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Wrocław-Toruń noise rock band founded by Szymon Szwarc (swrcfx, Jesień) and Damian Kowalski (SKI). They are currently collaborating with Cezary Rosiński (Młyn) and Krzysztof Rogalski (Pchełki). The band has performed in clubs and at festivals in Poland, Germany, the Czech Republic, Slovakia, Austria, Lithuania, Latvia, and Estonia. So far, two full-length albums by RZWD have been released: POMPY (Fonoradar Records 2020) and GOLD (Fonoradar Records 2022).


Album GAPS Recorded in November 2023, is the result of two years of work that merges classic POST-PUNK GUIDE with a rich electronic influence. On GAPS, RZWD aims to craft DANCE NOISE CLUB MUSIC on their own terms, pushing the limits of what a LIVE BAND can be in achieving this.
Most of the tracks evolved during RZWD's concerts in countries like Lithuania, the Czech Republic, Germany, and Estonia. These experiences and ideas were shaped into the album between November 2023 and May 2024. Live recordings in Szczecin were done by Adam Sołtysiak, while additional recordings and production were handled in Toruń under the supervision of swrcfx.
The core idea behind GAPS was to use developed themes as a starting point for further variations and exploration within DANCE NOISE CLUB MUSIC. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation. Therefore, the album features four brand new compositions alongside four remixes of tracks from previous albums.
The album also features guest appearances by: DANIELIUS PANCEROVAS from the Lithuanian band KANALIZACJIA, adding a saxophone touch to the track DIESEL, and KRZYSZTOF FREEZE OSTROWSKI - a renowned Polish electronic musician and producer, bringing a new sonic perspective to EURO TRACK from the DMO EP.
Among the multidimensional concepts blending environments, genres, styles, and techniques found on GAPS, the pursuit of synthesizing acoustic and electronic sounds stands out. RZWD creates a space where the boundaries between these domains blur and lose their significance.
The result is a groove-driven and noisy mix of dance music styles such as RAVE, TECHNO, HOUSE, and FOOTWORK, played beyond rigid tempo measurements and DAW limitations, relying on natural skills and intuition. It's a soundtrack that works best as a backdrop to movement, whether coordinated or not.
RZWD:
SKI - DRUMS, ELECTRONICS
KRZYSZTOF ROGALSKI - BASS GUITAR
CEZARY ROSIŃSKI - DUBS, SYNTH, MOD. ELECTRONICS
swrcfx - DUBS, SYNTH, GUITAR
ALBUM GUESTS:
DANIELIUS PANCEROVAS - SAXOPHONE in DIESEL V3
KRZYSZTOF FREEZE OSTROWSKI - ELECTRONICS in EURO TRACK V2

Walter Astral's debut album tells the story of Light, its journey through the day and catalyzes it in the Éclispe, a suspended moment when space and time stop to contemplate the universe.

Over the past two years, the two druids have transmuted light into sound in the form of a concept album that explores all facets of Walter Astral, from folk and techno to pop, drum & bass and psychedelic rock, always in the presence of their totem banjo.

Sound explores and is explored, to represent light; magic and the everyday, between digital and analog sounds expressing the natural and the supernatural, humans and the cosmos. Transposing the invisible, the presence of absence, the Eclipse, into silence and sound.

“Eclipse” questions the shadows hidden by light, and the glimmers hidden by shadows, the ambivalence of a state, its capacity to transform, to mutate. Like ancient alchemists, Walter Astral set to music the transitions of states, stars, humans and emotions.

Since 2013 - Brighton & Barcelona duo PAYFONE have been releasing records on respected NYC and UK labels GOLF CHANNEL , LENG and DEFECTED.

Now releasing on their own OTIS imprint - PAYFONE deliver another deep 12 in preparation for their debut album.
In September 2024 PAYFONE released their WILD BUTTERFLY EP which appeared in many best of 2024 end of year DJ charts whilst gaining the support from the likes of Richard Dorfmeister, Leo Mas and Daddy G.
Phil Passera and Jimmy Day's productions continue to gain fans across the disco world with a template of synth and bass that equates to a heady and intoxicating excursion into early electronic soul disco circa late 70's / early 80's.
Known for their atmospheric, mid-tempo sultry selections, PAYFONE offer up another deep dive of synth-driven drum machine pleasure with remix duties courtesy of San Francisco trio 40 Thieves: Corey Black, Layne Fox and Jay Williams.

Latest offering VOLT to VOLT is a moody meltdown of Moog bass and full frontal vocals featuring the talents of North Carolina's JO GABRIEL HARRIS and New York City's TERI JACKSON.

Always a cut above, this Payfone release will be VINYL ONLY.

Get with it !

Payfone have released over 16 individual 12" releases, including Phonica's 'Record of 2023 - 'I Feel You'

Here’s another one of those great early-‘90s glam metal albums that got lost in the grunge explosion. And because it came out in 1992, Capitol never bothered releasing it on vinyl in the U.S. So this one’s been a long time comin’…and as soon as you hear the opening cut “Hang On Lucy,” you know you’re in for a ride. Fans of Dokken, RATT, Skid Row, and Mötley Crüe will flip over Under the Influence…and lead vocalist Drew Hannah is in the grand tradition of Vince Neil et al. Trivia note one: Wildside ruled the Sunset Strip (and were the subject of a bidding war between Capitol and Polygram) under the name Young Gunns but was forced to change their name when Lionsgate Films came out with their Young Guns movie. Trivia note two: this was the first non-Van Halen record recorded at Eddie Van Halen’s 5150 home studio, engineered by famed Led Zeppelin producer Andy Johns! We’ve had this lost classic remastered for vinyl to make sure it pops…fire orange pressing housed in a deluxe gatefold jacket!

Heavyweight Black Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.


Colored Vinyl Details:
Heavyweight "A side - B side solid purple + transparent blue" vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.

Peronnel:
Mustafa Abdul Rahman - Tenor Saxophone, Percussion, Producer
Ahmed Abdullah - Trumpet
Malachi Thompson - Drums
Gregory Bufford - Bass
Richard Radu Williams - Piano
Rafik Abdur Rahim
Tony Smith - Guitar
Larry Banks - Synthesizer
Khalil Abdullah - Congas
Babafumi Akunyon - Percussions
Odell Grier Backing Vocals – Fred Harley, Hilda "Asia" Richbow , Linda Hall

Notes:
In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.

Repress!

Just six months after her huge Rave On Time EP, Charlotte de Witte is back on her own KNTXT label with another standout release featuring three thrilling new tracks.

Despite the global pandemic, Charlotte did not let up in 2020. Her label continued to serve up techno from the cutting edge, she held down various high profile streams during lockdown and also got voted as the World's Number 1 DJ by DJ Mag's Alternative Top 100 poll. After picking up the Best Producer title at the Red Bull Elektropedia Awards, her Selected EP picked up the silver medal in the Best EP category and she was awarded bronze in the Artist of the Year category. She ended the year with a spectacular set on the virtual Main Stage of Tomorrowland on New Year’s Eve and now races out of the blocks with yet another vital EP.

