cook"s studio in Durham, NC.

Andy Bell, Erasure-Frontmann und Electro-Pop-Legende, veröffentlicht mit "Extended Blue" sein Solo-Debütalbum "Electric Blue" (2005) als limitierte Deluxe-Edition auf dreifarbig-blauem Vinyl neu. "Electric Blue" - samt den Duetten mit Claudia Brücken (xPropaganda) und Jake Shears (Scissor Sisters) - wurde gemeinsam mit Manhattan Clique geschrieben und produziert, einem Duo, das zwei Jahrzehnte lang die Welt der Pop-Dance-Club-Remixe dominierte und mit Weltstars (Katy Perry, Britney Spears, Lady Gaga, OneRepublic, Moby) und wegweisenden Electronic-Acts (The Human League, Soft Cell, OMD, The B-52s und natürlich Erasure) zusammenarbeitete.

Die Deluxe-3LP enthält zudem sämtliche Bonustracks & B-Seiten der "Electric Blue"-Sessions erstmals auf Vinyl. Das Deluxe-Booklet kommt mit ausführlichen Liner Notes des Classic Pop-Autors John Earls samt Interviews mit Andy Bell und den Manhatten Clique-Produzenten Philip Larsen & Chris Smith, sowie unveröffentlichten Fotos aus der 2005er Session mit dem renommierten britischen Fotografen Tim Flach. Bei Erasure- und Electro-Pop-Fans zählt "Electric Blue" weithin als 'verlorenes Juwel', da kurz nach Veröffentlichung das damalige Label Sanctuary Records zusammenbrach und dieses herausragende Album sein Potential nicht vollständig ausschöpfen konnte.

Eine streng limitierte Erstauflage der 3LP enthält zusätzlich die CD "Extended Blue" mit dem identischen Tracklisting des Vinylformats.beitete.

Orange County"s Social Distortion returns with its first album in 15 years with Born to Kill. Armed with 11 urgent songs, Mike Ness continues to build on the mystique that Social Distortion is more than just a punk band. Throughout the collection, Ness revisits the sounds of the 1970s, his formative adolescent years. Born to Kill is a continuation of the bar of excellence that Social Distortion and, in turn, Ness has long been praised for. Born to Kill is a body of work that will live long in the Social Distortion catalog. Songs like the hard-charging title track that serves as the album"s mission statement, along with the riff-laden "Partners in Crime," the nostalgic "The Way Things Were," and rollicking "Tonight" are songs that fit in across any of Social Distortion"s various eras. Now nearly five decades into its career and with a remarkable catalog spanning nearly three generations, Social Distortion has no intention of slowing down any time soon.

Brennan Wedl"s self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way. It"s an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady. Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are. Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co-produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana - "grungetry" as they affectionately call it - capturing all tracks within a 10 day stay at Cook"s studio in Durham, NC.

Erleben Sie die zeitlose Faszination der Country- und Westernmusik auf einer hochwertigen LP. Diese Compilation vereint unvergessliche Klassiker und präsentiert die größten Stimmen des Genres – authentisch, emotional und voller musikalischer Geschichte.

Mit legendären Künstlern wie Hank Williams, Patsy Cline, Willie Nelson, Elvis Presley und Johnny Cash bietet diese Vinyl-Ausgabe eine Auswahl der schönsten Country- und Western-Songs aller Zeiten. Von gefühlvollen Balladen über traditionelle Honky-Tonk-Klänge bis hin zu mitreißenden Klassikern – jede Seite dieser LP lädt zu einer musikalischen Reise durch das Herz Amerikas ein.

