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A kind of hush pervades throughout Standards Vol VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk’s musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record’s lone vocalist adds to its solitary air. This follows Standards Vol IV (2018), which featured fellow NJToS co-founder Kate Sugden as primary vocalist, while Gerard Black, a member of the group since 2016, took centre stage in similar fashion on Standards Vol V (2019). Wells has long been a fan of Vulliamy, both of her work as a viola player with numerous collaborators, and as a singer.

Vulliamy played viola on Everything’s Getting Older, Wells’ 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy’s solo record, Spin Cycle, released on Karaoke Kalk in 2018. With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalogue of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. The result on Standards Vol VI is a thing of quiet beauty that sees Wells and Vulliamy reimagine a panoply of pop classics in their own aloof sounding image.

Shades of Margo Guryan and Claudine Longet abound in Vulliamy’s delivery over Wells’ woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub’s Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan’s proto hippy classic, Catch the Wind, and Dixieland miniature, Careless Love. The eight points in between take in a first half led by The Beatles’ normally jaunty We Can Work it Out, flipping the loveable mop-tops’ perky optimism for something more soul searching. This is followed by I Wish You Love, Albert Beach’s English language version of French songwriter Charles Trenet’s evergreen, Que reste-t-il de nos amours. The Bee Gees lost classic, To Love Somebody, is up next, with more impossible to answer questions coming in Why Can’t I?

The latter is a Rodgers and Hart composition that first appeared in the duo’s 1930 Broadway musical, Spring is Here, in which the show’s two heroines commiserate each other over their shared loneliness. Wells stumbled on the song in a tatty Rodgers and Hart songbook, which, like its subjects, had been left on the shelf before he and Vulliamy brought it in from the cold. The second half of Standards Vol VI leads with Matchmaker, Matchmaker, Jerry Bock and Sheldon Harnick’s much covered evocation of a pre dating app era from their 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer’s showbiz staple (with Al Jolson also taking a credit), Me and My Shadow. While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael’s Skylark comes next, a song inspired by Mercer’s yearning for Judy Garland. We hear ya, bub. The most downbeat take on Bacharach and David’s The Look of Love you’re ever likely to hear comes next, ushering in the short farewell of Careless Love, before the lights are turned out forever. Yeah, well. Whatever gets you through the night…

In the mid-'60s, Albert Ayler found himself at the center of major transformations within jazz. On his albums for ESP-Disk', his delivery was radically aggressive and his tone blistering – aiming for something beyond the New Thing. His music would be further energized when (at the behest of John Coltrane) Bob Thiele signed him to Impulse! As Ayler told The Plain Dealer at the time, "It's not about notes anymore. It's a sound – a feeling. The approach we're taking will discontinue the use of the word 'jazz.'"

In Greenwich Village, Ayler's first LP on Impulse!, perfectly captures the Cleveland-born saxophonist's radiant intensity. Sourced from a pair of live engagements – February '67 at the Village Theatre on New York's Lower East Side and December '66 at the Village Vanguard – these recordings show an improved clarity in production and performance.

Both sets feature two basses (including Alan Silva and Henry Grimes) which allowed the ensemble to go in different harmonic directions while maintaining an organic unity. Of particular interest are "For John Coltrane," a tribute to Ayler's mentor who would pass later that year, and "Truth Is Marching In" where trumpeter Donald Ayler joins his brother to celebrate and ultimately deconstruct several jazz traditions to stunning effect.

Vibrant in sound and vision, Albert Ayler's In Greenwich Village is a landmark statement in free jazz and a career high-point for this truly original artist. Superior Viaduct is honored to present this classic album on vinyl for the first time domestically in 30 years.

