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HOROJO Trio is the soul-rocking rhythm and blues trio that won Best
Band at the 2020 International Blues Challenge in Memphis Drummer Jamie Holmes, singer/keyboardist Jeff Rogers and guitarist/singer JWJones (who also won Best Guitarist at International Blues Challenge 2020) have individually helped to create music that reached the Top 10 Billboard Blues Charts, was nominated for JUNO Awards, and have performed in live music venues internationally. Set The Record is their debut album.

The trio came together in a chance jam session that was so inspired, it left both the audience and the trio wanting more. Even before their first gig, the blues music media called them a "blues super- group". The band have performed at several top blues festivals and venues including a high profile spot on the stage of the Legendary Rhythm & Blues Cruise in January 2022.

To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we've come to expect from THRICE over the last twenty years

With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness.Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synthdriven number "Color of the Sky," which sounds well- suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/ East conveys a palpable sense of danger, determination, and possibility.

The 25th anniversary edition of the Chicago noise-rock band's undisputed masterpiece recorded by Steve Albini

Remastered edition including a 12- page booklet and a bonus LP of demos, outtakes and unreleased tracks. 'Discipline Through Sound' was the second LP by Big'n, who formed in 1990 and at the time, the band consisted of vocalist William Akins, guitarist Todd Johnson, bassist Mike Chartrand, and drummer Brian Wnukowski. This expanded reissue was intended to come out in 2021 to commemorate the 25th anniversary of 'Discipline Through Sound', Big'n's indisputable masterpiece originally released on Gasoline Boost in 1996, but was delayed due to a PVC shortage and the fallout of the COVID-19 pandemic.

'DTS 25' is a massive album. It contains two pieces of superb-quality vinyl with a reissue and remaster of 'Discipline Through Sound' on the first disc. Side C contains unreleased demos from the album. Side D, contains three previously CDonly tracks from a split with OXES - plus two unreleased outtakes.

The records are packaged in a 6mm spine gatefold cover with matte finish, accompanied by a 12-page booklet featuring photos of the band, a foreword by Steve Albini, and writings from Big'n's associates. The entire package is housed in a sleek, tactile, Type-2 aluminium packaging newly developed and designed by the Computer Students label.

Don't miss your chance to own a brilliant, undersung artifact of '90s noise-rock in Chicago - refreshed, expanded, and more venomous than ever before.

Back in May 2019, Vancouver trio Corner Boys released their sole album… and promptly split a few months later. In retrospect, they couldn’t have known that the album’s title (‘Waiting For 2020’) would soon seem grimly ironic - and we all know why, right? No reason to go over all that shit again. But while the past two years have at least seen drummer/songwriter Patrick McEachnie staying active across two essential records with hardcore heroes Chain Whip, lockdown saw him switching roles. Basically, he bought a guitar and made an excellent record all on his lonesome, and as followers of his other projects will have come to expect, it’s fucking excellent. ‘Glad To Be Forgotten’ is the debut album by Pack Rat - in some ways you can see some level of crossover with Corner Boys in its manic energy and dedication to hooks (cuts like ‘Next Time Hit Me’ and ‘My Own Reality’ are so damn catchy, you could be forgiven for thinking you’ve already been listening to ‘em on repeat for the past 20 years). Familiar reference points show up (the melodies of the Pointed Sticks; the garage-slanted rifferama of Rudi or The Undertones) while a tinny budget synth keeps things ticking along nicely, just to remind you that this is a homespun DIY project. But honestly, this has the feel of a fully fleshed-out project and leaves you desperate for another fix of its sweet’n’sour tang. For anyone who loves the collision point between ‘New Rose’, powerpop sunshine and sheer rock’n’roll exuberance, this is essential. For everyone else, this is surely the gateway to all of that good stuff. You want to hear the tunes that’ll star on future generations’ equivalents to the Killed By Death comps? That’ll set your pulse soaring and your pogo muscles into overdrive? That’ll remind you of why this punk rock business still feels worth dedicating your life to, even after all this time? Hey, Pack Rat’s got ‘em. Now do your part

Classic Bill Evans Trio album on 180g vinyl LP, plus a bonus CD that
contains the complete album + 6 bonus tracks

The LP contains an extra track from the same session not included on the original LP. "If there's any doubt that Evans is one of the freshest things to happen to the piano in the last few years, this album should dispel any such feelings. The trio is a closely integrated unit. The interplay among the three men is best illustrated in 'Leaves', wherein they carry on a three- way conversation, with bassist Scott LaFaro leading the discussion. 'Witchcraft' finds LaFaro making pungent comments on Evans' statements and drummer Motian egging on both of them. Here is an album with meaning - here is truth." - Don DeMicheal, DownBeat

About time – Ebbot and I have finally been able to make an album that is largely an extension of all the time we have spent together and all the concerts we have done

You could say it's a kind of fusion of the two of us in music form. A key ingredient was that Reine Fiske (Dungen) wanted to be part of this musical adventure and record with us. His tone and spontaneous playing were absolutely crucial in making this album. Also at the heart of this album, and which made our recording sessions so edgy and good, were the beautiful poppy bass playing by Marcus Holmberg (Komeda), the dynamic and responsive drumming by Nicklas Korsell
and the funky piano playing by Daniel Kurba. And finally, working as both a musician and sound engineer, Ponus Torstensson, aka Tentakel, played a vital role in creating the psychedelic sound on the album

The Brkn Record is a new project led and produced by Jake Ferguson, the co-founder and bass player for the UK's foundational deep jazz outfit the Heliocentrics. With fellow Heliocentrics co-founder and legendary drummer Malcolm Catto, Ferguson has been a regular collaborator with globally recognised artists including Archie Shepp, Mulatu Astatke, Melvin Van Peebles, Orlando Julius and many others. The Architecture of Oppression Part 1 represents Ferguson's debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul. With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth.