Highlights:

Große Country- & Western-Klassiker auf Vinyl

Mit den Legenden Hank Williams, Patsy Cline, Willie Nelson, Elvis Presley und Johnny Cash

Zeitlose Songs voller Emotion, Tradition und authentischem Country-Feeling

Ein Muss für Vinyl-Liebhaber und Fans klassischer Countrymusik

Ideal zum Sammeln, Verschenken und Genießen

Diese LP bringt den unverwechselbaren Klang der goldenen

Ära des Country & Western direkt auf Ihren Plattenspieler – ein musikalischer Schatz für alle Liebhaber echter Klassiker

It’s no disrespect to the man to not believe, in part or in whole, every word that Ray Wylie Hubbard writes, sings, or speaks — and frankly, he’d probably respect you a little less if you did. As celebrated songwriters of the outlaw poet/down-home-country-blues persuasion go, Hubbard’s credibility is unimpeachable. And to be fair, even as a somewhat notorious raconteur, his overall truthiness is a lot more bankable than your average politician or fundamentalist grifter.

But fold your cards every time he goes all in across a table from you, or swallow as fact every nugget of wisdom he sharpens into verse or stretches into a yarn without catching the gleam in his eye or wry tell between the lines, and odds are you’ve been played. But honestly, that’s all just part of what makes Hubbard so damn fun. “You know, a lot of artists when they put out a record, they go, ‘This is the best record I’ve done up to this point,’” the Americana legend considers sagely after a pause when asked how to best sum up Reel 2 Reel 4 Real, his 20th album in a recording career stretching back to the mid-70s. “But I’m not going to say this is the best record I’ve done. I’ll say it’s the best record I’ve ever heard.” No matter how many awards and Hall of Fame inductions others might honor him with (he’s a member of both the Austin Music HOF and the Texas Heritage Songwriters HOF), Hubbard never swaggers or sings his own praises without keeping his tongue planted firmly in cheek.

But after brushing aside his bluff with a chuckle, Hubbard gets real. “I am very proud of it,” he answers sincerely. “Everybody that played on it put a lot of work into it, and it just felt right doing it. I’m very grateful.” Set for release August 21, 2026 (with the first taste, “Cassette Mix Tape,” dropping May 29, followed later this summer by a second single, “Dog or Wolf”), Reel 2 Reel 4 Real marks Hubbard’s return after a two-album major-label joyride on Nashville’s Big Machine Records. “They treated me great, and did everything they could,” he says, “but it was kind of limited because I’m an old guy. I’m no longer a country hunk, you know?”

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.

a1 One Vision 5:50
a2 Tie Your Mother Down 3:52
a3 In the Lap of the Gods...Revisited 2:43
a4 Seven Seas Of Rhye 1:18
a5 Tear It Up 2:12
a6 A Kind Of Magic 8:41
b1 Under Pressure 3:41
b2 Another One Bites The Dust 4:53
b3 Who Wants to Live Forever 5:16
c1 I Want To Break Free 3:34
c2 Impromptu 2:57
c3 Brighton Rock Solo 9:11
c4 Now I'm Here 6:20
d1 Love of My Life 4:49
d2 Is This the World We Created? 2:58
d3 (You're So Square) Baby I Don't Care 1:36
d4 Hello Mary Lou (Goodbye Heart) 1:51
d5 Tutti Frutti 3:24
e1 Gimme Some Lovin' 0:55
e2 Bohemian Rhapsody 5:51
e3 Hammer to Fall 6:04
e4 Crazy Little Thing Called Love 5:59
f1 Big Spender 1:06
f2 Radio Ga Ga 5:57
f3 We Will Rock You 2:48
f4 Friends Will Be Friends 2:06
f5 We Are The Champions 4:01
f6 God Save the Queen 1:32

Freeway was a California outfit that first formed in 1979 and set about fusing jazz, soul and outreach-driven purpose into a sound that sat outside the norms of the contemporary Christian scene at the time. Their sole album, this self-title gem, was cut in 1981 for New Born Records has since become an underground rarity, often changing hands for upwards of £400. Now, 45 years on, Vinyl Kitchen brings Freeway back to vinyl for the first time ever, complete with new liner notes and rare photos. It's a glorious, life-affirming work of bright jazz sounds, celebratory energy, boogie grooves, funky horns and prog licks. Perfect for listening and dancing alike.

