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ave you ever been trippin' on Brandy? Well here's your chance to get down... deep down. Served by two kings in the industry who wish to remain unnamed.
Dropping the octaves and upping the opiates, the duo slow dance an R'n'B vocal through dewy pads and echoing perx, concocting a late night anthem for the club and the bedroom.

Heavenly Recordings announce the debut solo album from
acclaimed Bay Area multi-instrumentalist, producer and
composer Dougie Stu.
Dougie grew up outside of Chicago and his early education
began in jazz clubs and festivals as a teenager - frequenting
sessions with Jeff Parker, Fred Anderson, Nicole Mitchell and
other members of the AACM. Left exceedingly inspired, he
continued on to the University of Michigan, studying bass
under Detroit jazz royalty Robert Hurst and Geri Allen, where
he deepened his practice in Jazz and Contemplative
Studies.
Now, based out of Oakland and Los Angeles, Stuart
collaborates within many Jazz, Hip-Hop, and Experimental
music scenes. His works include compositions for the NPR
podcast Snap Judgement, along with co-writes and
production with various groups including: Brijean, Bells Atlas,
Meernaa, Luke Temple and Jay Stone.
Dougie Stu’s ‘Familiar Future’ is a uniquely jazz-attuned
album that is soulful and ethereal. It draws inspiration from
artists and producers like Lonnie Liston Smith, Charles
Stepney, David Axelrod and Alice Coltrane. Stuart has
arrived at a sound that harkens back to the golden era of
soul jazz and R&B, while still sounding contemporary.
The band feature the immediately recognizable guitar
stylings of Jeff Parker (Tortoise), who was one of Stuart’s
biggest influences growing up in Chicago, Maya Kronfeld
(Georgia Anne Muldrow, NYEUSI) on Fender Rhodes, Steve
Blum (Bells Atlas) on synthesizer, percussionists Brijean
Murphy (Toro Y Moi, Poolside), John Santos (Tito Puente,
Dizzy Gillespie) and drummer Hamir Atwal (tune-yards).
Special guests include Marcus Stephans on flute, Shaina
Evoniuk on violin and Crystal Pascucci on cello. The album
was engineered and mixed by Rob Shelton at Tiny
Telephone and he also appears on synthesizer on one song.

Lucky Brown is the alias and stage persona of American composer Joel Ricci, who conducts myriad combinations of musicians drawn from his Seattle Washington based Westsound Recording Collective in dynamic and spiritual public and private happenings. Via his dozens of self-produced experimental deep funk vinyl singles released by Tramp Records over the past 13 years, he has been hailed by music mavens worldwide as a deep funk pioneer.

Deep Blues EP Some Kinda Blues by the Mosquito Hawks is the fruit of a one-off early morning session in a practice room at the Seattle Drum School in 2010 featuring luminaries from the Seattle funk community including fiery guitar phenom Jabrille "Jimmy James" Williams of Delvon Lamarr Organ Trio renown, versatile drummer Jens Gunnoe and dynamic bass player Bob Lovelace. Rounding out the horn section is longtime friend and collaborator Thomas Deakin, who's singular tenor tone will be familiar to owners of the Space Dream and Mystery Road records. A tantalizing glimpse of the session was released by Tramp as a single under the name T.D. & The Jimmy James 3 on the extremely limited edition Mosquitohawk imprint, but this EP offers us time to appreciate the transformative alchemy of the session in its entirety. The new EP makes room for highlights that just couldn't have been contained on one 45, such as the remaining 7 minutes of brutal jamming of Mosquito Eater, the New Orleans street party shout of Hydrangea and the exalted kind of blues of Some Kinda Blues.

On this album, Ricci proves once again that he has developed his own trademark production and sound whose depth and honesty form a basis from which his work will ever remain timeless. Although this is just a 5-track EP we truly hope that the Mosquito Hawks gets at least as much attention as all of Ricci's other marvelous projects he did for Tramp during the past 15 years.

It’s testament to the man they call Medlar, that you never quite know what you might get with one of his releases. WOLF Music family since the early days, his latest mini-LP on the label is no exception. Seven cuts that prove this man can do anything, taking you on an otherworldly, island tour.

First stop, ‘Aerial’, channelling that inner Wally Badarou for a cosmic, sand-stomping chuggathon, heavy on the juiced-up basslines, tripped out synth wizardry and space delay goodness. Your pace quickens, ‘Iguanadon’ rattles the world around you, shamanic echoes swirling through your skull as that acidic stab hypnotises you into a stupor.

Out the other side, you stumble across an ‘Elephant Bingo’. Cup of tea, track three. Slap bass, bongos and synth stabs lifting the spirits.

Back on the beach you drift off into a slice of sleazed up Balearic business, turning the funk dial all the way up to 11 via ‘ELV’. Suddenly things take a trippier turn. Are you dreaming? ‘CR78-108’ booms in the background, pure jungle-tinged, digi dubwise movements.

A few stiff drinks and you’re on your feet again. ‘Phoenix Lights’ New York house stylings pump you with life, even if your hazy brain is still hearing wild echoes all over the place.

How did you end up here, 10 hours later? One too many ‘Sin Prisa’ homebrews no doubt, yet you’re still stompin through, granted it’s of the slow-mo, acid-laced variety though.

What was in that welcome drink Medlar handed you at the start? Who knows, who cares when you get that kinda bang for your buck.

Those who pay close attention to DJ Harvey’s sets should already be familiar with NuNorthern Soul’s next single, a fully licensed reissue of a sought-after 1980 promotional seven-inch from legendary Spanish Flamenco singer Manuel Mancheño Peña, better known as El Turronero (‘The Nougat’).

Both ‘Las Penas’ and ‘Si Yo Volviera A Nacer’ have long been secret weapons in the sets of dusty-fingered Balearic DJs, with Harvey regularly dropping the tracks during his sessions at Pikes Hotel on the White Isle.

Both tracks first appeared on Pena’s 1980 album New Hondo, a set that updated the then veteran Flamenco artist’s sound for the disco era. Whereas most of his previous albums were more traditional Flamenco affairs, New Hondo combined his throaty, effervescent Flamenco singing style with the driving grooves, swooping orchestration and spacey synthesizer sounds of European disco.

To promote the album, Spanish label DB Belter pressed up a promotional “45” featuring two of the most club-friendly cuts on the album. It’s this release that is being reissued for the very first time by NuNorthern Soul.

A-side ‘Las Penas’ is undoubtedly an off-kilter, late-night disco classic. Built around a flanged, action-packed disco-funk bassline, metronomic beats. soaring and layered female backing vocals, intergalactic synth sounds and stirring strings, the track steps up a level when ‘El Turronero’ takes to the microphone to belt out an infectious, energetic vocal in his trademark Flamenco style. It’s the kind of cut that’s as haunting and intoxicating as it is funky and floor friendly.

Flipside ‘Si You Volviera A Nacer’, another of New Hendo’s most sought-after tracks, is another unique and righteous concoction. Looser, groovier and warmer in tone, it sees another sublime, Flamenco style lead vocal from Pena accompanied by even funkier bass, spiralling ’70s synthesizer sounds, sweaty drums and some seriously exotic instrumental flourishes (think sitar and kalimba). It’s every bit as alluring as the more driving A-side, and equally as playable.

Both tracks may be unusual in comparison to the artist’s other releases, but they expertly capture a moment in time, when disco dominated dancefloors all over the world and inspired even the most traditional and historic of European musical styles. Quite a number of flamenco-disco records were made in Spain during the late ’70s and early ’80s, but very few are quite as magical as these.

Wayout Records head honcho, Manchester DJ and producer James Kumo aka K.Mo, takes the reins for their next release ‘Space Funk EP’, featuring man of the moment Byron The Aquarius.

