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Candido Cameron was a Cuban percussion maestro who had played with luminaries such as Dizzy Gillespie, Buddy Rich and Count Basie throughout his illustrious musical career which started in 1952. Fast forward to 1979 and Candido finds himself caught up in the Disco boom that had engulfed his adopted New York City. Feeling he could add his trademark quick-fire Conga and Bongo playing to Disco's straight 4 x 4 syncopated rhythm he cut some records with legendary NYC label Salsoul. The fruits of this partnership were 2 full length LP's and a handful of 12" singles that changed the face of underground Disco."Jingo" is an all-time classic dance record, sampled, edited, re-configured and coveted by too many names to mention! It's a killer funky Disco version of master Nigerian drummer Olatunji's 1969 percussion suite of the same name, Salsoul style, while over on the flip we have one of the deepest Disco records of all time; "Thousand Finger Man" a testament to Candido's percussion prowess and a spacey, beautiful voyage that has left more than an indelible mark on modern House music, often being cited as a huge influence by artists such as Masters At Work and more. Essential stuff basically, every collection should have a copy!

This 12" has got to be one of the toughest Salsoul records to find. Changing hands for up to £300 a time for a used copy. Now it has been re-mastered, re-pressed and made available again with all original label artwork intact with the permission of Salsoul Records, New York City.

2025 Repress

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

Includes 4-page booklet
Featuring "Heartstrokes" and "Bedside Radio"
Quadruple platinum certified album
Limited edition of 666 numbered copies on blue coloured vinyl

Metal Rendez-Vous is the fourth studio album by Swiss hard rock/heavy metal band Krokus, originally released in 1980. It marked the debut of vocalist

Marc Storace and became the band's international breakthrough. The album features energetic, riff-driven songs such as “Heatstrokes,” “Bedside Radio,” and

“Tokyo Nights,” blending classic hard rock with the rising heavy metal sound of the early 80s.

The album was a commercial success, reaching four times platinum certiciation in Switzerland. “Heatstrokes” hit No. 1 on the British Heavy Metal Charts, while “Bedside Radio”

received international airplay, helping the band build a strong following across Europe and North America.

Metal Rendez-Vous is available as a limited edition of 666 numbered copies on blue coloured vinyl and includes an original 4-page booklet with lyrics.

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series by the press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks, mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s material; the albums offer restored and remastered sound quality and are specifically curated to appeal to all sixties rock fans.

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series, praised by both press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks—mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s items; the albums feature restored and remastered sound quality and are carefully curated to appeal to all sixties rock enthusiasts.

Record Collector (4-star review): “Devotees of late 60s/early 70s fuzz will be entranced.” — “All high vaultage stuff.”
Shindig: “True obscurities, long overdue their moment in the sun.”
OOR: “A marvelous piece of rock history.”
De Standaard (4-star review): “An amazing piece of Belgian heritage.”
Cobra.be: “The Belgian equivalent of ‘Nuggets’!

Ahhhh, dick wie Lava, schwarz wie Ebenholz, kantig und kratzig wie das Kinn von Conan, dem Barbaren. Piece, ein Dreigestirn im Auftrag des fetten Riffs, legen nun mit Ramblers Axe endgültig Ihr Masterpiece ab. Nach _.... und ordentlich Live-Erfahrung merkt man dem neuen Opus die Erfahrung der letzten Jahre an. Spitzen Songwriting, was den internationalen Ebenbildern um nichts nachsteht. Die Berliner liefern eine kraftvolle Mischung aus Sludge Metal, Doom und Rock'n'Roll. Inspiriert von Bands wie Crowbar, High on Fire und Eyehategod, vereinen sie die rohe Aggressivität, der musikalischen Wurzeln aller drei Bandmitglieder, des Hardcore und Punk mit der erdrückenden Schwere und den riffbasierten Klängen von Sludge und Heavy Metal.

Singer-songwriter and cult anti-folk troubadour Stanley Brinks returns with Happy New Year, a 10-song collection of lo-fi gems recorded in Berlin. Happy New Year is a warm and celebratory record. Over simple rhythms and minimalist arrangements, Brinks delivers lyrics that oscillate between surreal humour, earnest wisdom, and playful melancholy. Happy New Year features contributions from longtime collaborator Clemence Freschard, plus appearances from Jyoti Sekhawat, Monica Kremidi, Rachel Lipson, Irma Ignataviciute, and Elisa Aseva, weaving together voices from across Brinks' musical community. Their harmonies lend the songs a communal intimacy. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he'd become a full time singer-songwriter - Andre' Herman Düne - as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded considerably more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures. The vinyl is of silvery color.

We are excited to announce the return of the iconic Totally Wired series with a brand new collection on LP and CD. The first 50 orders will include a special art print of the artwork. We are also doing a limited edition T-shirt to celebrate this milestone!

In 1988 Acid Jazz released its first compilation album ‘Totally Wired: A Collection From Acid Jazz Records’. Compiled by Eddie Piller and Gilles Peterson it collated 11 tracks that summed up the early days of our scene, mixing new label signings, cool new records being played in our clubs and a couple of oldies. It sold well to the then small scene and set the template for a series, that in the wake of the international success of The Brand New Heavies, Jamiroquai, The James Taylor Quartet and others exploded. By the time that Volume 5 appeared, we were selling tens of thousands of copies, with major label artists vying for inclusion.

By that point ‘Totally Wired’ was a phenomenon, that sign-posted changes in both the directions of new music, but of the oldies that were played on the scene. It gave DJs new tunes to play and soundtracked 1000s of Cafés and bars the world over in the age of the CD. It was largely retired at the end of the 90s and as times changed.

Over the years we have been asked to return to the scene of the crime, but it has never quite felt right, until now. With vinyl back, and the need for easy to digest compilations becoming neccessary in the chaos of streaming’s ‘I can listen to anything I want, but can’t think what that might be’ is evident, but also we are feeling excited about where Acid Jazz is right now. New artists on the label are making great records, Matt Berry has a Top thirty album, and The Brand New Heavies are headlining the Royal Albert Hall. It’s easy to make an exciting album when that is happening.

So we are releasing “Totally Wired: A New Collection From Acid Jazz” and treating it like the important milestone that it is. From the Acid Jazz sid we have new and exclusive recordings by Matt Berry, Chris Bangs and new signings Earth-o-Naut and Quiet Fire, there is also a recent white label only 45 cut by the Soul Revivers – released ahead of their new album due this Autumn and featuring Kokoroko’s Shiela Maurice-Grey and Anoushka Nanguy. For the oldies we have dug deep into our own archives to bring you the Acid Jazz Orchestra’s version of Corduroy’s ‘Something In My Eye’ and The Brand New Heavies astounding funk take of Aretha Franklin’s ‘Rock Steady’. These are all joined by recent scene records by Carmy Love – one of the greatest voices in the UK – The Romero Brothers, and BDQ, carrying the series onwards at last.