Says Charlotte, "I've always been fascinated by the high adrenaline racing world. Rapid movements, living in the moment, racing through life, eyes on the future. As far as concepts go for an EP, this is one of my favourite ones so far."

That plays out across the electrifying tracks, starting with ‘Doppler,' a heavyweight techno weapon with shuffling drums and urgent alarm like synths shooting over the bulky groove. It's one to keep you on edge as the strobes flash on a vast dance floor. 'RPM' ups the ante further with blistering acid lines flashing about the mix. Rooted drums roll on in unrelenting fashion and a lead synth takes you down a deep, dark rabbit hole. 'Formula' then rounds out in urgent fashion with the sound of revving engines, hammering hits and haunting melodic loops all making for a vast and vital wall of techno sound.

With this arresting and powerful new EP, Charlotte de Witte once again remains in techno's pole position.

Black Vinyl / 350 mcn double white coated paper / Poster sleeve / PVC outers / Original artwork / Exclusive 30x30 cm insert with Q&A by Tony Higgins with Ole Matthiessen printed on on 250 gram Gardamat coated paper. Archive picture from original recording session printed on 350 gram Gardamat paper. Archive pictures printed on 375 gram Vintage Bindakote Monolucido. All papers are acid free an printed with food based inks.

Personnel: 

Jesper Nehammer - tenor saxophone
Ole Mathiessen – piano
Jon Finsen – drums
Henrik Hove - bass

Notes:
Danish jazz band founded in 1969. Band line up: Henrik Hove on bass, Ole Mathiessen on piano, Jesper Nehammer (later Thors Hammer, Alrune Rod and Entrance) on tenorsax, and Jon Finsen on drums. Played for a while every Monday in the famous Jazzhouse Montmatre in Copenhagen.
Tordenskjolds Soldater only made this record (1970).
The small record label Spectator Records was founded in 1969 by Jørgen Bornefeldt a former journalist from Danmarks Radio in coorporation with the jazz musician Carsten Meinert. Meinert recorded two albums on the label. He only joined the company in the beginning. Cindarellaistudiet The studio was destroyed august 6th 1972 by a major fire. And that was the end of Spectator Records. From 1969 to the end, the label recorded at least 23 lp albums and 9-11 singles/EP's. The picture shows Henning Kragh Pedersen from Cinderella in Spectators studio. The great Danish rock band Gasolin recorded their first single – Silky Sally - on Spectator Records. It was no success and sold only 155 copies. Silky Sally is now one of the most sought after Gasolin singles among collectors and is of course very expensive.
The music from Spectator Records is mostly jazz, progressive rock and hippie free style. But they also made strange records for children, education etc. Most records were issued in very small numbers (300-500). Some of the best progressive rock in Northern Europe was recorded here.
Quality of vinyl was often poor - even new looking records can have audible problems. Covers and labels are primitive and cheap. On the other hand the creativity could be outstanding - check the Furekaaben cover gallery or the artwork of William Skotte Olsen from Green Grass. Several record from the labels are cult today. A perfect copy of certain records costs a fortune.
Master tapes was never found after the fire in 1972. Unofficial reissues and bootlegs are therefore made on the base of the original records. Recordings that never made it to the vinyl got lost in the fire. Both Cinderella and The Copenhagen based band, Lines lyst, had material readdy for lp's which was never recorded. (Tony Higgins)

Vinyl Only / Original artwork / Black Vinyl / 400 mcn paper / 30x30 cm insert with notes by Tony Higgins and graphic elaboration printed on 250 gram G.F. Smith Colorplan / PVC outers


Personnel:
Jorge Ruiz Lopez – Double Bass
Roberto Fernandez Trumpet
Leandro "Gato" Barbieri - Tenor Sax
Ruben Lopez Furst – Piano
Pichi Mazzei - Drums

Notes:
Jorge López Ruiz is one of most versatile of musical talents to emerge from Argentina. As a bass player, composer, performer and arranger he has worked across many genres including jazz, pop as well as stage productions and feature films.

BA Jazz was originally released in 1961 on Vik Records as the debut album from Lopez Ruiz featuring a mix of covers and original material. Alongside Ruiz Lopez are Roberto Fernandez on trumpet, Ruben Lopez Furst on piano, Pichi Mazzei on drums and a young musician called Leandro Barbieri on tenor sax. Leandro became better known at Gato Barbieri, who went on to build an international reputation working with Charlie Hayden, Don Cherry, Dollar Brand and Carla Bley and recording for Impulse! Records, Flying Dutchman and A&M Records.
The BA Jazz album has been a rarity for years and original pressings attract huge amounts from collectors. It's rarity is matched by the fantastic music contained with its grooves. It's a genuinely important record in the development of jazz in South America. (Tony Higgins)

Comes with an insert with exclusive pictures and condensed interview about the serie with Lloyd Miller made in March 2022 printed on 300 gram Favini "Remake" paper, plus exclusive goodies!

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller- Drum (Zarb), Lute (Oud), Lute (Kamanche), Lute (Sehtar)
Marilyn Miller -lute
Jan Otterstrom - Guitar
Stan Wood - Percussion
Anna Claire Eastmond - Vocals

Notes:
The second and last chapter of Dr Miller's journey between cultures and its uses, which began with "The Far East", dissected and looked into the root of the sound of distant Asia, continues with this new chapter dedicated instead to the countries bathed by the Mediterranean and contiguous to Central European history. From Spain to Arabic sounds, a new compendium that takes us back to other places and times, Dr Miller is once again able to dissect and encapsulate sounds and spices from distant places and spaces in a time machine. Thanks to these historical documents, we have the opportunity to discover feelings that are impossible to find 50 years later, sucked up and watered down by globalization and social capitalism.

Whereas Lewis used his transformative talents to newly illuminate renaissance man George Washington Carver onJesup Wagon, the saxophonist does the same here for gospel- music force of nature Mahalia Jackson. And this time it's personal, because Lewis lived her music growing up, nurtured by a grandmother who had received Mahalia's singing like a bolt from above. Much more than a tribute, this work is"really a three- way conversation between Mahalia, my grandmother and me."

The challenge was to turn these songs into jazz, the 21st century variety. What James and the band (William Parker- bass, Chad Taylor- drums, Kirk Knuffkecornet, Chris Hoffman-cello) conjure with this music is miraculous.

The CD & LP editions also exclusively include the contemporaneous suite, "These Are Soulful Days", JBL's first composition for strings; performed with the Lutoslawski Quartet. It is included as a 2nd disc on CD version & via an exclusive download card with the LP

Repress!

Techno phenomenon Charlotte de Witte today announces her brand-new EP “Power Of Thought”, out October 19 on her own KNTXT label. The trio begins with the title track “Power Of Thought” - which immediately erupts into a hypnotic techno beat interspersed with spoken mantras of mindfulness. This is followed by “Pria”, a pulsating journey featuring hypnotic, mantra-like vocals. The EP ends with ambient track “Abada”, punctuated with the occasional drum and chanting vocals before it quickly strips away to silence.

