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Dear listeners, here's the next episode of the Hamburg Spinners story: "Der Magische Kraken" ("The Magic Octopus")

This time Hamburg Spinners left their home port for an underwater expedition to the open ocean diving for unheard tunes, finger snappers and floaters. Always in danger of encountering the Magic Octopus, a voracious entity who feeds on harmonies, rhythms and breaks -in a word the whole arsenal any musician is lost without and damned to drown in a sea of deadly silence and endless darkness... Listen yourself, enter a different world and witness how the Hamburg Spinners are getting carried away and drawn into the depths. A 20.000-mile plunge into the sea. Honestly! Had you ever thought that one can sink this low?

"Der Magische Kraken" is the sophomore album of the Hamburg Spinners, a contemporary soul, mod-jazz and R&B outfit based in Hamburg. Their sound blends floating Hammond organ lines, kinetic, driving grooves, funky breaks, and slicing, economic improvisation. The quartet features Carsten Meyer on Hammond B-3, Dennis Rux on guitar, David Nesselhauf on bass, and Lucas Kochbeck on drums. It was cut live on two weekends in April 2021 in Hamburg's Yeah!-Yeah!-Yeah!-Studios. The chemistry was right and in a truly democratic process ideas were fleshed out, arrangements were done on the spot. A will to collective playing whilst always sticking to the rudimentary basics was in the air. Thus the music could spread out like the arms of an octopus. And though there are limits on the sound of the Hammond organ quartet creativity can burst out & find its way to overcome the limits. Reminiscences of down-to-the-bone songs by Timmy Thomas or Phoenix might come to one's mind when listening to the new Hamburg Spinners album.

Never change a winning team: Meyer's soulful organ sound is buoyed by Rux's warm and gripping guitar sound, Nesselhauf's dynamic bass lines and Kochbeck's tight in-the-pocket drumming.

By the time of their second album, 1989’s ‘Unfinished Business’, EPMD were firmly cemented in the rap stratosphere. With one certified classic album under their belts, they proved they were no one-hit wonders, with the sequel possibly even better. A concise 12 tracker once again produced by the artists themselves, it saw them adhering to the ‘if it ain’t broke, don’t fix it’ maxim, while going somewhat ‘bigger’.
In other words, guests started to appear – not just on the records, but in the videos – and marketing budgets were higher. None of which watered down their sound. In fact, this is the ultimate EPMD record: a beat that’s simple but perfect, and two top-of-their-game MC’s going back and forth. But the appearance of NWA in the video for ‘The Big Payback’ hints at their reputation at the time – and at the cordial relations between coasts before the deadly beef that was to come.

‘Payback’ takes both its title and core sample from James Brown’s ‘The Payback’ from 1973, and then weaves two more JB elements with it, including the addictive stabs from ‘Baby, Here I Come’. It’s a golden track from the golden age.

The B-side is another gem from the same album, and only released before on 7” in a very rare, limited pressing. ‘So Wat Cha Sayin’ was the album’s lead single, and shows EPMD’s wide sampling palette. There’s bits of BT Express, a whole lot of Funkadelic and, brilliantly, some drums lifted from Soul II Soul’s gem from just the year before, ‘Fairplay’. Lyrically, it’s just all about threats to sucker’s MC’s – what else do you want from EPMD?


• A certified Hip Hop classic.

• Samples James Brown’s ‘The Payback’ from 1973.

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Pink Vinyl
It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Triumph breeds confidence, and with confidence comes an expansion of ambition, a focus of ability, an emboldening of audacity. De-Loused In The Comatorium had risked everything Omar and Cedric possessed on the wildest of gambits, the most impossible of dreams: making sense of the riot of influences ricocheting about Omar’s head, and memorialising their departed friend Julio Venegas through Cedric’s magical realist roman-a-clef. It Clouds Hill shouldn’t have worked. But it did, and with that fiendish tightrope act successfully accomplished, the duo stretched the wire even further and higher, over a figurative fiery pit peopled with lions, crocodiles, piranha and other sharp-toothed beasts not yet known to man. Because how do you make great art without taking great risks? Frances The Mute was no De-Loused Part Two. For one thing, the band’s configuration had changed, in the most painful way. Shortly before the release of De- Loused, sound manipulator and founder member Jeremy Michael Ward passed away, a wound Omar says the group never recovered from. But even though his inspired fucking- with-the-sonic-parameters is absent from Frances The Mute, his spirit and influence can still be determined, the album’s concept derived from a diary Ward had encountered in his day-job in repossession. “Jeremy picked up lots of interesting stuff when he was a repo man,” remembers Cedric. “Weird things, including this diary, He let us read it a bunch of times. It was by a guy who’d been adopted and was searching to find his real parents. It was very surreal, it didn’t make much sense – the guy might’ve been schizophrenic – but it was very inspiring. It felt like how certain music helps you escape your boring every-day life. The names and scenes in the diary directly inspired these songs.” Some of the tracks pre-dated De-Loused, having their origins in early demos Omar recorded at the duo’s Long Beach home Anikulapo, songs such as The Widow and Miranda The Ghost Just Isn’t Holy Anymore. Cedric had heard these jams in their embryonic state and began working in his mind on what he could bring to them. “I was attracted to The Widow like you would be to a lover, right?” Cedric remembers. “I sang over it with Omar while we were touring De-Loused in Australia on the Big Day Out, like, ‘Okay, I’ve got something for this.’” A potent ballad, laden with emotional crescendos and evoking the epic drama of Ennio Morricone – an effect aided by an elegiac trumpet part performed by Flea – The Widow would become The Mars Volta’s first song to chart on the Billboard Top 100, capturing the album’s potent sorrow and widescreen sprawl in miniature. Indeed, the lush sound of the album, the depth of detail and breadth of instrumentation, belies its grungy roots. Having tasted the luxury of Rick Rubin’s mansion, Omar veered in the opposite direction when recording Frances, cutting the album in what he describes as “a shithole... Basically a warehouse with one little air conditioner on its last legs, awful wiring and a console you couldn’t rely on. We were there night and day – I would literally lock engineer Jon DeBaun in there. He slept on a mattress in the vocal booth.” A considerably more complex and ambitious album than its predecessor – four of its five tracks lasted over ten minutes in length, with its closing epic Cassandra Gemini spanning over half an hour – Frances The Mute wasn’t recorded “live” by an ensemble, but with the individual musicians coming into the “shithole” and recording the parts Omar had scripted for them separately. “They had to have absolute trust in me,” Omar remembers, “Like actors trust their director.” In addition to the core band – now fleshed out with incoming bassist Juan Alderete, and Omar’s brother Marcel on keyboards and percussion – the album featured guitar solos from John Frusciante, saxophone and flute by future member Adrian Terrazas-Gonzales, a full string section, and piano played by Omar’s hero, salsa legend Larry Harlow. “It was a childhood dream come true,” Omar says. “We recorded with him in my hometown in Puerto Rico, and my father flew in to watch the session. Larry was a perfect gentleman, and a very lively spirit.” The album’s fevered intensity infected even the staid string section, Cedric remembers. “When they performed the part on Cassandra Gemini, ’25 wives in the lake tonight’, one of the guys in the orchestra played so hard he broke his bow, this real old, antique bow. And you could see his ‘classical’ side come out – like, ‘I broke this playing a fuckin’ rock song??’ He was pissed off. But I was like, ‘Fuck yeah, man, that’s on the record! You’ve got to realise things like that are cool.’” The album also features field recordings of “the coqui of Puerto Rico” during the opening minutes of Miranda That Ghost Just Isn’t Holy Anymore. “We took a page out of the Grateful Dead’s book there,” laughs Cedric. “They recorded air. We recorded fuckin’ frogs in Puerto Rico.”