Everything Is Recorded, ist das musikalische Kollaborationsprojekt von XL-Recordings Chef Richard Russell. Auf dem Album "Temporary" sind zu hören u.a. Sampha, Bill Callahan, Noah Cyrus, Florence Welch, Maddy Prior, Berwyn, Alabaster Deplume, Jah Wobble, Yazz Ahmed, Laura Groves, Kamasi Washington, Ricky Washington, Roses Gabor, Jack Penate, Samantha Morton, Clari Freeman-Taylor und Nourished By Time. "Temporary" entstand im Verlauf von vier Jahren in Russells Londoner Copper House Studio und während einiger zusätzlicher Sessions in Tottenham, Cumbria, Dorset, Los Angeles und Las Vegas Es schließt an die vorangegangenen Releases wie das 2018 für den Mercury Prize nominierte Debüt an. Auf dem neuen Album erfährt Russells musikalische DNA allerdings ein Reboot: Sein Cut & Paste Approach reicht in die Zeit vor Sampling-Helden wie The Bomb Squad und Prince Paul zurück bis hin zu Innovatoren wie Steve Reich, Robert Rauschenberg und William S. Burroughs. Während Russells Musik bislang geprägt war von Rhythmus, Worten und Melodie - in ebendieser Reihenfolge - tauschen zwei Aspekte diesmal ihre Rollen. Der Rhythmus tritt zugunsten der Melodie in den Hintergrund. Musikalisch ist "Temporary" vom Gedankenexperiment "what if folk music had "gone digital" in the 80s, just as reggae had?" geleitet, während sich in spiritueller und lyrischer Hinsicht vieles um Trauer und den Verlust von Freunden, Familienmitgliedern und Kollegen dreht. Im Ergebnis stehen leuchtende und gelassene Kompositionen, auch dank der faszinierenden und vielfältigen Gästeliste, die "Temporary" mitbringt. Die fragilen, zärtlichen und stillen Tracks liefern vielleicht eines der sanftesten Alben, die je über den Tod geschrieben wurden. "Das Album zu machen, war erfüllend, eine Art, das Leben zu heiligen", so Russell. "Temporary" ist die erste reguläre Veröffentlichung von Everything Is Recorded nach über vier Jahren. In der Zwischenzeit war Russell allerdings nicht untätig. Via Soundcloud und Bandcamp erschienen zuletzt "Summer Solstice", "Autumn Equinox", "Winter Solstice" und "Spring Equinox", die alle mit einer Reihe von Gastmusikerinnen und -.musikern im Rahmen ausgiebiger Jams an jeweils nur einem Tag entstanden. Mit der Schauspielerin und Regisseurin Samantha Morton tat er sich zum Duo Sam Morton zusammen, welches sein Debüt "Daffodils und Dirt" veröffentlichte. Für Peter Gabriels Comeback-Album "i/o" produzierte Russell den Song "Four Kinds of Horses".

In Guadeloupe, many people think that jazz and ka music are like a ring and a finger. To some extent, the same could be said about so called Latin music and the music played in the French West Indies.

Both aesthetics were born in the Caribbean and bear so many connections that they can easily be considered cousins. In constant dialogue, there are lots of examples of their fruitful alliance and have been for a while. The English country dance that used to be practiced in European lounges came to be called kadrille in Martinique and contradanza in Cuba. They both featured additional percussion instruments inherited from the transatlantic deportation. Drawing from shared feelings about the same traumatized identity – later to be creolized – it would be hard not to assume that they were meant to inspire each other. The golden age of the orchestras that graced the Pigalle nights during the interwar period further proves the point. As soon as the 1930s, Havana-born Don Barreto naturally mixed danzón and biguine music in a combo based at Melody's Bar. In the following decade, Félix Valvert, a conductor who was born and raised in Basse-Terre in Guadelupe, also worked wonders in Montparnasse with La Coupole, which was an orchestra made up of eclectic musicians. Afro- Caribbean performers of various origins were often hired on rhythm and brass sections in jazz bands, which used to enliven the typical French balls of the capital. In the 1930s and onwards, Rico’s Creole Band was one of them.



Martinican violinist-clarinettist Ernest Léardée, who would become the king of biguine music as well as the main figure of French Uncle Ben's TV commercials (a dark stigma of post-colonial stereotypes), had musicians from the whole Caribbean sphere play at his Bal Blomet – and they all enchanted "ces Zazous-là" (according the words of Léardée's biguine-calypso piece). In les Antilles (French for French West Indies), music history started to speed up in the 1950s, when trade expanded and radio stations grew bigger. The Guadelupean and Martiniquais youth tuned in their old galena radio sets to South American and Caribbean music. As for the women traders, les pacotilleuses, they bought and sold goods across different islands (the "passing of items through various hands" was thought to be most pleasurable) and brought back countless sounds in their luggage. Such was the case of Madame Balthazar, who once returned from Puerto Rico with the first 45rpm and 33rpm to ever enter Martinique.

Out of this adventure was created the famous Martinican label La Maison des Merengues, a music business she opened and undertook with her husband and which proved to be a major landmark. At the end of the 1950s, in Puerto Rico, Marius Cultier competed in the Piano International Contest playing a version of Monk's Round 'Midnight. He won the first prize and this distinction foreshadowed everything that was to come. Cultier, the heretic Monk of jazz, was quickly praised for writing superb melodies, always tinged with a twist that conferred a unique sound to his music. It didn't take long for the gifted self-taught musician to get to play with Los Cubanos, making a name for himself thanks to his impressive maestria on merengues.

The rest is history. Besides, in the late 1950s, Frantz Charles-Denis, born into the upper middle class in Saint-Pierre and better known by his first name Francisco, went back home after working at La Cabane Cubaine – a club located rue Fontaine where he had caught the Latin fever. Francisco's music was therefore heavily marked by his Cuban cousins' influence, which gave the combos he led a specific style and also led to renewal. Things were swinging hard in La Savane, located in the main square in Fort-de-France. He set up the Shango club close by and tested out the biguine lélé there, a new music formula spiced up with Latin rhythms. Soon afterwards, fate had him fly to Puerto Rico and Venezuela.

