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PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

Eclectic Italian quartet Eugenia Post Meridiem are ready to reveal their sophomore full-length record, a rather magnificent musical masterpiece. The gloriously kaleidoscopic, dazzling celebration of sound ‘like i need tension’ is available everywhere now. Demonstrated over eight tracks, the all encompassing, musical odyssey, ‘like i need tension’ features initial single ‘willpower’; which burst across our radar with lashings of personality, and became the introduction to the now familiar Indie outfit. Next up was the punchy and fearless ‘around my neck’ and last but by no means least came the intriguing, alluring ‘whisper’, the calm before the sophomore album storm. Gifted with a further five previously unheard gems, listeners certainly have plenty to sink their teeth into. With focus track ‘crucial spring’ traversing the spectrums of shadow, the progressive and percussive ‘unchained will’, the slow voluminous ballad ‘ocean flows’ and the infectious, chaotic energy of ‘tiny perspectives’ and ‘mazes of gazes’. Oozing with iridescence, flavour and texture, there’s something to suit all manners of music fans. Completed over a span of two years plus a two week post-lockdown writing and recording stint, it was then that like i need tension truly came to life in a small converted barn near the village of Montaldo Bormida, in northern Italy. “It was a totally collaborative process... All the composing was done together, right there in the room.” and thus, like i need tension was born. “Tension is a powerful force. It drives things forwards, its friction producing interesting and unexpected results. Above all, it fuels creativity, inspiring and focusing in equal measure.” Such togetherness and chemistry as a band truly shines through across the eight track project. There’s a bold, fearless tenacity to experiment and to go against the tide as each track is filled with quality, curiosity and ingenuity. With purpose and intention studded throughout, like i need tension is as poetic and reflective as it is meditative and utterly transcendent. Placing its roots somewhere in the mystical universe of Hiatus Kaiyote, Christine and the Queens, PYJÆN and Tame Impala. Eugenia Post Meridiem’s sound holds an intrinsic synergy, refreshingly intangible, allowing space for the listener’s own interpretation and understanding. The depth they venture as a collective rewards those who journey beyond the initial passive listening. With technical structures, composition and developed time signatures just waiting to be unearthed, depicted and understood, Eugenia Post Meridiem offer a treasure trove for the adventurous and devoted musical palate yet still remain accessible and incredibly generous to all those who decide to listen. “And so it is that all eight tracks hang together beautifully, linked not by some overarching concept or narrative, but simply a band exploring their talent and the vast space afforded by an open-minded approach.”

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

Released in 1985, the band’s second album had an ominous pall of doom and gloom, enmeshed in a sound both primitive yet also Wagnerian in its vast scope. Many claim this was a massive inspiration for black metal bands later in the decade. In truth, though, none matched what was here. This release includes the ‘Emperor’s Return’ EP as well as a remix of Visual Aggression, and the concept and art direction of the release was done by the man behind Celtic Frost, Tom G. Warrior.

'What if Blitz hailed from Los Angeles and sang in Spanish’ isn’t a question you hear all that often. Fortunately, we don’t need to ask - the answer is provided by Generacion Suicida’s latest album, which rages and rattles in all the right places, drenched in the memorable brilliance that powered the Killed By Death compilations (ask yer dad - and if he doesn’t know or care, burn his terrible records and make some space to track down the KBD LPs). The band’s slogan is ‘musica del barrio, para el barrio’ - music from the neighbourhood, for the neighbourhood - but it sounds like they could use these hooks to take on the world. That’s a pretty accurate sentiment as well, because this album was written during the Covid-19 lockdown of 2020, while the world bubbled over with carefully managed misinformation, police violence and the sickening overspill of white supremacy’s foul brew. If Regeneracion sounds potent, it’s because there was a lot to be angry about, and the result is arguably their best album yet. Those chorused-out guitar lines carry shades of deathrock, hints of Manchester circa 1980, elements of something you might call goth if it was several degrees less furious. But there’s no doomed romance to this music; it’s an all-out attack. Street punk with the smarts turned up and an ear turned to the lessons learned from post-punk (but crucially, not the ‘post-punk revival’ that is essentially shirtless beardy lads chanting non-sequiturs over landfill indie). Chiefly, it’ll make you wanna get out of your chair, unite your local community and march on down towards your government’s centre of operations with a simple-to-use molotov cocktail kit. Its rage is infectious. It’s inspired by bleak moments in our recent shared history, but it revels in humans’ capacity to find strength in each other. And the tunes? Oh damn, they’re good.' Will Fitzpatrick.

