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Introducing Wishy, a brand new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. Wishy came to life as a musical partnership between the two Indianapolis musicians when Pitchkites moved back home from Philadelphia in 2021. The two bonded over their love for 90s alternative bands like The Sundays and My Bloody Valentine and soon began crafting their own brand of swirling pop-rock with an introspective, grungy flair. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. While Krauter spent the better part of the last decade cementing his place as a torchbearer of Midwestern dream pop with 2018's Toss Up and 2020's Full Hand, Pitchkites delved into her own indie electro-pop project Push Pop, writing songs like "Spinning" that would later be reworked for Wishy. To round out the live band, Pitchkites and Krauter enlisted guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. Across two trips to Los Angeles in late 2022 and early 2023, Krauter and Pitchkites linked up with friend and producer Ben Lumsdaine, who had some spare time between Durand Jones tours to record the pair's newly written songs. The result of their fruitful time in sunny California is the aptly named Paradise, a breezy and melodic EP that puts on full display the songwriter's musical fluency. Tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze, Wishy delivers a strong 5-song introduction that's dense with melodic earworms and stirring sentiment. Wishy's debut single for new label home Winspear, the driving and distorted "Donut," showcases Pitchkites' hypnotic vocal and Krauter's melancholic wash of guitars. Written after a period when Pitchkites was driving on a spare, "Donut" laments the cynical capitalism of Midwest living and the reliance on a car to get around. Of the song Pitchkites says "When you've got the possibility of the open road plus the limitations of your shitty car-and you're stuck driving on a donut spare tire- it's a Catch 22." Throughout Paradise, the band laments on American loneliness and idealism as it relates to our everyday lives. Across the EP's five tracks, Pitchkites and Krauter trade bittersweet reflections on love and self actualization over vast, scrappy guitar chords. The whole thing feels equally indebted to early aughts alt-rock and '90s jangle pop. Wishy's music is cathartic, yet underlined by a subtle brooding energy-sitting nicely alongside the work of their contemporaries like Momma or Tanukichan, both of whom Wishy will have shared the stage with. Wishy will be touring this Fall supporting Tanukichan, and the band will make their first festival appearance at LEVITATION in Austin, TX. After that, they have their eyes set on finishing their debut album, slated for release via Winspear in 2024

The Invisible Road: Original Recordings, 1985–1990 compiles an unheard, previously unreleased body of recordings by Sussan Deyhim and Richard Horowitz, dissidents from diametric backgrounds who met during the heady days of Downtown New York in the 1980s. This collection reveals the creative and life partners’ radical shared vision of avant-garde pop in all of its boundary pushing freedom, combining Deyhim’s singular approach to vocalization, Horowitz’s invention of new musical languages, and touchstones of traditional music from around the world, creating a new music that ultimately retains a voice entirely its own. Despite their difference in backgrounds and respective journeys, at the time of their meeting in the early 1980s in New York City, Sussan Deyhim and Richard Horowitz were both products of the search for freedom and understanding (and resultant awakenings) that swept the globe and helped culturally define the late 1960s and 70s. Deyhim, born and raised in Tehran, spent her teens dancing with Iran’s Pars National Ballet company, performing weekly on Iranian national television, and travelling her home country studying with master folk musicians and dancers, before relocating to Belgium and joining Maurice Béjart’s prestigious Béjart Ballet of the 20th Century. Horowitz, born and raised in Buffalo, New York, had spent much of the decade before abroad, first departing for Paris under the shadows of the Vietnam War, where he studied piano, Eastern philosophy, and became entrenched the city’s free jazz scene, playing with the likes of Steve Lacy, Anthony Braxton, and Alan Silva, before embarking south to Morocco where his friendship with Paul Bowles helped cultivate a deep passion for the country’s musical traditions and a shift in his musical practice.



The pair met by chance sometime in 1981 at Noise New York, a small studio on West 34th Street founded by the musician and recording engineer, Frank Eaton, as a utopian creative laboratory that beckoned artists and bands like Arthur Russell, Christian Marclay, Liquid Liquid and Butthole Surfers into its orbit. Both artists had recently relocated to the city, Horowitz having recently released his debut album, Oblique Sequences (Solo Nai Improvisations), on the legendary Paris based imprint Shandar, and fallen in with members of New York avant-garde like La Monte Young, Jon Hassell, David Byrne, and Brian Eno, and Deyhim having begun to more actively incorporate singing into her practice, notably recording a vocal score for choreography she was doing at La MaMa Experimental Theatre.