As for percussionist Henri Guédon (percussions were only a part of his many talents), he was born in Fort-de-France in May 22nd 1944, the day marking the celebration of the abolition of slavery. As an old man, he could remember that in " his father's Teppaz, a lot of hectic 6/8 music was constantly playing...". In the opening lines of his Lettre à Dizzy, a small illustrated collection of writings published by Del Arco, he highlighted the huge impact that cubop had on him as a teenage boy, around 1960. He eventually turned out to be the lider maximo in La Contesta, a big band steeped in Latin jazz. He was also the one who originated the word zouk to describe music which brought the sound of the New York barrio to Paris. It was the culmination of a journey that started in Sainte-Marie: "a mythical place for bélé, the equivalent of Cuban guaguancó". In the early 1960s, the tertiary economy developed to the detriment of agriculture. Yet rural life was where roots music emerged in Martinique and in Guadeloupe.

Record companies played a major part in the process of Latin versions sweeping across the islands – before reaching everywhere else. Producer Célini, boss of the great Aux Ondes label, and Marcel Mavounzy, both the head of Émeraude records - a firm which was founded in 1953 - as well as the brother of famous saxophonist Robert Mavounzy, were big names to bear in mind. Although there were many of them - all of whom are featured on this record - Henri Debs was definitely the major figure in the recording adventure. He proved to be so influential that he even got compared to Berry Gordy. In the mid 1950s, when he acquired his first Teppaz, he worked on his first compositions: a bolero and a chachacha. Then, he became the one man who made people discover Caribbean music, from calypso to merengue. He was among the first ones to rush out to San Juan, Puerto Rico, to buy records and distribute them through a store run by one of his brothers in Fort-de-France. He had members of the Fania All Star come and perform there, which he was madly proud about. He was also the first one to pay attention to Haitian music, such as compas direct and various other rhythms which would soon flood the market. As a result, many of the combos hitting his legendary studio would end up boosted by widespread "Afro-Latin" rhythms. However, he never denied his identity: gwo ka drums were given a major role, although they were instruments which had long been banned from the "official" music spheres. The present selection bears witness to such a creative swarming. Here are fourteen tracks of untimely yet unprecedented cross-fertilization: all types of music rooted in the Creole archipelago have found their way, whatsoever, to the tracklisting. Whether originating from the city or being more rural, they all go back to what Edouard Glissant, in an interview about the place of West Indian music in the Afro-American scope, called "the trace of singing, the one which got erased by slavery." "It is so in jazz, but also in reggae, calypso, biguine, salsa... This trace also manifests through the drums, whether Guadelupean, Dominican, Jamaican or Cuban... None of them being quite the same. They all point to the idea of a trace, seeking it out and connecting to each other through it. This is the hallmark of the African diaspora: its ability to create something new, in relation to itself, out of a trace. It may be the memory of a rhythm, the crafting of a drum, a means of expression which doesn't resort to an old language but to the modalities of it." The opening track features one of the emblematic orchestras of this aesthetic identity, criscrossing many music types from the archipelago. The 1974 Ray Barretto guajira – Ray Barretto was a major New York drummer influenced by Charlie Parker and Chano Pozzo – is magnificently performed by Malavoi, a legendary Fayolais group (i.e from Fort-de-France). Additionally, the compilation ends on a piece by Los Martiniqueños de Francisco. It symbolically closes the circle as it is a genuine potomitan of Martinique culture which also functions as a tireless campaigner for Afro-Caribbean music. Practicing the danmyé rounds (a kind of capoeiria) to the rhythm of the bèlè drum, it delivers a terrific Caterete, a kind of champeta of Afro- Colombian obedience which was originally composed by Colombian Fabián Ramón Veloz Fernández for the group Wgenda Kenya. The icing on the cake is Brazilian Marku Ribas, who found refuge in Martinique in the early 1970s, bringing his singing to the last trance-inducing track. These two "versions" convey the whole tone of a selection composed of rarities and classics of the tropicalized genre, swarming with tonic accents and convoluted rhythms. It is the sort of cocktail that the West Indians never failed to spice up with their own ingredients. For instance, the Los Caraïbes cover of Dónde, a famous Cuban theme composed by producer Ernesto Duarte Brito, has a typical violin and features renowned Martinique singer Joby Valente and his piquant voice.



The track used to be – or so we think – their only existing 45rpm. The meaningful Amor en chachachá by L'Ensemble Tropicana, a band which included Haitian musicians among whom was composer and leader Michel Desgrotte, also recalls how Latin music was pervasive in the tropics in the mid-1960s. They were the ones keeping people dancing at Le Cocoteraie in Guadelupe and La Bananeraie in Martinique. Around the same time, another "foreign" band, Congolese Freddy Mars N'Kounkou's Ryco Jazz, achieved some success on both islands by covering Latin jazz classics – such as their adaptation of Wachi Wara, a "soul sauce" by Dizzy Gillespie and Chano Pozo whose interweaving of strings and percussions can have anyone hit the dancefloor. How can you resist Dap Pinian indeed, a powerful guaguancó by Eugene Balthazar, performed by the Tropicana Orchestra and published by the Martinique-founded La Maison des Merengues? It also acts as a symbol of the maelstrom at work. Going by the name Paco et L'orchestre Cachunga, Roger Jaffory used to play guaguancó too: his Fania-inspired Oye mi consejo is one example of his style. Baila!!!!! Dancing was also one of the Kings' focus points. Oriza is a Puerto Rican bomba and a "classic" originally composed by Nuevayorquino trumpeter Ernie Agosto, which reserves major space for brasses, giving it a special sheen.

Emerging from the New York barrios crucible was also La Perfecta, a Martinique group originating from Trinidad, whose name directly references the totemic Eddie Palmieri figure as well as his own band, also called La Perfecta. Here they borrow Toumbadora from Colombian producer and composer Efraín Lancheros and interpret it by emphasizing percussions, which set fire to the track even more than the wind instruments. The same goes for Martinique's Super Jaguars, who use Tatalibaba – a composition by Cuban guitarist Florencio "Picolo" Santana which was made famous by Celia Cruz & La Sonora Matencera – as a pretext for sending their cadences into a frenzy. In a more typically salsa vein, the Super Combo, a famous Guadelupean orchestra from Pointe-Noire that was formed around the Desplan family and had Roger Plonquitte and Elie Bianay on board, adapt Serana, a theme by Roberto Angleró Pepín, a Puerto Rican composer, singer and musician also known for his song Soy Boricua. Here again, their vision comes close to surpassing the original. In the 1970s, L'Ensemble Abricot provided a handful of tracks of different syles, hence reaching the pinnacle of the art of achieving variety and giving pleasure. They played boleros, biguines, compas direct, guaguancó and even a good old boogaloo - the type they wanted to keep close to their hearts for ever, "pour toujours", as they sang along together in one of their songs. Léon Bertide's Martinican ensemble excelled at the boogaloo which had been composed by Puerto Rican saxophonist Hector Santos for the legendary El Gran Combo.