David J, of Bauhaus/Love & Rockers, pays tribute to his old friend Pat Fish (AKA The Jazz Butcher), who sadly passed away in October 2021. Featuring musical contributions from Dave Morgan (Weather Prophets/Jazz Butcher), Rolo McGinty (Woodentops), Max Eider (Jazz Butcher), Kevin Haskins (Bauhaus/Love & Rockets), Owen Jones (Jazz Butcher). Colin Henney (Jazz Butcher) and Raoul. The B Side is 'Vienna Song', a Jazz Butcher song, featuring Paul Wallfisch (Swans) on piano, Wolfgang Tschegg and Tony Green. Random Colour Vinyl. Quelle Tristesse Writing this song was my immediate emotional response to hearing about the untimely passing of my dear friend, Pat Fish. This is how I process these things. It is both personal therapy and heart felt tribute. The song simply poured out of me and when it was done I knew that I had to involve various stellar musicians all of whom had collaborated with Pat in the past. Also present and correct, Pat’s beloved familiar, Raoul the black cat. The title came from a comment that someone made online when the shocking news was announced. 'Quelle Tristesse'. How sad. Indeed. RIP old pal. David J. In Loving Memory Patrick Huntrods (AKA Pat Fish AKA The Jazz Butcher) (20 December 1957 - 5 October 2021) Tracklist Side A Quelle Tristesse Side B Vienna Song

Paranoid and lazy, never knowing who is your friend and who is just
watching a screen, never really hungry and never satisfied - Fever Dreams
and Daymares of Family Dinners with the network news so loud you can
hear the white noise pop like firecrackers
Floating through this dimension on the path of least resistance, unnoticed and
unbothered til you're old enough to die. The pitiful fantasy of having people cry at
your funeral, while your spirit watches from the rafters. Feeling lost in your body
like a ghost under a bed sheet.
Fourth Dimension Intervention, by The Homeless Gospel Choir, was recorded over
five days in August 2021 at The Lodge KY by John Hoffman. It's the first album to
feature all five members of the band, the first self produced album, and the first
full length to be released by Don Giovanni. Pressed on Seaglass Blue color vinyl.

Repress in soon. Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape

Stars and Satellites is an album by Minnesota-based bluegrass group Trampled by Turtles, released April 10, 2012, on their label BanjoDad Records. According to Dave Simonett, the creation of their sixth studio album started in the fall of 2011. Their studio was a log home outside Duluth, where they moved furniture aside, set up microphones and started to develop the album. The album has been on Billboard's bluegrass charts since April 18, 2012. It was also No. 14 on the Billboard Folk Album Chart, and peaked at No. 32 on the Billboard Top 200 Chart.

Don"t ask Rozi Plain to explain her spellbinding fifth album Prize. Its ten, magical tracks exist as if in another realm, where feelings matter more than meanings, where thoughts have room to roam and where you can live in the moment for as long as you like. Rozi"s signature, free-floating sound was set with her 2015 breakthrough Friend and cemented with 2019"s globally adored What A Boost ("Like slipping between cotton sheets" was Pitchfork"s description). Prize builds on both, but takes its cues from elsewhere. By a stretch, it"s Rozi"s most upbeat and daring album to date. Electroncia, jazz and saxophone treated to sound like strings, synths and harp all play a part. Economy is key - every sound has an impact out of proportion to its size, every texture pays dividends. Rozi"s bewitching vocals are bolder and brighter than ever before. Male and female backing vocals feel like friends dropping by.