The Brkn Record is a new project led and produced by Jake Ferguson, the co-founder and bass player for the UK's foundational deep jazz outfit the Heliocentrics. With fellow Heliocentrics co-founder and legendary drummer Malcolm Catto, Ferguson has been a regular collaborator with globally recognised artists including Archie Shepp, Mulatu Astatke, Melvin Van Peebles, Orlando Julius and many others. The Architecture of Oppression Part 1 represents Ferguson's debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul. With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth.

Vinyl LP pressing. 2014 release, the second album from the British singer who has worked with the Slits, Ian Brown, Jamie T. and others. She is also the daughter of Sex Pistols drummer Paul Cook. Produced by Prince Fatty, TWICE sees Hollie's obvious love of Reggae joined by other influences including Bond-like strings, Brazilian percussion, dark Disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis.

Sublime funky jazz album by Harold Vick under the Sir Edward name - first time reissue from the 1973 edition on Funky Drummer Bernard Purdies short lived Encounter Label !

One of the great unsung saxophone hero's: Harold Vick worked as a sideman with Hammond Legends Jack McDuff, Jimmy McGriff, Big John Patton, and Larry Young. He played on and off with Walter Bishop, Jr. and also worked with Philly Joe Jones, Howard McGhee, Donald Byrd and Ray Charles and appeared with Dizzy Gillespie, King Curtis, and from 1970 to 1974 with Aretha Franklin. He played in Jack DeJohnette's jazz-rock band Compost from 1971 to 1973,recording with them in 1972 which is about the same time as this recording and that is probably the reason it is under the pseudonym of "Sir Edward". Add to that an absolutely top notch band, including bassist Wilbur "Bad" Bascomb, Jumma Santos on percussion and the mellow vibes of Omar Clay and this is a must have soulful jazz outing.

The music is a funky mix of some of the big Soul tunes of the day, with versions of Donny Hathaway and The Stylistics and a nod to the CTI stylings of the day with a get down version of "People Make The World Go Round".

Lee Burridges’ All Day I Dream Presents Jim Rider’s Fantastic New EP, The Final Straw

The UK-Producer Revives the Labels’ Heavier Melodic Sensibilities Across 4-Originals

The title track opens an EP led by intention, accenting a time in the producer’s life where he was disillusioned with his day job and intent on pursuing music full time once again. “The Final Straw'' includes a romantic, husky narrative delivered by Namibian vocalist “Black Soda” (AKA Annely Ickua). Here we find him pulling from his musical upbringing - melodic elements afforded to him by his Mother, a folk musician and singer, and his focus on percussion fueled by his background as a drummer.

“Rascals” is a follow up to “Fools” from Jim’s 2021 Beatport category #1 EP “Popcorn & Politics”. It pays homage to the classic 1950s American TV show “Little Rascals” with eccentric keys and playful percussion alongside dazzling, eccentric elements from keys to tropical-inspired marimbas. “Los Que Caen,” as the name suggests, is inspired by Rider’s love of latin music and percussion and includes a heavy bass guitar riff, bouncy synths and a harp-led rhythm section. EP closer “The Cypriot” blends lead flute lines with plucky synths and a driving bassline while sporadic haunting vocal ad-libs and delayed keys add decoration to the track.

Techno represses from Polymeric Records. Techno solid shit from the 90's. Another way to make the sound... Nowaday every mix table have these kind of effects and stuff... but well... would you scratch and use them like that?

Upon completion of the Stu Cook produced Roky Erickson & The Aliens LP in the summer of 1979, Roky decided to return home to Austin from San Francisco

He needed a band and The Explosives came highly recommended to Roky's manager, Craig Luckin - Introductions were made and rehearsals began. Roky & The Explosives immediately hit it off, musically and personally. They played together in Texas and California from 1979-1981 logging in around 50 shows.
13th Floor Elevators drummer John Ike Walton remarked to Explosives drummer Freddie Steady Krc "You guys played more shows with Roky than the Elevators did!" The guys got in the van and barnstormed all over the Lone Star State.
Bootleg recordings began to emerge that were sub- quality live performance recordings that everyone was making money off except Roky and The Explosives.
Craig and Freddie agreed Freddie would review all the recordings they could find from 1979-81. Almost all were in Craig's possession. Upon final review, Freddie would select the best performance of each song they were playing live from that time period. Some like 'Heroin' and 'I've Just Seen a Face' were called on the spot by Roky at a show, performed once and never played again. After the music was selected, Craig and Freddie went through their personal collection of photos,
poster images and added a complete show itinerary from 1979-81.
'Halloween' is a loving collection of performances documenting a time of Roky's re- emergence into the rock music world. It was something most thought they would never see after his final days with 13th Floor Elevators, following drug busts and his plunge into mental illness eventually ending in his stay at Rusk State Mental Hospital. This record is a testimony of Roky's personal strength and will to return to performing and songwriting. Long live his music!

