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Originally released on KLIK Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.

One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.

A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.

Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.

Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.

Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.

Re-mastered at Abbey Road Studios, London.

Out of print for over 20 years!

Cindy is to release a new six song EP called Swan Lake on 4th October via Tough Love. The title isn’t a nod to the folktale or ballet in any real way, but to the fact that it all has ended up in the collective imagination as an object, vaguely recognizable, a little suggestive, and mostly blank. Karina Gill, Cindy’s songwriter, likes to make use of that kind of resonance to connect sound and experience. The six songs on this EP continue the stripped-down habits of previous Cindy releases, while adding a few departures and left-turns. Cindy likes to work at the essentials and the elements here say exactly what’s needed. In other ways, these songs present a soft filigree that’s unusual for their recordings. Oli Lipton (Now, Violent Change) on guitar and Will Smith (Now) on bass play counterpoint melodies to Gill’s structures. Staizsh Rodrigues (Children Maybe Later, Almond Joy, Peace Frog) sings vocal harmonies that both offset and deepen Gill’s voice and delivery. There are playful drums by Mike Ramos (Tony Jay, Sad Eyed Beatniks) and coolly elaborate guitar lines from Stanley Martinez (Famous Mammals, Violent Change, Non Plus Temps). Gill’s songs strike this balance too: almost nonchalant reporting tied up in unexpected knots. A ride in an elevator connects up with questions about peace and/or the nature of things; the title track wonders about associative thinking and associative feeling; The Bell is an account of one of those times when everything makes sense but you can’t explain it; and there’s the scene of a party viewed with admiration for how friends can love each other. As Gill herself says: "People have told me that they can’t quite identify my influences. Me neither. The foundational layers of music of the past and my past have been metabolized like breakfast and turned into more me, sorry to say. But I experience the music of people I’m connected with and it impacts me in the moment. There’s the music I’m around – April Magazine, Sad Eyed Beatniks, Violent Change, Katsy Pline, collaborating with Mike on Flowertown – that I can feel a direct line from. Then there’s music that is being made far away but feels close, like Lewsberg, specifically, for this EP. " CINDY – UK Tour Dates: Oct 31st WOE is 6 @ Walthamstow Trades Hall, London w/ Cuneiform Tabs & Bobby Would. Nov 1st Coventry, UK Just Dropped In Records, 2 Halifax, UK The Grayston Unity, 4 York, UK The Fulford Arms, 5 Gateshead, UK The Central Bar, 6 Glasgow, UK The Glad Café, 7 Manchester, UK Rat & Pigeon, 8 Cambridge, UK NCI Centre.

"A group of tried-and-true musicians got together and found the sort of camaraderie and kinship you typically only find once in a lifetime. They didn’t overthink it. They didn’t waste a second. They simply left their blood, sweat, and tears on tape—like they’ve always done. For as much as Better Lovers represents the union of former Every Time I Die members Jordan Buckley guitar,Steve Micciche [bass], and Clayton “Goose” Holyoak [drums] with The Dillinger Escape Plan and Killer Be Killed frontman Greg Puciato [vocals],and musician (Fit For An Autopsy/END) and GRAMMY® Award-winning producer, Will Putney [guitar], it really cements the bond of five friends around a shared vision. That vision is as uncompromising, unapologetic, and undeniable as anything they’ve individually done, yet it’s refined by experience and a commitment to a future together. They’re in it for the long haul... “To me, this band is refreshing,” exclaims Jordan. “Looking back, I’m so happy everything got me to where I am. The pandemic and the last few years made me hungrier and more grateful. This isn’t a hobby. This isn’t temporary. This is the next evolution for each of us. Greg and Will rejuvenated me and made me even more confident.



Now, everybody needs to know we’re a wild animal that just broke out of the zoo—there’s no trying to put it back in the cage.” “Better Lovers definitely feels like its own thing,” states Greg. “I’m in so many lanes right now, so it was important that one lane didn’t step on another. However, nothing I’m doing is this vicious. This is full-on scathing. It’s been really fun. I forgot how much I liked that.” As the story goes, Jordan ended up back in Buffalo, NY, jamming in a basement rehearsal spot with Steve and Goose during the winter of 2022. After working with Will on the last two Every Time I Die records, they shared a handful of early demos with him to produce. As the year progressed, Jordan caught Greg on the road with Jerry Cantrell in Las Vegas, mentioning the new music. Once ideas solidified, he shared them with the vocalist who replied at 3am one night in December. “The text said, ‘Let’s give these motherfuckers what they want’,”chuckles Jordan. “I went to bed smiling and laughing. There is no one like Greg on stage, off stage, or over text. Once I told Will, he was like, ‘Can I play?’ We said, ‘Of course!’ That’s how it was born.” “Once I pick up the scent, I’ll go for the kill,” smiles Greg. “We’ve all hung out, gotten to know each other, and it’s all fire now. Everyone has already been through shit. You know yourself better. Your ego isn’t as big as it used to be. You can share your opinions. It’s a cool dynamic.” Fittingly, they introduce this era with the single “30 Under 13.” A seasick guitar groove bleeds into an incisive riff punctuated by Greg’s vitriolic and venomous screams, “Hold onto me, try to let go of me, let go of what you’ll never be. ”This barrage unpredictably subsides on a haunting clean vocal, only to ramp back up into a pit-splitting thrash crescendo and rapid-fire solo played at warp speed. “We always try to up our game,” notes Jordan. “This is the next step for all of us. There’s just constant forward motion, and we don’t want to compromise that. We want to keep going. We’re doing a lot of shit we haven’t done before in Better Lovers. I’m not going to spoil it for you, but get ready.” “For some reason, this song got me,” recalls Greg. “Once that happens, you have the toe of the dinosaur skeleton in the dirt. You start brushing it away, and soon you have a fucking T-Rex.” The name might give you a hint of what’s coming—or it might not. So, what does the future hold for Better Lovers? Well, it’s entirely in their control. Expect a lot of touring. Expect more music. Expect these five guys to leave a trail of destruction in their wake—really would you want anything less? “We feel like we’re going to explode if we sit around any longer,” Jordan leaves off. “This is my life’s work. I learned all of my lessons, passed all of the tests, and took all of the right turns and the wrong turns. It turns out what I thought were wrong turns got me here, and that’s all that matters. I have no regrets. I know this is what I’m supposed to be doing.” “I just want you to view this on its own merits,” Greg concludes. “I hope it reaches some new people. For me, the enjoyment is making the music and putting it out. The second it’s released, I don’t look back. You drop the bomb and keep flying the plane. You don’t circle back to see how much destruction you cause. You keep moving, which is what we’re going to do.” "