The deep house groove of title track ‘Space Funk’ has Byron on keys, laying down his trademark synth and bassline stabs courtesy of his Prophet 6. The warm and soulful vibes sit alongside driving drum patterns and additional live percussion by Mauskovic Dance Band member Chris Bruining.

The B side opens with ‘Moon Light Shuffle’, delivering a captivating bass line with synth lead melodies accenting the organic solo to die for from the super talented Tim Jules.

Close ‘Inner Soul’ is full of sparkle with heady pads, luscious piano chords again from Tim Jules, elevating this very credible record to a whole other level.

Lisa Milberg and Jon Bergström started their band Miljon over a pitcher of margarita in Mexico City and have since kept busy writing gorgeous little pop-songs in makeshift studios in and around their hometown of Stockholm, Sweden – mostly in their bedrooms and various cabins in various woods surrounding the city, never staying too far from the pine trees.
Having assembled a collection of 13 pieces of proper flaskpost-disko, these demos were passed on to Studio Barnhus’ in-house mixmaster Matt Karmil, who worked his studio magic on the recordings, turning them into a seductively warm and spacious debut album. “Until then, our only expenditures for the album were wine bottles and taxis”, says the band.
This isn’t the first time Miljon has teamed up with Studio Barnhus, the ever-explorative Stockholm dance label. The band collaborated with Barnhus co-founder Axel Boman on the wistful piano-house ballad “Forgot About You” in 2018 (“a summer anthem … a marvel of simplicity” - Pitchfork) and the label’s core personnel are all regulars at Arranging Things, the design store (“Stockholm’s coolest” - Vogue) that Lisa runs with another friend.
Going further back, Miljon isn’t the first musical project of neither Lisa’s nor Jon’s – the former enjoyed her fair share of 00's indie rock success as drummer and eventually lead singer of The Concretes, while Jon has earned a reputation as the hardest working man in several Swedish music scenes, bringing energy and expertise to punk stages around the country as well as Stockholm’s electronic underground.
With Miljon, the two friends make sure to keep it short and sweet, happily celebrating imperfections. “We believe in ‘first thought, best thought’ and try to work on the songs as little as possible, instead trusting a good melody and a nice vibe, not overthinking it. We dare you to find a bridge on this album!”
With “Don’t They Know”, the duo presents not only 13 beautiful songs (perfect for shower-humming, living roomshuffling and warm summer night boombox-blasting alike) but also an album that turns into something grander than the sum of its parts.
“We made it because it’s the kind of album we’ve been wanting to hear ourselves. It’s all quite song-centric these days and it feels rare to find a whole album to step into and stay inside, you know? We hear great songs all the time, but we wanted an album that was its own little universe, with its own mayor, own happy hour, its own yard sales and extramarital affairs.”
“Don’t They Know” is released through Studio Barnhus as a vinyl LP June 18.

BUILDINGS was born out of a creative merger between Detroit’s 313 Acid Queen (Rebecca Goldberg) and Italian maestro Sickboy (Stefano Piseddu), their 4th and 2nd releases on Detroit Underground respectively. The duo have thoughtfully arranged a half dozen tracks inspired figuratively and literally by the landscape of Detroit. Working 7,000km and multiple time zones apart, having never met in person, their individual expressions intertwine in soundscapes reminiscent of techno’s origin and exist in a way only capable in our present time. Devoted as ever to the roots of Detroit techno, Goldberg and Piseddu have built a magnificent album around the Detroit Map Series theme conceptualized by DU label founder Kero and designed by Neubau Berlin.

Opener GUARDIAN pays homage to Detroit’s Art Deco landmark skyscraper exploring rigid textures and a mosaic of tones reflective of the building’s diverse composition.

STRUCTURE escalates through synth leads and drum breaks ascending into a powerful high-rise track.

MCS carves through an array of percussion and crooning acid as you might imagine the sounds of Detroit’s former train depot, at one time used by thousands of passengers per day traveling to and from Detroit.

FOUNDATION’s original mix and rework get down to the literal with vocal samples calling out the project’s muse. Sickboy’s dynamic hits and 313 Acid Queen’s bubbling acid lines are truly reflective of both producers’ individuality within the collaboration.

RENAISSANCE represents a continued era of rebirth and is more literally named for the group of connected skyscrapers whose central tower stands as Detroit’s tallest building.

"Guts finest selection from his DJ sets. Some dancefloor classics and some discoveries"

Any DJ set tells you, unconsciously or not, about its author.

Through the record choices and the way they are organized, one can feel the DJ’s state of mind and find out a bit more about the musical deposit discovered that is being shared and dug through by him or her at the moment.
The appetite for diggin’, the quest for a novelty or a forgotten rarity is what makes a DJ set a true organic living matter constantly fueled although not always, unfortunately, respected.
Time stretching. Too many DJ’s made a pact with this diabolical creature. A true digital steamroller that runs over the rhythm to fix the tempo while leaving behind an agonizing drummer whose sole crime was to have been carried away by his energy and having moved forward the BPM. At the end, everything that gave charm and life to the track, its imperfections and the peculiar fact that it makes you dance faster towards its end… all these along with all the lively movements contained within the track are reduced to nothing.

My conception of music and DJ sets is the exact opposite. Since the first volume of Straight From The Decks, my DJ sets have been redesigned, refreshed and improved. However, there was no preexisting plan, they evolved naturally following my new desires.

The famous core of my indispensable musical choices started to morph little by little into something different without losing sight of its center of gravity which remains undoubtedly afro-tropical.
No matter which track, its style and its origin, the quality of the music that is brought to my ears is always my sole and primary concern.
In this selection, you’ll find 7” vinyl records available to everyone sitting proudly next to some rarities found online and acquired through nerve-raking auctions battles. There are indeed exclusive remixes along with titles that until now were only available in their digital formats. Now for the first time they are available here in vinyl format. Obviously, if you have chosen the CD format, that precision doesn’t really matter…
Sixteen titles which have become the heart of my sets throughout this past year.
A heart which in a year will beat to a certainly different drum…
Pura Vida
Gutsto attend the next one..."

The Scientists’ powerful brand of deranged swamp-rock returns with
a vengeance as In the Red Records unleashes Negativity, an allnew
magnum opus featuring the first new full length album by the
Australian band’s penultimate line-up in thirty-five years.
The bruising eleven-track collection features a Scientists
configuration much beloved by connoisseurs of the band’s work:
singer-guitarist Kim Salmon, lead guitarist Tony Thewlis, and bassist
Boris Sujdovic, all veterans of the group’s defining 1981-85 outfit,
and drummer Leanne Cowie, who replaced drummer Brett Rixon on
the storming 1986 release Weird Love.
A solid crop of fresh originals is highlighted by the opening
statement of purpose “Outside”; the offbeat, yowling waltz “Naysayer”;
the hilarious, self-mocking “Suave,” which Salmon says was inspired
by the work of his countrymen the Moodists; and the utterly surprising
“Moth-Eaten Velvet,” a Velvet Underground homage in ballad form
that features a three-piece string section. Instrumental guests on the
album include producer Mumford, who contributes trombone on
“Make It Go Away,” and Salmon’s daughter Emma, who essays piano
and background vocals.
Negativity is the third Scientists release and the first fulllength
album for In the Red. The current quartet cut the single
“Braindead”/“SurvivalsKills” in 2018 and the five-song 2019 EP
9H2O SiO2, the title of which translates (in a hat tip to the lyrics of
the group’s classic “Swampland”) as Nine Parts Water, One Part Sand.
Those recordings were issued in conjunction with the group’s first two
U.S. tours during that period.
Raw, freewheeling, and spattered with the high-voltage sound, the
Scientists have drawn from such influences as the Stooges, Suicide,
the Gun Club, and the Cramps, Negativity is jubilant, unpredictable
listening.