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Don"t ask Rozi Plain to explain her spellbinding fifth album Prize. Its ten, magical tracks exist as if in another realm, where feelings matter more than meanings, where thoughts have room to roam and where you can live in the moment for as long as you like. Rozi"s signature, free-floating sound was set with her 2015 breakthrough Friend and cemented with 2019"s globally adored What A Boost ("Like slipping between cotton sheets" was Pitchfork"s description). Prize builds on both, but takes its cues from elsewhere. By a stretch, it"s Rozi"s most upbeat and daring album to date. Electroncia, jazz and saxophone treated to sound like strings, synths and harp all play a part. Economy is key - every sound has an impact out of proportion to its size, every texture pays dividends. Rozi"s bewitching vocals are bolder and brighter than ever before. Male and female backing vocals feel like friends dropping by.

GEHENNAH's demo recording from 1994
This 10 track recording is a true hidden gem in Swedish metal history, as it had a
limited circulation back in the tape trading days. We have put great effort in
getting the best possible mastering and restoration of this nearly 30 year old
recording, and the result will blow peoples minds! The 10 tracks was recorded
about 1 year before the cult album debut Hardrocker , and shares a couple of
tracks, but is a completely different recording, with another drummer. Four of the
songs are not available on any other GEHENNAH release. GEHENNAH was, and
still is, a a brutal assault on the ears and the perfect homage to old school metal
a'la VENOM and early MOTORHEAD. In fact, the band formed in the early 90's as a
reaction to the velvet clad fantasy/ romantic/ troll infested type of metal that
started to emerge from Scandinavia at the time. GEHENNAH went for the throat
with their obnoxious, loud and raw rock'n'punk infused thrash metal. Don't miss
out on this piece of Swedish metal savagery!

Based on an ancient Sumerian poem, MORTON SUBOTNICK's follow-up to his highly influential milestone "Silver Apples Of The Moon" is no less an adventurous sonic trip on the Buchla synthesizer. Limited edition (300 items) audiophile 180gr LP, especially remastered for vinyl. 2022 repress, 300 items.

Born 1933, MORTON SUBOTNICK is a key figure in the progress of electronic music: along with PAULINE OLIVEROS and RAMON SENDER he co-founded the San Francisco Tape Music Center in 1961 and from 1963 on he worked with DON BUCHLA on the development of the early synthesizer "Buchla Series 100". In 1967 the composer and musician released his debut "Silver Apples Of The Moon", which proved to be one of the most influential albums and an undoubted milestone in electronic music (which was even selected for the Library Of Congress in 2009). A year later MORTON SUBOTNICK presented his adventurous follow-up "The Wild Bull". Loosely based on / inspired by an ancient Sumerian poem of the same name - a lament about loss and death caused by war - the two parts embark on further explorations into the hitherto unimagined creative possibilities of the synthesizer. 54 years after its initial release, "The Wild Bull" has not lost a single bit of its visionary magnitude and is still an adventurous sonic trip.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

‘Fuxsake, what a great ride this album is... …Somewhere John Lee Hooker is smiling and stampin' his foot to 'Runnin' Till I'm Done'! Love the 12 string riffing so much - You just don't hear that enough these days - Brings to mind Stevie Ray on killing it on acoustic. Ledfoot on the Goodfoot got some serious mojo'. - Winter Lazerus, mastering master This record was recorded and mixed in two days - live - straight to tape… no edits, no punching in…just me… honest for better or worse – honesty - What a precious thing ‘ - Ledfoot - In short: 10 tracks recorded analogue live to tape during two magic days at Studio Studio Nyhagen. No bullshit, just a unique artist spitting out his soul in the most naked and real setting possible. Gothic blues! Still, the sound, the lyrics and the performance are very much a product of today. Ledfoot aka Tim Scott McConnell is a 12-string guitarist who plays with fitted heavy strings,
a brass slide, steel fingerpicks and a stompbox. He has been touring and releasing music since the late 1970’s and written for artists as varied as Highasakite and TnT to Sheena Easton. In 2014, Bruce Springsteen recorded ‘High Hopes’ as the title track of his album, written by Tim Scott McConnell for the Havalinas debut album in 1990. It debuted as #1 in over 10 countries including the U.S. and the U.K.