Initially bonding over a cassette tape of field recordings made by Paul Bowles that had been given to mutual friend and writer Brian Cullman (seeking answers for Ornette Coleman’s question “what is the sound of sound”), their earliest collaboration was documented on Horowitz’s 1981 album, Eros In Arabia, with Deyhim contributing vocals to the track “Queen Of Saba.” Over the coming years, their deep connection would routinely gravitate them into the studio, culminating in the body of recordings that would appear on their 1986 album for Crammed Discs, Desert Equations: Azax Attra. Unknown to nearly all but the artists, laying in wait over the decades on numerous multi-track and stereo reels, DAT tapes, and reference cassettes, were a vast array of recordings made by Deyhim and Horowitz bookending Desert Equations. The 13 pieces represented on The Invisible Road: Original Recordings, 1985–1990 were recorded largely between Noise New York and Daylight Studio in Brussels, during a period that Deyhim describes the partnership between herself and Horowitz’s as seeking a music “free of any specific cultural reference, with a personal musical signature,” blossoming into a body of sonority that embraced the energy of contemporary boundary pushing pop and the avant garde, filtered through their mutual love and study of various musical traditions from across the globe and deep engagement with the ideas and tactics of experimental music.



Undeniably rooted in Horowitz’s study of the North Africa ney and the music of the Berber and Gnawa cultures during his time in Morocco, Deyhim’s deep engagement with the folk traditions of Iran, and the couple’s immersion in the interconnected Downtown underground music scenes, each piece on The Invisible Road offers its own vision creative and cultural hybridity. Deyhim sings in both English and Farsi, as well as a composite tongue that she developed by drawing upon numerous indigenous vocal techniques from around the world, intuitively responding to Horowitz’s simultaneous sound syntax forming and combining a wide range synthetic and acoustic instrumentation, and experimental tape techniques, within a visionary series of free-standing expressions.

MC5 (Motor City Five), the legendary Detroit band. Their first single (included here) was released in 1967. In 1968 they played the infamous Democratic Convention that turned into a police riot, and they went on to be the "Official White Panther Party Band". Their manager John Sinclair became a hippie martyr, after being jailed for 10 years for 2 joints, inspiring John Lennon"s "10 For 2" song. Thrown off their first label Electra, they signed to Atlantic for 2 more albums but only achieved underground success. Now greatly revered as one of the seminal rock"n"roll bands and a huge inspiration for punk. Thunder Express documents their last and first studio works: - six tracks recorded in France at Studio Castle Herouville for a TV show in 1972; plus four tracks from their debut singles from "67 & "68. The title track is not available elsewhere. In 2024 MC5"s guitarist Wayne Kramer, drummer Dennis Thompson and manager John Sinclair all passed away, marking the end of the MC5 era.

For Talia Hoit from Colorado, who has been classically trained to play the piano since the age of five, her early musical education has definitely paid off. Now she writes original songs, performs on vocals and keyboards, and composes orchestra scores for symphonic metal. For many years, she has also had a passion for writing songs outside of any formal band situation, and is now working with talented producers and musicians to bring her most personal and intimate songs to life to share with the world. For five years, Talia was the keyboardist and a songwriter for the band AnaDies. Presently she is the lead singer, orchestrator and co-songwriter in the symphonic metal band Beyond Forgiveness and the keyboardist for the metal band Ob Nixilis. As a solo artist, she recorded two original home studio albums for personal purposes, Fate’s Too Small (2007) and A Little Longer (2012), which had a limited physical CD release only, mostly just for friends and family. Back in 2019, she recorded the single Angel (produced by Jarek Musil), which just recently received a new master, and after the experience of working with a professional producer she decided to pursue her solo project, to professionally produce and commercially release as many of the personal songs she had written over the years as possible. In 2023, she released two more singles: Abandon and Whispers in the Storm. Her extensive experience in the music industry and understanding of classical music are quite audibly reflected in these works, which show a high level of quality and expertise. Talia’s music is definitely a treat for symphonic metal fans and heavy music lovers, showing influences of bands such as Within Temptation, Nightwish, Evanescence, and Visions Of Atlantis.

Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)

Oase is the sophomore album from Berlin-based progressive rock collective Weite, and the follow-up to the band’s 2023 debut LP Assemblage. Clocking in at almost an hour, Oase—German for "Oasis"— takes listeners on an intricate and textured journey that draws inspiration from the pioneering spirit of 70s psychedelic rock, blending influences from “Canterbury scene” prog, Krautrock, early electronica, post rock, and Americana. The new album show cases Weite's ability to merge the old with the new, creating an immersive, exploratory sound that moves from contemplative and pastoral to riffy and doomy without ever sacrificing melody. Oase is characterized by longer expansive, atmospheric compositions yet is undoubtedly more composed than the band’s debut, with more of a focus on songs, albeit in the broader sense of the word. With the focus on melody, texture and mood—although not necessarily always in that order—Weite create a sound that’s intricate and meditative, inviting the listener to embark on a journey through shifting soundscapes and evolving musical narratives. Weite was formed in Berlin in winter 2022 by bassist Ingwer Boysen (delving) recruiting drummer Nick DiSalvo (Elder, delving) and guitarists Michael Risberg (Elder, delving) and Ben Lubin (Lawns). Initially intended as a one-of recording session, the four recognized an obvious musical chemistry and common ground and decided to turn the project into a proper band. Keyboardist Fabien de Menou (Perilymph) joined in 2024.