Reissue! Ein exklusives Album zur damaligen (2019) Feier des 15-jährigen Bestehens des CMR-Labels, das von Chinese Man, Baja Frequencia und der Scratch Bandits Crew zusammengestellt wurde! Mit einer Mischung aus Scratch-Musik, Trip-Hop, Dub und tropischen Rhythmen zeigt The Groove Sessions Vol.5 die künstlerische Spontaneität und die stets sprudelnde Kreativität der Künstler des Labels. Im Februar 2019 verbrachten die drei Bands eine gemeinsame Woche in den Bergen. Die Idee war es, Stile und Inspirationen zu mischen, die Spontaneität der Produktionen stand im Fokus. In sechs Tagen entstanden 18 Demos. Sechs Monate später wurden schließlich 15 Songs für das Album fertiggestellt und veröffentlicht. Der Downbeat von Chinese Man vermischt sich mit den dub-tropischen Klängen des Baja Frequencia-Duos, welche von dem unglaublichen Hip Hop-Know-How der Scratch Bandits Crew ergänzt werden. A true banger! Klassisch schwarzes Doppel-Vinyl mit Downloadcode!

Maelstrom returns to Central Processing Unit for the fourth time, and it's the one born Joan-Mael Péneau's lengthiest drop on the Sheffield label yet. The French artist has been a mainstay in the European electro game since the 2000s, and Malestrom brings that experience to bear on new LP The FM Tapes. He goes about this album with the assurance of a seasoned pro, combining his mastery of electro production techniques with a trademark guile to craft an expertly-paced eleven-track affair.

The first section of The FM Tapes sets out the album's stall with style and aplomb - listeners are in store for a rich feast of off-kilter machine-funk which will feature no shortage of intriguing detours. On opener 'Ondes Courtes' the mix throbs with all manner of strange electronic gristle: a distorted bass hum rattles the monitors; wisps of distortion float across the mix; eerily pretty keys wax and wane before giving way to a radar pulse.

'Ondes Courtes' is an ominous slouch of a scene-setter, and it lines things up perfectly for following cut 'Alt50ser' to lock in. This track's churning, gurgling mid-tempo rattle brings to mind the wacky insistence of Modeselektor. Maelstrom repeats the slow-fast one-two again directly afterwards - 'La Vie Sociale Des', a strange nugget that sounds like an early Eski instrumental stripped for parts and blasted into the cosmos, is an ideal prelude to the twitchy space-funk of 'My Digitone'.

Maelstrom's staying power in the electro world comes, in no small part, from his ability to apply his delightfully idiosyncratic choices to some of the genre's staple production tropes. On The FM Tapes, he marks himself out once more as a pleasingly unorthodox talent by taking tracks in unexpected directions to produce surprising - and often rather moving - results.

There are multiple cuts here which channel the more cerebral end of Richard D. James' AFX/Analord output: 'My Digitone' may be a quicksilver techno-electro number, but there's still something cinematic about the synth treatment here which softens the edges; 'Suede's minor-key oscillations bring other CPU veterans like Cygnus and Bochum Welt into view; 'Res 06', one of two Fasme collaborations on the record, is full of pathos even as the beat programming bangs and whirrs throughout.

While there's a deep emotional undercurrent to The FM Tapes, though, Maelstrom's commitment to bringing the thrills surfaces time and again. If 'Res 06' had Maelstrom and Fasme getting wistful, the album's other Fasme link-up 'Trempo' is one of the hardest club joints here, a piece of old-school Detroit energy replete with some great cascading drum production. Indeed, 'Trempo' comes in the middle of a run towards the album's end where Maelstrom takes the handbrake off - there's a wild-eyed sense of fun to 'The Operator' and 'Upside Down DX7' which has one thinking of the zany cut-and-thrust of KiNK's best work.

Maelstrom's latest drop for Sheffield's Central Processing Unit label is an album of leftfield electro numbers that bring both pounding beats and poignant production.