A serious private-press rarity gets its long-overdue reissue here for the first time ever. Formed in California in 1979, Freeway blended soulful grooves, jazz melodies and powerful horns into something that stood apart from the era's contemporary Christian scene. The cut just one self-released album in 1981 for New Born Records before disbanding. Originals now regularly fetch upwards of £400 on the resale market and this 45th Anniversary Edition marks a reissue that is going to fly off the shelves, complete with newly written liner notes and rare photographs telling the band's story. From funky jazz to boogie-inspired grooves, this is a previously hidden treasure now getting the light it deserves.

„Roots, Rock, Reggae: Live at the Hammersmith Odeon“ ist ein atemberaubendes, bisher unveröffentlichtes
Live-Album von Bob Marley, das im Juni 1976 während der „Rastaman Vibration“-Tournee an mehreren
Abenden im Rahmen der Residency der Wailers im renommierten Londoner Hammersmith Odeon aufgenommen wurde. Die Buchung des Veranstaltungsortes war ein gewagter Schritt, doch Bob hatte durch den
Erfolg von „No Woman, No Cry“ in den britischen Charts neuen Ruhm erlangt, und ein begeistertes Publikum füllte den Saal bis auf den letzten Platz. Zu den Höhepunkten zählen der transzendente Titelsong,
das selten gespielte „Bend Down Low“, eine Extended Version von „Crazy Baldhead“ und eine 30-minütige
Zugabe, die ein 12-minütiges „Get Up, Stand Up“ enthält. Neue Liner Notes von Marleys Weggefährten
Don Letts liefern einen Augenzeugenbericht dieses Erlebnisses, das nun auf schwarzem Vinyl erhältlich ist

A wonderfull violent records playing 45RPM...

check mp3 samples attached to the playlist... Played as 33rpm this is also a bloody good Techno Hard kicker !!

Not actually a greatest hits album, despite the name! This LP is a collection of Ovlov's original and beloved EPs, remixed and remastered. The EPs included are: "Crazy Motorcycle Jump," "What's So Great About The City," and "Not The Same Without You."

Crackazat returns to Freerange for his latest EP entitled Shine, and sees the artist in his finest form to date! An absolute anthem in the making the title track appears here in Club Mix and Mana’s Dub form, plus an amazing flip of Crouching Tiger from Baltimore legend Karizma Shine is a soulful, jazz-inflicted epic which will have any dance floor worth it’s salt fully locked in. Crackazat’s own vocals bring hints of Jamiroquai whilst his production calls golden era MAW and Blaze to mind. Add an incredible arrangement, live horns, bass and drums to this already heady concoction and you get an idea of why we’re so excited about this release. These kind of club tracks are few and far between these days! Next up we have one of Crackazat’s own Mana’s Dubs of Shine.

A chance for Ben to strip things back, loop things up and dub things out. Keeping the funk intact, we’re treated to a feelgood party-starting house track which has a classic sound that can’t fail to warm the cockles! Flip over for a proper curve-ball from everyone’s favourite Baltimore house hero Karizma who turns Crouching Tiger into the kind of twisted, rolling, jazzy and leftfield workout we love him for. A driving force of the city’s underground, he always comes with the raw energy and fearless creativity. A staple of the dance floor and a leader beyond it, Karizma represents the past, present, and future of Baltimore House and once again proves why he’s such a don.

Drop this one and run for cover whilst the dancers throw crazy shapes! Closing out the EP we have Crackazat’s Mana’s Dub take on previous single Watchu Say. Looping up the killer piano hook and his live bass line, Ben manages to craft the kind of warm, uplifting slice of house music which simply works. And for those who love a big drop, this one should fit the bill with a trademark Mana’s Dub seratonin-boosting build that hits all the right buttons.