“For ‘Power Of Thought’, I wanted to create an EP that touches deeper emotions and captivating the meditative trance you have when you let go on the dance floor,” says de Witte. “‘Pria’ has already brought me a lot of joy over the last few months when I have played it during my sets. It offers a moment of reflection and a chance to catch your breath during the rougher, more peak time tracks I play. ‘Abada’ is a track that I really enjoyed making. I discovered these magical chanting vocals and I just knew I wanted to use them in a track. Though this track is maybe less playable in one of my sets, I feel that Abada found its home on this EP and completes the ‘Power Of Thought’ circle.”

Best known for her “dark and stripped-back” brand of techno and crossover to other sounds of the underground, Charlotte de Witte pushes the boundaries of the electronic genre with music that has a distinct and unforgettable sound that is uniquely her own. De Witte’s innovative ability allows her to seamlessly blend genres and styles that
have won her a dedicated fan base and critical acclaim.

“Power Of Thought” is the followup EP to de Witte’s “Overdrive” EP, campaign and tour, which recently wrapped with a Los Angeles takeover last month and included performances at Brooklyn Mirage, Primavera Sound, Rock Werchter, Super Bock Super Rock, Lowlands and Rock En Seine. The “Power Of Thought” release will include an exclusive apparel drop as well and will coincide with the opening day of KNTXT Turbo Club, de Witte’s epic 3-day pop-up event series taking over Amsterdam Dance Event (ADE) from October 19 - 21, 2023.

With a different “KNTXT” each day, the turbo-charged pop-up will feature a massive lineup of performances, a dedicated KNTXT shop, immersive music experiences and other surprises at an undisclosed location in Amsterdam. Capacity will be very limited and tickets can be purchased now at https://kntxt.be/events/ade.

Following ADE, de Witte will embark upon the KNTXT Latin America Tour on October 26, which will take her to Mexico City, Buenos Aires and São Paulo.

Seit der Veröffentlichung ihres gefeierten Debüts "Versions of Modern Performance" 2022 (u. a. mit Höchstwertung um US-Rolling Stone) hat sich vieles für Nora Cheng, Penelope Lowenstein und Gigi Reece verändert. Im Herbst desselben Jahres zog die junge Band von Chicago in die Ostküstenmetropole, wo Penelope und Nora an der New York University ihr Studium begannen und das erste Mal überhaupt Musik außerhalb des elterlichen Zuhauses schrieben. Der Einfluss der neuen Umgebung macht sich unmittelbar im Sound bemerkbar. Zugleich wendet sich der Blick in Zeiten beispielloser Veränderungen nach innen. Im Januar 2024 kehrten Horsegirl nach Chicago zurück, um die neuen Songs aufzunehmen. Im "The Loft" Studio stellten sich dort ein Fokus und eine Intimität ein, wie sie wohl nur entstehen können, wenn es schlicht zu kalt ist, das Gebäude zu verlassen. Cate Le Bon führte die Band derweil in neue, helle und klare Sound-Gefilde, die Raum und Textur gegenüber den dichten Soundflächen des Debüts in den Vordergrund rücken und das charakteristische Songwriting von Horsegirl betonen. Dazu zählt auch der erstmalige Einsatz von Violinen, Synths und Gamelan. Die Leadsingle "2468" ist ein Beispiel für die offenkundige Experimentierlust auf "Phonetics On and On". Mit seinen Raincoats-artigen Streichern und energischen Drums verdreht einem der Song in seinem fortlaufenden Crescendo immer mehr den Kopf. Das dazugehörige Video stammt von der Schriftstellerin und Regisseurin Eliza Callahan und wurde von Alexa West choreographiert. Es ist schwer vorstellbar, dass Songs wie die auf "Phonetics On and On" augenblicklich von irgendwem anderes stammen könnten als von diesem Trio bester Freundinnen. Nora, Penelope und Gigi schreiben mit ungefilterter Aufrichtigkeit über Szenen ihrer Jugend als Momentaufnahmen des Lebens. Die Liebe zueinander ist dabei in jedem Augenblick spürbar und resoniert durch und durch im Zusammenspiel auf ihrem zweiten Album. Horsegirl gründeten sich 2019 in der umtriebigen DIY-Szene Chicagos. Die damals 17- und 18-jährigen Schülerinnen zählen Yo La Tengo und Pavement zu ihren erklärten Vorbildern. Ihr Debüt, auf dem Steve Shelley und Lee Ranaldo als Gäste zu hören sind, nahm die Band in Steve Albinis Studio mit John Agnello (Sonic Youth, Dinosaur Jr.) auf. Zuletzt tourten Horsegirl u. a. mit The Breeders.

Red w. Black Smoke Vinyl

After 25 years, eight albums, and countless gigs, BLEEDING THROUGH persist as a tried-and-true outlier in heavy music and culture. The Southern California stalwarts wield an enigmatic and unmistakable signature sound born at the cross roads of no-holds-barred hardcore, cutthroat thrash, and cinematic black metal.
Mastering a drastic push-and-pull, they have always occupied their own elevated realm in the extreme space, exhibiting a rare ability to not only incite a moshpit, but also invite complete immersion. It’s why they’ve endured changing tides and trends and stood strong as a force of nature with consistent critical acclaim and packed shows. However, the six-piece - Brandan Schieppati vocals, Derek Youngsma [drums], John Arnold [guitar], Ryan Wombacher [bass], Marta Peterson [keys, vocals] and Brandon Richter [guitar] - assuredly perfect this vision in 2025 on their aptly titled ninth full-length offering, NINE.

DREAM DANCE 96Die Dream Dance Vol. 96 steht in den Startlöchern und sorgt bei allen Dance und Trance Fans für Entzücken. Dream Dance 96 erscheint im hochwertigen Digipack auf 3CDs mit den größten Trance und Dance Hits unserer Zeit.Auch das Marketing-Paket lässt keine Wünsche offen: Koop mit "sunshine live", sowie eine massive Online Kampagne inkl. Bannern, Facebook und Youtube Werbung, uvm.DREAM DANCE 96 - folge dem Delphin!

The world became another since the release of »Decadent yet Depraved« and Belief Defect’s reflection of it: now darker, political, honest – end times in Cinemascope. When the duo reunited in the studio after the 2 year fracture COVID inflicted on reality, the album that had been on pause all this time seemed insufficient against whatever life had morphed into, while humanity hid from itself. Finishing an album coherent to the present moment took prolonged studio shut-ins that proved to be as cathartic as the struggle sessions of the cultural revolution must have been. »Desire and Discontent« unfolds like a parable, structured by subsonic frequencies that give arrangements a solid gravity, dissonant chord progressions resulting in coherent movements, punctuated by human-like voices over slow, suspenseful melodies that come into being without the listener’s awareness. Contributing to the album with machine-like precision drumming is Merlin Ettore, vocals from Anna Gartner and the artwork of Juan Mendez (Silent Servant).

Soul Quest are proud to present the latest release from Berlin based DJ and producer Jean-Jez, who continues on with a musical journey with flourishing roots and a bright, bright future.