This star-studded John Prine tribute album is now available on vinyl from Oh Boy Records. Featured artists include The Avett Brothers, Drive-By Truckers, Justin Townes Earle, and Justin Vernon of Bon Iver.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Flat Duo Jets: White Trees 2024 Remaster Fronted by the late Dex Romweber. The duo’s fourth album was the first album of all original material. Produced by Caleb Southern, White Trees is a Jets’ masterpiece that proved that Romweber could diversify his band’s material without losing his recklessness and urgency.

Dex passed away earlier this year on February 16th and this reissue is dedicated to his memory and legacy. Jack White from the White Stripes has called Dex and the Flat Duo Jets a major influence when starting out. White declared that seeing the Jets for the first time “opened up a whole new inspiration for me about the guitar.” And he was downright effusive in the 2006 cult-classic Romweber documentary ""Two Headed Cow"", calling Romweber “a huge influence on my music… one of the best-kept secrets of the rock & roll underground.” In 2009, White recorded a seven-inch with Romweber, and in 2011 he reissued the Jets’ long-out-of-print 1991 album Go Go Harlem Baby on his Third Man Records imprint.

“[White Trees] by North Carolina’s Jets is a tarnished neo-rockabilly gem. Dexter Romweber’s battered honk is the perfect voice to wrap around these twisted tales about Charlie Dick (Patsy Cline’s hubby), UFOs, and dining with Van Gogh. It’s as if the ”Eraserhead” soundtrack were recorded at Sun Studios and sent to Weekly World News for editing.”- Entertainment Weekly Arguably the busy Duo’s most accomplished set, ‘93s handily diversified White Trees jumbled stylistically antiquated originals in a cohesively dignified manner. -Beermelodies"

Entomophthora was formed during a conversation about zombie flies in 2022, and consists of Roger Isaksen (vocals, bass, guitar) and Tom Wahl (guitar), both veterans in the Norwegian metal scene. Their earlier and current work includes bands like Vecordious, Nexorum, Maelstrom, Exeloume, Bethzaida, Killing for Company and Keep of Kalessin.

Their dark form of music is a natural combination of Tom Wahl's old-school death metal approach and Roger Isaksen's more modern extreme metal background. The result is Instinctual Disease; eight tracks of powerful guitars, intense vocals and rapid rhythms. Ripping death metal to the bone!

Entomophthora was formed during a conversation about zombie flies in 2022, and consists of Roger Isaksen (vocals, bass, guitar) and Tom Wahl (guitar), both veterans in the Norwegian metal scene. Their earlier and current work includes bands like Vecordious, Nexorum, Maelstrom, Exeloume, Bethzaida, Killing for Company and Keep of Kalessin.

Their dark form of music is a natural combination of Tom Wahl's old-school death metal approach and Roger Isaksen's more modern extreme metal background. The result is Instinctual Disease; eight tracks of powerful guitars, intense vocals and rapid rhythms. Ripping death metal to the bone!

Entomophthora was formed during a conversation about zombie flies in 2022, and consists of Roger Isaksen (vocals, bass, guitar) and Tom Wahl (guitar), both veterans in the Norwegian metal scene. Their earlier and current work includes bands like Vecordious, Nexorum, Maelstrom, Exeloume, Bethzaida, Killing for Company and Keep of Kalessin.

Their dark form of music is a natural combination of Tom Wahl's old-school death metal approach and Roger Isaksen's more modern extreme metal background. The result is Instinctual Disease; eight tracks of powerful guitars, intense vocals and rapid rhythms. Ripping death metal to the bone!

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

High school band Kashmere Stage Band was formed in Texas by students from Kashmere High School's elite music division under the guidance of leader Conrad O. Johnson. They recorded plenty of albums but they only got sold locally and made in small numbers so now P-VIBE is embarking on a much-needed reissue run. Zero Point came in 1972, right in the middle of the band's activities which ran from the early 60s to the late 70s. It's a funky jazz fusion workout with great echoed vocals and fuzz-tone guitar.

High school band Kashmere Stage Band was formed in Texas by students from Kashmere High School's elite music division under the guidance of leader Conrad O. Johnson. They recorded plenty of albums but they only got sold locally and made in small numbers so now P-VIBE is embarking on a much-needed reissue run. Zero Point came in 1972, right in the middle of the band's activities which ran from the early 60s to the late 70s. It's a funky jazz fusion workout with great echoed vocals and fuzz-tone guitar.