Byard Lancaster released no less than 4 albums on the Palm Records, label in the 1970s: Us, Mother Africa, Exactement and Funny Funky Rib Crib. On Exactement, Lancaster performs alone for the most part– swapping instruments and occasionally joined by percussionist Keno Speller.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release no less than four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of Exactement required two sessions in the studio: on the 1st February and the 18th May 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa.

On the cover of Exactement, there are two names: Lancaster (Byard) and Speller (Keno). OK. But for what reason ‘Exactement’? Perhaps because Byard Lancaster wanted to be precise, moving regularly from one instrument to another: piano, to begin, which was the first instrument he learned. Sur "“Sweet Evil Miss Kisianga”", his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John) but this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before even going into a danse alongside Keno Speller on percussion. But above all he makes us aware of a unique sound. We can go on to say that on "Exactement", that perhaps Byard Lancaster, on whatever instrument and by continually seeking, ends up always hitting the right note… ends up by playing exactement the note he had to play.

Ltd to 500 copies.

Following the buzz of his first LP DUBMAID, Tokyo-based producer MERMAID unveils his much-anticipated new LP, DUB FOREVER.

DUB FOREVER blends Reggae, electronic texture, his own vocals and references to classics — Bach's Air on the G String, Gossec's Gavotte, the traditional Japanese song January 1st, and more.

Crazy and tender Dub!

About MERMAID:
MERMAID is a Tokyo-based electronic producer and musician, deriving from the DDM (Dangerous Dance Music) crew associated with Tokyo record vendor Los Apson?.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Filled with 45 minutes of previously unreleased music, Hey Arnold! The Music, Volume 1 has been remastered from the original audio files by Emmy Award-winning sound engineer Dave Marino in conjunction with show composer Jim Lang. Housed in a gatefold jacket with original exclusive artwork by show creator Craig Bartlett, as well as a locket shaped center label for the A Side and a fisheye view of Gerald and Arnold for the B Side, this is a release you don't want to miss out on!

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

Her debut album Frailty was written amidst the purgatorial summer after a high school graduation, en route to turning eighteen that September. The lyrics are a wayward coming-of-age diary of an LGBT+ teenager, stuck in the suburbs of a confusing, socio-politically turbulent America.

Janeʼs words sting, but are shrouded in meticulous production; a sui generis vein of DIY rock. Simultaneously, itʼs steeped in the lo-bit, nostalgic synths that soundtrack a final glimpse of younger memories.

The LP was warmly received: Album of the Year List placements from Pitchfork and The Needle Drop, glowing reception from Paste, Insider and FADER, and a widespread resonance from a young audience who consider the album cathartic and relatable.

For fans of Dokken, Lynch Mob, and 80’s Metal! Dokken is one of the defining bands of the 1980s hard rock and heavy metal scene, known for blending melodic hooks with powerful guitar work and emotionally charged vocals.
Formed in Los Angeles in the late 1970s, the band was led by vocalist Don Dokken and featured the virtuosic guitar playing of George Lynch, alongside bassist Jeff Pilson and drummer Mick Brown. Dokken rose to prominence during the peak of the MTV era with a string of platinum-selling albums, including Breaking the Chains (1983), Tooth and Nail (1984), and Under Lock
and Key (1985) racking up sales of more than 10 million albums. Their sound struck a balance between radio friendly melodies and aggressive metal, producing hits like “Alone Again,” “In My Dreams,” and “It’s Not Love.” Their 1987 release Back for the Attack further cemented their legacy, showcasing both commercial success and musical complexity. Released in 1999, Erase the Slate marked a fresh chapter for Dokken, introducing Reb Beach (best known for Winger and later Whitesnake) as the band’s lead guitarist. Erase the Slate blends Dokken’s classic melodic metal roots with a more modern, late-'90s hard rock edge. Reb Beach brought a technically sharp yet fluid guitar style that differed from the flashier, more aggressive approach of former guitarist George Lynch. His playing added a polished, groove-oriented feel while still delivering strong solos and riffs. Remastered and Repackaged on 180g green smoke vinyl.