Three years later, in 1972, Henri Guédon, with the help of Paul Rosine on the vibraphone, tackled the Bilongo made famous by Eddie Palmieri. Such a classic!!!!! And so were the Aiglons, the band from Guadelupe: choosing to execute Pensando en tí, a composition by Dominican Aniceto Batista, on a cooler tempo than the original, they noticeably used a wonderfully (un)tuned keyboard in place of the accordion. On the high-value collectible single – the first one released by Les Aiglons under the Duli Disc label – there is a sticker classifying the track under the generic name "Afro". Now that is what we call a symbol. Jacques Denis

Mythical soul/boogie record recorded in Louisiana by Nigerian multi instrumentalist Rick Asikpo when he was studying in Houston. Layers of synths wash over drawn out, Earth, Wind and Fire inspired grooves, moving from the uptempo “Disco Life” and “Jam” to the languid boogie and two step soul of “Love” and Donny Hathaway-esque “Let’s Get High”. The album is shot through a Texan/Nigerian filter that stands as a missing link between the dancefloor experiments of Houston and Lagos. As featured on Soundway’s seminal “Doing It In Lagos” compilation.

[b] A2 Gathering Storm / Il Pleut À Mourir [+Clatters Like Worry]
[c] A3 "Welcome To Barco AM/PM..." [L.A.X.; 5/14/00]





[i] B5 [...+The Buildings They Are Sleeping Now]





[o] D3 [Glockenspiel Duet Recorded On A Campsite In Rhinebeck, N.Y.]
[p] D4 "Attention...Mon Ami...Fa-Lala-Lala-La-La..." [55-St.Laurent]


[s] D7 [Antennas To Heaven...]

Brian Auger, Julie Driscoll and The Trinity are today best known for their hit recording of Dylan’s then-unreleased This Wheel’s On Fire which is included here, together with covers of songs by the Staple Sisters, Nina Simone, Donovan, Mose Allison and David Ackles. Add in some band-written originals and you have twelve cool tracks mixing jazz, r’n’b, psyche and pop. All songs were specially recorded for the BBC, sound quality is excellent throughout.
Comes with full sleevenotes.




d A4 | Why Am I Treated So Bad




d A4 | Why Am I Treated So Bad




d A4 | Why Am I Treated So Bad




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]

An analog version of the original album "RADWIMPS3 ~The one I forgot to take to a deserted island~" released on February 15, 2006.

Stellen Sie sich einen Schaltkreis vor. Eine geschlossene Form, ein in Komponenten und Hindernisse geschnitzter Pfad, dessen Signal eine Reihe von Tönen, neuen Klängen und subtilen Interaktionen erzeugt, laute Saiten und hart gepannte Vocals, die fest stehen, bevor etwas sich verändert. Eine tiefe Note hebt sich und gleitet davon. So schnell sind Sie mitten in einem Song. Dizzy Magic ist Sophie Weils viertes Album als Syko Friend, ihrem Soloprojekt, mit dem sie seit über einem Jahrzehnt in der Underground-Szene der USA aktiv ist - eine Klassifizierung, die so vage und genreübergreifend ist, dass sie fast bedeutungslos wäre, würde Weils Projekt nicht kontinuierlich bestimmte klare Verpflichtungen einhalten: Gitarren und Verstärker, Feedback und Texte, freie Komposition und festgelegte Songstruktur. Durch ihre Verflechtung von Tradition und Experiment, ihre reichhaltige organische Klangpalette und ihre mühelose Intimität ist die Musik von Syko Friend sofort erkennbar. Man muss nur eine ihrer Platten auflegen, um sie zu verstehen. Auf Dizzy Magic hat Weil diese Parameter beibehalten, aber verfeinert, indem sie die Studiotechnik verfeinert und die Arrangements zu traumhaft breit gefächerten Ereignissen erweitert hat, in denen Gefühle scharf und detailliert wiedergegeben werden, sei es in einem Solo-Gitarrenstück oder in einem der zahlreichen Stompers mit zusätzlicher instrumentaler Unterstützung von Evan Burrows, Hank Doyle und Henry Barnes. Diese Platte ist klar und erreicht bisher unbekannte Weiten, eine großartige Geste, die mit ihren kleinsten Bestandteilen in Einklang steht. Es ist ein Beweis für Weils Hingabe an die kontinuierliche Erforschung, an die kathartischen Fähigkeiten der Gitarrenmusik und an die Zusammenarbeit und die Anstrengungen beim Schreiben, Aufnehmen und Touren, die dem ständigen Streben nach Selbstverwirklichung am Rande zugrunde liegen. Dort habe ich Weil jedenfalls vor langer Zeit kennengelernt, irgendwo zwischen den Knotenpunkten der Underground-Landkarte, wo Musiker Nacht für Nacht ihre Route abfuhren und dachten, wir würden den Geist am Leben erhalten. Damals war dieser Signalweg schwer zu erkennen, wir waren zu sehr darin versunken. Aber hin und wieder taucht etwas wie Dizzy Magic auf und plötzlich offenbart sich die Bedeutung, diese Form, die man sehen, hören und fühlen kann. Eigentlich ist es ganz einfach. Stellen Sie sich einfach einen Stromkreis vor.

Includes insert Featuring covers of iconic cinematic scores Performed with the London Symphony Orchestra Limited edition of 1000 numbered copies on purple coloured vinyl 2CELLOS explore the magic of cinema and television in their new album Score, r eimagining the most beloved film and TV melodies with their distinctive sound.

2CELLOS have forged a signature style that breaks down the boundaries between genres of music, from classical and film music to pop and rock. Score is available as a limited edition of 1000 numbered copies on purple coloured vinyl and includes an insert.