After turning heads with the densely orchestrated Riddles, produced by Dan Deacon, the Baltimore-based duo Ed Schrader’s Music Beat have given us another giant leap forward with their fourth record Nightclub Daydreaming. The whiplash-inducing stylistic shifts between aggressive noise rock and operatic gloom pop that have become the band’s trademark have given way to a single aesthetic that fuses both impulses. On Nightclub Daydreaming, menace teems just below the surface as propulsive, stark arrangements leave space that Schrader fills with strident, reverb-soaked narration.

LIMITED GOLD VINYL w/ Download Card

When Ed Schrader and Devlin Rice began writing the record in 2019, the idea was to make a fun, danceable album, but an underlying moodiness proved unshakeable. As Schrader puts it, “The cave followed us into the discotheque.”

The duo road-tested the songs “This Thirst,” “Echo Base” and “Black Pearl” with drummer Kevin O’Meara on tour with Dan Deacon in February 2020. COVID restrictions cut the tour short, squashed plans to go immediately into the studio and sent the touring party on a sprint from LA to Baltimore. “We broke down outside Roswell,” Schrader recalls. “And these cops laughed at our dumb asses as we used all our pent-up stress and fear to propel our half-submerged bus out of the muck, yelling epithets to the sky.”

It was one of the last experiences they had with O’Meara, whose death in October 2020 weighed heavily on Rice and Schrader’s minds as they worked on the record. It was also a cathartic moment that presaged the aesthetic that would permeate the songs on Nightclub Daydreaming: “mad euphoria in the face of doom,” as Schrader puts it.

“This Thirst” is an alienation-fueled barn burner barely restraining itself through musically sparse, lyrically dense verses to culminate in a howling, synth-saturated chorus that beats horror punk at its own game. “Came from the north with a twisted planetarium, rock salt, nervous tic and novocaine,” Schrader sings, assuming the guise of a vagrant whose irresistible urges lead him through a fever dream of chemicals, back-alley bartering and existential threats.

The hyperactive “Echo Base” exudes agitated-cool, with breakneck drum fills and a relentless bass line. The narrator is stranded in a frozen landscape and running out of options. “She is just a night train away,” we are assured, and yet we sense that may not be an altogether good thing.

The band recorded and mixed Nightclub Daydreaming over a two-week period with Craig Bowen at Tempo House in Baltimore with David Jacober on drums, turning demos with artificial sounds and placeholder melodies into fully realized songs playable by a live band. The end result is not the album of “sunny disco bangers” that Rice says the band set out for, but something deeper, darker and more rewarding.

'Welcome To The End Of The World' delivers The Dead Milkmen's
trademark twisted humour along with some underlying dark elements
that will creep in to your consciousness if you pay close enough attention

The six tracks run the gamut of weird and wild, from the heavy, Ramonesinfluenced lead single 'Only The Dead Get Off At Kymlinge', a ghost story about the haunted trains terrorising passengers on the Stockholm Metro to 'Battery Powered Rat', a jangly instrumental about two popes, a chess game, and a rat at the Vatican. ("Battery Powered Rat is one of the weirdest things we've ever done", says drummer Dean Clean.)
Musically, the band draws on industrial influences, with a strong beat- driven aesthetic. "It's a pretty good representation of the different styles of things that we do", Dean Clean explains. "It's got some sort of heavy stuff and some groovy, almost dance-oriented stuff, which is fun to say".

TV on the Radio's "Province" and Beverly Glenn-Copeland's "Ever New" were released more than 20 years apart, with little in common sonically, but here, they’re intrinsically linked as studies in formative musical heroes for artists with dazzling voices. For Bartees Strange, TV on the Radio is an inspiration for where he could take his own genre-bending brand of guitar-driven rock. For Anjimile Chithambo, Glenn-Copeland is a reflection of themself in every way - a Black trans musician writing profoundly resonant songs focused on identity and rebirth, and the expansiveness you can find within. "Province" began with Eric Slick, who was the producer behind the track. The multi-instrumentalist, solo musician, and Dr. Dog drummer had been obsessed with Return to Cookie Mountain, TVOTR's third record, as a kid, and found himself revisiting it again and again. This past year, he made his own rough acoustic cover of "Province," before deciding to reach out to Bartees Strange and having him contribute vocals. TV on the Radio was pivotal for Bartees -- the moment he saw the band perform is seared into his memory. He came across their performance on The Late Show with David Letterman while channel surfing one night when he was a kid, and was immediately enraptured by their performance. He hadn't known what he wanted to do musically until he saw them perform, and it changed the possibilities of his life. Here, in his interpretation of the song, his voice is cavernous here, fleshed out atop a bed of Mellotron, Moog, and MPC instrumentations from Slick and celestial swells added by Ohmme's Sima Cunningham and Macie Stewart. Anjimile's interpretation of Glenn-Copeland's "Ever New" came together in a more solitary way, recorded alone in their Boston apartment. In his cover, the original seven-minute new age ballad from Glenn-Copeland's revolutionary 1986 album Keyboard Fantasies is trimmed down, sonically simplified to its core. Anjimile moves it more into a folk territory, building out the sonic world with the delicate, tender acoustic guitar lines and finger picking that's been an identifier across their own catalog. It's a more muted, subtle palette translating Glenn-Copeland's epic of springtime bloom and rebirth, but emanates that same tenderness. Anjimile's stunning vocal performance ushering the hymn into new direct clarity.

Before the very popular thrashy death metal band Legion Of The Damned was formed, with albums out on Massacre and Napalm Records, vocalist Maurice Swinkels and drummer Erik Fleuren played in the more brutal extreme blackened death metal band Occult.