Two of the Bronx’s most skillful emcees have paired up for one of the most promising collaborative albums of 2023. Appropriately titled, Gunz X Bars, the boogie down’s own Cory Gunz and David Bars have joined forces with Respect the Vision (RTV) under the watch of DITC Studios, the label and recording studio akin to one of hip-hop’s most revered crews, comprised of Lord Finesse, Diamond D, Big L, O.C. Fat Joe, Buckwild, Showbiz and A.G. And as you’d expect, the result is top tier lyricism over a soundscape that epitomizes the essence of New York hip-hop. For the past two plus decades, Cory Gunz has made his bones by proving his lyrical prowess time and time again. Son of rapper Peter Gunz (of the famed duo, Lord Tariq and Peter Gunz), it didn’t take long for his talents to be recognized by Lil Wayne, where he appears on his single, “6 Foot 7 Foot” off Tha Carter IV. Gunz also starred in his own befittingly-titled reality show, Son of a Gun (MTV) which documented his journey to fulfill his career in music. David Bars’ trajectory also started at a young age, where he made his name at high school talent shows and industry showcases throughout the city. Releasing his debut project Barcode in 2019, the quick-witted spitter found himself rapping alongside the legendary Fat Joe who appears on the single, “A Star is Born.” However the co-signs weren’t limited by Joey Crack, as the inimitable DJ Premier lent his boom-bap magic to the album cuts, “Beat the Odds” and “Just Like That.” Throughout the project’s eight tracks, Gunz and Bars prove themselves to be both lyrically and sonically compatible. Gunz’ staccato-type flow melds seamlessly with Bars’ smooth delivery. To boot, the production value throughout plays to the strengths of both emcees, with beats provided by So Special, Track Pros, Kofi Cooks and more. It’s no surprise that two of the BX’s most raw and uncut talents would eventually unite, and what better way to join forces than under the auspice of DITC Studios.

Black Duck captures a band already deeply in tune with one another. The three-piece super-group consists of Douglas McCombs, Charles Rumback, and Bill MacKay each has a distinct musical voice that is instantly recognizable, yet blends seamlessly with one another-their time performing together, playing to the moment and reading each other and the spaces they"re in formed a fluency between the trio which allows them to follow each other down winding paths and short tangents alike. McCombs is a founding member of Tortoise, Pullman, and Brokeback and the long-standing bassist for Eleventh Dream Day, an artist whose contribution to the music world can not be overstated. MacKay began releasing records in the early 2000s. He has released several acclaimed solo albums with Drag City as well as a duo album each with Nathan Bowles (Banjo, Black Twig Pickers), and Katinka Kleijn (Cello, Chicago Symphony Orchestra (CSO)), and two beloved records with Ryley Walker. Rumback burst onto the fertile Chicago improvised music scene in the early 2000"s. His fluid technique and expressive playing garnered him much attention. In addition to his solo releases, Rumback has recorded with Ryley Walker, jazz greats such as Jim Baker, James Singleton, and Greg Ward. Black Duck"s debut is a testament to that fluency, an expedition led by three veterans into alluring worlds bathed in myriad splendors. Black Duck is a gallery of sonic tapestries, unbound by any genre constraints. Black Duck redefines what two guitarists and a drummer can do, pieces move from breezy shuffles to stormy blues rumbles to gorgeous textural drones. Playing entirely improvised live sets for years helped develop the trio"s acute senses for one another, knowing precisely how to listen to the others and bolster whatever direction they move in. In the short time the trio have played together, they have performed at Big Ears Festival and alongside acts like Yo La Tengo.

It's been a long time coming, THE 18TH PARALLEL are back with a new showcase album, this time starring Jamaican singer extraordinaire DERAJAH. ‘BABYLON A QUAKE' is the first single from the new album, due out in October 2023. This groundbreaking single is a collaboration like no other, bringing together the remarkable vocals of Derajah, renowned for his distinctive style and powerful delivery, and the production prowess of The 18th Parallel, a trailblazing force in the reggae scene. With the expert touch of mixing maestro Westfinga, this track is a sonic masterpiece. ‘Babylon A Quake’ stands as a powerful anthem, carrying a profound message of social consciousness and resistance against oppressive forces. Derajah's raw and emotive vocals paint vivid pictures of struggle and resilience, while The 18th Parallel's ultra-solid riddim creates a rich tapestry of sound that will transport you to the heart of roots reggae. With its impeccable production quality, ‘Babylon A Quake’ captures the essence of reggae's golden era while infusing it with a fresh and contemporary sound. It seamlessly blends tradition with innovation, ensuring that both loyal reggae enthusiasts and new listeners alike will be left in awe of this musical gem.