20th Anniversary Edition of «The Creep» by Slomo, this ambient doom masterwork is available on vinyl for the first time via Ideologic Organ. This is a storied album of verbal history, and emerged from a figurative long barrow deep within a virtual space of great depth and contemplation, an inverted framing of acoustic space with heavy floors ranging from the wake of COIL to the heaviest Japanese fire of psychedelia to the monuments of drone coagulating in the early ‘aughts. A first CDR edition in 2005 garnered focus of heavyweights like SUNN O))), Julian Cope, the esoteric legendary record store Aquarius, and the Wire.
Ideologic Organ are honoured to have been tasked to bring this to a limited LP for the very first time, and collaborated with mastering genius Rashad Becker to create a 61 minute single LP in a perfect cut.
Highly Ritualised Somnambulant Glumbient Downer band from Yorkshire, UK.
‘Slomo is a 2-piece made up of myself, Holy McGrail, and Howard «Iron Man» Marsden. Our debut album THE CREEP was released in a run of 100 copies on FUCK OFF & DI in 2005, after attracting a great buzz in its earlier promo form. THE CREEP is a single 1-hour-long track recorded live with minimal overdubs & zero eye-contact. Malnourished musical structures flourish, flounder and flag in virtual stasis.

Founded by Karigan and Organiks (The Roots Makers), The Earliers consists of 5 musicians and two singers. Sebah's voice will not go unnoticed, since he is part of a family of singers for whom soul is no longer a secret: a real pleasure for the ears! He has been singing for more than ten years in the emblematic French ska/reggae group "100Gr de Têtes". Musician from father to son also, Congo Lion is bringing a very rich background from his Congolese origins and a very tribal universe in his musical style. A perfect blend between the soul and early reggae period which makes the show of "The Earliers" a true tribute to the roots of reggae.

Ian Moore, Johnny Moeller, and Jesse Dayton-three of Texas' fiercest fretmen-join forces at last as Texas Headhunters, a band born from deep roots, old friendships, and a shared reverence for the raw, swaggering spirit of Texas blues. Their self-titled debut isn't a nostalgia trip. It's a declaration.

Cut over five days at Willie Nelson's Pedernales Studio, 'Texas Headhunters' deals 12 tracks of grit, groove, and gut-level truth. No smoke, no mirrors-just seasoned musicians in a room, plugged in and turned up. The chemistry is real. The result is mind blowing. Clifford Antone looms large in the story of Texas Headhunters-the spiritual godfather of the project, and the man who first recognized the fire in each of its members. All three-Johnny, Jesse, and Ian-were among the last generation of young guns taken under his wing.

Texas Headhunters isn't just a summit of three badasses with guitars. It's a reclamation. A statement. A reminder that Texas blues, in all its grit and glory, still matters. It's not retro-it's revival. And it's not a tribute-it's a shot across the bow.

Format: Standard Jacket with printed sleeve with lyrics. Pressed on Opaque Red Vinyl.

The members of Someone Still Loves You Boris Yeltsin couldn’t list a single music blog until their lo-fi MP3s and low-res JPEGs made them worldwide icons of Blogdom in 2005. Even Spin read an SSLYBY blog, downloaded their music and declared the Missouri band “could succeed The Shins as the band that will change your life."
 
Recorded in the attic and living room of guitarist Will Knauer's home, Broom, SSLYBY's debut record, is an expertly crafted indie pop gem.
 
Originally, SSLYBY had a simple ambition: to make the “Local Releases” bin at CD Warehouse. However, Broomturned into a classic rock ‘n’ roll record -- the kind where pop perfectionism meets studio experimentation and each track flows effortlessly. Seemingly innocuous pop songs are molded by happy accidents of fate -- sometimes involving unexplained swarming sounds and doubled drums tracks --into the warm, ethereal tracks that made the album into a sensation.
 
Originally self-released by the band to sell at shows, Broom was remastered and released via Polyvinyl in late 2006.

Just a year after the last compilation stood out as one of the best of 2024, Pete Herbert is back with a another brilliant collection of poolside sounds that again explore leftfield Balearica. These are delightfully horizontal grooves that transport you to sunny climes and starry skies in an instant. His own reworks feature, including a version of Sidirum's blissful and astral trip 'Ex Plane', a more tropical and propulsive dub of Lulla's 'Love Comes Quickly' and a quietly epic ambient daydream rework of Bill Mango's 'Inflight Sample.' These are grown-up sounds for cathartic moments lost in your own thoughts.

DJ Feedback

Don Letts/BBC6:
"Good to go on my show!"

Phil Mison/Cantoma:
"Another great MFSP release . Very summery, full support."

Leo Mas/Amnesia:
"Great Stuff."

Sean Johnston/ALFOS:
"PH on fire once again."

Trepanado/Selvagem/Brazil:
"Makes me wanna set sails and just go."

Ruf Dug/Pikes:
"Yeah this ticks loads of my boxes. Mega work."

Bill Brewster/DJ History/Lowlife:
"Some nice cuts on here especially Marius, Fernando etc."

Marco Gallerani/Hell Yeah:
"Beautiful compilation overall."

Sally Rogers/A Man Called Adam:
"Loads of lovely tracks here."

Feel Fly/International Feel:
"Definitely the compilation of the summer! thank you for this fresh breath of summer!"

Max Essa/Jansen Jardin,Tokyo:
"A beautifully curated collection providing a sublime listening experience!"

For their inaugural release, London-based Vysyon presents Mercuri: an enchanting EP of enigmatic techno featuring work by Swiss artists Varuna & Mateo Hurtado. Having developed their brand of abyssal club music through releases on Amenthia Recordings & their own imprint A Walking Contradiction, Varuna dive into the void on 'Remote Pulsar'. Driven by a disorientating polyrhythm cloaked in opaque atmospherics, the trio's otherworldly approach to sound design is on full display. By contrast, the pounding 4/4 kick & propulsive acid bass of 'Uvez Echos' entrance the listener into a state of dancefloor reverie. Mateo Hurtado casts his own unique magic over the flip, showcasing his archetypal mystic sound established via an album on Annulled music & remixes for Space Drum Meditation. The mesmerising flute melody of 'An Invisible Fire, Working In Secret' casts a spell of hypnosis, while the flowing, amorphous pads & twisted bass of 'The Eternal Mirror' conjure visions of worlds unknown.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

Zur Feier des 10-jährigen Jubiläums ist Chris Stapletons von der Kritik hochgelobtes Debütalbum Traveller jetzt erhältlich. Das 7-fach mit Platin ausgezeichnete Album wurde mit zahlreichen Preisen ausgezeichnet, darunter die Grammy Awards 2016 für das beste Country-Album und die beste Country-Solo-Performance für den Titeltrack. Jetzt auch zum ersten Mal als coloured Vinyl!