 Hailing from Geldrop, Noord-Brabant, The Netherlands, the already very extreme barking voice of Swinkels was supported by female vocalist Rachel with an even more brutal grunt. After two studio albums on the Dutch label Foundation 2000 they were on the search for an international record deal and they recorded two demos to achieve that goal.

The first four songs on this album come from a rehearsal room session in 1997, and the last five songs were recorded in the small Harrow Studios in 1998. It resulted in a deal with the German Massacre Records label, and Occult’s third studioalbum, ‘Of Flesh And Blood’, saw the light in 1999.

Now you can finally hear, for the first time, most of these songs in their original, raw and rough demoversions.
For fans of Desaster, Absu, Deicide, Usurper, Vader, Sinister, Skeletonwitch, Goatwhore, Destroyer 666.

Long awaited second album from UK indie rock band Don't Worry! Since their inception in 2014, Don’t Worry have earned themselves a loyal following, releasing their debut album Who Cares Anyway? back in 2018. The band, helmed by co-lead singers Ronan Van Kehoe and Samuel Watson, write about everything from the mundanities of life to the relatively profound delivering a relatable commentary on modern day life. The band cite a diverse range of influences for their new record, combining the vocal harmonies of classic pop groups like The Beach Boys and The Beatles, the guitar stylings of US indie heroes Built To Spill and Pavement with the energy and quintessential ‘Britishness’ of acts like The Streets, The Cribs and Blur. Remorseless Swing was recorded in Spring 2021 at No Luck Audio, Exeter, a studio run by drummer Tom Gilbert. Now eight years into their journey together, Don’t Worry are showing no signs of slowing down and are very much looking forward to taking their explosive new album on the road in Spring 2022.

First Fragment was founded in 2007 by Phil Tougas (Chthe'ilist, Atramentus, Funebrarum) & brothers Gabriel Brault-Pilon and David AB. From day one, the trio sought to create a brand of extreme technical death metal that combined counterpoint-based riffing, neoclassical lead guitar work, power metal-inspired passages as well as flamenco & swing sections in a desire to branch out and establish their own unique voice in the Quebec scene. Their critically-acclaimed 2016 debut album "Dasein", released through Unique Leader, built upon the foundation established with the band's notorious EP "The Afterthought Ecstasy", self-released in 2010, Dasein was the culmination of almost 10 years of hard work and dedication to their craft. First Fragment have since honed their craft and perfected their sound through expanding upon their extensive musical influences, further blurring the line between flamenco-inspired technical death metal and neoclassical power metal. The result is "Gloire Éternelle" - an ambitious conceptual album that is unmistakably First Fragment, yet at the same time, impossible to categorize and pigeonhole. Boasting baroque-influenced guitar counterpoint, flamenco sections, unique slap-bass-driven swing grooves (which the band trademarked by name as "swingdowns"), face-ripping lead guitar work and bombastic drumming. Add a highly aggressive dual vocal approach and a lyrical approach soaked in abstract poetry (sung all in french), sprinkle with a ton of fretless bass solos and the result is the ultimate shredfest. A word which may be perceived positively or negatively depending of the listener, but nevertheless, a shredfest with soul, memorability, identity, purpose and conviction. For fans of : Yngwie Malmsteen, Cacophony, Racer X, Spawn of Possession, Capharnaum, Theory In Practice & Necrophagist

First Fragment was founded in 2007 by Phil Tougas (Chthe'ilist, Atramentus, Funebrarum) & brothers Gabriel Brault-Pilon and David AB. From day one, the trio sought to create a brand of extreme technical death metal that combined counterpoint-based riffing, neoclassical lead guitar work, power metal-inspired passages as well as flamenco & swing sections in a desire to branch out and establish their own unique voice in the Quebec scene. Their critically-acclaimed 2016 debut album "Dasein", released through Unique Leader, built upon the foundation established with the band's notorious EP "The Afterthought Ecstasy", self-released in 2010, Dasein was the culmination of almost 10 years of hard work and dedication to their craft. First Fragment have since honed their craft and perfected their sound through expanding upon their extensive musical influences, further blurring the line between flamenco-inspired technical death metal and neoclassical power metal. The result is "Gloire Éternelle" - an ambitious conceptual album that is unmistakably First Fragment, yet at the same time, impossible to categorize and pigeonhole. Boasting baroque-influenced guitar counterpoint, flamenco sections, unique slap-bass-driven swing grooves (which the band trademarked by name as "swingdowns"), face-ripping lead guitar work and bombastic drumming. Add a highly aggressive dual vocal approach and a lyrical approach soaked in abstract poetry (sung all in french), sprinkle with a ton of fretless bass solos and the result is the ultimate shredfest. A word which may be perceived positively or negatively depending of the listener, but nevertheless, a shredfest with soul, memorability, identity, purpose and conviction. For fans of : Yngwie Malmsteen, Cacophony, Racer X, Spawn of Possession, Capharnaum, Theory In Practice & Necrophagist