Grand huit - Is packed with a room of distinct players. One can almost hear that rare and supreme moment of collaboration unfurling. Ark & Pit lay out the perfect bump for Nicholas Baby's bass to hold this thing together with vice grips, while Shaman's guitar floats on this lake like a skipping rock…

Our man, and legend, Kool Keith spills his out otherworldly poetry in abundance, joining Keith in the chorus is the delightful Juan Rozoff who helps turn the burner on the stove to 10. Xanax (Xavier Vindard) rolls out the crescendo in top form with his sly rhymes and robust delivery making this cut almost too good to be delivered so quickly in the game. The release includes 2 amazing remixes by Dave Aju and The Mole.

Donovan Woods’ album is a study in contrasts, as one would expect from its name: Both Ways. That push-and-pull, especially in relationships, has long been Woods’ stock in trade. As the lead track of Both Ways, “Good Lover” unfolds with acoustic instruments and Woods’ quietly compelling delivery -- not what a listener might expect from the title alone. That masterful perspective has led to nominations for the Polaris Prize and the Juno Awards. In addition, his single “What Kind of Love Is That?” climbed to No. 1 on the CBC Top 20 Chart, while his catalog has accrued over 45 million streams. Woods is also a notable songwriter in Nashville with credits by Billy Currington, Charles Kelley, Tim McGraw and Charlie Worsham. NPR Music stated, "There are very few writers who can make you laugh and break your heart in the same song.” No Depression noted that Woods’ style is “as fresh and captivating as any out there.” Asked if he writes differently for himself than he does for other artists, Woods replies, “I used to think that there was a difference. I know now there's no difference. You just try to write the best thing. Everything I wrote where I said, ‘This is mine and I’m going to put it out’ – every song like that gets recorded by somebody else. I know now that I just try and write a song that I would want to do.”

The Inter-Atlantic duo of George Btp Dan Piu & Roger K. Versey return to your shores to traverse more mystery, adventure, and musical journey with an all new double 12" album.

Passport - Wonderful Elixir. Named for its nutritious flavor and mixture, Wonderful Elixir is crafted for the deep frequency connoisseurs, explorers not constrained to genres, not afraid to vibe with the tides of life, but rather seek the deeper feeling that is true and Indigo Blue. The main ingredients are 10 visions that await inside the fine grooves of two 180 gram disks crafted to capture the moments in the best way; a seamless connection of Air, Land and Seaways that harbor elements of Jazz, Acid, Deep House and Street Beat. From the organic forests to the concrete jungles, From Zurich to St.Louis, your Wonderful Elixir is here. Featuring very special appearances from DJ Nata, Jesus Gonsev, and Grant.

Presented on 2×12" vinyl by the legendary No Acting Vibes label, and on CD and Digital by Deep Inspiration Show. Includes original acrylic paintings by Zara Versey.

Carole King’s The Legendary Demos will be released April 24th, 2012 via Hear Music / Concord Music Group. A previously unreleased collection of 13 history-making Carole King recordings of some of her most celebrated songs, The Legendary Demos traces King's journey from her days as an Aldon staff writer in the 1960's, where she crafted hit after hit for other artists, to the dawn of her own triumphant solo career in the 1970's, and contains her original recordings of future standards like "(You Make Me Feel Like) A Natural Woman," "It's Too Late," and "You've Got A Friend." Featuring liner notes by acclaimed author and Rolling Stone contributing editor David Browne, the collection brings to light a heretofore missing link in the chain of King's career. Fittingly, The Legendary Demos serves as a companion to King’s long-awaited memoir, A Natural Woman, which is being released April 10th, 2012 via Grand Central Publishing.