In the past years, the multi-instrumentalist, composer, producer and music enthusiast Jeff Özdemir had been focusing on organising the Live-Mixtape series in Berlin, inviting numerous artists to join him on stage for every single event. However, the year 2020 put an end to this for all the painfully obvious and obviously painful reasons. Undeterred, he instead put together the third instalment of the »Jeff Özdemir & Friends« series, working with singers, musicians and groups such as Knarf Rellöm & DJ Patex, F.S. Blumm, Joanna Gemma Auguri, Elke Brauweiler and Elmer Kussiac for an 18-track … Now, is this a compilation or an artist album? Well, why just either this or that when it can just be both at once? This is »Jeff Özdemir & Friends Vol. 3« after all, emphasis on »&«.

Released on Karaoke Kalk like its two predecessors from the years 2015 and 2017, respectively, »Jeff Özdemir & Friends Vol. 3« sees the man behind Kreuzberg’s 33rpm record store and the 33rpm Records label showcase his qualities as a people remixer, songwriter and versatile musician. He put together a collection of groovy tunes picking up on funk and afrobeat rhythms, introspective ballads, a musically channeled punk attitude, shoegaze sentiments, spoken word passages, drones, glockenspiel sounds, seriously fun experimentation and much more. Just like on the cover artwork - courtesy of Marion Eichmann, Özdemir’s favourite visual artist - everything here seems to discreetly exist for itself while being tightly connected to everything else at same time.

While artists like Ertan Doğancı, Désolé Léo, eng°n, F.S. Blumm and Zap have been long-term collaborators of Özdemir and were featured on previous instalments of the »Jeff Özdemir & Friends« series, new faces and forces also enter the mix. The melancholic »Love Letters« for example marks the first (though hopefully not last) collaboration with singer Joanna Gemm Auguri, while Knarf Rellöm & DJ Patex’s appearance has been dreamt of collectively but hasn’t been fully realised until now.

Whether it’s Désolé Léo’s French crooner soul, the lo-fi synth pop song »Bored« featuring former Commercial Breakup singer Elke Brauweiler or the many different sounds and styles presented under the name Jeff Özdemir: no decision is ever made between either that or this musical direction, but all are being joyfully enjoyed together. Thus, throughout its 70 minutes, the stylistic diversity of »Jeff Özdemir & Friends Vol. 3« does not once border on randomness. Instead, these sometimes very different songs are marked by a shared atmosphere - a direct result of these very different musicians approaching their studio time together less as a chance to make music but more of a chance to carefully listen to and interact with each other.

Just like you’d expect it from someone deeply connected with the local music community who also happens to run a record store, Özdemir is also the kind of person who’ll hand you the worn copy of a record he has just fished out from the bargain bin because he knows about its potential to change your life. The contributions by Vackrow (»Kleistpark«), Gebrüder Teichmann’s old band BeigeGT (»Disco«), and Otto von Bismarck (»Zu viele Erinnerungen«, produced by The Whitest Boy Alive’s Daniel Nentwig) do not even feature Özdemir, but are simply musical pearls that were (almost) lost in the shuffle of music history and unearthed for this very special occasion. That’s just what friends do, don’t they?

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios.

Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. On Air turns 25 in 2021. This is a limited 25th anniversary edition on transparent vinyl. The package includes an insert with lyrics and pictures.

‘Miracle’ is the new album from Manchester singer songwriter Francis Lung,
released on Memphis Industries.
“For me, ‘Miracle’ is about the struggle between my self-destructive side and my
problem-solving, constructive side,” says Francis. “I suppose through a lot of
these songs I’m dealing with these emotional problems, acknowledging the
negative aspects of my behaviour instead of burying them, and providing an
alternative point of view for myself.”
Despite its serious subject matter, ‘Miracle’ is far from austere in sound, marrying
the cinematic, dreamlike quality of Francis’s earlier music with the pared-back
charm of great singer-songwriters like Judee Sill, Jeff Tweedy and Elliott Smith.
The album opens with ‘Bad Hair Day’, a relentlessly catchy - and deceptively
upbeat - ode to hangovers and missed connections. “I’ve been calling on you all
night / But I never get through, I just get in the way” Francis laments; “I am a
cloud in the sun’s light / Whatever I do, whatever I say.”
Elsewhere, the title track finds him pondering the fickle nature of the music
industry: “I think of [‘Miracle’] as acknowledging and even encouraging the
feelings we’re not supposed to succumb to - giving up, giving in - just because it
can be comforting to hear it from someone else. ‘Why am I climbing these social
ladders and jumping through the hoops of this creative industry? Does this make
me happy?’”
These themes of longing and lacking, missing and being missed, reoccur
throughout ‘Miracle. “When I die / Will I be missed / Or am I missing the point?”
asks ‘Say So’; while ‘Lonesome No More’, inspired by the Kurt Vonnegut book of
the same name, begs the question: if loneliness was eradicated, would we miss
it?
By confronting these feelings, Francis is able to move forward, as triumphant
album closer ‘The Let Down’ proves. Its lyrics serve as a call to action, as
Francis wills himself (and the listener) to “Get up / Get something going / Do
something, do it / Do it now.”
‘Miracle’ was produced by Francis in collaboration with Brendan Williams (Dutch
Uncles, Matthew Halsall, Kiran Leonard) and Robin Koob (who co-arranged and
performed strings). The opportunity to take creative control was one Francis
relished. “I’m quite bad at delegating,” he admits, noting that he played every
instrument except strings on ‘Miracle’. The result is a cohesive, deeply personal
record, which is as vital as it is vulnerable. “I don’t want to be defined by my
anxiety, my depression or any history of substance abuse,” Francis says, “but I
do want to reach out to other people who have had similar experiences,
especially if it’s in a way that helps them feel a little better. To me, this music is
celebrating healing as much as it focuses on the darker sides of the human
psyche.”

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

London-based musician Harriet Zoe Pittard aka Zoee has been described as an artist who writes 'personal pop for people who don't fit in' (Huck Magazine). Previously, Zoee has released singles through Ryan Hemworth's 'Secret Songs' imprint and Vegyn's label Plz Make It Ruins, as well as guesting as a vocalist on tracks with Hot Chip's Joe Goddard and with hyper-pop collective PC Music.Over the past two years Zoee has taken some time to nurture her voice and her sound. Her debut album 'Flaw Flower' is due on June 25th. 'Flaw Flower' is an honest and vulnerable glimpse into Zoee's interior world, a world she creates through marrying her real-life phone notes with imagery taken from modern works of literature such as "The Flowering Corpse" by Djuna Barnes, Sylvia Plath's "A Winter Ship" and Maggie Nelson's "Bluets". Through these 11 new songs, Zoee delves deep into her own emotional life, combining aspects of the everyday with the surreal in order to uncover the beauty found in being flawed. The record nods to the avant pop of the 80s, an era that Zoee has always been drawn to thanks to the expressive and trailblazing music of women including Anne Clark, Joan Armatrading, Cyndi Lauper, Rose McDowall and Anna Domino. The album is characterised by a mix of hi-fi and lo-fi instrumentation. 'The Loft' features a free jazz solo from acclaimed experimental saxophonist Ben Vince alongside stock GarageBand synths. 'Host' combines home demo backing vocals with an elaborate baby grand piano solo. Zoee sources foley sounds from YouTube and pulls from her own domestic field recordings, such as a microwave buzzing in 'Microwave' and a shower running in 'Evening Primrose', often using these sounds as the starting point for the songs. Maintaining intimate bedroom elements whilst developing a more expansive band sound, felt integral to the project, since that's where Zoee's writing process often starts, sat on her bed with her laptop and midi keyboard. Writing for the album began in October 2018 when Zoee started working closely again with friend and long-term musical collaborator Rowan Martin. As the material for the record began to take shape the writing and recording process also evolved with the addition of bassist Kyrone Oak and keys player Laura Norman, as well as contributions from Ben Vince and London pop artist Saint Torrente. "I feel like the songs on this album took me deeper into myself, the sad song that I thought was about a boy is still about that but it's also about loss, about self-determination, about not losing hope, about memory, about domesticity, about detachment, about my dad, about my mum, about change, about feeling incredibly alone, about growing up."