Debut full-length album set for release on Lovely Records - Previous and
ex-Members from Year Of The Goat, Disfear, Skitsystem, The Deadbeats,
Dollhouse, Tortyr and The Dontcares - Sweet Teeth's debut album got
hyped by Little Steven (Bruce Springsteen & The E Street Band) and
Classic Rock Mag - The vinyl is pressed on Vinyl in two editions limited to
500 copies each
One edition on Pink vinyl and one edition on transparent yellow vinyl - The band
have previously released their debut one- sided 12" and got nominated to a
Manifest Award (Swedens Alternativ Grammy) for it - The band have opened up
for Millencolin and their debut 12" was released by Lovely Records together with
De:nihil Records (That is runed by Larzon, the Millencolin drummer)

Debut full-length album set for release on Lovely Records - Previous and
ex-Members from Year Of The Goat, Disfear, Skitsystem, The Deadbeats,
Dollhouse, Tortyr and The Dontcares - Sweet Teeth's debut album got
hyped by Little Steven (Bruce Springsteen & The E Street Band) and
Classic Rock Mag - The vinyl is pressed on Vinyl in two editions limited to
500 copies each
One edition on Pink vinyl and one edition on transparent yellow vinyl - The band
have previously released their debut one- sided 12" and got nominated to a
Manifest Award (Swedens Alternativ Grammy) for it - The band have opened up
for Millencolin and their debut 12" was released by Lovely Records together with
De:nihil Records (That is runed by Larzon, the Millencolin drummer)

• Fame collectors know how rare this 45 is to find in the wild; it hardly ever happens. ‘Go Away With Me’ is a fabulously, catchy dance number from 1963 when the little-known Dixon wandered into the Fame Studios in Muscle Shoals and laid these track down. It is one of Dan Penn’s very early compositions and the nascent talent of the writer is in evidence here.

• The tuneful self-penned ‘Time Will Tell’ flip reveals another accomplished musical bent to the singer who, though he only cut two 45s, was revered as a major Muscle Shoals influence by the likes of Jimmy Johnson, Donnie Fritts and David Hood.

Crypt of the Wizard is proud to announce the debut LP from Riders of Rohan. Arise now, arise, and listen to these here ballads of courage, kinship, gracious good and ultimate evil heralded by Sweden’s Riders of Rohan. This power trio of epic proportions was forged in the dark smithies of Gothenburg and founded of black steel by Marcus Ferreira Larsen at No Master's Voice studio in Copenhagen. Our heroes play an enchanted breed of heavy adventure-rock, where KISS-like melodies merge with the punk rock 'n' roll delivery of Dead Moon to tell tales written for the love of Tolkien. Don't miss out on the first release from this fine fellowship. Stream it now or look out for it on cassette and vinyl later on this year. Ride now, ride now, ride! Ride for ruin and the world's ending! Death! Death! Death! Forth Eorlingas!

Nixon was released in 2000 and immediately enshrined by the British music press. Uncutnamed it album of the year, Mojo ranked it 10th, and Q was still doing their lists alphabetically. The NME called Nixon “near to perfect” and the Guardian said that the band was “reinventing American music.”

Meanwhile, most people in America continued to have no idea who Lambchop were. (“I don’t think Nixon made much of an impression on anyone over here,” Wagner told a seemingly baffled interviewer in spring, 2001.) Lambchop’s take on America—sly, tender, mysterious but mundane—is less a realist’s portrait than a surrealist’s impression: funnier, more pathetic, more improbable than what actually exists. In 2007 I met a German man named Frank who told me he loved seeing the band overseas because it meant getting to sit in a plush, quiet room while drinking tons of beer and listening to Lambchop, which I guess he imagined Americans were mellow enough to actually do.

Nixon is still an improbable album. The band never sounds like they’re trying very hard and yet every song breaks some convention or another. Despite its showbiz arrangements, the music is tenuous and weird (a contrast that the band toyed with again on 2012's Mr. M), and Wagner’s falsetto—usually the most vulnerable part of a man’s singing range—sounds less like a Romeo

In November 1960, trumpeter Donald Byrd brought his quintet in to the Half Note Café in New York City to record this soulful, swinging, and highly enjoyable live set of hard bop featuring Pepper Adams on baritone saxophone, Duke Pearson on piano, Laymon Jackson on bass, and Lex Humphries on drums.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.