Jean-Jez has made waves in Berlin’s underground for a good while now, with his Kedi Bounce parties (whom he co-founded) quickly becoming a celebratory cornerstone of community and culture. His DJing style and production approach act as a core expressional loop, with Jean-Jez embracing a multitude of styles and sounds with both. Bridging the gap between house, Jazz, Hip-Hop, Afro-Latin and beyond, Jean-Jez is all about nurturing the collective joy found within music - either through his own tunes or deep in the mix at a Kat Nip party.

‘Soul Notion’ wears its heart on its sleeve, and embodies the core musical principles to which Jean-Jez holds so very dear. ‘Did you want to dance!’ kicks things off with a deep melodic embrace, before spreading outwards with brassy frills, evocative simmering drumming patterns and vocal samples which kick the inner consciousness into another gear.

‘Take me to the moon’ contains an up and front piano lead, with uptempo drums providing a twist and flair to proceedings. Some inspired vocals add further to the atmosphere, one of airiness and emotional escapism.

‘What is it tell me’ stirs into life with a wide scope through the low ends, but Jean-Jez cooks up a storm with some wondrous jazz guitar that weaves one final spell to get lost deep within.

To wrap things up, Jean-Jez enlists his own collective: Kedi Bounce to put an Acid twist on ‘Did You Want To Dance’ to close the ep in style. This mix is exclusive to the vinyl mix and won’t be released digitally.

Jean-Jez looks to celebrate and resonate through his music, and this EP is a full demonstration of his abilities to bring things together. Seamlessly blending some of his favourite styles, this record contains all the feels to be wished for, and an experience that leaves plenty of room for return visits, this EP has you covered.

This is the eponymous debut studio album by the American Rock band the Modern Lovers, originally released in 1976. Six tracks (“Roadrunner”, “Astral Plane”, “Old World”, “Pablo Picasso”, “She Cracked” and “Someone I Care About”) were produced by John Cale.

The Modern Lovers were formed in 1970 by teenage singer, songwriter, guitarist Jonathan Richman, augmented with Jerry Harrison (keyboards) -later of Talking Heads-, Ernie Brooks (bass) and David Robinson (drums) -later of The Cars-, with Richman’s friend and original band member John Felice joining them occasionally.

The Modern Lovers influenced numerous aspiring punk rock musicians on both sides of the Atlantic, including the Sex Pistols, whose early cover of “Roadrunner” was placed on The Great Rock ‘n’ Roll Swindle. The album was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die. In 2003, the album was listed on Rolling Stone magazine’s list of the 500 greatest albums of all time.

The Modern Lovers is available as a Limited numbered edition of 4000 copies on “Cool Blue” coloured vinyl

With their name taken from an episode of the radio program The Goon Show, Ned's Atomic Dustbin formed in Stourbridge, UK, in 1987. They're known for using two bass-players in their line-up and creating a tense and highly driven sub-hardcore sound featuring distorted effects-laden guitar and energetic drums.

In 1992 they released their second studio album Are You Normal?. The album features their American hit song “Not Sleeping Around”, which hit the top of Billboard's Modern Rock Tracks chart. The album was produced by Andy Wallace, best known for his work with Slayer, Prince, Nirvana, Sonic Youth, Paul McCartney and so on.

Are You Normal? is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert.

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

It’s written in the Agreement Terms. There’s no getting out alive in Life. And yet, mankind keeps striving for eternal life; through art, through power, through cryogenics, through singularity. In that misguided quest against the inevitable, we all fall into the category of lost travellers. No one is exempt. In that understanding, Confucius MC and producer Bastien Keb offer no misgivings about the destination on the somber “Time Will Come”: Time will come for all of us / try to take your time.

Songs For Lost Travellers is a collaborative album by Con and Bastien Keb that merges unexplored pathways between rap, folk, and jazz into a spiritual triumvirate. Each genre is a balancing force within the record. The result is an album unlike either artist have made previously, possibly unlike any record in existence. Songs For Lost Travellers opens with bedtime stories and fairytales. Both “Tell Me Lies” and “Fairytale” present the creature comforts that trick us into forgetting the truth. Con’s first words spoken are “tell me lies ‘til I swear I can’t remember” over Keb’s lo-fi plucking that feels like it was lifted from a handheld recorder capturing a nursery mobile above a crib. Third track “Time Will Come” resets the album after acknowledging on “Fairytale” there’s “no nourishment in half-truths / no sustenance in eating lies.”

Honest and direct, Con and Keb imbue Songs For Lost Travellers with knowledge and truth from their lived experiences. There is grief hidden in the notes, an inherent sadness that is balanced with an awareness that grief is a protest against the social machinery of remaining numb. The record lingers in a meditative state, unafraid of restlessness and embracing solitude, with the expectation that peace is just as imminent as death.

The production contains a complimentary authenticity. Neither Con nor Keb bothered much with the professional studio in making Songs For Lost Travellers. Instead they opted for the raw state of their home recordings and first takes, matching the intimacy of being alone and reflective in their creative energies. Room static on “Tell Me Lies” makes it feel like you’ve entered their apartments. The immediacy continues on “Gutters,” as Keb plays guitar while watching the tele and Con hums along to the vocal melody in search of the proper pocket for his verse. Someone snaps their finger to mark a cue, but the snap never returns to the mix to keep time.

More drawn to Keb’s recent folk recordings on the Songs For Lilla EP than his funk roots circa Dinking In The Shadows of Zizou or the cinematic soul of The Killing of Eugene Peeps, Con leaned into the spacial freedom he heard in Keb’s lo-fi production cobbled from field recordings and voice notes. Both artists placed their families into the tableau. Con wrote “Little Man” for his son, hoping to add a positive contribution to the canon of parental rap songs. Later, his son appears at the end of “Paramount” to deliver a passage from Kahlil Gibran’s The Prophet. Keb secretly recorded his mum playing saxophone and sampled his cousin playing sax as well. The result is a near-drumless album (save for “Toulouse” and light tapping on “It Would Speak”) in which Keb’s raw production (plus a few sessions with Kofi Flexxx) gave Con a liminal zone, unencumbered by beats per minute, to craft melodies that turn his philosophical rhymes into mantras.

Perhaps there’s a message in the presence of family? It would be one of many. Con and Keb’s reflective, somber approach to Songs For Lost Travellers does not wallow in the mire. Music is action and it’s taking them through a portal to the other side of grief. We are welcome to join (which is also in the fine print of the Agreement Terms), but first there’s a password in the final song, a single request to answer: Tell me what you care about.

Biography by Blake Gillespie
credits

"Live Mind, is the first live album from rock supergroup, The Third Mind. With over an hour of performances, Live Mind was overseen and curated by Don Boles, Will Golden and Brett Brock from shows in February and March 2024 at the Troubadour in Los Angeles, Ventura Music Hall in Ventura, CA, and The Kessler Theater in Dallas, TX. Produced by Dave Alvin and Victor Krummenacher, the album was mixed and mastered by Craig Parker Adams at Winslow Court, Los Angeles, CA.