‘.dev’ was yet another collaborative piece from Agoria, aka Sebastien Devaud. As well as Blasé and STS, who returned after featuring on ‘Drift’, Devaud worked with Domino’s Ela Minus, flamenco innovator Niño De Elche, and the unique hip hop delivery of Rome Fortune across the LP, with additional collaborators including Sacha Rudy and Oscar winner (The Sound of Metal), Nicolas Becker.



Sonically, the LP saw Agoria presenting a kaleidoscopic haze of cinematic and evolving electronica that touched on house, techno, electro, hip hop, and beyond but beneath the aesthetics, ‘.dev’ was the work of an artist asking himself questions in order to create worlds out of his answers.



Beyond looking to question the very systems of the traditional album format, his holistic approach to AI and NFT’s within the thematic world of his work were laid out front and centre through the visual and conceptual identity surrounding the album.

‘The Alienist: Angel Of Darkness (Original Series
Soundtrack)’ is now available on vinyl.
 The album features music by Ivor Novello Awardwinning composer Bobby Krlic (The Haxan Cloak).
 The album is pressed on blue vinyl, with a deluxe
spined sleeve with deboss artwork and the vinyl itself
housed in its own double sided inner sleeve. Digital
download card included.
 Bobby Krlic is an award-winning British artist,
composer and music producer based in Los Angeles.
Over the past decade, Krlic has created music under
the The Haxan Cloak, releasing two critically
acclaimed full-length albums (2011’s ‘The Haxan
Cloak’ and 2013’s ‘Excavation’) and touring
extensively as a solo artist building a devout fanbase.
As a producer, Krlic has worked with artists including
Björk, Khalid, Troye Sivan, Goldfrapp, serpentwithfeet,
The Body and noise-rock band HEALTH.
 Krlic scored Ari Aster’s 2019 horror film ‘Midsommar’,
earning him an Ivor Novello Award for Best Original
Film Score. Last year, he made new music for ‘Red
Dead Online’ and also co-produced Father John
Misty’s ‘To S.’ and ‘To R.’.
 An unflinching, gripping, turn-of-the-century murder
mystery that traverses both New York’s wealthy elite
and the struggling underbelly of the city’s ‘Gilded Age’,
‘The Alienist’ follows Dr. Laszlo Kreizler (Daniel Brühl),
a brilliant and obsessive ‘alienist’ in the controversial
new field of treating mental pathologies.

Finding a rich seam in stark minimalism, soundsystem pressure and fractalised rhythm, Cassius Select is at the vanguard of contemporary broken beats and punishing low end.

This new Select transmission comes correct on Bruk, prodding at the same bold dance futurism already laid down by Siete Catorce and FFT, whilst sounding nothing like either of them. 'Dread Percent's swelling pads and dislocated MC shards are a foil for the ruff angles of 'Fish Tek'. 'Mess Mutual' teases and stalks at a lower tempo and then twists up another set of bars over a bed of alien drone, laying the groundwork for the massive, grime-licked hooks of 'Shake Like Me'.

Hinting at the anthemic while remaining steadfastly cool and deadly, Cassius Select's mutant brand of club has the space and versatility to slip between scenes, doing damage wherever it lands.

The Mighty Soulmates is a towering early 90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (guitarist with The Family and Prince), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, New Jack Swing flava and slick deep soul.

These should-be legendary sessions have been almost a secret since they were recorded back in 1993. The first Be With knew about the project was whilst working with Mic on some Sass re-issues and he told us he had something else we might be interested in hearing.

Mic explained, “In the summer of 1993, Gardner Cole asked if I’d be interested in coming out to work with him, André, and St. Paul. So we all headed out to what can best be described as a fantasy music summer camp at Gardner’s house in Woodland Hills, California. We had all worked together in the past in some form or another so everyone was energized and enthused and excited to see what we could create together. St Paul and Andre had already begun some songwriting at Gardner’s well equipped home garage studio. The songs and ideas progressed quickly and some additional recording was completed at André Cymone’s studio in downtown LA. We ended up working on the project for about 6 months, off and on, until Gardner's house fell victim to the Northridge Earthquake in January 1994.”

There were some vague ideas at the time about turning the sessions into a finished record, but everyone went back to their day jobs and as St. Paul puts it: “for nearly 30 years it just sat there, marinating like a fine funk masterpiece. Everything has its right time and now just be the time”.

From all the tracks Mic sent over, we’ve cherry picked the absolute cream for a tight four track EP. In an alternate history all four for these would’ve been radio smashes. No doubt. But these songs never even reached a plugger. A mixture of beat ballads and uptempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or, dare we say it, The Purple One - maybe not so surprising given who’s playing!

The feel-good dancefloor dynamite of “I Wanna Be The One” is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable “early 90s” sound. Indeed, fans of Eddie Chacon’s old group will dig this for days. “Back In The Day” has a timeless swing and swagger, the lyrics reminiscing about the halcyon streetlife of the Soulmates’ youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. Stunning.

Opening side B, “Blue Tuesday” is the thrilling pinnacle of the EP, at least for us. It’s absolute soulful-pop perfection, and the one we’ve been asked about most after teasing this collection on our NTS show. A soaring beat ballad full of chiming guitars, gorgeous harmonising, falsetto “doo-doo-doo-doo do-do-do-do” backing vocals and a real steppers’ groove. Glide to this with your loved one at the next roller rink party.

Dramatic, purple-hued closer “Private Time” seems to predict the Timbaland-dominated sound of the mid-to-late 90s, all synthetic strings and squelchy, acidic-drum-machine soul. There’s even room for funky piano breaks, vocoder bridges and more cowbell than you can shake a cowbell at. You could just as easily hear Aaliyah vibing over this as much as Mic.