First Fragment was founded in 2007 by Phil Tougas (Chthe'ilist, Atramentus, Funebrarum) & brothers Gabriel Brault-Pilon and David AB. From day one, the trio sought to create a brand of extreme technical death metal that combined counterpoint-based riffing, neoclassical lead guitar work, power metal-inspired passages as well as flamenco & swing sections in a desire to branch out and establish their own unique voice in the Quebec scene. Their critically-acclaimed 2016 debut album "Dasein", released through Unique Leader, built upon the foundation established with the band's notorious EP "The Afterthought Ecstasy", self-released in 2010, Dasein was the culmination of almost 10 years of hard work and dedication to their craft. First Fragment have since honed their craft and perfected their sound through expanding upon their extensive musical influences, further blurring the line between flamenco-inspired technical death metal and neoclassical power metal. The result is "Gloire Éternelle" - an ambitious conceptual album that is unmistakably First Fragment, yet at the same time, impossible to categorize and pigeonhole. Boasting baroque-influenced guitar counterpoint, flamenco sections, unique slap-bass-driven swing grooves (which the band trademarked by name as "swingdowns"), face-ripping lead guitar work and bombastic drumming. Add a highly aggressive dual vocal approach and a lyrical approach soaked in abstract poetry (sung all in french), sprinkle with a ton of fretless bass solos and the result is the ultimate shredfest. A word which may be perceived positively or negatively depending of the listener, but nevertheless, a shredfest with soul, memorability, identity, purpose and conviction. For fans of : Yngwie Malmsteen, Cacophony, Racer X, Spawn of Possession, Capharnaum, Theory In Practice & Necrophagist

Art Blakey is one of the greatest jazz drummers and first made name for himself in the 1940s when working with bebop musicians Thelonious Monk, Charlie Parker and Fletcher Henderson. In the mid-1950s, he then formed The Jazz Messengers together with Horace Silver, which quickly became known as an incubator for young talent. 35 years after forming The Jazz Messengers, Blakey entered his final year still at it. Due to the many promising young players around the time, he expended the collective from its usual quintet or sextet into a septet for this fine recording session. Because Blakey constantly persuaded his musicians to write music, The Jazz Messengers stayed young in spirit, just like its leader.

Chippin’ In is available as a limited edition of 750 individually numbered copies on red coloured vinyl and includes an insert with upcoming titles from the Timeless Records 45th Anniversary Jazz Series.

Recorded in Brooklyn, NY and in Accra, Ghana.

Osei Korankye is a master musician and singer from Accra, Ghana. Known as one of the very last remaining seperewa musicians in Ghana.

These tracks are a throw back to the classic styles of Afro-Funk in 1970s Ghana.

Recorded to tape and produced by Super Yamba bandleader and drummer Daniel Yount and engineer/bassist Vince Chiarito (Ikebe Shakedown/Charles Bradley/Black Pumas).

Upon a trip to the United States in 2017 Korankye linked up with Yount for a few gigs in New York City. Yount learned Korankye’s music and played drums on the gigs. “After that I knew I wanted to collaborate with Osei on some of the songs Super Yamba had written in the style of Ghanaian funk.” The collaboration came together effortlessly and the result is two beautifully psychedelic funk tunes made for dancing time!

Stripped down to the core duo of Robert Görl and
Gabi Delgado and with Conny Plank again behind
the boards with crisp, focused production, with
‘Alles ist Gut (Everything Is Fine)’ DAF turned into
an honest-to-goodness German hit machine.

Even more important and impressive was how
they did it - keeping the electronic brutality that
characterized them, but stripped down to nothing
but Görl’s massive drumming, electronic bass and
synth tones, and Delgado's deep, commanding
singing. The result was and remains massively
influential. A must have for all fans of electronic
music.

A transcendental journey that takes in meditative musical mantras, sprawling tenor sax improvisation and mesmeric percussion, the new album byWork Money Death(the group that backed ATA artist Tony Burkill on his 2017 debut record of the same name) seeks to reinterpret the sound of artists such as Pharoah Sanders & Alice Coltrane over two tracks: the brooding tension of A-Side"Dusk"and the sanguine & uplifting"Dawn"on the B-Side.Titled "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises", this new LP was conceived and recorded by Tony Burkill and Bassist Neil Innes during the spring/summer of 2020.

A stalwart of the Leeds music scene for the best part of 3 decades, Tony Burkill had maintained a low profile nationally, choosing to favour continued study and development on the instrument over attainment of success or recognition within the music industry. With his debut release on ATA in 2017 he impressed audiences with his powerful and gutsy approach to improvisation. Also featuring on the record are Drummer Sam Hobbs (The Electric Doctor M and Producer of Matthew Bourne's Moogmemory), Bassist Neil Innes (The Sorcerers, The Lewis Express), Pianist Adam Fairhall (Nat Birchall) and Percussionist Pete Williams (The Sorcerers, The Lewis Express).

Originally conceived as a large scale group performance of a single extended piece "The space in which the uncontrollable unknown resides, can be the place from which creation arises"was written by Tony and Neil through a series of extended improvisations similar to the extended meditation sessions that both musicians practice. These sessions enabled a state of flow through which Tony's compositional approach to improvisation yielded meaningful melodic fragments that would be returned to and developed in a way similar to someone returning to the mantra.

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!

Super Session (1968) was conceived by Al Kooper and features the work of guitarists Mike Bloomfield and Stephen Stills. Kooper and Bloomfield had previously worked together on the sessions for the ground-breaking classic Highway 61 Revisited by Bob Dylan. For Super Session, Kooper recruited keyboardist Barry Goldberg and bassist Harvey Brooks, both members of the Electric Flag, along with well-known session drummer 'Fast' Eddie Hoh.

On the second day of recording, with the tapes ready to roll, Bloomfield did not show up. Kooper hastily called upon Stephen Stills, also in the process of leaving his band Buffalo Springfield. Regrouping behind Stills, Kooper's session men cut mostly vocal tracks, including 'It Takes A Lot to Laugh, It Takes A Train to Cry' from Highway 61 and a lengthy and atmospheric take of 'Season of the Witch' by Donovan.