RIYL: KiNK, Modeselektor, Cygnus, Bochum Welt, AFX

2024 Reissue

DE-TÜ make their long awaited return to Infernal Sounds. Having previously released on IFS008, IFSXXX002 and also featuring on IFS018 alongside DRPTNDRP, this double header may be their highest calibre of dub-influenced 140 to grace the label. 'Roadblock' kicks off proceedings in the best way possible, hitting you deep in the belly with monumental amounts of weight on the drop, whilst layering a reverberating vocal lead and a daunting backdrop to bring you deeper inwards. The flip however, 'St. Paul's (City Road Dub)' takes things in a slightly different direction. Although it still provides that trademark DE-TÜ sound, it's certainly orientated more around the soundsystem, providing a perfect flex within the dubwise sound. It's the perfect example of progression as all the elements fold and merge, creating a track that will captivate you from start, to finish.

The release has already received heavy support from the likes of J:Kenzo, Truth, Leftlow, Kursk (Innamind Recordings) and a few other reputable DJs.

The Vessel Recordings label - with owner/orchestrator Ira James at its helm - has pretty much won us over right from the off. It has dropped a slew of early releases all at once and they are all well-crafted and original deep house EPs that marry soul and drive to perfection. 'Body' licks off and has a humid and sexy throb to it, while 'Freespeech' is more raw and dirty. It's brilliant, too, with deft chords and seductive vocals woven into the mix. 'Hourglass' shuts down with some crisp percussive house action and proper nice chord work that oozes soul. A great collab from Juwan Rates and Jlove, a pair we can't wait to hear more from.

Johnny Tillotson burst onto the pop scene in 1959 with the classic 'Poetry In Motion' to be followed by other country flavoured biggies such as 'Send Me The Pillow You Dream On', 'Jimmy's Girl' and 'It Keeps Right On A-Hurtin' - all were hits in Britain. Born in Florida, Johnny's big break came when in 1958 he was signed to the small Nashville label, Cadence, together with another unknown act at the time - the Everly Brothers. Johnny has always regarded himself as a
country singer and many of the songs featured here are his own compositions recorded at the height of his career. His style is remarkable in that it has blended the best of country and pop qualities without losing the validity of the basic essentials of either. He had his own style and he has held on to it without making any concessions to a fickle industry that swings from one personality to another at the drop of a needle. We hope you'll enjoy this album of his best recording

Johnny Tillotson burst onto the pop scene in 1959 with the classic 'Poetry In Motion' to be followed by other country flavoured biggies such as 'Send Me The Pillow You Dream On', 'Jimmy's Girl' and 'It Keeps Right On A-Hurtin' - all were hits in Britain. Born in Florida, Johnny's big break came when in 1958 he was signed to the small Nashville label, Cadence, together with another unknown act at the time - the Everly Brothers. Johnny has always regarded himself as a
country singer and many of the songs featured here are his own compositions recorded at the height of his career. His style is remarkable in that it has blended the best of country and pop qualities without losing the validity of the basic essentials of either. He had his own style and he has held on to it without making any concessions to a fickle industry that swings from one personality to another at the drop of a needle. We hope you'll enjoy this album of his best recordings.

London-raised, Lisbon-based songwriter, producer, and DJ William Florelle has been on our radar at R2 Records for some time now having released some of our favourite organically soulful
electronic jams of recent times, so when the opportunity came to release some of his music it was a natural fit.

“Red Velvet” is a sultry and soulful jam that typically blurs the lines between Will Flo’s soul-driven influences from jazz through R&B to club-focused dance music capturing his unique organic yet
electronic syncopation.

The maestro Kaidi Tatham has delivered a stunning remix featuring his signature broken-jazz virtuosity – timeless music.

Karizma comes in the door with one of his beat-down Dubs for that late-night drop, and finally Ato Ayerra blesses the release with the Beringel “2am Snack” Remix.

20 year anniversary pressing, remastered for vinyl !

Limited edition of 1000 copies on devil red vinyl / Includes the original 12x18 promo poster

"Zach Hill (Death Grips) and Spencer Seim (The Advantage) “‘The Devil Isn't Red’ systematically shakes down like it was the rocker's score to upper- level Tetris – no matter how swiftly the pieces descend, Hella manage to drop them in place.” – Pitchfork-

Cool Calm Pete has been featured in the past with MF Doom, RJD2, El-P, Morcheeba, Sharon Jones & The Dap-Kings, Aesop Rock, and others. More recently with Kool Keith, Real Bad Man, Heems, and Lee Scott.
Lost (Director’s Cut) kicks off Petes return with some new projects on deck.
Sometimes it takes time for something to establish its proper place in culture, and the modern-day discourse never fails to rush to label an album to be a classic or a flop. Then there are albums like Cool Calm Pete’s “LOST.” Adored by its dedicated fan base upon its original release in 2005 on Embedded Records and Definitive Jux, this record has continued to garner attention over the years from those who are familiar with it. While word-of-mouth alone may not have been sufficient to propel the album to mainstream success, its enduring popularity two decades later is a testament to its well-deserved recognition as an indie rap cult classic. The Korean-American emcee born as Pete Chung wasn’t asking to be a pioneer but having been raised in Queens NY during the golden era of hip hop, rhyming better than his peers just naturally became his identity. Throughout his debut album, his slow-paced, conversational flow fit like a glove to the self-produced “working class” beats that color most of the album. His education in fine arts as a painter and his day-job with a then-burgeoning lifestyle brand called Supreme sometimes took precedence in his professional life, but his dedication to the craft as a hip hop artist was evident, and fans took notice. The album hasn’t been re-released since its initial 2005 drop. and vinyl copies haven’t sold on the collectors’ market for less than $100 in years. With its first official re-release, the laws of supply-and-demand will surely alter that market, and chances are that with more ears to hear the album, those original pressings will only become hotter. In the meantime, the new “LOST (Director’s Cut)” has been re-mastered and extended for release on Cool Calm Pete’s own label Bubble Wife Records, with never-before-heard cuts led by a remix of the title track by Blockhead. Find it.