This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic. André Cymone loved the “kinda pop, experimental exploration of sound and music. I think these songs make a statement. Not just because of the collection of talented musicians involved but the idea of musically branching out and experimenting; which is what I loved about the project and for people to hear and hopefully appreciate the artistic adventure this music takes, I think it’s a much needed breath of fresh air.” As Mic recalls, “it had the feeling of recovery in a circle with my dudes making music sitting around catching up on life - it felt like living a second childhood. We just wrote what we felt. I don’t remember ‘aiming’ at anything but a great song, melding all our different influences from throughout our lives. We had no restraints. For me personally, it was a time to make music and regroup. I call it the ‘Soulmate Experience’ because in many ways we are kindred souls as a band. We did have an amazing time making the record and so much fun together. Probably my best summer ever”.

The Mighty Soulmates EP has been mastered for vinyl by Simon Francis, cut by Pete Norman at Finyl Tweek and pressed at Record Industry. That early 90s gloss sounds spectacular, if we do say so ourselves.

And such a special record needed some truly almighty artwork, so thanks go to DJ Ruby Savage for directing us to London-based illustrator and designer River Cousin. This music needed something elegant and indulgent yet soulful and striking and something as simultaneously tongue-in-check and deadly-serious as the group’s name. The end result is as modern yet timeless as the music itself.

And these are just our four picks. There’s plenty more where this came from and Mic tells us he’s even picked the album title: “Earthquake Summer”.

Simon Lovermann's debut album "Handwerke - Songs for my fathers" is focused around the piano, both as a harmonic and a percussive instrument. It is influenced by Jazz, Electronica, Hip Hop and Minimal Music. The beats are created with the piano and are enriched with body-percussion and beatbox to create an idiosyncratic atmosphere and distinctive sound.

The album deals with the personal story of the artist. Simon's biological father, Robert, was a Jazz musician and died before his birth. Simon was raised by his father Christian. This album is therefore a vividly emotional way for him to explore topics like death, fatherhood, family, identity and belonging.

"Handwerke" comes with a special artwork and cover design, featuring contributions by 16 artists printed on individual postcards and assembled in a 20-page booklet.

The release is a collaboration of Der Greif and Squama Recordings.

By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal, Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.
We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.
Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.
LINER NOTES:
Rapid Tears launch this series with the perfect christening. The Toronto, ON quintet’s 1981 single “Headbang” is such the pinnacle of heavy metal madness that it almost sounds like a spoof. There’s also enough of the rapid-fire sputum that inspired Metallica to bang the head that doesn’t, as such, engage in said practice, to be found on the band’s sole full length Honestly. But “Headbang” is a straightforward glammy anthem for the ages.
Air Raid’s “69 In A 55” may be lyrically so sophomoric that it’s actually pretty clever, but this 1983 Bay Area power metal single is loaded with sleek Judas Priest riffs and interwoven melodies that are downright sublime. The band’s sole release, the 2-song Rock Force 7” features a curious band photo in which 3 band members — dolled up in Crüe makeup and leather — are sexually menacing the lead singer/guitarist tied to a bed. Another low budget highlight is when singer/guitarist Tommy “Thrasher” Merry imitates a delay effect on his vocals as he sings, “tonight!...tonight...night.”
Hades’ “Girls Will Be Girls” has a real demo cassette feel to its vastly uneven mix, but the energy to the performance makes this an undeniable keeper. The long running Paramus, NJ quintet’s 1982 2- song debut 7” titled Deliver Us From Evil features this blistering thrasher dominated by shimmering leads and confident vocals that show why the band went on to near-fame on Metal Blade Records.
Resless don’t need no T to prove that they’ve got “The Power” with this 1984 driving mid-tempo rocker in the vein of Mötley Crüe and Ratt. The River Vale, NJ quartet’s tight crunch wails all over Bon Jovi posers but it’s the band’s unique and subtle deployment of background vocals that gives this rager its staying power.
Pittsburgh, the Steel City, is home to Don Cappa, a band that pays tribute to the burgh, the metal, and the awesomeness of both with “Steel City Metal.” Their lone single, issued in 1987 with only 300 copies released, sounds like the work of some serious steel driving men, with a drummer who might’ve forgotten to wear a hard hat one too many times on the construction site.
The Beast has more of a punk feel to their aggressive “Enemy Ace” track from the 4-song Power Metal EP from 1983 — something like Dr. Know meets D.O.A. But their look, artwork and lyrics all prove that Heavy Metal is where their hearts lie. And this hook filled monster delivers repeated lines like, “I command them all in my lofty realm,” with commendable conviction.
Dead Silence from Denver, Colorado, debuting in 1984 is not to be confused with Dead Silence from Denver, Colorado, who also debuted in 1984. The former a workman’s hard rock bar band, the latter a political peace punk band and neither knowing of the other’s existence throughout their tenure. The pre-internet days were a marvel, indeed.This Dead Silence spits out a slick, Nugent tinged rocker called “Can’t Stop” about life on the road.
The Danger Zone is, by all accounts, not the place to be. And, Hazardous Waste of Boston, MA saw fit to add their two cents on the matter with this 1986 single that combines Van Halen’s flashy musicianship with NWOBHM aggression that sounds so awesome it teeters on itself entering the “Danger Zone.”
Czar’s heavy, doomy “Iron Curtain” single from 1982 hearkens to the sleazy sounds of Saint Vitus and Pentagram with its cranked up DOD Distortion pedal in a Peavey combo amp guitar tone and meaty, barking vocals. The upstate NY quintet only issued this 2-song single, but its driving rhythm, nosedive whammy-bar guitar solos and comparatively mature Cold War subject matter show they had real potential.
Not much is known about Real Steel’s majestic “Viking Queen” from 1987, other than it rocks hard and the 7” 45 sells for upwards of a grand on the collectors market. The Flint, Michigan band recorded at the home studio of local radio personality Bill Lamb, who primarily released Christian Gospel recordings. So, perhaps the band was struck down by a bolt of lightning shortly after this rare single’s release. Whatever the case may be, it’s a must have for fans of classic metal mayhem.