For the first time two single records of Baksey Cham Krong - the first Cambodian guitar band - are officially being reissued in an identical version. Between surf music and ballad, these two records released in 1963 and 1964 are an invitation to rediscover the effervescent Khmer musical scene of the 1960s.

The early 1960s are often described as the “golden age” of Cambodia, with a flourishing economy and a strong cultural development. As the country had just won its independence, the King Norodom Sihanouk - who had been a singer himself (see below) - encouraged dynamism and creativity in all aspects of cultural life.

In 1959, in the midst of this artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong (also spelled Bakseis Cham Krung) named after a temple of the Angkor site. The teenagers were influenced by the latest hits they had listened on the radio. For the music, Kagnol got his inspiration from the rock n’ roll of the Ventures and the Shadows while Kamach took over the vocal techniques of crooners such as Paul Anka. The lyrics were either in French (as for the song Ne penser qu’à toi) or in Khmer. The song Pleine Lune became a hit and revealed Kagnol’s musical genius at playing guitar and Kamach’s delicate voice. From their beginnings on the capital’s high school stages to their first broadcasts on national radio, the success of the Baksey Cham Krong was very quick. At the end of the decade the band already split, the brothers getting back to activities that conformed more with their parents’ expectations.

A few years later, in April 1975, the arrival of the Khmer Rouge in Phnom Penh put an end to this musical development and started the darkest era of Cambodia’s contemporary history. A quarter of the population was killed in the Khmer Rouge genocide and the majority of artists and intellectuals were exterminated in a sordid will to wipe out any form of culture in the country. Films and music were banned, movie tapes and vinyls were destroyed. Mol Kamach and Mol Kagnol luckily managed to flee the country: one now lives in France, the other in the USA. Both still continue to make music nowadays.

Bearing witness to the past history, the reissue of these two single records of Baksey Cham Krong brings back to us the Cambodian musical scene of the 1960s.

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what others had to say upon it’s original CD only release back in 2004 …

“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.

But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.

"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.

The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”

Acid Mothers Temple & The Melting Paraiso U.F.O. : Cotton Casino - Vocal, Beer & Cigarettes - Tsuyama Atsushi - Monster Bass, Vocal, Cosmic Joker - Higashi Hiroshi - Synthesizer, Dancin' King - Koizumi Hajime - Drums, Percussion, Sleeping Monk - Kawabata Makoto - Guitar, Bouzouki, Electric Sitar, Violin, Hammond Organ, Speed Guru

Earl of Lemon Wave Vinyl. Latin Grammy-nominated and Brazilian Music Awards-winning artist Rogê has become a pivotal figure in the resurgence of Música Popular Brasileira (MPB). With a rich career spanning over two decades, Rogê has released seven solo albums that have solidified his place in the contemporary Brazilian music scene. In March 2023, he released his U.S. debut album "CURYMAN" under Diamond West Records. Produced by Thomas Brenneck of the Budos Band_ who has worked with artists like Lady Gaga, Beyoncé, Jay-Z, and Amy Winehouse_the album is a celebration of samba infused with messages of resilience and redemption. "CURYMAN" not only marked the launch of Brenneck's new label but also reflected Rogê's deep belief in the power of music to inspire hope and perseverance. As Rogê looks to the future, he is gearing up to release "CURYMAN II" in November 2024. Building on the success of his U.S. debut, this upcoming album promises to deliver even more vibrant samba rhythms and thoughtprovoking lyrics. Exciting new singles are set to drop in the lead-up to the album's release, offering fans a preview of what's to come. As Rogê continues to evolve his sound and push the boundaries of Brazilian music, he remains dedicated to spreading the rich cultural heritage of Brazil to audiences around the world.

12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans

Founded in 1961 by George Kooymans and Rinus Gerritsen, Dutch rock band Golden Earring (or Golden Earrings, until 1969) started off as a beat band, experimented as a psychedelic quartet and finally became a heavy rock group in the early 70s. Their ninth album ‘Moontan’ (1973) hit the international album charts and is the band's most successful album in the United States, while the single ‘Radar Love’ reached #10 on the Cash Box Top 100 and #13 in Billboard in the United States and became a bonafide international classic rock song. Their current line-up has been constant since 1970. They have had over 40 hits and released about 30 albums, many achieving either gold or platinum status in their home country, The Netherlands.

In 1984 the band released the album N.E.W.S. (North, East, West, South). It features the song ‘When The Lady Smiles’ which became an international hit in 1984, reaching #3 in Canada and becoming the band's fifth #1 hit in The Netherlands.

Music On Vinyl celebrates the 40th anniversary of this landmark album with fully restored and remastered audio from the original master tapes.

Repress!

You know it's going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track 'Curls’ on his Madvillain album!

Taken from Waldir Calmon's 'Waldir Calmon E Seus Multisons' album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn't expect it to become the fabric to one of the songs from the iconic 'Madvillain’ album. But… like many things in life, you shouldn’t judge a book by its cover. 'Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feel-good music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard.