Aldon Music used these demos—short for “demonstration records”—to pitch King's material to other artists, from Gene Pitney and Bobby Vee to Aretha Franklin and the Monkees. While the recordings have long been coveted and collected within the industry, they have never before been released to the public.

Whether it was a potential single for the Monkees or a solo performer like Pitney, King’s demos were remarkable in their completeness. “When she sat down to the piano and played a demo of one of her songs, the whole arrangement appeared right in front of your eyes magically,” recalls Brooks Arthur, who engineered a number of these efficient sessions for King at one of several midtown Manhattan studios. “A lot of the smarter producers would adhere to Carole’s demos. If you stuck to that, you’d come home a winner.”

King and then-husband / songwriting partner Gerry Goffin signed with Aldon Music in 1959, and anyone who listened to the radio during the first half of the ‘60s will recognize the songs of teen passion and devastating heartbreak heard in King’s original recordings. “Take Good Care of My Baby” was a No. 1 hit for Bobby Vee in 1961. Goffin’s gift for tapping into teen anguish—in this case, hiding behind a stoic public face—was never conveyed better than in “Crying in the Rain,” which the Everly Brothers took into the top 10 in early 1962. “Just Once in My Life” was the Righteous Brothers’ follow-up to their still-spine-tingling “You’ve Lost That Lovin’ Feelin’,” and King’s demo reveals how she and Goffin were instantly able to tap into the duo’s (and producer Phil Spector’s) dramatic, impassioned sound.

Like many of their fellow songwriters at the time, King and Goffin wrote songs for Don Kirshner’s TV show about a fictional, Beatles-derived pop band that debuted in September 1966. The Monkees turned out to be more credible singers (and musicians) than anyone initially expected, as their high-charting 1967 version of King and Goffin's “Pleasant Valley Sunday” revealed. The Monkees also cut “So Goes Love,” a dreamier ballad heard here, but the track didn’t make their first album and wasn’t released until long after they’d disbanded.

The Legendary Demos includes early takes of six tracks that formed the basis for King’s world-wide solo breakthrough Tapestry. King and lyricist Toni Stern’s ever-poignant “It’s Too Late” is here, along with King’s own “Way Over Yonder,” “Beautiful” and “Tapestry,” all three bursting with the artistic and spiritual renewal infusing King’s life during this period.

Among the collection’s numerous gems is the original 1967 demo for Goffin, King, and producer Jerry Wexler’s “(You Make Me Feel Like) A Natural Woman,” a song that would later appear on Tapestry and of course be famously cut by Aretha Franklin later that same year. King’s version offers several different takes from the Franklin and Tapestry versions. Her delivery in the opening lines is looser (check out the way she stretches out “Lord” in “Lord, it made me feel so tired”), and the bridge is even more imbued with palpable romantic and sexual heat.

And finally, there’s King’s initial take on “You’ve Got a Friend,” a classic entry in the Great American Rock Songbook. Milling around in the Troubadour balcony during soundcheck, her friend James Taylor heard King perform the song on a bare stage and was immediately taken with it; his own version, a massive hit, would arrive the following year.

The album showcased Cornfield's knack for crafting deeply personal songs with an observational tone and witty lyric delivery. She took these heartbreakingly relatable songs on the road, playing numerous shows & festivals across North America and Europe, including opening for Pedro The Lion, Stars, Sarah Harmer and others.