LP is limited to 1000 copies, black vinyl. Swansea Sound started in the middle of lockdown. They realised that fast, loud, joyous, angry indie-pop punk was the answer to being stuck indoors. Who needs introspection? Hue Williams is reunited with Pooh Sticks partner Amelia Fletcher (ex- Talulah Gosh, Heavenly). Rob Pursey (also ex-Heavenly) and Ian Button (Wreckless Eric’s live collaborator) provide the noise. Swansea Sound are the fast, acerbic and joyous past, present and future of indie. Four of the tracks were released as singles, all of them now impossible to obtain. ‘Corporate Indie Band’ was a limited edition cassette, ‘I Sold My Soul on eBay’ was a one-off lathe cut that got auctioned on eBay (with a £400 winning bid), ‘Indies of the World’ was a 7” inch single that briefly hit the UK physical charts, but immediately sold out and plummeted back out again. And then there was ‘Swansea Sound’: a requiem for a lost radio station; an anti-corporate lament - another limited edition cassette single. First track Rock N Roll Void gives a three minute revision session, just in case you’ve forgotten about The Ramones, The Kinks, The Buzzcocks and the brief explosion of indie noise pollution of 1986. Some of the songs are reflexive – ‘Swansea Sound’ and ‘The Pooh Sticks’. (Who else was going to write a tribute to The Pooh Sticks?) Others are searching for hope in the digital desert – ‘Let It Happen’, ‘I’m OK When You’re Around’, ‘Pasadena’, ‘Angry Girl’. ‘Je Ne Sais Quoi’ is pure pop throwaway fun. The others songs are dead catchy too, they just happen to express a sickness and a contempt for the state of things. ‘Corporate Indie Band’ is about a group who have mortgaged their creativity to a major label and sold their identities to an online marketing team of public schoolboys. Freedom of Speech takes a look at three contemporary ‘alternative’ music stars and considers how they’ve responded to BLM, the pandemic and the rise of right-wing populism. ‘Like self-serving arseholes’, is the unfortunate answer. (You won’t struggle to work out who the three ‘alternative’ stars are.) Swansea Sound took their name from a well-loved local radio station when it was given a corporate makeover in 2020. They even used the radio station’s abandoned logo. Like the indiepunk pop songs, something modern acidic and angry has taken up residence in a familiar, borrowed frame. You can throw yourself around to Swansea Sound like it’s 1986, but if you catch the lyrics you’ll remember you’re in 2021. (Sorry about that.) The Rum Puncheon, a notorious pub in Swansea, closed down decades ago.

The Ethiopians are one of the great vocal groups to come out of Jamaica. Singing songs of life and times as they found them, themes that resonated with the people of the Island that made them such a treasured group. Lenard Dillon (b. 9 December, 1942, Port Antonio, Jamaica) the founding member of the Ethiopians began his singing career at Clement 'Coxonne' Dodd's Studio One. Initially he recorded under the name of Jack Sparrow, and backed by the Wailers, cutting 'Ice Water' and 'Suffering In The Land'. Under The Wailers encouragement, he went on to form his
own vocal group. Recruiting singers Stephan Taylor (b.1944, Portland, Jamaica) and Aston 'Charlie' Morris to become The Ethiopians. They cut 'Live Good', 'Why You Gonna Leave Me Now' and 'Owe Me No Pay Me'. Although receiving favourable response, Aston Morris decided to leave the band and the remaining pair carried on and cut 'I'm A Free
Man' and 'Don Dead Already' and 'For You'. On meeting contract builder Leebert Robertson who had recently returned to live in Jamaica, ashad he wanted to get into the music business, a session was booked for Treasure Isle Studios. The session produced their seminal 'Train To Skaville' track, which became an immediate hit in Jamaica and in the UK, when in 1967 it reached number 40 in the charts. They also cut 'Engine 54', which became the title of their debut album. Its
follow up 'I Need You / Do It Sweet', did not fare so well and the band moved over to Sonia Pottinger's stable, where they cut 'The Whip / Cool It Amigo' which revived their fortunes and proved another big hit for the band. Two more hits followed 'Stay Loose Mama' and 'The World Goes Ska', after which the band decided to return to a trio, adding
Melvin 'Mellow' Reid to the line up. The band now hit another run of successes with producer JJ Johnson 'Everything Crash, 'Gun Man', 'Hong Kong Flu' and 'The Selah'. Many hits followed leading the band to work with a variety of Jamaican producers. Such tracks as 'I Want To Be a Better Man, ' Conquering Lion', 'Fire A Mus Mus' Tail', and the timeless 'Reggae Hit The Town' to name a few. Two albums 'Reggae Power' (1969) and 'Woman Capture Man' (1970), pulled a lot of these tunes together. Sadly Taylor was killed in 1975 after been struck by a van in a road accident. Dillon returned to Port Antonio till 1977, when he was persuaded to return to Treasure Isle studios with producer Niney The
Observer and cut the Rasta based album 'Slave Call'. Additional members who joined for this album were Bro Fatty, Bro Ewing, Bro T, Mello and Hychi Dread. An album that showed all the Ethiopians magic had not been lost.
For this release we have included the full 'Slave Call' set, 'Ethiopian National Anthem', 'Slave Call', 'Guilty Conscience', 'Hurry On', 'Mus Follow Babylon'(on CD Edition), 'Train To Skaville (1977 version, on CD Edition), 'Culture', 'Obeah Book', 'Let It Be' and 'I Love Jah'. Alongside some of the bands early hits including the original version of 'Train To Skaville', 'Engine 54', the great and poignant 'Everything Crash', 'Reggae Hit The Town' and 'The Selah'. An interesting set to remind us what a great group the Ethiopians really were.