What started four years ago as a wishful music fantasy, the supergroup of “Californian Psychedelic Rockers” (Doom Charts) is now a reality. The brainchild of GRAMMY award-winning guitarist Dave Alvin and veteran alternative music bassist Victor Krummenacher (Camper Van Beethoven, Monks of Doom, Eyelids), The Third Mind’s two studio albums–The Third Mind (2020) and The Third Mind 2 (2023)–feature guitarist David Immerglück (Counting Crows, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale) and vocalist Jesse Sykes from her critically acclaimed group, Jesse Sykes and The Sweeter Hereafter. The Third Mind live psychedelic improv performances include the addition of guest guitarist Mark Karan (Bob Weir's Ratdog, Phil Lesh, Delaney Bramlett) subbing for Immerglück."

The Velveteers bring a visceral energy to their explosive sophomore album, A Million Knives. The album is a blistering rock anthem infused with melodic indie songwriting. With GRAMMY Award-winning producer Dan Auerbach at the helm, the Boulder, CO trio encapsulates the raw, forceful, and profoundly heavy energy of their live performances and laser-focuses a spotlight on tightly crafted songs as they carve out their own distinctive niche. Driving The Velveteers is the commanding presence of frontwoman Demi Demitro, a no-bullshit, five-foot-something spitfire with thunderous guitar riffs and soaring vocals, backed by the incendiary duo of Baby Pottersmith and Johnny Fig on drums. The band's signature dual drum setup creates a thunderous foundation that propels their gritty, dynamic garage rock sound. On A Million Knives, this setup melds seamlessly with a more modern indie rock influence-the attitude of Wolf Alice, the colossal sound of Queens of the Stone Age, and the singular lyrical voice of Hole. The Velveteers have built a dedicated following through relentless touring and electrifying performances, sharing stages with renowned acts such as Smashing Pumpkins, The Black Keys, Greta Van Fleet, Guns N' Roses, and Des Rocs. With A Million Knives, The Velveteers offer a compelling testament to their rising stardom, a rock 'n' roll album as beautiful as it is terrifying.

2023 was a whirlwind year for Oracle Sisters. The trio—Julia Johansen, Chris Willatt, and Lewis Lazar—followed the release of their debut album Hydranism with a globe-spanning tour that captivated fans and critics alike. From the highways between Knoxville and Nashville to sold-out clubs in rain-soaked Seattle, and festival stages across the UK, they logged countless hours on the road. Their journey was a tapestry of exhaustion and exhilaration, falling apart, brawls and disputes, love and acceptance. By the year’s end, just two days before Christmas, they found themselves in Tokyo, reflecting on the fleeting nature of time and the fragments of inspiration gathered along the way. It was there the seeds for their next album, Divinations, began to sprout. Composing as a true trio for the first time, Oracle Sisters pieced together sketches formed during stolen moments on tour. These fragments coalesced into Divinations, an album shaped by the band’s nomadic existence. The recording sessions spanned cozy Parisian studios, a barn in northern France, and the storied Valentine Studios in Los Angeles. Their creative process embraced experimentation—swapping primary instruments, playing with toy drum machines, and crafting melodies on quirky tools like the OP-1 and a baby Casio keyboard. This spirit of discovery lent the album a sense of spontaneity and wonder. At its core, Divinations channels mysticism and timeless storytelling. The band’s songwriting draws on diverse influences, from the surrealist poetry of Baudelaire and Rimbaud to the introspective philosophies of Carl Jung. Musically, echoes of Talking Heads, Air, and Leonard Cohen resonate throughout the album and tracks like “Riverside” delve into existential questions— “How far are you going? Is it more than money can buy?” Elsewhere on the album “Marseille,” born in the city that gave the song its name, kicks off as a trance with lyrics that play between the sincere and desperate self-help affirmations, we give ourselves while trying to find a bridge between our individual lives and a universal feeling. Lead-single “Alouette” is Oracle Sisters at their most direct; propelled by a driving bassline and exuberant strings, the track summons the sound of 80’s, 90’s, and early 2000’s rock n roll as they sing about “getting out of dodge, finding a pirate ship and sailing home.” Inspired by the book Caliban and the Witch, “Blue Left Hand” is a lyrical tapestry weaving together history, philosophy, and cultural critique. The lyrics, “It’s in the harbor of every page / It’s in the corner of the playwright’s stage / And every player and every fake / And every witch that we burned at the stake,” reflect on the forces that shaped the capitalist society we know today. Across Divinations’ 11 tracks it’s not only geographic boundaries that were crossed but also the boundaries of time and circumstance. While their work may not consciously reflect specific worldly events, they seek to embrace the universal and offer a space for healing. “Good music would make sense to a farmer in 17th century France as it would to a pastry chef in Slovenia in the 21st century,” shares Lazar. “It’s not written for any temporal powers that be. It’s about expressing our common humanity and taking it from there.” This intuitive approach fuels Oracle Sisters creative process - whether composing in a frozen French farmhouse or performing live with an ever-expanding lineup of collaborators, the band remains committed to exploring the unknown. Through Divinations, they hope to leave listeners feeling transcendent, levitating on waves of intuition and discovery.

The third album Fort Sensible by Brisbane alt-rockers Tape/Off is a genuine labour of love, a passionate dose of opinionated heart-on-sleeve rock’n’roll representing not just a place but a time with its cache of meticulously-crafted guitars, robust rhythms and socially-conscious lyrics mining both the personal and the political.

While musically they veer seamlessly between intricacy and intensity their words cut straight to the quick, the songs caustic and catchy in equal measure, making Fort Sensible by far the most ambitious and accessible album in the band’s storied decade-plus history.

Tape/Off’s first two albums - Chipper (2014) and Broadcast Park (2018) - were both longlisted for the prestigious Australian Music Prize, yet Fort Sensible takes the tried and tested Tape/Off aesthetic to a whole new level as the band seek to both share the creative load and fully harness their innate collective chemistry.

The guitars of Nathan Pickels and Ben Green weave together like an electric tapestry, the resultant soundscapes both intricate and ambitious whilst still entirely capable of busting out massive riffs with the best of them, their inherent simpatico now built upon by years of experience playing off each other. From a rhythmic perspective Tape/Off's propulsive drummer Branko Cosic's immense power and Cameron Smith's robust, expressive basslines combine to provide the perfect rhythmic bottom-end throughout the record.

Excitingly Tape/Off's sonic palette has been broadened substantially on the new album, with Pickels' angry and angst-laden diatribes throughout Fort Sensible now augmented by Green and Smith taking vocal turns at junctures, adding a whole new dynamic and dimension to proceedings.

At a time when our leaders seem lacking and the world needs the redemptive powers of art and music more than ever, Tape/Off announce themselves as a serious force to be reckoned with the uncompromising power and beauty of Fort Sensible!