'Liberosis', ein Album in drei Kapiteln, markiert einen bedeutenden Meilenstein in Canblasters künstlerischer Reise. Es präsentiert eine introspektive Odyssee durch 18 Tracks, fachmännisch gemischt von Steve Dub, bekannt für seine Arbeit als Tontechniker für die Chemical Brothers. Diese Platte navigiert geschickt durch die Bereiche Pop, Club, Drum'n'Bass, 2-Step und Dubstep, untergräbt ihre narrativen und stilistischen Konventionen und untersucht gleichzeitig die Natur des "Drops" und die Mensch-Maschine-Dynamik. Da es in einem Zwischenbereich operiert, dient es weder rein funktionalen Zwecken noch vertieft es sich in konzeptionelle Abstraktion. Stattdessen beschwört es Landschaften herauf, die Themen wie Apokalypse und Erneuerung, Hoffnung und Unvermeidlichkeit hervorrufen. Stimmfragmente in einer rätselhaften, aber beschwörenden Sprache unterstreichen die Klanglandschaft und erinnern an die ätherische Atmosphäre, die in Videospiel-Soundtracks wie z.B. 'Final Fantasy' zu finden ist. Es ist eine Welt, die sowohl von menschlichen Emotionen als auch von technischem Können angetrieben wird und den Geist des Yellow Magic Orchestra und des verstorbenen Ryuichi Sakamoto heraufbeschwört, wenn auch mehr in ihrer Essenz als in ihrem direkten musikalischen Einfluss. Vinyl only Release und als Gatefold 2LP-Set (Black Vinyl) erhältlich.

Planet Asia and 38 Spesh is that team-up fans didn’t know they needed until they got it. When Trust The Chain dropped in 2020, heads were afforded a dose of the antidote. While Asia is always nice on the mic, he was in rare form over Spesh’s soulful production. So, it should come as no surprise that the sequel, Trust The Chain II, is a level jump once again. In fact, the project is so packed with heat, almost every song was released as a single. Joints like “Checking Traps,” “Crumble Cake,” and “Inertia” have had listeners eagerly anticipating this LP since last year. Guests include Klass Murda, Tristate, The Musalini, and A Plus Tha Kid

Liquid Crystal, AKA NRG, is on top form with this 4th Volume in the Chromatic EP series. Three absolutely tearing tracks, showcasing his ability to drop ruff beats and up lifiting piano riffs like no one else!

Prince Istari in the 3rd Grade of the Riddim Dub School dropping hails King Zukale with some heavy weight rockers dub tune. On the flipside the rockers invites you for some bass and brass inflicted lover style riddim. Made on earth with love, for space exploration and bass. Limited to 300 copies and comes in stamped cardboard sleeves.

HOUSE OF COMMANDO, produziert von Oli Rüger & Tobi Wehner und gemastered von Howie Weinberg (bekannt für seine Arbeit mit Nirvana und U2), knüpft nahtlos an das erfolgreiche Debütalbum RED LIGHT HABITS von BIRD'S VIEW an.
Die deutschen Alternative-Rocker BIRD'S VIEW veröffentlichen ihr mit Spannung erwartetes zweites Studioalbum "House of Commando". Der Sound ist dabei eine einzigartige Kombination aus dem Punk von REFUSED, der Intensität von RED FANG und der Atmosphäre der FOO FIGHTERS.
Nachdem BIRD'S VIEW mit ihrem Debüt einen ersten kleinen Erfolg verbuchen konnten und mittlerweile von Wizzard Promotion vertreten werden, haben sie seit dem Release unter anderem mit SOULFLY, SKID ROW & GREEN LUNG getourt. Mit HOUSE OF COMMANDO machen sie nun einen weiteren Schritt in Richtung Rock-Olymp.
Die 11 neuen Tracks auf HOUSE OF COMMANDO hinterlassen bereits beim ersten Hören einen nachhaltigen Eindruck. Zu den Highlights des Albums gehören Stücke wie "Vienna", "Pin Drop“ und "Come Back Home"

In this electrifying 2024, we're buzzing with excitement as we celebrate 40 years of Flexi, the record emporium that's weathered countless storms amidst the ever-shifting tides of the music industry, catering to vinyl aficionados across the ages. Alongside the raves and swag, no doubt, there's a killer compilation dropping on the indie label "Flexi Cuts," dubbed evocatively as "Musica Solida" spread across 3 or perhaps 4 12-inch samplers, boasting a carefully curated selection of singles from cherished Flexi-affiliated artists and producers. The vision? To cultivate a virtuous movement of sublime tunes, echoing the fervor and zeal to persist within the realm of quality that Flexi embodies within the Italian scene, alongside kindred spirits... despite the daunting challenges of the market in recent years.