TOPS - die Musiker David Carriere, Jane Penny, Marta Cikojevic und Riley Fleck - schreiben zeitlose Musik, die zuverlässig Unmittelbarkeit und Tiefe miteinander verbindet. "Bury the Key", ihr erstes komplettes Album seit 2020, erscheint auf ihrem neuen Label Ghostly International und ist eine fesselnde Wiedereinführung für die Band aus Montréal: immer verfeinert, zweifellos Meister ihres melodischen Handwerks, aber ohne Angst, sich weiterzuentwickeln und sich an anderen, manchmal dunkleren Tönen zu versuchen. Das Album stellt sich den Gefühlen, die einst unter Verschluss gehalten wurden, beschäftigt sich mit dem Hin und Her zwischen Glück, Hedonismus und Selbstzerstörung. Während oft von fiktiven Figuren bevölkert, schöpfen ihre leuchtenden, groovenden, selbstproduzierten Songs aus persönlichen Beobachtungen: Intimität (sowohl innerhalb als auch außerhalb der Band), toxisches Verhalten, Drogenkonsum und apokalyptische Angst. Als die Aufnahmen begannen, bemerkten sie eine Verschiebung und lehnten sich an etwas, das sie scherzhaft als "böse TOPS" bezeichnen, so Penny. "Wir werden immer als weiche Band gesehen oder wie naiv oder freundlich auf eine kanadische Art, aber wir haben es zu einer Herausforderung gemacht, die Welt um uns herum wirklich zu kanalisieren." Durch die Linse einer sich abzeichnenden Epoche und der Klarheit, die mit dem Alter kommt, tauchen TOPS mit "Bury the Key" in eine düsterere Disco-Welt ein und geben ihrem weichen Sophisti-Pop eine schärfere Kante.

Get ready for a musical journey like no other as Apollo Junction, the dynamic and innovative indie rock sensation, prepares to launch their eagerly awaited new album, ’What In The World’ on August 22nd. The members of Apollo Junction hail from Leeds, UK. Known for their electrifying live performances and genre-blurring sound, the band has captured the hearts of music enthusiasts worldwide.

With a strong and dedicated fan base, Apollo Junction continues to push the boundaries of their craft, creating music that resonates on a profound level. Apollo Junction’s new album ‘What in the World’ has been years in the making - born from highs, lows, countless gigs, and all the chaos in between. It’s the most honest version of the band yet, a record shaped by every late-night argument, every breakthrough, every crazy story they have ever told each other.

Recorded at Chairworks Studio with David Watts (The Reytons, OMD, Paul Heaton, and Kaiser Chiefs) the album also features tracks co-written with Eliot Kennedy (known for his work with Bryan Adams and the Spice Girls) and includes a track with a powerful guest vocal from Brianna Corrigan of The Beautiful South. Lead singer Jamie Williamson explains the importance of the album: “This album feels exactly right for where we are now. Every track is a snapshot—of getting lost, finding our way back, and remembering why we started. It’s about making something that feels like home. We went looking for meaning and realised it was right in front of us: the band, the songs, this record. ‘What in the World’ isn’t just a title—it’s the answer we’ve been chasing all along.” Leeds-based quintet Apollo Junction is made up of Jamie Williamson (singer) Matthew Wilson (guitarist), Ben Hope (bassist), Jonny Thornton (drummer) and Sam Potter (keyboards). Their shared love of live music and dedication to performing, coupled with an incredible hard-work ethic has taken them on this magical journey which has included support slots for Shed Seven, Kaiser Chiefs, Richard Ashcroft and performing at festivals including the prestigious Isle of Wight Festival. Coming up this summer, the lads will be playing with Blossoms, Manic Street Preachers and Doves

Recorded from late 1996 through early 1997, Hold Onto I.D., The Shadow Ring's fourth album, marks the apogee of the trio's experimental rock epoch - their last record clinging to their factitious bandness before they let all song and structure go awash in sonic malaise for their final run of releases on Swill Radio. The surrealist dreams of City Lights and Put the Music in Its Coffin give way to pseudo-expressionistic lyrics mired in the banality and bleakness of the everyday, set against the backdrop of the Coombe House (as pictured on the album's cover). While Hold Onto I.D. is the group's most overtly autobiographical release to date, Lambkin's lyrics obfuscate his expressionist tendencies filtering them through the codes and languages of officialdom, linking the "inner self" with documents of the state_identification cards, National Insurance numbers, and British passport numbers. Having moved out of their parents' homes and into the top floor of the famed Coombe House, Graham Lambkin and Darren Harris set out to rework material drafted over the previous year, aided by Tim Goss, still safely in residence at the "Valebrook Inn." While the familiar sounds of Harris's deadpan recitation and Lambkin's electric guitar, amateurishly strummed, dominate the album, the emotive interludes of Goss's keyboards populate the record along with of home-cooked tape experiments and dime-store concrète. Originally released on CD and supported by a US tour with friends Scott Foust and Karla Borecky's Idea Fire Company, Hold Onto I.D. is perhaps the band's best-known and most accessible album. (The Shadow Ring's sole representative on a streaming platform, it was once acknowledged by the Guardian as one of "the 101 strangest records on Spotify.") Offered here for the first time on vinyl, Hold Onto I.D. is an essential album for both completists and the uninitiated alike. Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music – without plugging in.

Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines.

On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements.

The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound – a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty. TEB's music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness.

– Dave Segal (excerpt from the liner notes)

Zur Feier des 10-jährigen Jubiläums ist Chris Stapletons von der Kritik hochgelobtes Debütalbum Traveller
jetzt erhältlich. Das 7-fach mit Platin ausgezeichnete Album wurde mit zahlreichen Preisen ausgezeichnet,
darunter die Grammy Awards 2016 für das beste Country-Album und die beste Country-Solo-Performance
für den Titeltrack. Jetzt auch zum ersten Mal als coloured Vinyl!

Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

“The Mighty Tiny & The Many Few have released their debut Album ‘Be The Good People’

A life- and love-affirming record crafted with vintage techniques and timeless principles.

Walshy Fire (Major Lazer) bridges cross-continental connections in collaboration with Grammy-winning composer and writer Randy Valentine, a South London-based artist hailing from Clarendon, Jamaica. Joining them is Copenhagen-based improvisational jazz visionary Steven Jess Borth II, aka CHLLNGR (I Am An Instrument) along with the crème de la crème of Danish jazz talent, including Morten McCoy, Jonathan Bremer, Rumpistol, Mikkel Hess, Laurits Qwist Bilén, Frederik Scharff and more.