Wild One: Think funky, flowing rap vocals. Warm heavy drums, funky horn melodies and dirty basslines. Think Jurassic Five and 90’s Boom Bap Hip Hop! What makes “Wild One” different is the unique production style of DJ X-Rated. Using rare vintage samplers and animal nature recordings in the percussion of this record.
Andy Cooper is an accomplished songwriter, performer, producer and arranger who hails from and resides in Long Beach, California. Andy helped form and produce the Hip-Hop trio Ugly Duckling which, over the span of 20 years, released six albums while frequently touring the globe, their success has taken them to over 30 countries. Recently, Andy wrote 16 songs for ‘Recorded In Hollywood’, a musical about the famous, Los Angeles record shop ‘Dolphins of Hollywood’.

Adopted Berliner hailing originally from the US, Kyle Geiger is not just an experienced DJ and producer, having already released on staple techno imprints Soma, Perc Trax and Droid, but also a budding production teacher via his Twitch livestream started during the first lockdown of 2020. When he’s not sharing knowledge about DAWs and shedding light on diverse voices in the music scenes, he also runs his labels Cubero and Front Left.

Across three techno excursions, collectively dubbed 'Bellhouse' and numbered 1 to 3, Kyle uses recurrent themes and motifs to craft intricate techno rollers in different forms. 'Bellhouse 1' stands out as a peak time dancefloor track, complete with heavy-hitting percussion, a dramatic lead and scintillating hi hats. 'Bellhouse 2' on the other hand comes off as a more subtle, restrained groove, whose nervousness can keep the energy high, while the third track can be found more on the dubby side, with metallic synths and mechanical whirs atop a steadily evolving marching bass. Hosts Rebar take on 'Bellhouse 2' giving it their own spin - distilling its fidgety atmosphere into a more anchored, mind-bending slow burner.

A few years ago, Don Zilla was sat alone in an internet cafe teaching himself FL Studio, dreaming of becoming one of Africa's greatest music producers. These early experiments evolved into 2019's "From the Cave to the World", an EP that showcased Zilla's rare fusion of eerie industrial electronics, lurching bass and constantly-shifting East African rhythms. Now the manager of Kampala's Boutiq Studios, Zilla returns to Hakuna Kulala with his eagerly-awaited debut album "Ekizikiza Mubwengula", a labyrinthine album that weaves freewheeling dance sub-genres into a bejeweled tapestry, signaling a path to the future. There's the cybernetic 'nuum funk of dBridge, Emptyset's overdriven, cacophonous anxiety, the hyper-paced airlock club ofShanghai's Hyph11E and the confrontational intensity of Dreamcrusher; everything is melted into a groove-fwd whole that's tough to resist. Tangling trap into slippery, atmospheric doom-step on 'Buziba', experimenting with uptempo, Slikback-esque rhythmic complexity on 'Tension' and reshaping noisy industrial ambience on 'Shots', Zilla uses the album to continuously challenge expectations, folding sounds in on themselves Inception-style and allowing fresh rhythms, textures and forms to peek through. It's a bold step from a central character in East Africa's rapidly-growing stable of paradigm shifting experimental club producers.

Clint Mansell and Clint Walsh’s reimagining of Lou
Reed’s 1973 album ‘Berlin’ as a tribute to
Mansell’s late partner Heather who passed away
in 2014. Now available on vinyl.
Pressed on neon pink vinyl and housed in a deluxe
spined sleeve with spot varnish polaroid image.
The record itself comes housed in a double sided
printed inner sleeve with digital download card
included.
Mansell is best known as the former lead singer of
Pop Will Eat Itself and as a composer for films
such as ‘Requiem for a Dream’ and ‘Black Swan’.
Walsh is a multi-instrumentalist and founding
member of Tweaker and is known for his work with
Courtney Love, Gnarls Barkley and many others.
Mansell and Walsh worked previously together on
the score for ‘Black Mirror’ episode ‘San Junipero’.
“The ‘Berlin’ they've made together isn't a copy in
style, however: instead, it conjures up the sounds
of jangly goth-pop, early ‘90s synth, and classic
singer-songwriter balladry.” - The Quietus

This was the ardent wish of thousands of fans calling out to Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner and Dani Löble during the PUMPKINS UNITED WORLD TOUR - and their dream has come true! With the upcoming album, simply titled HELLOWEEN, the band opens a new chapter after 35 years of a glorious career. The future of one of the most influential German metal bands from now on will feature three singers. Originally planned for the live performances only, it was the birth of a unique seven piece metal alliance.

Dani Löble: ”This record is the coronation of the PUMPKINS UNITED journey! Still today I am fascinated by the different character traits and facets of the HELLOWEEN history. As an example I’d like to point out the legendary voices of Michi, Andi and Kai. To enjoy them now together on one record, under one flag is the ultimate HELLOWEEN experience”. It is therefore not surprising that the pre-release single SKYFALL, a 12 minute epos written by Kai Hansen, has the long yearned “Keeper-vibe” - even if the long player can by no means be limited to it. SKYFALL implies the musical arch which will be loved by fans of every era. This first album of a new age is taking the fans from unforgettable memories of the fifteen studio records and four live CD’s to new adventures. SKYFALL begins with a bang. The epic track describes an alien landing on earth and a dramatic chase while Kiske, Deris and Hansen duel with each other in a breathtaking manner and create a vocal broadband adventure. Produced by Martin Häusler, it is the most elaborate video clip in the history of the band; shown with 3-D animation and having a cinematic look, this video is a real high-end experience.

”FEAR OF THE FALLEN” – the second single is a fast paced, melodic track done the way only Deris can do it. ”I had so much fun not only writing a song for my voice but also for one of the greatest singers out there. I always have an extremely broad smile on my face when I hear Michi singing my melodies“, says Deris and Kiske adds: ”The whole process, including the spirit, was just ideal. If I had the feeling that one of the parts would not be really fitting, I asked Andi if he would sing it and vice versa. There was no competition whatsoever – what counted was what is best for the respective song. I am thankful to be (again) a part of this crazy family. I love them all”. Along with massive album tracks such as HELLOWEEN classic and album opener “OUT FOR THE GLORY“, the epic “DOWN IN THE DUMPS”, both written by Weikath, the power metal shouter “MASS POLLUTION“ by Deris and Grosskopf’s scuff proof rocker “INDESTRUCTIBLE“ (which could be an analogy towards the unbreakable career of the band), the album release is flanked by the ‘party-track‘ of the record, “BEST TIME“. Lyrically the song by Sascha Gerstner reminds of the good old days, musically it´s convincing with confident HELLOWEEN style guitar harmonies and a chorus that stays in your long-term memory after hearing it for the first time.