*ZELDA SUITES (THE LIVE ALBUM) : A MODERN JAZZ REINTERPRETATION OF THE MUSIC FROM ZELDA, RECORDED LIVE!*

WRWTFWW Records continues its collaboration with Belgian jazzman Casimir Liberski with another Zelda-themed rendition, following his celebrated Z Suites album. This time it's a full-on live session - Casimir Libersk ReTRio's Zelda Suites (The Live Album) is a heroic Hyrule jazz adventure available in half speed mastered DLP in a heavyweight sleeve with obi.

Casimir Liberski reimagines the golden era of video game soundtracks with live jazz versions of Zelda favorites The Legend of Zelda (1986), A Link to the Past (1991), Link's Awakening (1993), and Oscarina of Time (1998) - and tons of Easter eggs! Dancing between nostalgia and avant-garde, the Brussels-born pianist and composer crafts a sonic world of pixelated folklore where melody and improvisation coexist in harmony.

Zelda Suites (The Live Album) is the origin story of Liberski's acclaimed Z Suites album. He explains:

The live recording of Zelda Suites (The Live Album) preceded the studio recording that later comprised ReTRio's first album, released on WRWTFWW entitled The Z Suites. This live recording was captured at the end of a tour in Germany and Belgium, in Osnabrück, in a small, intimate venue. This new album therefore contains only "hot first takes," imbued with all the emotion that permeated our playing that evening. In a way, it's perhaps more closely linked to my initial vision for the project: to "take the iconic themes from the Legend of Zelda games that shaped my childhood and perform them live through a jazz lens". For me, the conditions of live performance are the very essence of jazz. There's a frankness of being present, in the very moment the music is created and, one might say, listens to itself, that draws the musicians into a fervor and audacity that often transcends them. The magic of jazz comes at this price. Unapologetic, as they say in English. This album reveals a perhaps more authentic and unrestrained side of our playing. No excuses.

Again, long live Hyrule jazz!

Points of interests

For fans of Zelda, jazz, video game music, Nintendo jazz, modern jazz, piano, Ryo Fukui, Brussels, fantasy, the 80s, the 90s, nostalgia, vintage consoles, Hyrule, half speed mastered vinyl, adventures, the pleasure of feeling alive, and appreciating the small pleasures of life in a world that's going crazy.

Limited edition vinyl release of modern jazz re-interpretations of Zelda music, recorded live!

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

The CJP Band return to Supa Jams with two more tracks for your listening and dancing pleasure.

First up 'We Must Believe' channels disco (not) disco vibrations on a strings for days sea of spiritual spaceways. Soaring skyward on Boogie driven basslines and roaring sax solos.

This fresh cut nods to the psychedelic soul vocals of Rotary Connection, Idris Muhammad and The 5th Dimension, Carrying a powerful spiritual message of unity and transformation.

On the flip, Charles Earland 1976 jazz funk classic 'Let The Music Play' gets the CJP cover treatment.

A raw, Driving dancefloor burner, Powered by heavyweight drums, Deep Fender precision basslines, Flamboyant Brazilian percussion and crazy guitar and sax solos. Featuring Hannah Williams on guest vocals.

Hand Stamped Sleeve

Limited Pressing

Don't Sleep!

Repress 2026 of the Chronobrain 16... The Road Creator is back !

CRAZY stuff !!!

Still 4 crazy tracks, pure tribe ! Summer sound !

‘Songs in A Minor (25th Anniversary Edition)’ features the classic, 5 time Grammy winning debut album augmented with two bonus tracks from the original album recording sessions: “Foolish Heart” and “Crazy (Mi Corazon),”. This limited quantity 2LP set spreads the 18 total tracks across four sides, all pressed on orange marbled vinyl housed in a luxe gatefold package.