For over two decades, Randy Valentine has cultivated a distinctive voice in music, and his latest work with the concept band The Mighty Tiny and the Many Few brings this artistry to life in a fresh, vibrant way. Brought together by Steven Jess Borth II and Walshy Fire, the band unites over 15 musicians from three continents, celebrating collaboration and shared joy. Alongside Ånd&, the team has crafted a musical masterpiece that resonates with a global perspective and a collective spirit of creative expression.

"Be The Good People" is both a statement and a declaration of revolutionary love—a bold call to action. This seven-track album blends soul-drenched, horn-driven, and timeless instrumentation with forward-thinking, insightful lyrics inspired by life’s triumphs and challenges. The result is a powerful musical journey, promising to be a rewarding ride for every anchoring ear.

‘Be The Good People’ is released independently on new label imprint Ånd&.”

N-You-Up & Boogie Vice Deliver Feel-Good Firepower with 'Come On Closer' on Definitive Recordings
Definitive Recordings proudly welcomes a brand-new floor-filling release from Boogie Vice and N-You-Up, two artists well
known to fans of Get Physical Music and the global house underground. Their new collaboration, ‘Come On Closer’, is a
powerful, feel-good house bomb that blends infectious female vocals, uplifting grooves, and jazzy soul into one irresistible EP.
The Original Mix sets the tone with its high-energy beat and bouncy piano bassline, laying the foundation for a hooky female
vocal that anchors the entire track. It’s pure peak-time house, designed for hot, sweaty dancefloors. Things get deeper on the
Carboot Sale Mix, a jazz-infused reinterpretation featuring live drum fills, trumpet flourishes, and rich organ chords that give it a
smooth, late-night edge.

A stripped-back Dub Mix follows, keeping things rolling with minimal vocals and a groovy focus on rhythm and atmosphere. The
EP also includes two bonus DJ-friendly tools: the Piano Tool, which spotlights the irresistible keys at the heart of the original,
and the Intro Mental Tool, a perfect warm-up cut with gradual layering and tension-building groove.
N-You-Up, the Southern France-rooted producer formerly known as The Beatangers, brings decades of DJ experience and a
deep love for jazz, funk, and disco into his sound. With standout releases on Nervous and Get Physical he is a name
synonymous with high-quality house music that always moves the crowd. Boogie Vice, hailing from Paris, burst onto the scene
with chart-topping nu-disco releases like 'Bel-Air' and 'Bad Girl', later gracing labels such as Ed Banger, Cuff, and Outcross
Records. With his unmistakable blend of funk, house, and flair, he continues to push boundaries while connecting with a global
audience.

Brainfeeder stellt Tres Leches vor - ein Trio herzzerreißender Troubadoure, bestehend aus Paul Bender und Simon Mavin von Hiatus Kaiyote, ergänzt durch das tourende Bandmitglied und dem langjährigen Kollaborateur, Alejandro „Silentjay“ Abapo - und ihr kommendes Album, „The Smooth Sounds of Tres Leches, LHCC Mart Vol. 1“, das Mitte August 2025 auf dem Label erscheint.

Liebevoll aufgenommen und abgemischt in verschiedenen Hotelzimmern an den freien Tagen einer Nordamerika-Tournee, drehen Tres Leches die Lichter herunter und interpretieren Hiatus Kaiyote-Evergreens wie „Get Sun“, „Red Room“, „Make Friends“, „Nakamarra“ und mehr neu, um Leidenschaften zu wecken, die Sinne zu entzünden und die wilde Bestie in sich zu beruhigen. Ursprünglich als Soundtrack zu einem imaginären Supermarkt für „Love Heart Cheat Code“ gedacht, nahmen diese schwülen und sinnlichen Interpretationen der Hiatus Kaiyote-Tracks bald ein Eigenleben an. Hiatus Kaiyote - das Quartett bestehend aus Naomi „Nai Palm“ Saalfield (Gitarre, Gesang), Paul Bender (Bass), Simon Mavin (Keyboards) und Perrin Moss (Schlagzeug) - wurde von vielen bekannten Namen gesampelt, darunter The Carters (Beyoncé & Jay-Z), Kendrick Lamar, Anderson .Paak und Chance The Rapper. Außerdem wurden sie von gefeierten Künstler:innen wie SZA, Kehlani, Willow Smith und Virgil Abloh unter Vertrag genommen. Letzten Herbst coverte Doja Cat die „Mood Valiant“-Single, „Red Room“, in der Live Lounge in Los Angeles und spielte den Song auch mehrfach auf ihrer damaligen Tour.

This compilation record, originally released in 1989, includes songs by Scream, Ignition, Shudder To Think, Soulside, Shudder To Think, Fugazi, and more.

Proceeds from the sales of this album go to We Are Family.

Parisian native NairLess steps up for our fourth vinyl release and first of 2025.

NairLess has become synonymous for his signature energetic sound in recent years. “Ethereal EP” a transcendent three track journey continues this tradition, moving us with wave after wave of emotive euphoria.

Frankfurt’s first lady of progressive Maruwa undertakes remix duties with potent and powerful effect.

As the E&X story continues into its third year with a fresh new look for 2025 we are set for another sure fire winner from the talented Frenchman’s ever growing discography, making this EP an essential addition to every record bag.

We know nothing about the newly emerging Fefe other than the fact that they hail from Down Under and, on this evidence, make classy club tackle. 'Trudd' is a supple, shapeshifting deep techno opener with sub-aquatic pads and churning rhythms. 'Bogged Under' gets more dark and heavy with drum pressure never letting up as spangled synths occupy the mind. 'Diddy's Rug' brings a lighter melodic touch with trippy patterns and hallucinogenic qualities for the afters then 'Fire Warden' is a double-time stepper with dub weight and urgent energy to make for another sophisticated offering from Danza Nativa.

Founded in 1966, The Beachers is a group whose music is inspired by Caribbean rhythms and Panama’s musical tradition. Calypso, salsa and bolero are part of the unique Beachers sound, whose popularity peaked in the 70s during what is known as “The Golden Era of National Combos”. The Beachers have released 13 albums and more than 30 singles to their name, on prestigious Panamanian record labels like Tamayo, Loyola, or Sally Ruth Records, teaming up with other Calypso legends such as Lord Cobra.

The Beachers are still current and relevant, with five of the original members performing constantly through Panama and the world. Their energy and spirit is felt in the joy, rhythm and flavor of their songs.
Lloyd Gallimore, the band’s musical director since its foundation, and renowned producer Billy Herron have been working together on this new album, commemorating the group’s 50-year career.