“HELLOWEEN“ offers a complete metal universe within 12 songs. The base of this milestone album was already erected in the studio: using the original drum kit of Ingo Schwichtenberg, the recording was done with the same modulators at the Hamburg HOME studios where back then ”Master Of The Rings“, ”The Time Of The Oath“ and ”Better Than Raw“ were recorded. Completely analog and under the eyes of long term producer Charlie Bauerfeind and co-producer Dennis Ward, the UNITED impact travelled to New York and got the final mix in the Valhalla Studios of Ronald Prent (Iron Maiden, Def Leppard, Rammstein).

Returnee Kai Hansen reflects: ”Being in the studio with my old companions after 30 years was very emotional for me. But at the same time it was a completely different experience with the ‘new‘ boys. The collaboration of different songwriters and strong characters made the album very special: a unique mix with reminiscences from all chapters of the band’s history. HELLOWEEN is a big part of my life and I am looking forward to celebrating the songs live for and with our fans“! From another perspective Markus Grosskopf agrees: ”For me, being one of the last “survivors” who played every note from the beginning, it was a fantastic experience and a very emotional process. I think everyone can hear it on this album. I love it“. When it came to capturing the larger-than-life emotions in the artwork, it quickly became clear that it was only possible as a handmade painting on which the important topics of the band's history are processed. The work of Berlin based artist Eliran Kantor has achieved this and visually underscores the fact that the band cherishes all parts of their history. With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing the essence of the band was never more solid. This is the beginning of something big – here comes HELLOWEEN!

This was the ardent wish of thousands of fans calling out to Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner and Dani Löble during the PUMPKINS UNITED WORLD TOUR - and their dream has come true! With the upcoming album, simply titled HELLOWEEN, the band opens a new chapter after 35 years of a glorious career. The future of one of the most influential German metal bands from now on will feature three singers. Originally planned for the live performances only, it was the birth of a unique seven piece metal alliance.

Dani Löble: ”This record is the coronation of the PUMPKINS UNITED journey! Still today I am fascinated by the different character traits and facets of the HELLOWEEN history. As an example I’d like to point out the legendary voices of Michi, Andi and Kai. To enjoy them now together on one record, under one flag is the ultimate HELLOWEEN experience”. It is therefore not surprising that the pre-release single SKYFALL, a 12 minute epos written by Kai Hansen, has the long yearned “Keeper-vibe” - even if the long player can by no means be limited to it. SKYFALL implies the musical arch which will be loved by fans of every era. This first album of a new age is taking the fans from unforgettable memories of the fifteen studio records and four live CD’s to new adventures. SKYFALL begins with a bang. The epic track describes an alien landing on earth and a dramatic chase while Kiske, Deris and Hansen duel with each other in a breathtaking manner and create a vocal broadband adventure. Produced by Martin Häusler, it is the most elaborate video clip in the history of the band; shown with 3-D animation and having a cinematic look, this video is a real high-end experience.

”FEAR OF THE FALLEN” – the second single is a fast paced, melodic track done the way only Deris can do it. ”I had so much fun not only writing a song for my voice but also for one of the greatest singers out there. I always have an extremely broad smile on my face when I hear Michi singing my melodies“, says Deris and Kiske adds: ”The whole process, including the spirit, was just ideal. If I had the feeling that one of the parts would not be really fitting, I asked Andi if he would sing it and vice versa. There was no competition whatsoever – what counted was what is best for the respective song. I am thankful to be (again) a part of this crazy family. I love them all”. Along with massive album tracks such as HELLOWEEN classic and album opener “OUT FOR THE GLORY“, the epic “DOWN IN THE DUMPS”, both written by Weikath, the power metal shouter “MASS POLLUTION“ by Deris and Grosskopf’s scuff proof rocker “INDESTRUCTIBLE“ (which could be an analogy towards the unbreakable career of the band), the album release is flanked by the ‘party-track‘ of the record, “BEST TIME“. Lyrically the song by Sascha Gerstner reminds of the good old days, musically it´s convincing with confident HELLOWEEN style guitar harmonies and a chorus that stays in your long-term memory after hearing it for the first time.

“HELLOWEEN“ offers a complete metal universe within 12 songs. The base of this milestone album was already erected in the studio: using the original drum kit of Ingo Schwichtenberg, the recording was done with the same modulators at the Hamburg HOME studios where back then ”Master Of The Rings“, ”The Time Of The Oath“ and ”Better Than Raw“ were recorded. Completely analog and under the eyes of long term producer Charlie Bauerfeind and co-producer Dennis Ward, the UNITED impact travelled to New York and got the final mix in the Valhalla Studios of Ronald Prent (Iron Maiden, Def Leppard, Rammstein).

Returnee Kai Hansen reflects: ”Being in the studio with my old companions after 30 years was very emotional for me. But at the same time it was a completely different experience with the ‘new‘ boys. The collaboration of different songwriters and strong characters made the album very special: a unique mix with reminiscences from all chapters of the band’s history. HELLOWEEN is a big part of my life and I am looking forward to celebrating the songs live for and with our fans“! From another perspective Markus Grosskopf agrees: ”For me, being one of the last “survivors” who played every note from the beginning, it was a fantastic experience and a very emotional process. I think everyone can hear it on this album. I love it“. When it came to capturing the larger-than-life emotions in the artwork, it quickly became clear that it was only possible as a handmade painting on which the important topics of the band's history are processed. The work of Berlin based artist Eliran Kantor has achieved this and visually underscores the fact that the band cherishes all parts of their history. With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing the essence of the band was never more solid. This is the beginning of something big – here comes HELLOWEEN!

Chart-breaking German folk rock institution SUBWAY TO SALLY have carved a unique live experience in stone with their upcoming release, Eisheilige Nacht: Back To Lindenpark, out on BluRay/DVD/CD on June 18, 2021 via Napalm Records. Since their foundation in the early ‘90s, SUBWAY TO SALLY have established themselves at the top of the scene. Having released thirteen studio records so far, the seven-piece featuring the remarkable Eric Fish on vocal duties never fails in surprising their devotees with an ingenious symbiosis of folk, heavy metal and rock. In the course of time, it became a tradition to celebrate every year with numerous fans and a final live show on December 30. What started as Eisheilige Nacht - with sold out solo-gigs in the band's hometown of Potsdam at the venue Lindenpark - turned into a whole annual festival tour shortly after, where top-notch bands heeded the call to join SUBWAY TO SALLY for some magical evenings. Due to the pandemic, 2020’s edition couldn’t take place in its usual form. As a result, the German folk rock unit decided to offer an unforgettable lockdown live event which they hope will be a unique way to fill the gap until they return to the stage. SUBWAY TO SALLY returned to Lindenpark and - supported by many great artists like Chris Harms (Lord Of The Lost), Joachim Witt, Feuerschwanz, Schandmaul, Saltatio Mortis, Major Voice and Patty Gurdy - created an extraordinary live experience. In an intimate setting, the recording starts with “Messias” and “Königin der Käfer” from the band’s latest chart-breaking full-length, Hey! (DE #5). SUBWAY TO SALLY then continue to not only travel through their own discography with songs like eerie “Unsterblich”, animated “Tanz auf dem Vulkan” and live-sensation “Grausame Schwester”, but also present a bunch of enchanting features as well: Don’t miss when highly talented Birgit Muggenthaler-Schmack and Saskia Forkert (Schandmaul) join SUBWAY TO SALLY for Schandmaul’s “Dein Anblick” and a premier version of “Kleid aus Rosen”, or when the band sets the exceptional stage on fire for an explosive performance with Saltatio Mortis on their hit “Sie Tanzt allein” - just to name a selection.

Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians, who've taken on jazz as their musical narrative. On his new album Bring Backs the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, Antiphon and the 2019's album Structuralism were both self-released on his Sekito label. His latest endeavour, 2021's Bring Backs, sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.