'Afro Son' taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition. This quirky 60's-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey's 'E.V.A.', also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism.

Waldir Calmon had an active career in music working from the '50s right up until his passing in 1982. His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early '50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, João Gilberto and Doris Monteiro.

• Next installment in BRAZIL 45 Series.
• Sampled by Madlib on the track ‘Curls’ from his ‘Madvillain’ album.
• Quirky, cinematic, breakbeat-laden exoticism.

The Prisoners were a regular live act in London’s psychedelic and mod revival scene of the early 1980s. They recorded some fantastic material blending garage-punk, soulful vocals, and electrifying Hammond organ, but never quite made it. They called it a day in 1986, and most band members went on with new musical projects, including The Prime Movers and The James Taylor Quartet. The love of the Prisoners’ music has grown ever since though, and the original four members have done several re-unions over the years on stage and released a long-awaited comeback album this year. Their lasting influence can be detected on subsequent generations of musicians, including many of the Madchester bands of the early 90s, notably the Charlatans and the Inspiral Carpets, and serves as a blueprint for Britpop and beyond. Now we release The Prisoner’s best songs on the LP Hurricane with great packaging, liner notes and rare photos.

The Iconic 80s Band, Berlin, Return with Strings Attached to Take Your Breath Away

Nearly 40 years after their founding, the Los Angeles-based synth pop group, Berlin, return with an album of their classic tracks_with strings attached. Working with a full philharmonic orchestra, Strings Attached sees the band revisit some of their classic tracks, from their formation in the early 1980s through to today, including, of course, the iconic theme to the movie, Top Gun, Take My Breath Away. Featuring the classic line-up of Terri Nunn, John Crawford and David Diamond, Strings Attached is perfect for both existing fans of one of the most legendary bands of the 80s and those who are being introduced for the first time.
Founded by bassist John Crawford, singer Terri Nunn, and keyboard player David Diamond, Berlin made its first national impression with the provocative single Sex (I'm A...) from the gold-selling debut EP, Pleasure Victim in 1982. The group was filled out by guitarist Rick Olsen, keyboard player Matt Reid, and drummer Rob Brill. Berlin's first full-length LP was the gold Love Life in 1984. In 1985, the group was pared down to a trio of Crawford, Nunn, and Brill. Berlin topped the charts around the world in 1986 with the single Take My Breath Away, the love theme from the Tom Cruise movie Top Gun, a track which won an Academy Award, a Golden Globe and which has cemented itself as one of the most memorable songs featured in a film of all time.

Limited edition (200 copies) golden vinyl.

Michał Martyniuk, who lives in New Zealand, may be known from the band After 'Ours, whose double album was recently released by Funky Mamas and Papas Recordings.

His single was supposed to be released a moment earlier, but as it happens in the vinyl world - we had to wait a while for this wax.

Two of Michał's original songs, which he recorded with a great line-up: Jakub Mizeracki - guitars, Alan Wykpisz - bass, Tymek Papior - drums and of course Michał Martyniuk on keyboards.

The album is released in a super small edition of 200 copies, of which only 50 go on sale. The whole thing is being released by the reactivated Funky Mamas and Papas Recordings.

A real seven-inch rarity on gold wax.

A1 "3202" - This is one of those things that just happened. In his quest to discover something new in jazz, Michal combines and experiments with jazz harmony and groove club vibes, all performed using acoustic instruments. The aim is to encourage jazz audiences to get up and groove, and possibly introduce young people who like more upbeat music to discovering jazz. This Fender Rhodes based track is complemented by warm analog synths, a rock inspired guitar sound and tasteful drums that keep the groove going throughout the track. Recorded live in Poland late last year.

B1 "From The Planet Of The Hunters" - This track, as the title suggests, is a tribute to the great master Herbie Hancock. Michal has always been influenced by the sound of the Fender Rhodes and The Head Hunters. Without trying to copy anything, Michal based the song on a nice groove played by Alan Wykpisz on bass guitar and Tymek Papior on drums. While the groove takes us on a journey through time, Kuba Mizeracki on guitar adds beautiful melodies and rhythmic parts to complement the rest of the band. Michal Martyniuk, again with his Fender Rhodes, plays a simple but tasty and groovy solo, while adding some analog synths. This song is funky and rich in its simplicity.

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

Paquito D’Rivera's - NEA Jazz Master, multiple Gramm winner, Downbeat Hall of Fame Inductee - gained worldwide attention as member of the Grammy Award winning Cuban group Irakere, a revolutionary ensemble co-founded with Chucho Valdés in the early 1970s. Blending Afro-Cuban rhythms and jazz, the band was a seminal force and marked a new era in Cuban music. His defection to the United States in 1980 was a turning point, as he became an ambassador of Latin jazz around the world, fusing cultures and genres effortlessly.