We used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, we would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact - Méridiens and Parallèles. Two records with twelve songs each which answer each other back in the form of anagrams. They are like the two sides of the same planet - similar but simultaneously so different. They need to be discovered one after the other taking the time necessary to travel through the sound territories produced by his imagination. The starting point is a sombre night in Uqbar… Chapelier Fou's opening reference to Borgès was obviously not made by chance. He subsequently confided in us the objective of his diptych, namely to combine reality with fiction to question certainties and our relationships with the imaginary sphere. He has continued with his traditional classical-contemporary electronic approach which, although now known to a wide audience, has the advantage of opening up a whole range of possibilities right up to the infinite scale. Moving away from an "État Nain" (Dwarf State) to take refuge on an asteroid...Throughout Méridiens, each composition can be seen as a universe in itself or a specific landscape with its own temporality. Proof of this is the introduction to the chamber music format composed for and performed by only strings which can only be given the date we want to give it. This is "État Nain" in which violins are played like guitars. In some parts we find the spirit of the Penguin Cafe Orchestra and the idea of cheering up classical instruments and not taking everything too seriously. In other parts, we find something close to a mischievous and childish unplugged grunge anthem that could be from the French series Les Shadoks. This mischievous view of things is shown to full effect in Am Scharchtensee. The introduction shows Chapelier Fou's whole classical universe and mastery of orchestration in which "modular" electronics provide a subtle and discreet backdrop. Then, the record suddenly switches to a surrealist dialogue between these classical sounds and modular synthesizers with the flavour of the German pioneers Kluster/Harmonia to name but one example. Timelessness and imaginary places. La vie de cocagne confirms this choice of total freedom. It's traditional music with old sounds, a kind of forgotten bourrée (old French dance) in which electronic sounds disturb the established order and thus reach another musical dimension. Le méridien du Péricarde followed by Désert de Sonora push this idea of a trompe l'oreille and a hall of mirrors even further. The latter track ends almost like a catchy 80s melody and we can no longer find any logical meaning. We let ourselves be carried away by this profusion of madness and are a little amazed by this mastery of sound, composition and space. It sometimes all seems like a succession of conjuring tricks. Chapelier Fou takes not being serious very seriously indeed. The end song Everest trail is the perfect conclusion, a deadpan track in which the primary aspect of a totally classical melody in all its straightness is underpinned by a permanent exchange of electronic tweets which mocks the main musical posture. This impertinence harks back to Pierre Schaeffer who directed the ORTF's very serious experimental department in another era and allowed the development of Jacques Rouxel's series Les Shadoks thus introducing the general public to the notion of concrete music. This is also perhaps why Louis Warynski's stage name is French – because he has opted to use his French musical heritage. Thus the first singles selected from this album, Constantinople with its groovy and jazzy allure and Le Triangle des Bermudes evoke composers like Michel Magne or Michel Colombier both of whom have totally open minds and consider all music to have the same importance, namely that of sound. In absolutely all the tracks that make up Méridiens, you will find at least one detail - a pattern, melody, sometimes a simple sound - that will draw you back to explore it a little more. And the words are carefully weighed for sure. It's quite simple. This is undoubtedly his most hypnotizing and catchy album. Chapelier Fou has become a complete master of his own universe. He draws the start and finish lines himself and no one can follow him in a field that now belongs to him alone. Composed imaginary spheres, illustrated territories...Music is just as meaningful as the more visual arts. Therefore the artwork of Méridiens had to project each of the twelve tracks considered individually and not just the whole album as such. Chapelier Fou therefore asked his old friend the contemporary artist Corentin Grossman to create twelve windows to represent glimpses of the twelve worlds composed for the record. Windows or mirrors when it comes to that? You can never be sure of anything...Space OK. But what about time? The years go by and sometimes we forget that fact. But a simple glance back is often enough to gently touch the time that has passed. It is over 10 years since his first official record and he has been composing, recording and sharing his music for almost 20 years. 20 years is a long time. It makes some people look old while others fall into reassuring but sterile nostalgia. Chapelier Fou, on the other hand, has released his most ambitious project and tried to take a higher view of his discography that was itself nevertheless irreproachable. Although the journey is over we can see Parallèles universes on the horizon. Chapelier Fou has announced 12 additional tracks which are like echoes of the compositions on Méridiens' and will be released on the album Parallèles next spring. They are neither twins nor opposites – they are instead totally original new compositions which go further in exploring a universe which is already richly abundant.

Repress - Yellow Vinyl

Harlem River marks the solo debut of songwriter Kevin Morby. Known for his work as the singer/guitarist for the Brooklyn band The Babies and bassist for Woods, the Kansas City native and new Los Angeles resident, calls the record “an homage to New York City”, his adopted home for the past five years. Harlem River features eight interweaving tales of tragedy and misfortune; a series of desperate characters playing out their dramas with the city as backdrop. A departure from some of the signature sounds of his better known projects, Morby’s songs glisten with a haunting intimacy and while he maintains that the songs are stories about other people, it’s hard not to feel a piece of him in each one; a half-imagined, half-painfully personal world of lost love, addiction, violence and prayers for the departed. The album was recorded in Los Angeles in February and March of ‘13 with producer Rob Barbato who recorded the Babies second album “Our House on the Hill” and whose guitar and bass work figure prominently on Harlem River. The album also features drummer Justin Sullivan (the Babies) as well as contributions from Will Canzoneri, Tim Presley (White Fence), Dan Iead and Cate Le Bon.

SIM CARD HØLDER is not a band. It is the hybrid child of Ian Bruner, Drone Operatør and Gajek. It's procreation date is hard to pin down, but it started 2020 with an Insta chat and one of Ian's piano improvisations recorded in his Colorado living room. From there the album grew in separated covid lockdown wombs at three different locations in Germany. Ian's shadowy instrumentation of light piano and heavily layered and long believed to be dead soundscapes were digested, replanted and grown-over by Drone Operatør's and Gajek's uncompromising and individual sense for song structures and sounds. When finally all body parts were assembled in early 2021 the baby was already fluent in different languages.

Sim Card Hølder grows slowly while meandering through dense and open fields. It switches from calm and dreamy moods to wild fractured outbursts without fragmenting into the arbitrary. A raw spiritual power keeps every part connected and in perfect motion. Each song is a portal into multiple universes that suck you in on thick piano carpets, sharp saxophone spikes and buzzing quadcopter wings, warming insect intestines, blasting raw drums and slow healing winds, screeching synth rhymes, dissonant orchestral tales and floating blue melodies. It's a demanding ride but thoroughly deeply relaxing. The perfect soundtrack to rewind your mind.











k 11: Alone_ (rendered altitude) [feat. Drone Operatør & Ian Bruner]

Have we ever needed great storytellers so badly? Voices to snap us out of our collective grey funk, to pull us out of our narrow, hemmed-in worlds and to lighten our days and enlighten us with their perspectives, Immersing us in their worldview and history. People who can make us laugh, cry, gasp or nod sagely, to see our world anew and not feel so alone. We need stories, vignettes, new windows to look out of, and narrators to help those new visions make sense.

In short, we need Scott Lavene. Born and raised in Essex, but a man of the world who has wandered far and wide, Lavene’s a storyteller who can capture all the madness, joy and frustration of life while singing about worms writhing in the ground. Lavene’s been in bands since his teens, but only really located the voice that makes his new album Milk City Sweethearts so remarkable – that combination of wry observation, humble wisdom, unguarded vulnerability and unpredictable humour – in a music workshop for alcoholics and addicts, long after he’d bid farewell to childhood dreams of pop stardom, and the ghosts and demons that accompany those dreams.

He released an album as Big Top Heartbreak, 2016’s Deadbeat Ballads, and followed it with his first album under his own name, 2019’s droll and marvellous Broke. “I was signed to a little label in Bristol, but then they went skint,” he remembers. This time, however, the disappointment didn’t shake his confidence or his resolve. “I started writing prose, like ‘flash fiction’, and I’ve begun a novel,” he says. “And I’ve started some creative writing workshops for people who’ve come out of my situation.”