Since first emerging in the latter half of the noughties, Guillaume Metenier’s Soul Sugar project has evolved considerably. Initially a trio built around the virtuoso organist’s love of ‘60s and ‘70s soul-jazz and Hammond funk – Metenier studied under jazz organ legend Dr Lonnie Smith – Soul Sugar is now a collaborative collective that draws just as much influence from classic Jamaican dub and reggae as the works of Jimmy Smith and Jimmy McGriff.

The outfit’s musical evolution comes into sharp focus on Excursions in Soul, Reggae, Funk & Dub, a collection of hard-to-find tracks that have been released at different points, and on different vinyl formats, over the last three years. Taken as a whole, the set offers a stunning snapshot of Soul Sugar’s rapidly expanding catalogue of classics. Metenier is once again at the controls but this time round Soul Sugar’s cast list of contributing musicians includes Sly & Robbie, Blundetto, Lone Ark, Slikk Tim, Thomas Naim and honey-voiced soul singer Leo Carmichael. Metenier also stars as a musician, providing lively and ear-catching organ solos under his now familiar Booker Gee alias.

What’s most noticeable from the off is the richness of the reggae riddims, the warmness of the instrumentation and the effortlessly soulful nature of the music. This is particularly evident on the collective’s stunning covers of Luther Vandross’s "Never Too Much" and Marvin Gaye’s "I Want You": effortlessly sunny and life-affirming interpretations that re-imagine the tracks as sumptuous slabs of reggae-soul and provide a platform for Leo Carmichael’s inspiring and comforting voice. Metenier and friends’ take on dub reggae – toasty, authentically bass-heavy and seeped in analogue effects – can also be admired on "Matumbee" and "Cool Down", the latter a digi-dub influenced affair rich in colourful synths sounds, echoing delay trails and sub-bass so deep it will rattle your teeth. Both also contain lusciously jazzy guitar licks and some incredible keys-work from Metenier.The guiding hand of Spanish multi-instrumentalist and producer Lone Ark can be heard on album opener "Aximites" – think Lee ‘Scratch’ Perry producing Jimmy Smith – and "Faith", an expertly breezy concoction that sports Jackie Mittoo-esque Hammond B3 solos from Metenier over a luscious backing track that sounds like something that may have emerged from Studio One in the mid 1970s. The collective’s love of Studio One is explored further on a sweaty, reggae-funk cover of "Greedy" that features fabulous drums, bass and guitar from Slikk Tim, while "Out In The Rain" is an authentically sparse, spaced-out dub number laden with fluid instrument solos and devilishly heavy riddim.
Part compilation, part artist album, part collaborative celebration of dub-soul fusion, Excursions in Soul, Reggae, Funk & Dub is the strongest statement yet of who Soul Sugar are, and where they’re going.

FUSE revisit Rich NxT’s debut album as they welcome Skream, Seb Zito, Guti and Rossi to remix Natural and Other Side from the highly acclaimed album.

FUSE look set to build on Rich NxT’s much-lauded album in notable fashion as they welcome electronic heavyweight Skream as he steps out on FUSE for the very first time,whilst welcoming the long-awaited return of long-standing FUSE family member Seb Zito who returns to the imprint for the first time since late-2019. A wonky, off-kilter, and warping affair, Skream’s take journeys down a twisting trail of elastic analogue rhythms, sweeping electronics and tripped out cuts of Shyam P’s vibrant vocal to take things firmly into after-hours territories, before Seb Zito’s slick interpretation harnesses an abundance of rich UK flavours as skipping garage-tinged drums meet hazy pads, resonant top lines and skittering melodies to close the show in style.

On the flipside the London imprint welcomes two close friends in Argentinian favourite Guti and rising-UK talent Rossi. to offer up fresh interpretations of NxT track ‘Other Side’ featuring Shyam P. Up first, the always excellent Guti offers up his slick and classy remix, welcoming a signature blend of rolling organic percussion beneath snaking top lines, groove-fuelled bass licks and Shyam P’s infectious and hazy vocals, whilst Rossi.’s no-nonsense remix sees the UK hotshot draw for rumbling sub-bass, icy hats and sharp drum licks throughout his driving take on the production.

Suburban Bases favourite duo Krome & Time rare DAT studio masters saved!
Krome & Time provided the very first Suburban Base release that launched the now legendary label, under the alias Kromozone catalogue number SUBBASE 001 set the tone for the label that became and integral part of the development of Rave and Breakbeat Hardcore into Jungle and Drum & Bass!

So who better to kick off the relaunch of such a revered brand than the legendary duo that started it all KROME & TIME! With brand new sleeve design from original SubBase illustrator Dave Nodz!

Having accessed a long forgotten storge facility and discovered a treasure trove of Suburban Base master tapes, we struck gold when we found box after box of unreleased and exclusive master recordings from some of the biggest artists within the SubBase family.

The two exclusive tracks that make up this release were huge dubplate only specials and have never been released as vinyl singles or digitally. Finding the master copy of the once thought lost 'Original Juggling' was incredible, the song is much asked after and as an album exclusive on the 1995 Telepathy Dub Plate Special was never given a full release only appearing on that project.

‘Non-Stop Rocking’ was a 1995 dubplate recorded specifically as an album exclusive for the legendary Drum & Bass selection album project and stayed exclusively on dubplate receiving extensive club and radio play whilst remaining only available within D&B selection.

These sought-after tracks remained stuff of legend never having had a digital release or full vinyl release… until now! From the original master tapes of Suburban Base we present this slamming 12inch from Krome & Time

As a New Era beckons globally, Manchester’s primo Manctalo merchants – Red Laser Records – quietly unveil their latest clutch of specialist space-age kinetics. A fifth-kind encounter enabling users to bridge the continuum of dance & interaction between our Earth-dwelling selves and the inter-dimensional overlords.

Containing three brand new movements in machine music from our treasured production stable of Kid Machine, Bob SwanS and Il Bosco; it also houses an honorary appearance from revered Danish spearhead Flemming Dalum, who serves up a particle-splitting redux of a lesser-known proto-techno nugget from Belgium. Dalum’s been traversing the star-clusters on his own intrepid missions for a while, so we’re mega buzzed to have him back on the RL mothership.

Stretford based synthesizer technician, Bob SwanS has been drafted in specifically by RL head Il Bosco for his advanced skills on the patch bays. “Aphelion Run Theme”, the point of which an object’s orbit is furthest from the Sun, vividly detailing in sound the journey our collective consciousness must undergo in order to reach the Highest Elders. We highly recommend utilising this track alongside Dr. Greer’s outstanding work with extra terrestrials.

KID Machine’s celebratory, vocoder-led Manctalo message: “It’s The K.I.D” is a sonic motif to our interplanetary relatives; this cybernetic b-boy’s way of spray painting the Red Laser logo over Proxima Centauri B’s subway network in neon-blue, pyroxene paint.

Bosco lets loose with one of his most impassioned creations to date too. “We Almost Lost Oddbins” previously titled: “Save Our Scene”, a universe-wide cry for help recorded when worldwide limitations on dancing and human co-exchange were at their most aggressive; its nonetheless positive outlook inviting us all to look both inward and outward for solutions in the New Normal.

Encased within a striking monolith art print, depicting the mystic energies of ancient galaxies it heralds the now widely-accepted belief that we are in no way alone in this universe and that channels of communication between more advanced civilisations than ours have already begun…

To reveal to the world all the musical riches of Mali, and more particularly the music of the Mandé region, cradle of the great griot families, is the highly laudable purpose of this LP The Lost Maestros Collection. To perpetuate and transmit this ancestral musical history, The Lost Maestros Collection brings together 8 wonders of Mali who have each in their own way managed to develop this tradition towards more modern and electrified countries and associates pioneers of Mandingo music and actors of the young post generation.