The album peaked at #12 on the Billboard 200, and has been certified a Gold record. The success of this record opened the door for the 'supergroup' concept of the late 1960s and 1970s — Blind Faith, Crosby, Stills & Nash, and the like.

Paul Butterfield was an iconic blues harmonica player and singer, famous for his in 1963 formed Paul Butterfield Blues Band. Their 1966 releases classic East West is one of the outstanding albums in which they integrated psychedelic rock in traditional blues music. The supergroup consisted at that time of guitar hero Mike Bloomfield, keyboardist Mark Naftalin, bassist Jerome Arnold, drummer Billy Davenport and, of course, the master himself, Paul Butterfield. The authentic blues sounds are woven in the sounds of jazz and raga music. It's an exciting trip in which you can hear the talented individuals, but also how they created their music together. The album proved to be one of the essential albums in the blues-rock movement of the 60s.

Paul Butterfield died in 1987 at the age of 44. During that time he was still recording new songs. In 2006 he was inducted into the Blues Hall of Fame and in 2015 again as part of his own Paul Butterfield Blues Band.

With the world in chaos, exhilarating new music has become more
important than ever before.

As a re-sult, the emergence of French tech-metal mavericks Stengah could hardly be better timed. One of the most exciting new bands on the planet, the French quintet have spent the last few years in a state of per-petual evolution, armed with some of the most visceral and forward- thinking riffs and refrains in recent memory. Now, the band are ready to introduce themselves to the world. Founded by drummer Eliott Williame in 2013, Stengah have the sound, the smarts and the
ambition to push heavy music ever further into the future. After years of steady evolution and meticulous attention to detail, the band – completed by bassist Benoit Creteur, lead guitarist Maxime Delassus, rhythm guitarist Alex Orta and powerhouse frontman Nicolas Queste - have honed their sound to a state of cutting- edge perfection, as showcased on their formidable, forthcoming debut album SOMA SEMA."The music is about (re)connecting with yourself," says Eliott.
"It's about people, their fears, their faiths and their philosophies. How sometimes those things can guide them, and how sometimes they can blind them. It asks, with no judgement, about how odd and how strange the social and emotional behaviors of human beings are. It's all about the power to believe, in creativity, and in consciousness. Our music is technical but fun to play," adds Eliott. "People often become surprisingly transfixed by our energy, espe-cially when they haven't
seen us before. We love being on stage, we are truly passionate and that is what you see and feel during our live performances, from the first to the last song."

The history of metal is littered with the burnt-out shells of bands that lacked the vision and the vivacity to make things happen. For Stengah, the sheer power and fury of their music drives them forward. Mean- while, the sheer quality and ingenuity of Soma/ Sema looks certain to propel the band swiftly up the heavy music ladder and into the spotlight. Newly signed to Mascot Label Group, they're just getting start-ed and the sky's the limit!

For over fifteen years, New England’s When The Deadbolt
Breaks have lurked in the dark corners of underground
metal. With a doom style both psychedelic and unsettling,
their music has been tagged as many different things; heavy,
daunting, overwhelming and unnerving, while the band
shows singer / guitarist Aaron Lewis’s gritty vision of life on
the subcultural fringes of New England society.
 Following five highly acclaimed studio records, a split and a
remix album to date, When The Deadbolt Breaks release
their brand new album, ‘As Hope Valley Burns’.
 The band have carved a niche for themselves within the
interplay of extreme genres. Having played the SXSW, New
England Stoner & Doom Fest to name just a few, they are as
well no less at home in doom and grind than they are in
pummelling sludge or ambient soundscaping, casting forth
triumphant riffs or proffering murder-dirge nods at a volume
level that can only be considered violent.
 When The Deadbolt Breaks have always struck a balance
between the ugly and beauty; long and heavy compositions
wade through detuned, discordant and murky sludge metal
before shifting into melodic ambient space rock territories,
and back again.
 “This album is a unique one for When The Deadbolt Breaks.
We have pushed our boundaries sonically,” band
mastermind Lewis reveals. “The heavy is heavier, and the
mellow, spacial parts are even more so. Akin to our first few
records, we have returned to more aggressive drumming,
and psychedelic spaces, yet this record has a certain depth
and maturity to it that was missing in the past.”
 For fans of Eyehategod, Soilent Green, Nine Inch Nails,
Crowbar, Acid Bath, Stabbing Westward, Skeletonwitch.
 LP pressed on grey vinyl.

10th anniversary reissue of this rhythmically churning one-man-band monster of an album, recorded in a single inspired studio session & originally released in 2012 on Editions Mego.

From the original Editions Mego press release:

“For anyone who still associates Oren Ambarchi exclusively with the clipped, bass-heavy tones of solo electric guitar works such as Suspension, this rhythmically churning one-man-band monster of an album-length piece might seem to come out of nowhere. However, listeners who have followed the breadth of his work for the last few years (solo and in projects with collaborators from Jim O’Rourke to Stephen O’Malley and Keith Rowe to Keiji Haino) will have noted how Ambarchi has allowed increasingly clear traces of his enthusiasms as a music listener (for classic rock, minimal techno and 70’s fusion, among other areas) to surface in his performances and recordings, all the time filtering them through his signature long-form structures and psychoacoustic sonics.