Ten years later, and with ve full-length records out, Vundabar-Hagen, bassist Zack Abramo, and drummer Drew McDonald-are marking their time together with a new 11-track collection called Good Old. Four of the songs are acoustic reinterpretations of previous Vundabar tracks, while the remaining seven were created during recording sessions between the releases of 2015's Gawk and 2018's Smell Smoke. The songs from these sessions are raw, loud, elastic, and energetic, crackling with the banged-up spirits of punk-, art-, pop-, grunge-, and indie-rock-and they've never been heard until now.

It's another 45 Rocafort treatment!

"If There's a Will, There's a Way" was written by Don Covay and Donny Hathaway and released in 1972 on the American Janus Records label. Covay, a key figure in the 1960s and 1970s soul scene, was known for his gritty voice and songwriting for artists like Aretha Franklin and Wilson Pickett. Hathaway, on the other hand, was an influential soul singer, composer, and pianist often celebrated for his collaborations with Roberta Flack. This song blends both of their distinct styles: Covay's raw, Southern soul vibe and Hathaway's sophisticated, jazz-influenced arrangements. Like Donny Hathaway's live album released that same year in 1972, this track grabs you from the very first notes. A classic soul groove, with a powerful vocal delivery!

Notably, this track was later sampled by Pete Rock in his remix of "Lots of Lovin'" with C.L. Smooth, bringing the soulful essence of the original into the realm of 90s hip-hop.

On the b-side, another track from the fantastic Janus Records catalogue. Harvey Mandel's "Baby Batter," originally released in 1971 is a blend of funky blues and psychedelic rock vibes representing another popular genre from the early 70's in the USA. Mandel's signature guitar work shines throughout the track and the drum break in the introduction will please the hip-hop heads and 45 DJs out there.

Chapeau Music presents its second vinyl release, this time by Resonances (IT). "Signal" is a record that connects diverse shades of electronic music: from jazzy undertones to industrial techno, from punchy and intricate rhythms to straight and clean grooves. It's a collection of tracks that showcases the vision of the "man behind the Octatrack".

The title track "Signal" develops naturally, immersing the listener in its dynamic layers of piano stabs and synth elements with a fast-paced groove. The subtle distortion of the rhythmic elements injects raw energy without compromising the track's underlying elegance. It reimagines the genre's darker roots, offering a bold and innovative perspective.

Gene Richards Jr's remix of Signal intensifies the journey, delivering a high-impact, hard-groove edge that perfectly complements the EP.

"Please" concludes the A-side with a pulsating rhythm and a cadence that keeps the dancefloor in motion. Its energetic progression completes the A-side with an undeniable dancefloor weapon.

The flip side begins with "Randomizer", an exploration of atmospheric and industrial textures. The track builds around a solid kick drum and spatial synths, with scattered elements orbiting like satellites to create an extraterrestrial experience.

To close, "The Stand" merges classic influences with melodic, Detroit-inspired elements. Wide, reverberated synths fill the space, crafting a fusion of rhythm and melodies to deliver a standout closing track that feels timeless.

A maelstrom of music and metaphysics, a crushing conduit for connection, contemplation and catharsis; ritualistic sludge-metal juggernauts Pothamus return to this plane of existence with new album `Abur', the highly anticipated spiritual successor to their colossal debut, `Raya'. The search for meaning stands central as a pillar of belief in the enigmatic world of Pothamus. Whilst blending eastern philosophy and western esotericism into a unique ontology, the band stay true to the fundamentals of music: sounds, instruments and bodies coming together just as they too drift away. To experience Pothamus is to open yourself to an immersive, out-of-body experience that transcends the ordinary and delves deep into the profound. `Abur', Pothamus' sophomore full-length is an odyssey of truly epic proportions. As well as honing their already formidable live sound in the intervening years, the band have widened their musical palette in order to explore a truly original take on heavy music that steers them ever further away from well-trodden post-metal paths. On `Abur' the Pothamus' signature ritualistic sound is elevated by the glacial sounds of the Surpeti, an drone instrument originating from the Indian subcontinent traditionally used for mantra singing, whilst drummer Van Hulle adds his voice in harmony with guitarist Coussens' to create an astounding richness and depth. Capturing Pothamus at their creative zenith was musical contemporary and close friend Chiaran Verheyden (Psychonaut, Hippotraktor) who recorded, mixed and mastered `Abur'. A 44-minute pilgrimage through nature, animism and the depths of the human soul, `Abur' is Pothamus' answer to the big, existential questions that keep us all awake at night. Titanic, all-consuming heaviness is met with ethereal, airy beauty as the band contemplates the interconnectedness of all things, creating a singular sonic universe balanced perfectly between cosmic creation and absolute destruction. FOR FANS OF: Amenra, Heilung, Om, Wardruna, Briqueville, The Black Heart Rebellion 3-panel gatefold CD + 28 pages booklet, gatefold LP + 28 pages booklet

Ivory coloured vinyl! A maelstrom of music and metaphysics, a crushing conduit for connection, contemplation and catharsis; ritualistic sludge-metal juggernauts Pothamus return to this plane of existence with new album `Abur', the highly anticipated spiritual successor to their colossal debut, `Raya'. The search for meaning stands central as a pillar of belief in the enigmatic world of Pothamus. Whilst blending eastern philosophy and western esotericism into a unique ontology, the band stay true to the fundamentals of music: sounds, instruments and bodies coming together just as they too drift away. To experience Pothamus is to open yourself to an immersive, out-of-body experience that transcends the ordinary and delves deep into the profound. `Abur', Pothamus' sophomore full-length is an odyssey of truly epic proportions. As well as honing their already formidable live sound in the intervening years, the band have widened their musical palette in order to explore a truly original take on heavy music that steers them ever further away from well-trodden post-metal paths. On `Abur' the Pothamus' signature ritualistic sound is elevated by the glacial sounds of the Surpeti, an drone instrument originating from the Indian subcontinent traditionally used for mantra singing, whilst drummer Van Hulle adds his voice in harmony with guitarist Coussens' to create an astounding richness and depth. Capturing Pothamus at their creative zenith was musical contemporary and close friend Chiaran Verheyden (Psychonaut, Hippotraktor) who recorded, mixed and mastered `Abur'. A 44-minute pilgrimage through nature, animism and the depths of the human soul, `Abur' is Pothamus' answer to the big, existential questions that keep us all awake at night. Titanic, all-consuming heaviness is met with ethereal, airy beauty as the band contemplates the interconnectedness of all things, creating a singular sonic universe balanced perfectly between cosmic creation and absolute destruction. FOR FANS OF: Amenra, Heilung, Om, Wardruna, Briqueville, The Black Heart Rebellion 3-panel gatefold CD + 28 pages booklet, gatefold LP + 28 pages booklet

Following their acclaimed debut ‘The Summoned’ on Acid Jazz in 2023, Mama Terra return with a new album - ‘Chameleons: Live Interpretations of Herbie Hancock’. The album recasts Hancock’s iconic works in a new, live setting, as a basis for both homage and exploration, with ‘Headhunters’ being a prime influence for leader Marco Cafolla. The album grew out of Jazz FM’s ‘Classic Albums’ series, and was recorded live at the Glasgow International Jazz Festival in June 2024. The performance demonstrates the prowess of Mama Terra as a live outfit. Led by Marco Cafolla (Keyboards), musicians include Konrad Wiszniewski (Tenor Sax), Rachel Lightbody (Vocals), Ross David Saunders (Upright Bass + Mix Engineer) & Doug Hough (Drums). Known for their fresh and invigorated take on spiritual jazz, with soul and R&B influences, Mama Terra showcased at the 2024 SXSW Festival in Austin, Texas, alongside a host of festival and jazz club appearances. ‘Chameleons…’ shows a band in ascendency.