The Lost Maestros Collection is the result of the collaboration between Deviation Records, newly created by Phil Margueron and the independent Malian label Mieruba, which has been working since 2010 to ensure that this golden age of Mande music does not fall into oblivion. Aware that these nuggets are not eternal, Mieruba, based in Ségou on the banks of the Niger river and capital of the former Bambara kingdom, undertook for eight years the preservation of this musical heritage by putting these 16 pieces on tapes at the Kôré studio de Ségou as well as at the famous Bogolan studio in Bamako.

LP black vinyl with Download Code. Ltd. Edition of 500. "Free-spirited rapture" Gareth Thompson RNR Magazine Nov 2020. A statement of intent from The NJE. Spirit of Indo takes up the whole first side of their RSD 2021 mini-album - and it certainly doesn't outstay it's welcome. Improvised over a gently incessant yet soporific loop, bassist Mark Bedford and drummer Simon Charterton fall in and out of grooves while multi-instrumentalist Terry Edwards deftly moves between saxes, trumpet and melodica to invent topline melodies within that comfortable straitjacket. As the track progresses bigger instrumentation is suggested by the tunes - and so the track builds with more horns and percussion, the resulting climax making way for the comforting loop to bring us back down to the start. Side 2 opens with an instrumental version of Bowie's Five Years, even more pared down than Edwards' previous take on the tune for a John Peel session in the nineties. Bedders' acoustic and electric basses weave around each other while Simon's understated cymbal-work buoys up the fragile melodica melody. Tizita raises the tempo slightly and is inspired by Ethiopian jazz-legend Mulatu Astatke who Terry had the pleasure of working with a few years back. Title track Nought to 60 is driven by Teutonic beats on electronic Wave drum, a Motorik bassline and heavily effected saxes which thunder towards the buffers - after which you'll want to flip the album and start all over again.

Simoncino is back on the iconic label that launched his career: SKYLAX RECORDS. In the meantime, he has become a benchmark artist in particular for his passion, his extreme mastery of analog material and his ability to craft dream like soundscapes and mystical house atmospheres; who has seen him collaborate in recent years with the biggest names in house: Larry Heard, Boyd Jarvis, Tevo Howard and Robert Owens on excellent labels such as Lies, Vibraphone, Crème organization, Hotmix or Mathematics. For this new release, the fruit of a maturation of several months in his studio, the made in Perugia prodigy has once again surrounded himself with the master of chicago house, the legendary Merwyn Sanders of Virgo Four (who already appeared as a remixer on the Warrior Dance part 4 in 2012 on SKYLAX) on vocals. Its inimitable style is a clever mix of chicago house tinged with the most classy techno touches, “on the dance floor” will delight both fans of the purest house but also those who are also followers of the original techno made in detroit. A mix brilliantly revealed by the golden voice of Merwyn Sanders. On the B-side, the pair reward us with a high-end remix signed by the brilliant and bulimic producer from La Hague, the furious madman Danny Wolfers aka Legowelt. To conclude, the title In Viaggio reminds us how much Simoncino is also able of creating real house bombs that send us straight into the stratosphere. ON THE DANCEFLOOR we tell you.

This album was recorded in 1977 and produced by Status Quo’s FRANCIS ROSSI. Shockingly, this album has never been released on vinyl until now. It originally came out on CD in 1992 and is now long out of print and even that goes for good coin.

Du Cann’s stellar career included freakbeat heroes THE ATTACK (“Magic In The Air”), psych/prog legends ANDROMEDA, and the group he’s best known for, ATOMIC ROOSTER. Du Cann wrote their their #4 hit single “Devil’s Answer”. A couple of years later he was in DAEMON, later renamed BULLET, then HARD STUFF. In 1974 he was even a temporary guitarist for a THIN LIZZY German tour.

In 1977, he was signed to the same management company as STATUS QUO, who paired him with Quo leader, Francis Rossi. The resulting album, “The World’s Not Big Enough” included Rossi on guitar, Andy Bown (The Herd, Judas Jump, Status Quo) on keyboards, Pete Kircher (Honeybus, Status Quo, Liverpool Express) on drums, and John McCoy (Ian Gillian, Tyla Gang, U.K. Subs) on bass. Basically, this is Du Cann backed by Status Quo at their Belt Buckle Boogie peak.

A few songs from this album appeared on killer late 70s Punxploitation singles “Throw Him Jail”, “Don’t Be A Dummy” (a UK Top 40 hit!), and “Where’s The Show”. This album has been described as “Quo mixed with the Sex Pistols”, and we can’t disagree with that assessment.

I tend to exist in the darker parts of the psyche, Jim Ward admits. “That’s where I’ve always been.” And yet what makes the musician so unique and downright compelling is how exactly at the moment when the world joins him in the darkness — take, for example, the ultra-challenging year that was 2020— it’s then Ward is able to claw his way back into the light. “All I was doing was basically meditating with a guitar,” Ward says of how every night during the pandemic,armed with a guitar as well as a bit of time and purpose, this prolific musician was able to churn out several riotous riffs that ultimately transformed into one of his most personal and profound albums to date. “I’ve always used music as an outlet for anxiety and frustration,” notes Ward, who has played in a slew of monumental bands, from the iconic post-hardcore band At The Drive-In to Sparta, aswell his alt-country project, Sleepercar. In fact, it’s this healing power of music, Ward offers, that led him to Daggers, the lauded musician’s new solo record set for release in 2021 via Dine Alone. “When my world has upheaval, it becomes about doing the work in front of me,” he adds. “And this record was pure joy: talking to my friends on the phone, swapping ideas with them, going into my head for a while, coming out with something.” So while Daggers is officially credited as a solo work, and Ward never entered the room with any of his collaborators due to the COVID-19 pandemic, he’s effusive in his praise for them: notably the twin team of Incubus bassist Ben Kenney and Thursday drummer Tucker Rule, both of whom took Ward’s guitar riffs and helped propel them into fully fleshed-out songs. For Fans of: Sparta, At The Drive-In, The Mars Volta, Thursday, Incubus, Frank Eiro, Bear vs Shark, Glassjaw, ...Trail of Dead, Deftones, Jimmy Eat World, Taking Back Sunday, Queens of the Stone Age, Thrice, The Smashing Pumpkins Key marketing highlights: - Jim Ward is the lead singer and guitarist of Sparta and co-founder of post-hardcore band At The Drive-In. - Ward has toured with the likes of My Chemical Romance, Deftones, mewithoutyou and many more - Ward has received acclaim from Pitchfork, Consequence of Sound, Brooklyn Vegan, Alternative Press, Guitar World, Billboard and more. - Ward has performed on the late night TV programs of Conan and David Letterman. - Ben Kinney From Incubus playing bass on record and Tucker Rule from Thursday playing drums on record

Dr. Feelgood’s best-of - ‘Singles (The U.A. Years)’ - is to be remanufactured and reissued on vinyl for the first time since its original release in 1989.

Released on 11 June, ‘Singles - The U.A. Years’ is a celebration of 26 tracks of Dr. Feelgood at their absolute peak. Having formed in 1971 in Essex, founding members Lee Brilleaux (singer), John B. Sparks (Sparko) on bass guitar, John Martin (The Big Figure) on drums and guitarist Wilko Johnson, whose iconic and renowned choppy style of playing saw the band build huge notoriety in London’s live music scene resulting in a record deal with US Artists in 1974.

Weaving its way through the tapestry of influences from Lonnie Liston Smith, Softmachine and Ravi Shankar, the title track takes a more contemporary approach merging U.K. urban / spoken word, with a meandering melancholic melody, driving home the message that it’s a 'Matter of Urgency’.