Recorded in a single inspired studio session, Sagittarian Domain displaces Ambarchi’s trademark guitar sound from the centre of the mix, its presence felt only as an occasional ghostly reverberated shimmer. Endlessly pulsating guitar and bass lines sit alongside electronic percussion and thundering motorik drumming (familiar from his work with Keiji Haino) at the core of the piece, locking into a voodoo groove like Faust covering a 70’s cop show theme. The work is founded on hypnotic almost-repetition, the accents of the drum hits and interlocking bass and guitar lines shifting almost imperceptibly back and forwards over the beat as they undergo gradual transformations of timbre. Cut-up and phase-shifted strings enter around the half-way mark like an abstracted memory of the eastern-tinged fusion of the Mahavishnu Orchestra’s classic Visions of the Emerald Beyond, before returning for an extended, stark yet affecting come-down coda, equal parts Gavin Bryars and Purple Rain.

While Sagittarian Domain contains traces of a diversity of influences, it mines all of them to uncover something that is clearly an extension of Ambarchi’s own investigations up to this point, exhibiting the same care for micro-detail and surrender to the physicality of sound that are present in all of his work, extending them in new ways to repetition, pulse and rhythm”.

As pieces of musical curation go, Kenny Dope’s reimagining and reediting of the Wild Style breakbeats is outstanding. While the music from the ‘Wild Style’ OST is truly seminal, the story behind it is even more fascinating.

Underneath the voices of important rappers from hip-hop’s first wave – Cold Crush Brothers, Double Trouble, Rammellzee, Busy Bee and more – were a selection of backing beats that have underpinned and influenced a whole lot of hip-hop ever since.

It would be easy to mistake them for genuine breakbeats dug out of crates, but they’re not. Overseen by hip-hop impresario Freddie Braithwaite – better known as Fab 5 Freddy – in collaboration with Blondie’s Chris Stein – the songs from the Wild Style soundtrack are all unique creations intended as a homage to the early breakbeats.

Drummer Lenny Ferrari – who had played for Aretha Franklin before emerging on the punk scene – and bassist David Harper played many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound. They – and Chris Stein – weren’t even in the same studio at the same time.

Kenny Dope, a long-time fan of the music, later acquired the original reel-to-reel tapes from Charlie Ahearn, the film’s director. Using the Wild Style breakbeats – many just a minute or so long – he transformed them into longer edits that give them more room to breathe. ‘Down by Law’ and ‘Subway Beat’ are two of the most famous, breakdance classics that summon up visions of graffiti’d trains speeding through the South Bronx.

Octahedron Each of the Mars Volta albums that preceded Octahedron had pushed the envelope further, their music growing larger, more intense, more complex.

Each had delivered an implied, unspoken challenge to its makers within milliseconds of its final notes: “top this”. And with each subsequent album, Omar and Cedric had turned their creative dials up one more notch, a further step past “eleven”.

With the addition of new drummer Thomas Pridgen, and their ranks swollen by extra guitarists, more percussion and a sax-player, the intensity of The Mars Volta’s sound had increased. Octahedron, however, would follow The Bedlam In Goliath’s brilliant excesses with a sideways step few were expecting, even though the group had telegraphed their intentions to take this new direction for years.

“This one didn’t have multi-layered sub-texts or any sinister spirits,” says Omar, referencing predecessor Goliath’s traumatic birth. “Octahedron was like an expression of will into reality. Like, ‘This one will be easy, this one will be fun’. Everything had a different process.” “Octahedron was a rebellion,” adds Cedric. “Us saying, ‘This isn’t like anything we’ve done before. This is our “pop” album.’ We’d always promised we’d do a ‘pop’ album.’ This was it.”

A guitarist, a composer, a sought-after musical enabler and sideman? Of course, he's all of those things and more, but none of those descriptions really do the seven-time Juno Award-winning musician justice.

Like all of Steve's albums, 'Gone, Long Gone' features brilliant instrumental performances from some of the finest players in roots music. Jeremy Holmes holds everything together on bass with drumming split between Gary Craig and Jay Bellerose (both drummers play together on 'Six Skeletons'), while Kevin McKendree and Chris Gestrin laid down the piano, organ and other keyboards.
Keri Latimer joins in on vocals on two songs, and Steve's old 'Birds of Chicago' band- mate, Allison Russell joined in to sing on a few as did Steve's daughter Casey Dawson. John Prine alumnus Fats Kaplin also dropped in to add some sweet fiddle and mandolin.
'Gone, Long Gone' is just the first of three new albums that Steve created during the lockdown. The next two will come to light over three month intervals throughout 2022. Be on the lookout for a moody, psychedelic pedal steel excursion coming up next!

It was certainly unpredictable that a legendary jazz drummer would record one of spiritual disco's most revered songs twenty-three years into his career, but that's exactly what happened when Idris Muhammad laid down the epic "Could Heaven Ever Be Like This" in 1977. Hailing from New Orleans, Muhammad always had more than a touch of funk to his rhythms, and by the late '70s his collaborations with master engineer Rudy Van Gelder on recordings for the CTI and Kudu labels had gelled perfectly with the reigning jazz-funk sound of the day. Arranger Dave Matthews (famously part of the James Brown stable) collaborated with lyricist and former Long Island record store clerk Tony Sarafino on writing the song, which on the original recording unfolds over a nearly 9-minute build. Appearing at the crest of the disco movement, "Could Heaven Ever Be Like This" was an immediate hit with David Mancuso and the attendees of his loft parties, quickly spreading to other venues and even making a small climb up the Billboard R&B charts. For this new issue on Most Excellent Unlimited, Danny Krivit, whose own career as a dancefloor orchestrator from the DJ booth has paralleled the timeframe of the song's existence, has replaced the original loose introduction with a mix-friendly steady groove that maintains the unstoppable pulse of the song while maintaining the cathartic mid-song break and giving the track potential for even more momentum.