On Cornfield's new album, Could Have Done Anything, she teamed up with producer and Bonny Light Horseman member, Josh Kaufman in Upstate New York, first at the stained- glass- tinted Dreamland Recording Studios, then at the nearby Isokon Studio, run by engineer D. James Goodwin (Kevin Morby, Whitney) and his assistant, Gillian Pelkonen. Kaufman and Cornfield played every instrument themselves, channeling the energy of her favorite classic records,
from Elliott Smith's Figure 8 and Jeff Buckley's Grace to Neil Young's Harvest -- albums where the listener is simply carried by the songs, and their musicians' beautiful playing. Standouts like "You And Me" highlight intimacy and absence, while "Gentle Like The Drugs" captures memories from Cornfield's spring 2022 tour with Pedro the Lion - her first time seeing sunsets in Arizona.

Samantha Fish has received practically every accolade a contemporary blues singer/songwriter/guitarist could hope for. She’s a festival headliner with multiple Blues Music Awards, who has graced the cover of guitar magazines and toured internationally to packed houses. Fish commands her cathartic shows with her edgy vocal delivery and in-your-face slide guitar.

Limited one time pressing of 1000. Raising the bar yet again, Night Owls' first single of 2023 lays yet another set of classic soul songs on you, flipped into the band's signature style. On Side A we find The Flamingo's beloved Doo-Wop/soul hit from 1959, "I Only Have Eyes For You," re-imagined to wind your waistline with Night Owls' longtime friend and collaborator - the one-and-only Chris Dowd from Los Angeles' legendary Fishbone on vocals. Known for tunes like "Pouring Rain" and "Everyday Sunshine" Dowd brings his signature soul drenched delivery with a hint of rude boy grit to match the rhythmic and tonal stylings of the group. Wanting to take things to the next level, producer Dan Ubick called in veteran underground Jamaican legend Tippa Lee (Stones Throw, Dub Club, Jammy's, Greensleeves, etc.) to sprinkle his magic rasta dust on top and deejay/toast on the track and the results are burning hot.
But wait, that's not all!! On Side B we find the beloved beat diggers classic "Live And Let Live," originally performed by Jimmy Jones in 1970 on Deke Records out of Chicago. For the Fender Rhodes-driven reggaefied version here, Night Owls roped in another longtime friend - Los Angeles kingpin and mover ’n' shaker, "Music Man" Miles Tackett to add his soulful vocals to the track and it's as buttery as cornbread from Cracker Barrel! Tackett is the mastermind behind globe-trotting funk/soul collective Breakestra (of which Night Owl Dan Ubick was a member) and legendary weekly L.A. dance parties like Funky Sole, Root Down and The Breaks. This side also includes Destani Wolf, who many will remember was featured on Night Owls’ version of “Let’s Stay Together”, providing the beautiful ‘verbed out backing vocals

There are only 130 copies in stock

Junior Cat is one of reggae music's most prolific artists. An icon, Junior Cat"The Wild Indian," is known by reggae and hip hop fans across the globe for his dapper Bad Azz style that made the fellas crave and adoring ladies rave over his delivery of edgy lyrics that ricocheted through dancehalls and stages in the 90s with hit classics like “Iron Gloves”; “Top Dog”; “Anorexal Body”; and as featured in the mega-hit movie “Shottas”, “woulda let you go”. Junior Cat is the Don that lesser deejays imitate but never duplicate.

Fresh off his explosive Boiler Room performance in Liverpool, the dust is yet to settle from the electronic eruptions caused by GTOWN head-honcho and energy inducer, KETTAMA. Namely, the damage caused by his latest armoured artillery; ‘GTOWN004’, a radioactive EP with devastatingly euphoric consequences.

‘Samba Soccer 2001’ is the track that opens the door to ‘GTOWN004’, as we’re welcomed by an anonymous voice that insults the listener; a perfect introduction to a project that is wildly unapologetic in its character, and utterly ruthless in its delivery. Released as the first single from the ‘GTOWN004’ EP, ‘Samba Soccer 2001’ has already been greatly received by the GTOWN faithful, and sets the tone for what is arguably KETTAMA’s most complete, and anticipated project yet.