Opening the recording, 'Jazz Emergency' has a laid back vibe, coasting on a hypnotic bass line, with layered wailing trilled horns, creating a blanket of tenor sax, delayed Rhodes and pianos over and around.

Crooked Urge (Part 1 & 2) (Trk: A2, B1) came about from a first time session with drummer Sergiu Fanica, Ozan and pianist Aziz. Although a jam, the band were keen to share the spirit of this recording!

The track 'Matter of Urgency' is a call to the inner self, to take care of the world around us and to pave a better world for the generations ahead. It is an enchanting fusion of wailing horns with spoken word poetry over the top.

'Sound of Pulsar' is another spaced out journey that came about from a jam night in the studio, bass line looped and off into the musical cosmos...

Once again we thank all the amazing musicians and friends sharing their creativity on this album and to those who inspire us to create!

Los Angeles independent label Minky Records is issuing
two crucial, hitherto unheard slices of music recorded in the
’80s by the late L.A. punk rock legend Jeffrey Lee Pierce
and his band The Gun Club.
On June 12, the company will release an exclusive single
version of the Pierce original “Bad Indian” and a cover
of Jody Reynolds’ “Fire of Love.” This Minky 45 will be
accompanied by an even more impressive vault discovery:
Soulsuckers On Parade, a full-length 1984 Pierce solo
recording drawn from an abortive session for the cowpunk
compilation album Don’t Shoot, first released by Zippo
Records in the U.K. The vocalist is supported by an allstar
unit comprising guitarist Dave Alvin, drummer Bill
Bateman, and the late pianist Gene Taylor, then of the hot
L.A. roots combo The Blasters, and bassist Jack Waterson
of Green On Red; Chris D. (Chris Desjardins, who also
produced the date) and The Gun Club’s Kid Congo Powers
guest on background vocals.
Featuring covers of songs originated by Willie Nelson,
Big Joe Turner, and Creedence Clearwater Revival, a wacky,
profane blues Pierce improvisation called “New Way of
Walkin’’, and a rampaging, demented seventeen-minute
original, “Walkin’ Down the Street (Doin’ My Thing)”,
the album will be issued as a limited edition Kelly-green
vinyl LP on Record Store Day (June 12), and an unlimited
expanded CD package (with studio chatter and improvised
vocals and jams) on the same day.

Bamboozle is the third album by Dutch blues rock group Livin’ Blues. Formed in The Hague in the late 1960’s, Livin’ Blues are widely considered to be one of the best blues acts from the Netherlands. Bamboozle was produced by Jaap Eggermont, who was the drummer for fellow The Hague band Golden Earring. The album contains the band’s biggest hit: “L.B. Boogie”.

Available as a limited edition of 750 individually numbered copies on white vinyl.

In 2018 one of metal’s most defining and revolutionary vocalists, WARREL DANE, celebrated his highly anticipated inaugural solo effort, “Praises To The War Machine”, which saw him further honing his craft to perfection. Dane, who first shattered the boundaries of conventionality with the legendary Sanctuary and Nevermore, proved that he is one of metal’s most diverse frontmen with this solo effort as he unleashes a barrage of introspective and personal lyrics that are heartfelt and extremely powerful. All of this emotion backed with his soaring angelic and dynamic vocals provides all of the necessary elements for a savagely captivating, melodic assault that quickly hooks you in. Before beginning this new venture Dane went out and surrounded himself with some of the best musicians that he could find. This search ultimately resulted in landing the renowned Peter Wichers (ex-Soilwork) on guitars and bass, Dirk Verbeuren (Soilwork) on drums and Matt Wicklund (ex-Himsa) on guitars. The effort was also recorded and mixed by Wichers (coproducer Soilwork) and features guest musicians Jeff Loomis (Nevermore) and James Murphy (Obituary, Testament, etc.). Additionally this 2021 extended version reissues contains four live tracks from the album on side C featuring singer/songwriter Jonny Smokes which also will be available on all digital platforms. “Praises To The War Machine” is an absolute must for all Nevermore fans. Prepare yourself for the sheer beauty and elegance that awaits.

In the spirit of old school power metal, Germany’s up-and-comers HAMMER KING have gathered to set fire on their new album Hammer King (out June 11 via Napalm Records)! Ever since HAMMER KING burst onto the scene in 2015, they have proven themselves as an unstoppable force. Hand-picked by thy majesty, the Hammer King himself, the band consists of former ROSS THE BOSS vocalist Titan Fox V and former SALTATIO MORTIS drummer Dolph A. Macallan, alongside Gladius Thundersword on bass and Kleveland's most timeless lead guitarist: Gino Wilde. HAMMER KING keeps it heavy with speedy riffs, energic grooves and fist-pumping choruses, devoting their existence to the one and only myth of the godly Hammer King! The new self-titled album starts off with blasting drums and brisk guitars on “Awaken the Thunder”, with frontman and guitarist Titan Fox V showing off his incredible vocal range, whereas tracks like “Atlantis” prove HAMMER KING’s ability to write catchy and memorable choruses. Hammer King tells the lore of the Hammer King himself, a wrathful and mighty war god, who is praised in tracks like anthemic “Baptized by the Hammer”, energetic and double-bass driven “In the Name of the Hammer” and the hard-hitting “Hammerschlag” featuring the legendary Gerre from TANKARD, Isaac from EPICA and the almighty The Crusader (WARKINGS). Hammer King will be available as a deluxe box edition including, as well as on gatefold vinyl amongst others. Kneel before the king of kings, the HAMMER KING! 1. SINGLE - EN "Kicking off with a tight, punishing drum groove and heavy guitars, “Hammerschlag” gets your blood pumping right from the first second! A catchy power metal singalong hook and guest vocals by Gerre from TANKARD and Isaac from EPICA and the almighty Crusader (WARKINGS), topped off with dizzying guitar solos – HAMMER KING knows how to get your head banging! " 2. SINGLE - EN "On “Atlantis”, power metallers HAMMER KING reveals its melodic side as singer and guitarist Titan Fox V shows off his incredible vocal range. Dynamic songwriting meets multi-faceted, virtuoso guitar solos! " 3. SINGLE - EN “Awaken The Thunder” by HAMMER KING is a heavy, fist-pumping power metal anthem! The double-bass groove will catch the listener off guard, leading seamlessly into the passionately performed verses by Titan Fox V. HAMMER KING at its best!

Once upon a time, a girl from a magical fortress isle off the coast of Finland envisioned a world of her own… That girl—Lxandra—eventually brought this world to life with soft piano, ethereal vocals, and unfiltered lyrics wrapped in swaths of technicolor production, vibrant textures, and a wondrous vintage presentation. With acclaim from OnesToWatch, EARMILK, and Refinery29 the singer, songwriter, and multi-instrumentalist stretched fantasy into reality on her forthcoming full-length debut, Careful what I dream of, Might not wanna wake up, for Vertigo Berlin. r her 2019 EP, Another Lesson Learned. The six-track project spawned a series of fan favorites, including “Dig Deep” and “Swimming Pools”. Meanwhile, it attracted widespread acclaim from Atwood Magazine, CLASH Magazine, Baeble Music, and Wonderland Magazine. Additionally, she covered the U2 classic “Pride (In The Name of Love)” for Amazon’s Man in the High Castle. Along the way, she supported Dua Lipa on tour and performed at international festivals, including Lollapalooza Berlin, Flow Festival Helsinki, and Reeperbahn Festival. She also distinguished herself through adherence to unshakable values. Not only is Lxandra a longtime vegan, but she also remains a strong voice for gender equality