A decade into his new status, D’Rivera entered a New York studio to record an homage to Bebop.

He enlisted Grammy award winner and Dizzy Gillespie alum James Moody, distinguished straight ahead jazzers Mark Morganelli, Harvey Swartz and Al Foster, and major Latin-jazz players of the day Claudio Roditi, Danilo Perez, and Pedrito Lopez. While his intentions may have been to make an album like “Monk, Bird, and Dizzy” as he states in the liner notes, the results here are undeniably in D’Rivera’s signature style.

The album features a mix of original compositions from featured players, alongside the ensembles take on Coltrane’s “Giant Steps”, and Monks “I Mean You,” all delivered with D’Rivera’s unique perspective and deep understanding of traditional jazz and Latin music traditions.

One of the Most Exhilarating Live Albums Ever Released: Santana’s Lotus Documents 1973 Performances Distinguished by Passionate Soulfulness, Chemistry, and Inventiveness

Mobile Fidelity’s 180g 33RPM 3LP Set Features Reference Sound and Deluxe Trifold Packaging Faithful to That of the Original Japanese Import: Strictly Limited to 5,000 Numbered Copies, Includes Four Photo Inserts and Two Fold-Out Posters

The bizarre legacy of Lotus transcends its status as both the definitive onstage document of Santana’s career and one of the most spectacular live albums ever released. Originally issued in 1974, the triple LP contains exhilarating performances of the band recorded at two shows in early July 1973 at the 2400-seat Osaka Kosei Nenkin Kaikan concert hall. It bears witness to the eight-piece collective playing with a chemistry, inventiveness, cohesiveness, and soulfulness no other Santana lineup would ever surpass. Featuring seven previously unreleased tracks as well as remarkable renditions of material from Santana’s first four albums and the Carlos SantanaJohn McLaughlin collaboration Love Devotion Surrender, Lotus simultaneously suggests and inspires, dreams and delivers.

Transferred by original engineer Tomoo Suzuki, strictly limited to 3,000 numbered copies, and housed in deluxe trifold packaging faithful to that of the original pressing, Lotus benefits from reference audiophile treatment on Mobile Fidelity’s 180g 3LP set. Featuring rich tones, smooth dynamics, excellent separation, deep soundstages, and involving presence, this reissue pays tribute to both the virtuosic lineup and the magnetic fusion of Latin- and Afro-Cuban-influenced jazz, rock, psychedelia, R&B, and blues. The complexity of the spiritual passages, demands of the crescendos, delicacy of the calm transitions, electricity of the solos: everything is rendered with superb balance and free of the harshness, compression, and fatiguing peaks that would otherwise distract from the presentations at hand. Black magic, indeed.

As a young conservatory student back in 2016, Danish trumpeter Anders Malta was invited to participate in a reunion concert with the legendary Ernie Wilkins Almost Big Band. He was so taken with the band and the music, that on the spot he decided that he wanted to form his own. In 2020, Anders Malta Almost Big Band played its first concert, going on to play a monthly residency at Christiania Jazz Club in Copenhagen for the past two years. Their debut album Introducing is set to release on August 23rd on April Records. Since the early days of jazz, the broad sound pallet and dynamic range of the big band has proven irresistible to composers and arrangers. However, the traditional big band, with its 16 16-19 individual moving parts, can also at times, and for different reasons, be an unwieldy machine to maneuver. Malta s 13 13-piece made up of Denmark s finest young soloists is agile like a small group, retaining the powerful force of the larger orchestra. Belonging to a new generation of musicians with a deep love and knowledge of the jazz tradition, Introducing " sees the band pay tribute to the timeless Hardbop sound of the 50" s and 60" s through the three movement suite Hardbop Conversations "", whilst offering a contemporary European perspective on the classic large ensemble format through Ouverture, Interludium and Epilog ". Intricate arrangements, rich harmony, soaring trumpet & flugelhorn improvisations and a diverse array of feel and grooves showcase the impressive stylistic and artistic breadth Malta has to offer as a bandleader, arranger, composer and instrumentalist. From the high high-energy swing and powerful tutti chords one craves from a Big Band to the more intimate textures of solo instrumental passages, the ensemble s sophisticated, complex, and joyous debut proves once again that Denmark s jazz scene is among the world s most prolific and exciting.

Spyro Gyra, a jazz fusion band from Buffalo, NY formed in 1974 and created the framework for contemporary jazz in the 80s and 90s. Celebrating this milestone 50th anniversary of the band's formation, comes Jubilee, a new collection featuring 16 songs that capture the band's ever-expanding palette in its first decade of recording (1978-87) and includes fan favorites "Shaker Song", "Morning Dance" which have had chart success in multiple countries plus tracks the band continues to perform across the globe.