Second vinyl release for this Northeastern America experimental label.
New scenes, new sounds, new beats, new ideas... An efferv'essence.

Crazy project ! Full support !

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing exactement the note he had to play.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

Roland Kirk was an extremely talented multi-instrumentalist, who lost his sight at a very early age, and played unconventional jazz, which was not entirely free but in which melodic and very beautiful phases alternated with moments of complete dissonance and conjured up his urban background, especially reflecting his view of the world as a handicapped man. Kirk was not only famous for his unique sound achieved through his playing several instruments simultaneously and his innovative approach to music but also for his dynamic live performances.

In November 1967 Kirk left EmArcy for Atlantic Records, leading his quartet through a highly introspective, somewhat melancholy programme, which was based in the blues and groove traditions of the mid-60s. Kirk himself played flutes, the stritch, manzello and tenor saxophones, the whistle, clarinet and more – precisely those instruments that had created his unique sound, particularly when some of these instruments were played simultaneously by him. Jazz critics who had previously criticised Kirk’s sound now praised him once they had heard the restrained and elegantly layered "Black And Crazy Blues", the breathtakingly executed Creole "Love Call", the razor-sharp soul in "The Inflated Tear" and the gyrating lyricism of the winds in "Fly By Night" – and quite rightly so.

Roland Kirk convinced his listenership anyway and sold over 10,000 copies of the present LP in the very first year of its release. This is Roland Kirk in his most competent and visionary form; his reading of jazz harmony and capricious sonances is virtually incomparable.

The second in a series of releases from Digi Dub’s archives, this 10” serves, as the title suggests, as a tribute to the late, great Julian Fairshare.

On the A-side, Julian vocalises, in his unique style, his crazy finger flicking lyrics over a slinky Digidub riddim that was always a favourite on his sound system. Repent, the (only) slightly more traditional flipside, finds him commenting on the politricks and lies of those in charge, asking them to change their ways, with backing vocals by Helen Macdonald.

A true rasta with firm principles and a heart of gold, Julian was brought up by his Windrush generation parents in a Brixton house that hosted blues parties, and as a result became deeply involved in sound system culture from an early age. For years he ran the Fairshare Unity Sound, working with people from all cultures and walks of life, always maintaining an inclusive attitude while also favouring the more experimental side of dub. In later years he used the name ‘Unruly Julian’, which suited him somehow.

He toured widely around Europe and was one of the first to take a roots and culture sound system to the USSR. Nearer to home he played regularly on the London underground scene, which is where Lee Digidub and Julian first met, leading to a steady supply of dubplates for his sound. On a memorable visit to the studio, Julian announced that he wanted to voice a dub that Lee was working on, which led to them releasing I Scream and No Way on David Records.

“Sadly missed, it’s such a shame that the great man isn’t here to enjoy this release in person, but it’s wonderful that people get a chance to listen to Julian Fairshare: a unique vocalist, soundman and mentor to so many” Lee Digidub Berwick

Nach einem bahnbrechenden Jahr hat die GRAMMY-Preisträgerin, Sängerin, Songwriterin und Multiinstrumentalistin Sierra Ferrell beendete ihre Tournee 2025 in ihrer Wahlheimat Nashville, Tennessee. Live aufgenommen, direkt auf Acetat im Blue Room von Third Man Records, fängt diese einzigartige Performance die rohe Energie, den feurigen Geist und die fesselnde Bühnenpräsenz ein, die Ferrell an die Spitze des modernen Bluegrass und Country katapultiert haben.

Straight from the Stay Up Forever Headquarters ! Low quantity available. 4 trax of classic Acid Techno from one of the masters of the Genre Trip Hazard (aka DDR) on Triple A (Acid Artists In Action).

Dj Moar with a new double banger !
A side is a crazy latin party hip-hop from New York to burn your dance floor !!
B side is a Disco Reggae Lovers with a spice of disco Edits and Dub vibe.