Amid all this activity, the songs that became Milk City Sweethearts began to take shape. Lavene noticed the border between his prose and his songwriting beginning to become porous, and the album feels like a clutch of excellent short stories set to music. Without a label, he recorded the album at home, and assembled it in a week in his mum’s garage during lockdown’s heavy manners. It’s a warm, witty, charismatic record with a dark heart at the centre, Lavene sounding dislocated and therefore able to write his everyday stories with a left-handed brilliance and blunt honesty that keeps them so fresh, like classic Kinks, or David Bowie if he’d never had to go to space to feel otherworldly. His songs are talking blues, set to loose and minimal and excellent art-rock with a pop sensibility, the honk of Roxy sax and the guttural weird-funk of Ian Dury’s Blockheads haunting their grooves.

Have we ever needed great storytellers so badly? Voices to snap us out of our collective grey funk, to pull us out of our narrow, hemmed-in worlds and to lighten our days and enlighten us with their perspectives, Immersing us in their worldview and history. People who can make us laugh, cry, gasp or nod sagely, to see our world anew and not feel so alone. We need stories, vignettes, new windows to look out of, and narrators to help those new visions make sense.

In short, we need Scott Lavene. Born and raised in Essex, but a man of the world who has wandered far and wide, Lavene’s a storyteller who can capture all the madness, joy and frustration of life while singing about worms writhing in the ground. Lavene’s been in bands since his teens, but only really located the voice that makes his new album Milk City Sweethearts so remarkable – that combination of wry observation, humble wisdom, unguarded vulnerability and unpredictable humour – in a music workshop for alcoholics and addicts, long after he’d bid farewell to childhood dreams of pop stardom, and the ghosts and demons that accompany those dreams.

He released an album as Big Top Heartbreak, 2016’s Deadbeat Ballads, and followed it with his first album under his own name, 2019’s droll and marvellous Broke. “I was signed to a little label in Bristol, but then they went skint,” he remembers. This time, however, the disappointment didn’t shake his confidence or his resolve. “I started writing prose, like ‘flash fiction’, and I’ve begun a novel,” he says. “And I’ve started some creative writing workshops for people who’ve come out of my situation.”

Amid all this activity, the songs that became Milk City Sweethearts began to take shape. Lavene noticed the border between his prose and his songwriting beginning to become porous, and the album feels like a clutch of excellent short stories set to music. Without a label, he recorded the album at home, and assembled it in a week in his mum’s garage during lockdown’s heavy manners. It’s a warm, witty, charismatic record with a dark heart at the centre, Lavene sounding dislocated and therefore able to write his everyday stories with a left-handed brilliance and blunt honesty that keeps them so fresh, like classic Kinks, or David Bowie if he’d never had to go to space to feel otherworldly. His songs are talking blues, set to loose and minimal and excellent art-rock with a pop sensibility, the honk of Roxy sax and the guttural weird-funk of Ian Dury’s Blockheads haunting their grooves.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

High-quality reissue of holy grail 70s Brasil Funk LP, a real Killer record which sounds like nothing else with an incredible combination of tracks mixing Brazilian popular music (MPB), regional Folk, Soul and Funk!

Di Melo's debut album was originally released in 1975 and it's a fusion of genuinely Brazilian rhythms with Funk, Soul and the right amount of psychedelia. Di Melo is one of the main Brazilian Soul Music artists, seen by many as talented and musically creative as his peers Jorge Ben and Tim Maia. Di Melo went missing in action from 1976 to 1997, the year his song "A Vida em Seus Mtodos Diz Calma" was on the collection "Blue Brazil" from Blue Note record label. The word on the streets was that he was dead until 2011, when the documentary called "Di Melo, o Imorrvel" (Di Melo, the immortal) was released. In this 2021 edition the album contains the original 1975 insert with lyrics plus photos from personal family archives and for the first time the full credits with all the name of every single musician who tookpart,among them, Hermeto Pascoal.

Clint Mansell's incredible synth score to Ben
Wheatley’s ‘In The Earth’.
 The score is pressed on 180g black vinyl and
housed in a deluxe spined sleeve with double
sided printed insert and digital download card.
 For the score, Mansell actually captured the sound
of singing plants via the PlantWave MIDI Sprout
machine, in keeping with the vegetal themes of the
film.
 “It’s big, ominous, sometimes beautiful and often
eerie - think Blade Runner or ‘Annihilation’ - not to
mention unsettling at times,” says Clint. “Paranoia,
isolation, anxiety, synths, plants... something for
everyone!”
 ‘In The Earth’ was made by Ben Wheatley during
lockdown and was one of the most talked about
films of Sundance Film Festival. As the world
searches for a cure to a devastating virus, a
scientist and a park scout venture deep into the
woods. As night falls, their journey becomes a
terrifying voyage through the heart of darkness as
the forest comes to life around them.
 Press - Features in Brooklyn Vegan, Empire, The
Guardian, The Quietus, Dead Central.

[a] Mycorrhiza [60-250 Hz]




[f] Mycorrhiza [250-500 Hz]


[i] Mycorrhiza [2-4 Hz]

The music on this full-length record by The Idealist, released on Höga Nord Rekords could work as a soundtrack for a Voodoo-horror-movie. It´s creepy acid-driven sound, often with a 303 as the centrepiece of the rhythm, is the kind that you´d expected to being chased in a maze of trees to.

Something threatening lies in The Idealists second release on the label. His Leftfield/techno is both a dark cold electronic adventure with metallic percussions, both a distorted image of a vengeful nature; a forest working as a single entity to find and feed on human souls.

Just like contemporary acts like Ramadanman and Appleblim, The Idealist contributes and develops a sophisticated yet primal branch of modern, uncompromising electronic music.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

Half red/half blue Vinyl. Limited to 350 copies. Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. VILDHJARTA's down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Yet, the Swedish collective’s long-awaited album, måsstaden under vatten, is far more than a recitation of djent values. Clocking in at 80 minutes, it thematically picks up where the dark Swedish fable of 2011’s Måsstaden left off and delivers on the promise that record hinted at. Tracks like the recently released “när de du älskar kommer tillbaka från de döda” (“When the Ones You Love Return From the Dead.”) suggest a newfound subtlety and sophistication amidst the bombast and beauty in the breakdown.
Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album with drummer and now noted producer, Buster Odeholm (Born of Osiris, Shadow of Intent, Humanity’s Last Breath) heavily involved in the production, mixing and mastering of the music. Visual artist Rickard Westman, who did art for VILDHJARTA's debut as well as their Thousands of Evils EP in 2013, has also returned to the equation to reprise his disturbing visual iconography. Says the band: “Art happens when art happens.”
The sound of music is rarely this challenging, unforgettable and worth the wait.