The new LP and CD contains never before seen photos from the band's early days and more recent world tours, liner notes from veteran music journalist Jonathan Widran and a newly recorded song, "50/50" - a riff on the title of the band's 1997 release 20/20, which marked 20 years and 20 albums.

The Outer Edge is excited to announce the release of an intense and previously undiscovered funk rap / boogie single, featuring two tracks recorded in 1986.

While researching for his book on 80s funk music in Germany, DJ Scientist explored bands from Bavaria that collaborated with GIs. One of these bands is Grand Slam, a group that remains active to this day. The band’s leader, Toby Mayerl, lived near a US Army base in Amberg, where he fell in love with funk after hearing Roger Troutman and Zapp. He soon became part of two groups: Total Control and Grand Slam.

Originally led by guitarist Harry Zawrel, Grand Slam had a “European” funk sound similar to Talking Heads or Level 42. However, in 1985, Mayerl took over the band and merged it with Total Control, a mixed group that included African-American soldiers. From that point on, they shifted towards a heavier funk and soul sound, continuing to work with musicians from the GI community. By late 1986, they had enough material to record their debut album, Make My Day. Although published by the independent label Kerston, the album was only available on cassette, primarily sold at their concerts in early 1987.

DJ Scientist managed to track down an original copy of this ultra-rare tape in the MUZ archive in Nuremberg. "What I heard blew my mind," he said. "The cassette featured seven raw, well-produced funk and soul jams with fantastic arrangements and vocals." As an old-school funk and disco rap collector, he was immediately captivated by the track "Goin' Out," which features GI rapper Calvin E. Flagg. This song evokes the energy of early recorded rap singles from labels like Enjoy or Sugar Hill Records.

On Side B, the second track from the unheard debut album, ‘Don’t Let You Down,’ offers another glimpse of what we've been missing. This uptempo boogie-funk track features lead vocals by Aletha Mcbryde, Calvin E. Flagg, and Oliver Allwardt, along with thrilling synths and a lively brass section - perfect for turning up the volume.
Both tracks have been remastered from the original master tapes, which Toby Mayerl fortunately still had in his archive. The artwork for the release is inspired by original band posters, with the Grand Slam logo taking cues from Bootsy's Rubber Band’s Body Slam! cover from 1982. This limited vinyl pressing is capped at just 350 copies.

"Beneath the Mask" marks a return to the more commercially viable jazz-funk of the Chick Corea Elektric Band’s earlier albums, and marks the end of the first stage in the band’s history, which began five years earlier with the group’s self-titled debut.

Energy meets craft on this superlative outing, which finds the five virtuoso musicians (Chick Corea, drummer Dave Weckl, bassist John Patitucci, guitarist Frank Gamble, and saxophonist Eric Marienthal) engaging in a highly sophisticated yet accessible set of music.

Massive in the scale of the influences it contains, the album travels from the heavy grooving funk-fusion of the title track “Beneath the Mask,” to the lively West African township jive of “One of Us Over 40.” to the mellow smooth jazz of “A Wave Goodbye,” and the grandiose ‘70s style prog-rock/fusion of “Charged Particles.”

Originally released on GRP Records in 1991, the album reflects the innovative spirit of The Elektric Band, pushing boundaries and creating a unique sonic landscape that captivates listeners.

We are proud to present “Shores Of Acheron”, an opus of the technical death and melodic black metal band Kharon, and a product from experienced musicians with roots in the Norwegian early 90’s extreme metal scene including artists from bands as Mork, Dauden, Infernal, Skjoge and Ragnarok. Kharon hails from the town Sarpsborg, Norway, and was basically founded already in 1989 by guitarist Rigor and bass-player Kull, but was originally formed under the name of Padox, and later re-named as Immortal Enemy and Potency. In 1992 the official and current band-name Kharon was established, when Thyme aka General Hymer joined the band. In 2001 they recorded their first 3 song-demo “The Fullmoon Curse” at Haunted House Studio, followed up two years later with their first official release: the EP “Raised By Hellish Demons”, which also marked the end of the first era of Kharon. Until the plague struck and 20 years later Kharon resurfaced under the banner of Hellstain Productions, recording brand-new material with vocalist Malignant. The band's debut album “Shores Of Acheron” is finally unveiled, and constitutes Kharon's journey through more than 30 years of Norwegian extreme metal music history. It contains remixed and remastered tracks of “The Fullmoon Curse” and “Raised By Hellish Demons”, finalized with the new material. Vinyl: gold & red edition.