Musica Solida # 1 showcases

DJ Rocca: One of the most solid producers on the panorama, a respected maestro of the clubbing scene in Italy and worldwide.

Club Soda: Live electronic ensemble, still dreamin' from their latest EP 'Basso e Batteria', which packs an unreleased track recorded directly from their house-flavoured jam sessions.

Lex (Athens) & Locke : A Greek producer who is well established in today's dance house scene, with quality-vibey releases and a very nice and classy and groovy sound. We will definitely hear from him in the future!

Hiroyuki Kato: Emerging Osaka-based multi-instrumentalist makes his debut with a very punchy and catchy track!

The Mechanical Man (feat. Bob Vito) : Neapolitan super producer. Raw-sounding, gritty, powerful and never dull, a pleasure to have him with us.



The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful silver cover.



Compiled by Simone Guerra aka Relative

Mastered by Francesco Brini (except track B1, Mastered by Marco Spaventi)

Distributed by Rubadub, Glasgow

Pressed by Desslab

Design by GLZ

Aesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into AC/DC. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.”
For Orchestra Hits, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for ESMB on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the ESMB vibe.
“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”
According to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.
Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”
With percolating synthesizer arpeggios, and climbing bass grooves, “IDKS” is the album’s dance-floor slapper. “’IDKS’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”
Lyrically, “IDKS” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”
With the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.

Big Crown Records is proud to present Dave Guy’s debut album Ruby. Having lent his talents both on stage and in the studio to artists like Amy Winehouse, Lizzo, Pharrell, and Sharon Jones to currently playing every night on The Tonight Show as a member of The Roots, Dave steps out on his own with a jazz record that is both unique and modern. Ruby mixes his musical in­fluences with the energies of the city that raised him, capturing different moods and inviting the listener into the world as Dave Guy sees and feels it. Recorded in Queens at The Legendary Diamond Mine, the album is produced by Homer Steinweiss and Nick Movshon and features musical contributions from Leon Michels, Marco Benevento, Claire Cottrill, and more.

Ruby instantly sits with the classics as an album that is fully realized and not simply a collection of songs. Lead single “7th Heaven” opens the album with an anthemic energy as Dave’s horn lines soar over thundering drums, ethereal vocals, and dancing piano. Keeping the energy high, “Footwork” is a Latin inspired number that is sure to soundtrack many a dance fl­oor from SoHo to Harlem. The synth intro of “Pinky Ring” cleanses your palate for the mood shift when the track drops. Deep bass tones underline the impeccable drumming and

Dave effortlessly finds the pocket wasting no notes as the verses and choruses trade off. The record leans into spiritual jazz vibes on “Diamond Encore” with a dark and deep almost “Axelrodish” rhythm track then picks the energy back up with the stomper “Still Standing”. “Dave Wants You” has a bop all its own with an unorthodox drum pattern that Dave anchors with his trumpet hits. The otherworldly arrangement of “Drony Boy” puts the production on a pedestal. The first intro almost serves as an intermission on the album while the second

intro sets up the neck snapping track that is about to drop. A menacing guitar signals the builds and the whole thing is juxtaposed by Dave’s beautiful trumpet riffs. “Quesodillas” & “Green Door” begin the autumn of the album with their mellow & intimate energy and “Ruby’s Rubies”, the album’s closer is the perfect ending to the journey.

In 2023, underscores released her highly anticipated sophomore album Wallsocket via Mom+Pop, a 12-track narrative body of work that delves into the lives of the citizens who occupy Wallsocket, Michigan. Surrounding the campaign, she immersed fans in an alternate reality game (ARG) which led players through various local-business websites to unlock unreleased music and giveaways. Wallsocket quickly gained the attention of critics with rave reviews coming from NME, The Atlantic, The Guardian, Line of the Best Fit, and Anthony Fontano of The Needle Drop. The development of underscores’ live shows have been equally as remarkable as her recorded work. Following the Gecs tour, she hasn’t stopped touring with multiple sold out headline shows in New York, Los Angeles, Chicago, San Francisco, and London, and several festival appearances including the main stage at Lollapalooza, Electric Forest, FVDED in the Park, Capitol Hill Block Party, Meow Wolf’s Vortex Festival, and most recently Corona Capital CDMX and Governors Ball NYC. She embarked on her first worldwide headline tour selling out shows in the US, Canada, Japan, Australia, the UK, and Europe, and she’s slated to perform at Outside Lands and Reading & Leeds Festival this summer 2024. She was recently announced as direct support to her label-mate Porter Robinson on the Europe/UK leg of his worldwide tour in February 2025. To put a cap on the “Wallsocket era” underscores is releasing and extended version titled Wallsocket (Director’s Cut) which includes “four deleted scenes” from the Wallsocket story.