Major-label debut by You Me At Six, Hold Me Down, was released on Virgin Records in January 2010, after the success of their debut album Take Off Your Colours - Released on vinyl for the first time, hear the album that cemented their reputation pressed on high-quality 180g vinyl. Taking their name from an abbreviation of the time they would meet, You Me At Six were formed in Weybridge, Surrey in 2004 by vocalist Josh Franceschi, guitarists Max Helyer and Chris Miller, and bassist Matt Barnes. Drummer Dan Flint joined in 2007. They first broke through at 2007's Slam Dunk Festival with their brew of heavy, melodic, emo-tinged rock, and after two self-released singles, the band signed to Slam Dunk Records. By 2010, they had signed to Virgin. Working with producers John Mitchell and Matt O'Grady, the band crafted 12 new tunes for Hold Me Down, including the singles Kiss And Tell, Underdog and Liquid Confidence which won Best Single at the 2010 Kerrang! Awards. The album reached No 5 in the UK chart, and fully established them on the vibrant UK rock scene. With a stable line up since 2007, You Me At Six have become one of Britain's most-loved bands, and announced recently that they will be splitting up after playing the Slam Dunk Festival in 2025, with Franceschi stating "Let's have the opportunity to say goodbye properly, versus slipping out the back door."

Chetch’s Gemini Era EP: A Harmonious Journey from Better Together Records.

Step into a world where music transcends boundaries with Better Together Records’ latest release by Chetch, Gemini Era. This EP is a masterful exploration of sound and emotion, reflecting the duality of the Gemini spirit.

From the first beat to the last note, Gemini Era promises an auditory journey that’s both introspective and contemplative. Chetch’s unique blend of house and ambient genres creates a sonic landscape that’s as diverse and multifaceted as the Gemini constellation itself.

Dive into a collection of tracks that showcase Chetch’s innovative production and compelling storytelling. Each song on this EP captures a different facet of the Gemini experience, blending intricate drum programming with evocative melodies.

Solace
As always…
in unity at the end of
eternity.

Black vinyl / 505mcn paper / 30 x 60 cm Insert with Liner Notes by Tony Higgins printed on 250 mcn Lenza Top Recycling Paper / Condensed interview to Spata Sisters and exclusive pictures.

Personnel:
Enzo Randisi - Musser Percussion Keyboards
Riccardo Randisi - Acoustic Piano, Rhodes, ARP & Korg Keyboards
Marcello Pellitteri - Drums
Giuseppe Costa - Acoustic Bass & Electric Bass Guitar
Mimmo Cafiero - Congas & Percussions
Sandro Palacino - Tenor and Soprano Saxes
Loredana Spada - Vocalist
Cinzia Spata - Vocalist
Mary Lo Giudice - Vocalist
Mariella Gueli - Vocalist

Notes:
Did someone say Summer? Sicily is what Cuba is to the Caribbean, sun, sea, easy and friendly people with lots of troubles! You won't find anything better around that identifies the summer more than this album by Enzo Randisi who at the beginning of the 80s put together a Swing Ensemble as a tribute to that "cheerful" movement of Jazz music. But Enzo and his fellas just couldn't stay on track and put in the best that the alternative Palermo area could offer in that historical period, like the sisters Cinzia and Loredana Spata, who brought the production to a next level in the vocal version of All Blues or in Chic Corea's Spain. But what really struck us was Charles Cables' version of "Quite Fire" (here missspelled as "Quite Fair"), released a few months earlier only in Japan and which would only become famous in the 90s with the Acid Jazz movement, and this tells us a lot about how hungry Enzo and Riccardo were of musical knowle, to be able to find some pearls in a city with basically no record shops and isolated...well...it's on an island! For this re-press we enlisted Tony Higgins, who recently finished a very long commitment and greenlight to delight us with his polished English...Welcome back Tony!

Black vinyl / 505mcn paper / Insert with extensive liner notes by Tony Higgins printed on 200 gram "Shiro Eco"paper and a special Manifesto with exclusive pictures printed on 90 gram Favini recycled paper.

Personnel:
Clarence Peter - Drum
Patrick Gauthier - Piano
Jean-Jacques Avenel - Bass
Steve Potts - Sax

Notes:
We're delighted to announce the reissue one the most sought-after European private press spiritual jazz albums: The Magnetic Atmospher by Clarence Peters Quartet. Never reissued in its entirety before, The Magnetic Atmosphere is a solid album of deep, post modal spiritual jazz that will appeal to fans of the Strata East, Tribe, and Black Jazz labels.
Resident in France since the 1970s, drummer Peter recorded the album with a French rhythm section: Patrick Gauthier on piano, and Jean-Jacques Avenel on bass. On sax is American-born Steve Potts, resident in France since 1970 and, like bassist Jean-Jacques Avenel, alumni of Steve Lacy.
The Magnetic Atmospher features four killer tracks, all composed by Peter. This is an opportunity to hear a truly remarkable record and sells for hundreds of dollars on the collector circuit. Long thought to be missing in action, we tracked Clarence Peter down and secured the license, direct from the man himself. (Tony Higgins)

Original artwork / Black vinyl / 505 mcn paper / Lucid lamination / Greyscale 30 x 30 cm insert printed on 300 mcn DNS paper with condensed interview to Saheb Sarbib and exclusive pictures.

Personnel:
Daunik Lazro - Alto Saxophone, Bass Clarinet, Percussion
Saheb Sarbib - Double Bass, Reeds, Flute, Percussion
Jonathan Dickinson - Drums, Percussion
Manuel Resende - Electric Piano, Piano, Percussion


Notes:
The bass, that metronome that marks the time for musicians of every style, of every era, that secluded, silent, but essential character for a band. Without the bass, the music would be deflated, the heart notes would leave a wasteland of rowdy high frequencies without any rules. But bass players who have character can elevate those low frequencies and even make them loud at times. Who knows if free jazz, if we want to call it that, is exalted by the Arabic background, those semitones between the first and second degree that also make the bass sparkling? In his records, Saheb elevates the bass to a mother instrument, gives it life as vibrant as the spring that is coming. Solos are on par with that of the reeds and stand up to listening without waiting for another antagonist to return to take back the scene. This is one of the most playful and entertaining records we have reissued to date. Take a tour of the world of Saheb!