For fans of The Stray Cats, Brian Setzer, Swing and Big Band! The Brian Setzer Orchestra (sometimes known by its initials BSO) is a swing and jump blues band formed in 1992 by Stray Cats frontman Brian Setzer. In 1994 they released their debut album which was followed up in 1996 with Guitar Slinger. In 1998, for their breakout album The Dirty Boogie, the group covered Louis Prima's "Jump, Jive an' Wail", which originally appeared on Prima's 1957 album The Wildest!. The BSO's follow up single, appearing on the album Vavoom!, was "Gettin' in the Mood." Now get Guitar Slinger from the Brian Setzer Orchestra for the first time on vinyl since 1996. Remastered on 180g vinyl in an amazing limited- edition color. There are only 700 of the Silver Melt. Guitar Slinger is the second release from the Brian Setzer Orchestra and where the band really started to come together. The album leads off with "The House Is Rockin'" and features the Brian Setzer/Joe Strummer (The Clash) penned tracks "Ghost Radio" and "Sammy Davis City". There are 12 tracks in all, and it clocks in at just over 43 minutes. This is the first in a series of three reissues coming from Deko Entertainment with The Dirty Boogie scheduled to also hit by the end of 2024, with Vavoom! to follow in early 2025.

The Zeros is a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. The first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary. Unfortunately, the band never cut an album during these days. Their debut single was released in 1977 on Greg Shaw's very own Bomp! Records. It included 'Don't Push Me Around' and 'Wimp', two of the greatest punk rock songs of all time, both written by Javier Escovedo. It was followed by another single in 1978, "Wild Weekend" and a third one in 1980, "They Say That (Everything's Alright)". This release compiles all their early singles, some rare tracks (including the previously unreleased 'Left to Right') and songs taken from a 1978 live show. Munste is thrilled to reissue this essential '80s power pop gem as part of a series of releases celebrating Bomp! 50th anniversary.

Next up on Feral Child comes the debut vinyl release from Austin Tx psych outfit NEON LEMON.

Having caught the eye of label head Dom on some cool looking, local Spacemen 3 themed nights’ posters; further digging revealed this incredible, richly melodic, yet deep psychedelic beauty with -seemingly- no home for a release on wax, so it was pretty easy to step in and offer to release it. “Hypnagogic Visions” is a superb, fuzz n’ drone drenched 6 track 10” LP in a sleeve designed by the legendary Jim Franklin (a friend of the band) who famously designed beautiful posters, flyers and gig tickets for the Elevators, Shiva’s Headband and Canned Heat amongst others, in his role as owner of the Vulcan Gas Company, a revered 60s Austin psychedelic club and concert hall. As Ben Siebert from the band explains: “This record was mostly written and recorded in a warehouse space outside of Austin (that no longer exists) called The Inner Chamber. We tried best to capture our live sound in this space, and with most band members in a state of constant turmoil at the time of its recording, this space offered a refuge from our personal lives and a place to transcend reality through creation of this music.” Neon Lemon blends together mind altering psychedelic sounds of the 60's with transcendent space rock of the early 70's. Finding their own balance between free form psychedelia and a mainline of roots rock and roll.

Limited one time 10” pressing, distributed by Forte Music Distribution and available late October 2024.

There is NO LIGHT at the end of this tunnel! BROWN ACID: The Nineteenth Trip fires ten more savage nails deep into the coffin of ‘60s psychedelic idealism. This series is THE premier top dog journey into the rarest and most wasted early local eruptions of heavy rock, unleashed at a time when harsh reality, human nature and disillusionment drove prevailing underground rock glimpses of a ‘better’ world into ever darker selfabsorbed comedowns. Mind expanding ’60s love energies transform into toxic aggression right before your ears! The great thing is that these moves are totally justified, ‘we are all one’ is cosmically good in theory but ‘get it while you can’ ends up perhaps better advice in the light of human history. Both of those angles of awareness can coexist, some of these bands deliver unrelenting sideways positive energy but they aren’t over-thinking it, they are youthfully driven by hunger for life and satisfying the undeniable urges their DNA thrusts upon them. Sonically, the results in the BROWN ACID series never fail to breathe hot and heavy, the guitars kill it every time, the variety of approaches these tracks take keep the scenery shifting into new places. The key element that makes this stuff so potent is that THEY (the bands) are in control. Captured genuinely with no compromise, right out of the gate. No doubt they had ambition with high hopes for the future when they laid down these primal efforts, the fact that they captured their energy so vividly at a moment in time when the only direction imaginable was UP creates a hard hitting life affirming subtext to the proceedings. That is the core energy of blues and rock and roll, dealing with the struggles of existence by flipping a gigantic ‘what the fuck’ high energy bird right in the face of the moronic defective reality these bands were born into. If you take this stuff too ‘seriously’ you are utterly missing the point, it is beyond analysis, it is life itself! No amount of thinking will get you there quicker! BROWN ACID: The Nineteenth Trip is scary... the bottomless pit of deranged vintage heavy rock the series presents continually expands over time... one deadly dose too many and you might be trapped in the bad trip loop forever... enjoy it or lose your mind!