In divided times, the power of music is undeniable. When that music is ferociously original and defiantly uplifting, the impact is even greater. Formed in Paris, December 2014, by Dublin-born singer/guitarist Gary Kelly and Parisian guitarist Steven Andre, MOLYBARON have swiftly become one of the most talked-about bands in the modern metal scene. With a sound that encompasses everything from state-of-the-art tech-grooves and anthemic metal to multi-layered atmospherics and giant, muscular hard rock riffs beyond, the band’s eccentric flair always sets them apart from the rest. From the infectious aggression and giant hooks of opener “Animals”, to the thunderous denouement of crushing closer “Ordinary Madness”, The Mutiny once again affirms MOLYBARON’s idiosyncratic identity and irresistible charms. As Metal Hammer UK put it: “Diverse and satisfying, The Mutiny is a banger!” The album was also declared Album of the Month in Rock Hard magazine. Kelly’s songwriting has hit new heights of ingenuity, and the ensemble performances of comrades Steven Andre (guitar), Sebastien de Saint-Angel (bass) and Camille Greneron (drums) are never less than precise, potent and bursting with personality. Right now, these fearless artisans are in a field of one, evoking the visionary fervour of bands like System Of A Down, Muse, Pain Of Salvation and Rush, while never sounding remotely like any of them. The Mutiny will be re-released by InsideOut Music/ Sony Music Entertainment and is available as 180g black Vinyl + 2page Insert, Ltd. CD Digipak and Digital Album.

Since their debut, Whitehorse has traveled from magnetic folk duo to full-blown rock band and beyond. In truth Whitehorse is never fully either one or the other, but an ever-evolving creative partnership that challenges both artists, Melissa McClelland and Luke Doucet, to explore new instrumental and lyrical terrain with each record. Steamy, swampy and squalling in equal measure, Whitehorse’s signature sound is guitar-heavy, harmony-abundant and lyrically deft. Now, the JUNO Award winners return with Strike Me Down, a collection of disco-twirling, hard riffing tales from the brink. Strike Me Down showcases Whitehorse’s masterful, fantastical storytelling and melodic pop sensibilities, with plenty of space made for guitar shredding, epic basslines and spaced-out vocal layering. High-impact production and prismatic visuals contribute to Strike Me Down’s high-stakes, epic vibe.

"The art of the remix has been around for several decades, from the fervid imaginations of JA pioneers like Coxsone Dodd, Duke Reid or King Tubby to the disco enthusiasts of New York, such as Tom Moulton, who bequeathed us the modern iteration of the remix and provided a template from which most remixers still work. Moulton's first commercial remix, a reworking of BT Express' appropriately-named `Do It 'Till You're Satisfied', which stretched it from three minutes to a luxurious five, assisted the band in securing its first Billboard R&B Number One, as well as providing a pathway for remixers like Walter Gibbons, Larry Levan, Richie Rivera and Tee Sott, to completely reinvent the concept of a remix (and in some instances, deconstructing the idea of what comprised a song). It has subsequently been used as a marketing tool, a dancefloor-devastator, a gimmick (both cheap and expensive) or even as a way of reaching a different audience (think Tori Amos' `Professional Widow'). Khruangbin are no slouches when it comes to the remix themselves. They've been reworked before, in 2016, with the highly collectible EP on Boogiefuturo. But this time, they're taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this entire universe in which the trio seem to function telepathically in the way the music is composed, arranged and played. To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. "We write our music to be interpreted; this is another wonderful interpretation of the music," reassure Khruangbin. "There is something very vulnerable about letting others work on your music. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves." The choice of remixers for this album is neither arbitrary nor accidental. They're not names picked randomly out of a hat or chosen via a throw of the dice. All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation. Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their own mutual fan club going on, Knxwledge sampled `White Gloves' on a recent mixtape, Natasha Diggs and Soul Clap's Eli's are recent buddy-ups, Quantic is a mutual friend of Bonobo (crucial in the KB origin story), while I've known Laura for number of years; plus she is also godmother to one of Felix Dickinson's kids. Doesn't get much more intimate than that, right? Some of these remixes were specifically made so you can dance your ass off while getting down to the Khruangbin sound, while some might better be appreciated horizontally with headphones on, wearing fashionably loose clothes. The choice is yours. But all were made with love and respect for Khruangbin. "A good remix deconstructs, recontextualizes, or simply extends a good time," say the band. Amen and out." - Bill Brewster

The legendary session from members of The Outsiders, The Sound and Honolulu Mountain Daffodils. released for the very first time.
Overseen by Adrian Janes and remastered by Nick Robbins with sleeve design and artwork by Bi Marshall.
PRESSED ON ‘SPECIAL’ COLOUR VINYL.
In December 1978 Pete Williams, later to achieve cult infamy as Lord Sulaco of the Honolulu Mountain Daffodils, decided to realise a notion which he’d long kicked around with some of his musician friends. This was to record some original songs for which he - who had never been in a studio in his life – would provide the lyrics and sing. These friends were the Outsiders, at that time consisting of Adrian Borland (guitar, vocals), Graham Bailey (bass) and Adrian Janes (drums), plus an increasingly regular guest player in Bi Marshall (clarinet). (A year later, Janes having left, the Outsiders became the Sound.)
With no prior preparation other than Williams writing a set of lyrics (reputedly all based on newspaper stories), he then hired Elephant Studio in London for a day’s session. This was engineered by Nick Robbins, later to produce The Sound among others, but at that point at the very start of his career. This was no bad thing, since he was as open to the bizarre working methods of the Crazies (named after the George Romero sci-fi horror film) as they were innocent of their strangeness:improvise a song during one run-through, record it, and then move on to the next one, each to be created in the same way.
This extremely efficient method left enough studio time after recording six songs for the rest to head off for something to eat, while Williams scribbled lyrics for a final composition, ‘When We’re Dead’, which was recorded upon their return.
The surviving members (Bailey, Marshall and Janes) all recall this as one of the most enjoyable and relaxed sessions they were ever part of. The same experimental freedom and warped humour can also be heard in the albums Williams and Borland made as the Honolulu Mountain Daffodils a decade later.
Cassette copies of the resulting album were produced for all concerned, and it seems that there was an idea of making it more widely available in this format, but this was never to occur. It is only now that, with the original tape rediscovered, that the Crazies’ ‘A Simple Vision’, mastered by Nick Robbins, can at last be perceived by the wider world.