New pressing in soon, note increased price. When Jerry Fuchs joined Maserati in 2004, he initiated a complete overhaul of the group: old songs were dropped, tempos were drastically sped up, and the budding psych-rock impulses of guitarists Coley Dennis and Matt Cherry were given room to grow. Beginning with the electrifying Inventions for the New Season, Maserati were a better, faster, stronger beast. That spirit shines bright on Maserati VII, their first album conceived since Fuchs' passing. Maserati has an uncanny ability to toggle time back and forth between the past, present, and future – often in the span of one song. On Maserati VII, they're grounded and driven by new drummer Mike Albanese (Cinemechanica), whose dexterity and stamina prove a perfect fit for Maserati's trademark relentless, driving rhythms and epic song lengths, anchored by bass badass, Chris "Coach" McNeal. To celebrate Maserati's 20th anniversary, we have finally made Maserati VII available again on vinyl for the first time in over five years, packaged in the original heavyweight, full-color old-style tip-on gatefold jacket with custom matte and spot gloss varnishes

PRESSED ON MYSTIC EYE COLORED VINYL HOUSED IN A GATEFOLD JACKET WITH LINER NOTES INCLUDING AN INTERVIEW WITH KRS-ONE

Last August marked the 50th anniversary of the birth of Hip-Hop and we continue to honor the artists and albums that had a significant impact on the culture. In partnership with Sony's CERTIFIED, we are following up on our RSD reissue of BDP's Edutainment and KRS-One's Return of the Boom Bap with a long overdue reissue of KRS-One's 1995 self-titled album, KRS-One. Two years after the release of Return of the Boom Bap, KRS-One got back in the studio and behind the boards and enlisted for additional production DJ Premier, Showbiz, Diamond D, Norty Cotto, and Big French Production. In August of '95 KRS-One dropped the Preemo-produced lead single "MC's Act Like They Don't Know" with "Represent The Real Hip-Hop" featuring Das EFX on the B-side of the 12-inch, boasting KRS-One's lyrical skills and backing up his status as one of the best live performers in the game. KRS-One knocked it out of the park on his second solo effort with another Premier single about the current state of Hip-Hop on "Rappers R, N. Dainja" and straight-up Boom Bap rap on the Fat Joe assisted track "De Automatic." He offers political and social commentary on "R.E.A.L.I.TY.", "Hold", and "Free Mumia" with Channel Live and continues to diss sucker MCs on "Wannabemceez" with Mad Lion. Get On Down is proud to present this deluxe reissue packaged in a gatefold jacket with a new interview by Check The Technique author Brian Coleman, complete with a foldout lyrics sheet.

For the 3rd release Primordial State drops a driving techno EP by SU01 with a remix by the label heads themselves.

Mariachiara Troianiello, the force behind Katatonic Silentio, continues her exploration of spatial and sound design, slicing various forms of dub while following her instincts and storytelling through each work.

Troianiello's music and live sets are known to be meditative, with each transition subliminally serving a purpose. As 'Axis Of Light' delves into five pieces for this EP, one can experience the drops and transitions connecting, gradually uncovering hidden meanings.

Written and produced by Mariachiara Troianiello
Artwork by Apolo Cacho
Layout by Takashi Makabe
Digital Master by Paul Mac
Mastered and cut by Simon at The Exchange

It’s 2024 and Egyptian-born artist of South Sudanese origin Sam Alfred has had a monstrous 12 months. A new year means stepping in a new zone with new tunes. This is Forward Step.

First is the title track “Forward Step (Journey Mix)”, an epic cow-bell-laden house hammer that blooms into a euphoric flower. Running with a 90’s club flavour, Sam lays airy synths over punchy piano and rave stabs while an all-powerful speech plays out, celebrating the idea that we’re all in control of writing our futures. There’s a bubbling over of excitement on this one as it builds and builds and builds!

Up next is “Care 4 U” – a crunchy drum club roller paired with fuzzy bass tones and a super hooky vocal loop. A section that’s been lodged in our brains from the moment we heard it. Toss in airy pads and a key melody that’s also impossible to forget and this track’s got you hook, line and sinker. In true Sam Alfred style, “Care 4 U” is yet more proof that this lad is a wizard at writing jacked-up club cuts, each full of fizz.

Third in line comes “Keep It” a relentless hypnotic piece of techno. Outer space synths drone while shuddering percussion rumbles beneath. It’s here where the EP takes a darker turn. The curtain closer and focus track for the EP drop is “Distance” – an acidic house track to seriously lock and load to. Characterised by sharp hi-hats and lively keys, as its name suggests this one goes and goes and goes.

After Prince Istari finished the Dub Encounter with Erik Satie, he
immediately set to work on expelling the evil curse of artificial intelligence. While the encounter with Satie was guided by the original
compositions, this album delves deeper into dub science.

The opening track is "Curse Of Machine Learning," a grinding cumbia dub track that sucks you into the curse of machine learning. It's followed by "Artificial Neural Network," arguably the album's most nerve-wracking track, with wild snare rolls colliding with offbeat echoed riddim sections. "Large Language Models" offers a more relaxed, arabesque one-drop riddim with speech synthesis vocals. "Fake Image" closes the first side with a full trombone solo contributed by Eugene Rosebud.

Side B starts with the one-drop killer tune "Haunted By Delusion,"
featuring an organ solo by Prince Istari. Drum and bass in your face.
"Evil Forces," on the other hand, is a fusion of jazz and dub; after the
brass section breakdown, it rolls into a crazy synth solo. Then next „I
Want Your Data" pulls your data into the AI's guts with a vibraphone.
This is maybe the ambitious tune on the record speaking of chord
progressions. The final track sees Eugene Rosebud return with a double trombone solo in "Transhuman Feedback Rock" assisted by a saz cooling the blues pattern with a hookline. Here we have beautifull springreverb and harmonizer dub effects on the snare twirrling around the trombone solos.