The EP starts as it means to go on, as KETTAMA drops another bombshell with ‘Blitz Zuruck.’ With a euphoric soundscape which the producer partners with a punishing bassline, this track is deeply nostalgic, embodying a time-capsule in the thick of a modern rave-renaissance. Further elements of revamped rave-nostalgia are seen in ‘Slaap Lekker’, before we’re taken deep into the belly of the Galway beast with the atomic ‘GTOWN IN EFFEKT’, and finally killed off with the ‘Rock Da Cliffe Mix’ of ‘Blitz Zuruck.’

‘GTOWN004’ features an ungodly blend of sounds, and in the process, creates an atmosphere that is both ecstatic enough for heaven, and sinister enough for hell. Purpose built for dance-floor destruction, KETTAMA’s infusion of stomach-churning bass, hypnagogic synthesisers, soulful vocals and contagious drum patterns result in an utterly pure, addictive sound.

From Galway to Vienna, Liverpool to New York, the track will be road tested amongst an armoured artillery of records, with dance-floor devastation an inevitable outcome. With his name boldly imprinted on the lineups for the likes of AVA Festival in Belfast, CRSSD in Miami, 121 Festival in New Zealand and Terminal V Festival in Edinburgh, KETTAMA’s worldwide domination of sound-systems continues.

Hailing from the gatekeeper city of Malmö towards the European continent - Bathouse story is a long one & a tale of progress. Starting out as a duo venture back in the mid-10’s & then put on hold, Bathouse re-surfaced in 2020 with the release of their self-titled debut album.

Making themselves known as a must experience live band in Malmö for their intense delivery & crushing volume - Philip Lindskog (drums), Jesper Olsson (vocals & guitar) & Denise Madsen Hult (bass) went into Studio Sickan again in 2021 with Joakim Lindberg (MF/MB) and recorded a scorching 13 minutes worth of noise, worthy anyone of the heavyweights. 



’Helping Bats Helping People’ is Bathouse 
sophomore album & will follow the two singles ’Enjoy’ & ’Ideal Specimen’, taken 
from the album.

For fans of The Hospitals, At The Drive-In, 
 Unsane, Bent Spanner Arty Banner & 
 Bathouse.

High Roller Records, ULTIMATE EDITION, 2nd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, lyric insert, poster, black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST

High Roller Records, ULTIMATE EDITION, 2nd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, lyric insert, poster, black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST

A strong, strong showing from Duca Bianco after a period of relative dormancy, teaming up with Manchester's Talking Drums for a musical culture clash with maximum impact. The four tracks see a wide palate of influences being mixed up, from the cheeky Afrobeat shuffle of 'Monkey Key' to the 80s electropop of 'Voice Of Omicron' and the Nico-esque vocal delivery on Balearic groover 'Dolce Julia'. This is an EP with lots of surprises, tons of originality and musical confidence brimming over its edges.

Industrial Speedcore... Flashcore from out of space.
Repressed 2023 ! New mastering and new cut of course. With a superb printed sleeve !

A legend for mental night-core hard-mare... Queen's Delivery, Speed Attack... Founders of a style ?

Realm was an American heavy metal/ technical thrash band from Milwaukee, Wisconsin. The band was formed in 1985 by guitarists Paul Laganowski and Takis Kinis. Genealogical lines from Mercyful Fate, the NWOBHM over Metal Church to Agent Steel and even Slayer will pop to mind, while listening to this album. Also a close kinship with metal bands as Toxik, Watchtower and Annihilator can be heard. Discussing Realm primarily in terms of overlap with these other acts, would do injustice to the distinct musical identity the band has carved out for itself.

Endless War breathes intensity from start to finish, even a thrash rendition of the Beatles’ Eleanor Rigby can be found on this album. Realm found the perfect blend for an unforgettable dynamic delivery of their own thrash to the max.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES INSERT
• FEATURES THE CD-ONLY TRACK
“THESEUS AND THE MINOTAUR” AS BONUS TRACK
• LIMITED EDITION OF 1000
INDIVIDUALLY NUMBERED COPIES ON SILVER COLOURED VINYL