On Now Where Were We, The Exbats hit the ground running like
a dystopian garage rock version of the Shangri-Las, or like
a message to the future from the pre-Velvet Underground doowop
wannabe Lou Reed. The album rings bright, like a beacon
in the wilderness: eminently, effortlessly catchy, and loaded
with buoyant choruses that rank alongside the best chart-toppers
launched by the Brill Building or Phil Spector’s Wall of Sound.
Kenny McClain and his daughter, vocalist and drummer
Inez McClain, formed the nucleus of the Exbats over a decade
ago, when Inez was just 10 years old; today, Bobby Carlson
rounds out the group on bass. Despite their remote location in
Bisbee, Arizona, just eleven miles north of the U.S.-Mexican
border, the group quickly racked up accolades citing a wealth of
influences that run from cartoon quintet the Archies to punk rock
originators the Avengers, and from the so-sweet-it-hurts 1910
Fruitgum Company to Los Angeles antiheroes the Weirdos.
Truthfully, The Exbats embrace a wider swath of musical styles,
incorporating blue-eyed soul, tongue-in-cheek country, Brit
pop, psych, and R&B into their sound.
The McClains describe this album as “more ambitious” than
its predecessors. They tooled ninety minutes northeast to Tucson
to record, per usual, with Matt Rendon at Midtown Island Studios.
Months later, the Exbats emerged with an album imbued
with harmoniously cautious optimism—the musical equivalent
but psychological antithesis to the Brian Wilson-Tony Asher
masterpiece “I Just Wasn’t Made For These Times.” While Wilson
was looking for “a place to fit in,” The Exbats have found
sanctuary via the brilliant “Ghost In The Record Store,” which
is “for all of us who need the joy of a little bit of plastic making
lots of noise.” Like the best records to croon along with, Now
Where Were We is captivatingly simple, yet hardly simplistic.
The Exbats are singing from their hearts—and they aren’t afraid
to bare their souls.

In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe. This brought the band to the attention of the wider music industry, and after multiple offers (including one from a major label) the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch,sold out several runs. Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful, widescreen reimagining of the band’s sound - Dawn of the Dead to its predecessor’s Night of the Living. Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail.

Ross Sinclair is a drummer, guitarist and founding member of The Soup
Dragons. In the early 1990s Sinclair left the group to complete his studies at
the Glasgow School Of Art.
Ross Sinclair is best known for his Real Life project, initiated in 1994 when he
had the words ‘Real Life’ tattooed across his back. Since then Real Life has become a 23-year performance project, taking form in a wide range of exhibitions, public art and publication contexts. Over the two decades of the Real Life
project, Sinclair’s work has employed various mediums including performance,
painting and music, often at the same time.
Through installation and audience participation Real Life has sought to challenge the conventional exhibition practice and connect with the public. These
projects have been exhibited worldwide. Throughout the course of the project,
a consistent thread of Sinclair’s work has sought to address the nature of the
individual, collective and national identities of Scotland.
During August 2015, Sinclair exhibited his work in 20 Years of Real Life at Edinburgh’s Collective Gallery which celebrated 20 years of his Real Life project.
Sinclair worked with teenagers to create 5 bands and produce an LP titled Free
Instruments for Teenagers. Real Life is Dead/Long Live Real Life The most recent incarnation of the Real Life project came as part of a two-week residency
Ross Sinclair undertook at the Shanghai Himalayas Museum in China, ahead of
his solo exhibition titled Real Life is Dead/Long Live Real Life.
This exhibition served to herald a new phase of Sinclair’s on-going Real Life project. For the exhibition Sinclair added the text ‘Is Dead’ to the ‘Real Life’ tattoo.
The residency focused on the consistent themes of participation, performance
and collaboration, coupled with Sinclair’s use of music in his art throughout his
career. Sinclair worked with students at the GSOA over a period of two years to
develop and record two songs (Real Life is Dead and Long Live Real Life) which
lay at the core of the exhibition. The songs were recorded in both English and
Chinese.
In Shanghai, Sinclair worked with local musicians, artists and singers to create the Chinese-Scottish Real Life Orchestra - a musical dialogue between the
Chinese audience and Sinclair’s Real Life Project. The group came together in
a collective voice, in English and Chinese, to share experiences through music.
The orchestra presented a live performance at the opening reception of the
Phase Three exhibition of CURRENT: Contemporary Art from Scotland, which
provided the soundtrack to Sinclair’s installation consisting of multiple editions
of banners and videos representing the 23-years of the Real Life project. Participants were also invited to respond to the themes of Real Life is Dead/Long
Live Real Life with words and pictures which were displayed on banners and
placards.

Starring James Fox as a British gangster on the run who finds refuge in the home of reclusive ex-rock star Mick Jagger, Donald Cammell and Nicolas Roeg's PERFORMANCE is one of the great cult movies of the 1970s. The film's soundtrack, produced by Jack Nitzsche for Warner Bros., is equally noteworthy. Needless to say, the Rolling Stones connection is strong; the Jagger-sung single "Memo From Turner" was co-written with Keith Richards, and vocalist Merry Clayton (famous as the duet partner on "Gimme Shelter") appears on three tracks. Several up-and-coming WB artists also make key contributions, including Randy Newman (the raucous "Gone Dead Train"), slide guitar virtuoso Ry Cooder and Little Feat leader Lowell George. Like the film itself, the PERFORMANCE original motion picture soundtrack offers a fascinating glimpse at one of the most exciting eras in rock.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Lo! Soul’ is the fifth solo album from Roddy Woomble, following on from
his acclaimed debut, ‘My Secret Is My Silence’ (2006), ‘The Impossible Song
& Other Songs’ (2011), ‘Listen To Keep’ (2013) and ‘The Deluder’ (2017).
The record sees Woomble continue his unique and restless trajectory, gently
stepping away from his previous acoustic/folk intentions in favour of a more
explorative light, prevalent on 2020’s ‘Everyday Sun’ EP, which featured largely
spoken word pieces over an ambient, mediative soundtrack.
Produced and mixed by collaborator and Idlewild bandmate Andrew Mitchell (aka Andrew Wasylyk), ‘Lo! Soul’ was recorded remotely between Roddy’s
home in the Hebrides and Andrew’s studio in Dundee throughout 2020 while
Scotland was locked-down.
Roddy explains: “Andrew describes moments of the album as ‘Dystopian-pop’
which I think is as good a description as any. Lockdown gave me the sense of
a collective melancholy, a shared remoteness and isolation - that has been a
guiding influence throughout all the songs. It is the most unusual record I have
made, and made in the most unusual way.”
Across his twenty-five year career, ‘Lo! Soul’ may well be Woomble’s most inventive, creative album to date. From undulating synths and ambient soundscapes in the abstract narratives of ‘Atlantic Photography’ and ‘Secret Show’,
the sun-tinged horns of ‘Architecture in LA’, a mellifluous Mellotron or perhaps
a piano chime. Here, the path is embedded with Roddy’s words delicately unearthing the known and never known.

Composed by the Capcom Sound Team, Masami Ueda, Makoto Tomozawa and Akira Kaida, Resident Evil’s brooding score became a benchmark for horror games, giving the original genre-defining masterpiece a persistent and unnerving sense of claustrophobia.

Each soundtrack has been remastered specifically for this release and will be pressed onto audiophile heavyweight, deluxe double-vinyl 180g LPs on black vinyl.