All tunes composed, arranged, conducted and engineered by Prince Istari and played by his house band The Virtualistics. Trombone Solos by Eugene Rosebud. Packaged in a nice cover drawn by Markus Schäfer and frequency shift and cut by LXC.

Bobo Integral Records announces the Deluxe Edition of "Dead Calm", the debut album by The Boys With The Perpetual Nervousness, available September 13, 2024. This edition enriches the original tracks (now remastered), which were met with immediate success and critical acclaim, with new material and acoustic demos. Also incorporates an expected insert with all lyrics. Upon its initial release in 2019 by Pretty Olivia Records, "Dead Calm" was celebrated for its melodic craftsmanship. Purepopradio praised it asa "masterpiece of melody and harmony", Powerpopaholic rated it 9/10 and included it in their "best of 2019 list for best power pop this year", and Section 26 recommended it as "Presque indispensable". After two other records, "Songs From Another Life" and "The Third Wave Of_", that are now cult classics in the genre, it's the time to come back to the record that started it all. The Deluxe Edition offers fans an exclusive track from the original sessions, "Wouldn't Be Anywhere Else", and six acoustic demos that provide insight into the band's creative process. Reflecting their musical influences, such as The Byrds, R.E.M., Big Star, The Go-Betweens, Teenage Fanclub and the classic power pop era, the band's sound is a contemporary homage to these inspirations. Andrew Taylor is the leader and soul of Dropkick, a wonderful Scottish power pop group with touches of altcountry. Gonzalo Marcos is part of the cult Spanish indie pop group El Palacio de Linares and founder of the Bobo Integral Records label. The two forged a friendship during Dropkick's first tour of Spain and Dropkick ended up releasing a couple of albums on the label. "The most perfect voice in jangle/power-pop at present (sorry Teenage Fanclub fans!)" - Janglepophub

The Heads’ Simon Price returns to his kandodo project with 'theendisinpsych'; "primitive pieces of psychedelic tuneage+years of wasted time=43 minutes of headphone bliss." It's the follow up to the 2019 collaboration with Wayne Maskell and Hugo Morgan, Kandodo 3 – K3, but this time back in solo-mode. He is now relocated in Northumbria, and has recorded the album himself in his home studio, drawing on his wide collection of music/instruments and the rural environment for inspiration. The new album fizzes and crackles with a verve that will activate the “turn on, tune in, drop out” sense in all listeners… Simon explained the album in a focused/out of focus track by track way… is this Price’s paean to his obsession with Bowie? chamba7 - octave mandolin through fuzz, tambo beat, in praise of Bowie compilations. chamba is malawian weed theendisinpsych - bought a reel to reel tape off ebay in 2005, ('Bowie radio interview tape, USA, 1970, 3 minutes?') then bought a machine to play it on in 2015. Heard the words and laid them onto a fuzzy break bed. Thought it all too relevant to today, prophetic David from his 'hippy' days (not a prophet or a stone age man) fuzzy oceans - played on 1 string spamjo, bouncing echo over 70's drum machine, 'we've fucked the oceans' freefalling - rolling cello and hissing cymbals with vocoder dreams comes with african/stationtostation artwork stylings for the sleeve..pre-apocalypse blues (and pinks), the world isn't going a good way a sumptuous 4 course sonic supper, tuck in.

A momentous signing for DDD, as the label welcomes one of the most influential artists in dubstep’s history: CASPA.

On his Inner Space EP, which drops on September 6th, the producer takes refuge within his introspective sanctuary of ice cold beats, deep pulsating bass and futuristic sound design - presenting a four-track tour de force of 140 that is at once impactful as it is cohesive and holistic.

This one is also available as a limited edition picture disc vinyl.

The brand new album "Pacific Voyage" by Nautilus from Tokyo is a breezy summertime soundtrack which combines sunny Yacht Rock with a touch of cool 80s City Pop.

The Japanese Jazzfusion trio reinterpretates stone cold classics from this era in their typical signature way of playing.

Songs like the heavy sampled "What You Won't Do For Love" by Bobby Caldwell and Toto's "Georgy Porgy" get a completely new coat of paint and fresh interpretation translated into now and tomorrow.
Followed by a who's who of tracks from Donald Fagen, Michael McDonald, Shuggie Otis, Nohelani Cypriano and Toshiki Kadomatsu to name a few.
Guest appearances on this album are from UK soul singer John Turrell (Smoove & Turrell), German rap legend Toni-L (Advanced Chemistry with Torch) and Japanese soul singer Ryuto Kasahara who worked with Grooveman Spot and DJ Mitsu The Beats so far.

Enjoy this pacific voyage.

More breaks from deep in the crates... Another 2 volumes of Crate Breaks (side A - Crate Breaks Nine and Side B Crate Breaks Ten. Some dusty, funky, jazzy Bboy breaks and beats for DJ tools or producton sounds. Nice diggin to unearth these drum drops.

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Brooklyn underground rap heroes Tanya Morgan drop a two-track heatrock of a 7-inch that lights up dancefloors while maintaining their true-school status with clever wordplay and progressive beats.