Vinyl Only / Sleeve manufactured with 400 mcn Fedrigoni "Shiro Eco" paper / Original unreleased poster with alternative artwork insert with notes by Tony Higgins printed on schedography peach past color paper / PVC outers / original artwork /

Personnel:
Tete Mbambisa - Piano
Basil Coetzee - Tenor Sax and Flute
Zulu Bidi - Bass
Monty Weber - Drums

Notes:
Mbambisa first gained prominence as a pianist in 1961 as a member of the Jazz Giants, this time with Pukwana as saxophonist, bassist Martin Mgijima and drummer Makaya Mtoshoko, setting the sound and shape of a scene that became known as Cape Jazz. Following an introduction from Chris McGregor, Mbambisa formed a band, The Swinging City Six, with saxophonist Ronnie Beer before going on to play at the end of the 1960s in the groups The Soul Jazzmen and Spirits Rejoice with Duku Makasi. As a member of The Soul Jazzmen, Mbambisa recorded the breakthrough album 'Inhlupenko Distress' in 1969 for the City Special label. After a recording hiatus, Mbambisa returned in 1974 with an octet album, 'Tete's Big Sound' released on a newly formed label, As Shams or The Sun, established by South African record store owner and independent producer Rashid Vally. 'Tet's Big Sound' included tracks like 'Unity' and the 'Black Heroes Lamentation', now considered a classic in the South African jazz underground.

The sound that Mbambisa carved in this period was wholly acoustic, and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation in echoes of John Coltrane and Pharaoh Sanders. The music is often centred around a fulcrum of trance like vamps with repeated motifs that allow for extended pieces that create a hypnotic effect. This clearly exemplified on Mbambisa's next album, 'Did You Tell Your Mother', released in 1979, once more for The Sun label. (Tony Higgins)

Vinyl Only / Heavyweight Vinyl / Original Glued Prints tip-on by hand on Thick Cardboard 700 gram / 2 Separated parts handily gluing / PVC Outer Sleeve / Insert sheet Q&A with Lloyd Miller by Tony Higgins / Handcrafted silk-screen "Lloyd Miller 1938/2024" on Vintage paper with 100% natural "Persian Blue" color.

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller - Dulcimer Santur, Oud, Shamisen, Dhol, Tabla
Marilyn Miller - Flute
Tú Trinh Dàm - Voice
Dusdi Siwi Jarn - Voice

Notes:
Made with the intention of exploring and experiencing the various musical and cultural perspectives of a territory as vast as that of Persia, "Near And Far East" is a significant historical document that transcends the restrictive concept of territory but rather inhabits a space of absolute time. The album's content is not just window into faraway places, but a leap into the times and cultures that have now been swallowed up by the incessant movement of globalization and capitalism. Listening to it is turning your ear into the true musical culture of countries whose rapid change has eliminated the cultural peculiarities at their roots. Inspired by his long journeys in Iran, Lloyd Miller takes us on a journey through the instruments and sounds of a time, giving us his interpretations of a musical world that was - and that now remains - an historical document for future explorers who are curious about the mysterious musical arts of the middle and far east. Certainly a holy grail for samplers and loopers who can find exotic panoramas here! (Tony Higgins)

Franco Rosso’s epic cinematic opus of reggae social commentary, Babylon, landed in November of 1980. Moving through the film’s opening frames of grey dreary London, two spars – Blue and Ronnie – run with unrestrained anticipation to link with their Ital Lion Sound System brethren. Simultaneously the rest of the crew does what sound crews have done from time: Load them boxes up in the van and trod with vigor to the dance.

But that bassline…The soundtrack notes that carry the celluloid movements of the film’s opening scenes…That bassline…Upside down…Jazzy…Dubby…A bassline like no other reggae bassline the Ital Counselor has ever heard. The hook that got me deep into UK roots music from the band that is my number one inspiration.

If there is bassline that represents the core imperative of Ital Counselor Records, it would have to be Aswad’s Hey Jah Children. It seemed therefore only fitting to bring its absolutely resplendent glory to a new generation. Lovers of sounds and blues, it is time for the dread ital lion sound to once again rise to meet the day. So it is with the deepest of gratitude and respect to the legacy of Aswad (RIP Drummie Zeb) and Franco Rosso, that we present a deeper than deep next cut…Christened here…the Ital Lion Serenade.

In line with all IC releases, we have enlisted top tier session musicians and studio men. Long time IC collaborator, Inyaki BDF, is at the center of the action as the musical maestro. Hopping on the BDF sonic lorry are Aratz Diez on Trombone and James Zugasti on the dub mixes. This crew bring the original composition up-to-date with a heady dubwise weight. Syndrums ricochet while Inyaki’s bassline rumbles teetering as it does somewhere between a modern dubstep warble and its core roots-wise influence in Tony Gad’s original playing.

Diez’s trombone playing comes across like an x-ray of the Aswad Horn Section and keeps intact the jazzy abstraction of the original. In turn, Inyaki goes full 70s synth on the psychedelic dubwise of the B-side’s Operation Swamp 81. UK history buffs better you know the reference in that title and its thematic echoing significance from the UK depicted in Rosso’s film and carried on in remembrance on this here hotter than hot 12”.

A warning: the Zugasti dub cuts are devasting to speaker boxes.

The hornsman instrumental has a long legacy in the realms of reggae music. Don Drummond, Tommy McCook, Vin Gordon, Rico Rodriguez, Eddie Tan Tan. The list players behind this tradition could go on and on. The notes they played across eras from ska to rock steady to the deepest dubwise steppers bellow through the wind and the wire like a Warrior Charge ….

…It is within this tradition that Ital Counselor’s next weighty contribution to the musical world of QUALITY reggae fits…

…From the very first sonorous note emanating from the mighty Soothsayer’s Horn Section the listener can tell the Dub Organiser means business. That’s right. Once again, the Ital Counselor teams up with Chris Lane of Fashion Records for a cantankerous churning steppers meant to burn out all weak heart sound who try come test.

As evidenced from this 12”s namesake, the humble Soul Dragon Temple of Tone Sound System and IC partners in crime out of Philadelphia, USA, the Soul Dragon Anthem breaths some serious fire. The hard hard rhythm churns relentlessly while the bassline rolls like Dragon’s breath calling all in the dance to spring heel skank straight through all four cuts.

The Dub Organiser stirs a cauldron of dense dub at points conjuring aspects of Lee Perry’s classic Black Ark sound while maintaining his own distinctive spin on the mystical mixing arts. Shards of sound echo and delay. Mr. Lane takes the bassline to aquatic depths as the DRAGON DIVES DEEP……Cut 1…Cut 2…Cut 3…Cut 4…

This one is dedicated to all home town hi-fi’s forwarding reggae and sound system culture outernationally. So without further ado, all soundman and woman worth your salt it is time to DROP the needle on this track. Watch the Dragon FLY and let the Dub Organiser and the Soothsayer Horn’s “Soul Dragon Anthem” BREATH FIRE through your SPEAKER BOX!!!!!!

The Official “Forever” Versions of Less Than Jake’s first full lenght album, Pezcore and Losing Streak are here! There have not been many pressings of "Pezcore" over the career of Less Than Jake. Now, with a fresh look to the classic "Pezcore" art, this special 30th anniversary version will celebrate the history of this seminal album for years to come.