Another percussionist is responsible for our flip side track, "Magic's in the Air." Vince Montana was not only an in-house arranger and producer for Philadelphia International and other Philly soul labels, but was an accomplished vibraphone player. His talents are on display and doubly emphasized by Mr. K in this overlooked cut from Ronnie Walker, a falsetto singer who draws a rather strong comparison to the best songs of fellow Philadelphians Blue Magic with this uptempo, subtly synthy 1975 track. Never having appeared on a 12-inch, and indeed never having appeared even on a full-length album, Krivit's edit is the first extended mix of "Magic's in the Air" to date. Alongside "Could Heaven Ever Be Like This," itself notoriously difficult to find in 12-inch form, this latest from MEU's long running series with Mr. K is a bonafide must-have for the discerning DJ.

After their debut full-length album, Puritan Masochism, took the entire doom and heavy metal scene by storm upon its release in 2020, critically acclaimed Danish blackened death doom outfit KONVENT returns with a sophomore offering that doubles down on the band’s songwriting talent and brutal, heavy sound! The sonic evolution of KONVENT over the course of just two years is immediately evident on Call Down The Sun, surprising with new elements at every turn. Undoubtedly inspired by recent dark times, the ongoing pandemic and cancellation of live performances, the new album sees the Copenhagen-based band more pissed off, fast-paced and pitch black throughout. Rikke Emilie List’s guttural, sublime growls and fierce screams perfectly integrate with a heavy as hell wall of blackened death and funeral doom metal riffs from guitarist Sara Helena Nørregaard, backed by a thick, profound rhythm section provided by bassist Heidi Withington Brink and drummer Julie Simonsen. Tracks such as “Grains” – a ground-shaking, stomping black doom metal epos that will be a must-hear on KONVENT’s upcoming live setlists – showcase the band’s deep black soul with a hint of post-metal and even progressive elements. Featuring a haunting violin and cello guest performance by Felix Havstad, the band creates dark, eerie yet epic atmosphere on “Harena”, revealing threatening yet beautiful facets of their sound. With songs such as “Pipe Dreams” and massive album opener “Into the Distance”, the four-piece unleashes hurricanes of blackened death doom metal. Recorded and mixed by Lasse Ballade at Ballade Studios, Sweden and mastered by Brad Boatright at Audiosiege Studio, the new album’s thunderous apocalyptic sound is impossible to escape. Call Down The Sun a refreshing, vibrant record that is not only poised to top 2022 Album Of The Year lists, but reign as one of the best death and blackened doom metal records of modern times!

Following the demise of emo band Mineral in 1997, singer/guitarist Chris Simpson (Mineral/ Zookeeper/ Mountain Time) and bassist Jeremy Gomez reunited to form The Gloria Record. Taking an acoustic and more organic approach than their previous work, The Gloria Record (with the addition of guitarist Brian Hubbard, drummer Matt Hammon, later replaced by Brian Malone and Ben Houtman on the keys, organs and synthesisers) were unarguably the logical progression from Mineral’s emo throes - quieter, delicate and fervently impassioned. Heralded as a “band with big visions and bombastic sounds”, the quintet fostered their admiration for artists with similar arena sized visions ( Radiohead, REM, U2) to produce a sound that was reminiscent of their British contemporaries and American indies. In 1998 the band released their self-titled EP, followed by the intricate offering of 2000’s A Lull In Traffic and 2002’s full length effort Start Here, before disbanding after extensive US tours in 2004.

Prolific punk pioneers Penny Rimbaud and Youth proudly present their collaboration album ‘Corpus Mei’, out November 19th via One Little Independent Records, with limited edition grey vinyl available from January. Vinyl edition is limited to 500 units. Recorded and mixed over the year 2011 and then remixed in 2019 (it took all that time to see the depths), 'Corpus Mei' brings together two disparate elements and makes them as one – Penny Rimbaud and Youth. Rimbaud is perhaps best known as a founder member, drummer, and lyricist of the seminal anarchist punk band Crass. Since those times, he has dedicated his life to the headier pursuits of poetics and philosophy. Youth, whose post punk band, Killing Joke, remains a vibrant musical force, has at the same time become one of the most sought-after record producers of today. Realising from the outset that they shared an interest in the creation and promotion of “matters spiritual”, these two now legendary

The progressive metal band Crimson Glory formed in Florida in 1982 and consisted of vocalist Midnight, guitarists Jeff Drenning and Ben Jackson, bassist Jeff Lords and drummer Dana Burnell. They played together for four years before recording their debut album Crimson Glory in 1986. Tight harmonies and soaring vocals are featured prominently on this release. The band wanted to be immediately identifiable from other metal bands, so they wore full-face metallic silver masks on-stage, for all photo shoots and public appearances. Following the release of the debut album, these were toned down to smaller half-face masks. Midnight was an astoundingly powerful vocalist, so in addition to their identifiable look, they were easily identifiable in sound.

"If I could watch any jazz band in the UK, any, I would choose Matthew Halsall's band, just love what he's been doing over the last few years... It's always high level, spiritual jazz music" Gilles Peterson BBC Radio 1.

Matthew Halsall (born September 11, 1983, in Manchester, England) is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ.

Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew's music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands.

His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.

Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall's first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall's music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond.

But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records.
Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It's What We Do and Ai.

"I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering.
So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" Matthew Halsall, Oct 2019