Since breaking on to the blog-era rap scene in 2006 with their debut LPMoonlightingand solidifying their status in 2009 with the now-legendaryBrooklynati, Tanya Morgan has represented the best of underground hip-hop. Your favorite rapper's favorite group, they combine trademark witty wordplay with tough, headnodding beats that demand rewinds and repeat listens. Bouncing back in recent years withRubber Souland other one-off cuts, the duo of Donwill and Von Pea has teamed with producer 6th Sense and quietly set about building the next chapter of their rock-solid legacy.

"Move It Or Lose It" is the latest manifestation of Tanya Morgan, a cut that is neither throwback nor trend chasing, but does double duty on the dancefloor as well as a headphone banger. Irresistibly funky, with Mathien's guitar and vocal the icing on top, and riding at a perfect tempo to get dancers bubbling, it got immediate attention from DJs when the group teased the digital version online.

The double A-side single continues on the flip with "Don't Look Up," another grown-man rap (as Von Pea asks, "How you want the old me acting brand new?") set to 6th Sense's progressive uptempo beat that recalls Q-Tip's adventurous recent productions, and featuring Mia Jae on vocals driving the chorus. Donwill's commentary on getting older and wiser in the music industry hits home to any of us who've been around the block: "Slow growth while the roots spread / Somebody said rap group's dead / They prolly wrote it as a sponsored ad."

Both cuts are primed to move feet and represent the continued lineage of quality underground hip-hop, proudly coming straight from the heart of Brooklyn as a collab with BK-based indy vinyl masters Names You Can Trust.

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

Next up on _NRV, CHKLTE takes us on a mesmerizing journey. "Enchanted Alley" establishes a hypnotic groove with deep basslines, perfect for late-night sets. "Fallen Algorhythm" delivers a dynamic auditory experience with a driving tempo and ethereal synths. "The Other One Follows" features a rolling bassline and snapping percussion, a straight groove torpedo launched from the kind of sub we'd rather be around. Cristi Cons's remix of "Fallen Algorhythm" adds a pulsating bassline and slicing percussion, creating a high-energy rave weapon sure to vaporize anyone standing in front of the speakers, all while maintaining the essence of the original, if you were at Sunwaves 32, there's no way you didn't hear this bomb drop.

The mighty U Roy is the originator, the man who put the DJ phenomenon on the map and made it an artform. From Kingston Jamaica to the corners of all the Dancefloors, Clubs and Sound Systems across the world. U Roy (B. Ewart Beckford, 1942, Kingston, Jamaica) began his musical career spinning records for Doctor Dickies Sound System way back in 1961. The mid sixties saw him working for Sir George The Atomic before moving in 1967 to the man who best shaped his sound King Tubby on his Home Town HI - FI. Tubbys work in the dub field, dropping out vocals on his versions for the Sound Systems allowed U Roy to voice over these spaces adding to the excitment of the Dance!!!

U Roy moved into the recording arena firstly cutting two disc's for Producer Lee Perry 'Earths Rightful Ruler' and 'OK Corral' and then following this with 'Dynamic Fashion Way' and 'Riot' for Producer Keith Hudson. Producer Duke Reid seeing the protential in this new found form brought U Roy to his Treasure Isle Studios to voice over his back catalogue of Rocksteady Hits. His first three releases for Duke Reid 'Wake The Town', 'Rule The Nation' and 'Wear You To The Ball' held the Top 3 positions for 12 weeks in early 1970's.

We have compiled some of U Roy's best loved cuts from his mid 70's period when all were still looking at him for guidence.  The opening cut Call On Me sees him working over Delroy Wilson's 'Got To Be There'.  You Never Get Away gets U Roy answering Delroy Wison's 'Keep On Rocking'. Johnny Clarke's 'Time Gonna Tell' with rootsy bassline turns into Every Knee Shall Bow. Cornell Campbell the Gorgon himself gets his 'Check Mr Morgon' turned into Gorgon Wise. Johnny Clarke's Hold On gets reworked. Jeff Barnes 'Blowing In The Wind' tuned into Number 1 and alongside King of The Road which sees Lennox Brown blow his saxophone over the instrumental 'In The Swing of Things', was one of U Roys first releases. Linval Thompson's 'Let Jah Arise' is versioned to Joyful Locks. I Originate which lends us to the title of this compilation, says it as it is, a classic built over Dave Barker's 'Shocks of Mighty'. Linval Thompson again provides the backbone with his Cool Down Your Temper cut for U Roys version. The mighty Burning Spear's Creation Rebel although providing our next track, it is Johnny Clarke's version that gets worked over. Leo Graham's 'Birds of A Feather' turns into Stick Together. Soul Syndicates instrumental 'Goliath' grows into Riot. A big hit for Max Romeo Wet Dream sounds great under U Roy's new rendition.

Two extra tracks for the CD release of this album sees the great voice of Slim Smith on his 'Let's Stick Together' becomes ‘Ain’t To Proud To Beg’ and Cornell Campbell's 'Stand Firm' works with
U Roy to sign us off with ‘I Shall Not Remove’.  A fine collection i hope you agree to the Daddy of all DJ's who in his own words ''I Originate, so you must appreciate, while the others got to imitate'' says it all really……

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.