Limited, 500 copies black gatefold 2LP...

Originally released in 2013, the long-awaited second album from Lulu Rouge finally returns to vinyl in its first-ever limited repress — revived after years of growing demand.

The Song Is In The Drum captures the duo at their most fearless and immersive. Known for their deep melancholia and anti-traditional pop structures, Lulu Rouge blur the lines between dark dub, cinematic electronica, and left-field songwriting. Intense, soul-cutting vocal pieces unfold alongside towering instrumentals — brooding, beautiful, and unapologetically atmospheric.

The album features standout appearances from Danish indie pop visionary Asbjørn and Icelandic-born vocalist Fanney Osk, adding further depth to an already richly textured sonic landscape.

Across 11 meticulously crafted tracks, producers Torsten “Buda” Jacobsen and Thomas “T.O.M” Bertelsen shape a world that feels both intimate and vast. Every beat is deliberate, every space intentional. This is music that doesn’t simply play — it envelops.

Fifty-three minutes that grip you by the heart and refuse to let go.

Welcome to the brightest dark place you’ve ever been.

Look out for a much anticipated new album coming later this year from Lulu Rouge - making this re-issue a timely reminder of the power of their work.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

On their fourth proper studio album Ruckus, Galactic wholeheartedly move not so much away from their past as a bad-ass New Orleans jazz & roll band, as they move toward another of its traditions: Voodoo funk.

Not merely content to stick to Mardi Gras or Dr. John esthetics, Galactic points firmly toward the technological present with their primordial groove machine music. Bass, bass, and more bass is the order of the day, and strange keyboard sounds come bubbling under like some lost Lee Perry session gone digital. Ruckus is a spooky ride to the other side of midnight. That moment in time when anything is possible.

This is musical rebirth of a band. Galactic was made all the better for its brave new direction. Ruckus is a album packed with ass-burning grooves and was produced by Dan The Automator.

Ruckus has not been available on vinyl more than 2 decades, and now it's finally out again as a limited edition of 750 individually numbered copies on yellow & green marble vinyl, and includes an insert.

With Burn The House Down, Ghalia Volt delivers a raw and electrifying blend of blues, garage rock, and roots-driven energy. Fueled by gritty guitar riffs, hypnotic rhythms, and her unmistakable raspy vocals, the album captures the spirit of stripped-down, high-voltage rock’n’roll. Recorded with an organic and live feel, the songs pulse with authenticity and urgency, balancing infectious grooves with a rough-edged charm. Ghalia Volt’s performance is both fierce and soulful, channeling the essence of traditional blues while pushing it into a more modern, rebellious direction. Burn The House Down is a bold and uncompromising release—perfect for fans of The Black Keys, Larkin Poe, and raw, unfiltered blues rock

"Water Ritual" is the second jam we did during a five-hour session in Joshua Tree on April 20th, 2024, at Gatos Trail Studios. I had just picked up a new pedal called "The Fable," and it's all over this track. It's a delay with all kinds of crazy repeat options. When we mixed it, I wanted portions of the song to have a '70s dub reggae feel. So Dan at Gatos hooked up his Echoplex to the board and nailed that sound. Jamming with the dudes from Yawning Man is always a blast, and I'm stoked they invited me. Thanks, Gary, Bill, and Mario! Bob Balch

Green vinyl, limited to 300 copies. "Water Ritual" is the second jam we did during a five-hour session in Joshua Tree on April 20th, 2024, at Gatos Trail Studios. I had just picked up a new pedal called "The Fable," and it's all over this track. It's a delay with all kinds of crazy repeat options. When we mixed it, I wanted portions of the song to have a '70s dub reggae feel. So Dan at Gatos hooked up his Echoplex to the board and nailed that sound. Jamming with the dudes from Yawning Man is always a blast, and I'm stoked they invited me. Thanks, Gary, Bill, and Mario! Bob Balch

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!