This recording relives The Beachers’s magical trajectory and features collaborations with popular Panamanian musicians, a work that displays a sonic landscape filled with the history and legacy of Panama’s Calypso. It’s a tropical musical fantasy whose Caribbean influence has transcended time.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

In 2019, SWEET embarked on the biggest tour of their long career to date with the ‘Still Got The Rock’ tour in Europe and the UK. In between, they even found time to fly to Australia to play as co-headliners on the ‘Rock The Boat Cruise 2019’. The band was fired up and looking forward to the future. But suddenly in 2020, the whole world was in turmoil, triggered by a global pandemic and all wheels came to a standstill overnight. But for Sweet, there had to be a way out, otherwise musical creativity in all its forms would be lost forever. So, in what was a new isolation for everyone, they began to produce a Sweet album with the ‘new’ guys Paul Manzi and Lee Small and the ‘old guard’ Andy Scott and Bruce Bislan. The album was given the title ‘Isolation Boulevard’ to suit the situation. The songs are re-recordings of 12 classics from Sweet's extensive collection. There was little time between the lockdowns in the UK to achieve the desired goal. On top of this, there were numerous technical obstacles that had to be overcome. With this in mind, the overall performance of everyone involved is all the more impressive, from the driving drums and bass to the ‘in your face’ guitars and stratospheric vocals. In the end, it was a pleasure for everyone to record ‘Isolation Boulevard’, despite being under very strict distancing rules. The result speaks for itself. The album will now be released as a Ltd. Edition Neon Yellow Vinyl.

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. It was released after Trojan released
a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Return of Django is available as a limited edition of 1000 individually numbered copies on white coloured vinyl.

Waiting 25 years for your breakthrough album to come out on vinyl in the States? That’s Cold. All kidding aside, it really is a puzzle why it’s taken this long; as the album title suggests, 13 Ways to Bleed on Stage shifted to darker subject matter and sound than the self-titled debut of this Jacksonville, Florida band, and the move paid off with a Gold record and four hit singles including “Just Got Wicked,” “End of the World,” “No One,” and “Bleed.” Scooter Ward and crew are joined by Sierra Swan and Aaron Taylor of Staind for extra vocal firepower…bloody good fun! For its 25th anniversary, we’re pressing 13 Ways to Bleed on Stage in blue smoke vinyl, with a full-color insert inside the ingenious “scrapbook” album art featuring the first appearance of Cold’s signature Spider logo. Remastered for vinyl by Mike Milchner at Sonic Vision…early-Aughts awesomeness!

This studio collaboration between the French Dub pioneers and the famous Dub kids from Lyon seems to have been really prolific in terms of quality and quantity. All along these tracks, you can hear a successful hybridization between two major dub bands. The steppa rythms are mixing themselves with the ethnic ambiances of scratches, synths and drum rolls so precious for High Tone. Try to recognise which sound comes from which band on this album made of improvisations with electronic breaks and floating atmosphere.. To make it short, an awesome meeting displaying its devastating effects.

CANDLEMASS - a name forged in darkness; a legacy built on doom. Born from the cold shadows of Stockholm in 1985, this Swedish titan of epic doom metal has stood as a monolithic force for nearly four decades. In 2025, CANDLEMASS marks 40 years of sorrow-laden grandeur, a testament to their unwavering reign over the genre they helped shape. Their journey began with the seismic release of “Epicus Doomicus Metallicus” (1986), a requiem that redefined heavy music, followed by the monumental “Nightfall” - both now sacred texts in the annals of doom. These albums remain cornerstones of a genre that thrives in the echoes of CANDLEMASS somber majesty. Despite doom’s reputation for slow, crushing weight, CANDLEMASS themselves show no signs of slowing down. Relentless and untamed, they continue to storm stages worldwide, bringing their towering hymns to devoted Candlemaniacs from Tokyo to Los Angeles. With Grammy win in Sweden and a U.S. Grammy nomination in 2019, the band’s fire still burns with undiminished intensity. Originally released in 2009, “Death Magic Doom” is the tenth studio album from CANDLEMASS.

For many italo disco fans, Dyva is nothing short of a mythical name. A cult act surrounded by mystery, legend, and endless debates fueled by pure passion. And it all started with their iconic track “Oh Mama Tonight”, which, adding fuel to the fire, was released only as a promo single. That rare Boot Legs vinyl became the holy grail for collectors, a lifelong hunt for true italo enthusiasts.

After just three official releases (the last one in 1990), Dyva seemingly vanished from the face of the earth… Until the early 2000s, when Finnish italo aficionado Kimmo Salo tracked them down in Sestri Levante, Italy. That unexpected meeting sparked a brand-new chapter, both for Kimmo’s soon-to-be-born label Flashback Records and for Dyva’s founding members Roberto Calzolari & Massimo Traversoni. Encouraged by Kimmo, the duo returned to the studio to bring back to life not only their long-lost 80s demos but also fresh new material.

This album is a true time capsule, covering the period between 1986 and 2024, featuring never-before-released single versions, true gems. For any die-hard Dyva fan, this is nothing less than an essential addition to the collection.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Jazz Room Head Honcho Paul Murphy kept hearing all these fab versions of some of his favourite tunes.

He couldn't release them all, a year is just not long enough so it was time to put together the first Jazz Room Records Compilation, entitled JAZZ ROOM PRESENTS: COVERS. Snappy & to the point.

Some exclusives and first time Vinyl releases on this Double Vinyl album, ranging from the Psychedelic Jazz Fusion of Helsinki Collective "Saimaa" with their epic LIVE version of the Deodato Classic "Super Strut" to the Japanese Shibuya Jazz Artistry of Quasimode with a Jazzy take on the Galaxy2Galaxy 90's Techno Floor Filler. Jazz meets Dub in the "Slowly" produced "Riot In Lagos" and some finger snapping Cool New York Vibes on Giacomo Gates Hip To The Trip version of Gil Scott-Heron's "Is That Jazz".

There's even a Gospel meets Soul Jazz tribute to Simon and Garfunkel. Oh yeah. Did we say there's a Chip Wickham exclusive too?

Louie Vega says: "This is an Awesome Compilation!"




d 04: Jazzbois - Nutville (Live At Ninety One Living Room) feat. Dom Beats

On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.

sued in January 2015, dedicated to the late Amy Winehouse and featuring the smash hit ‘Uptown
Funk’, Uptown Special was Ronson’s first UK number one album, also going top five on the US
Billboard 200.
Talented collaborators abound, with Stevie Wonder, Kevin Parker, Jeff Bhasker, Mystikal and of course
Bruno Mars making significant contributions to an accomplished blend of pop, R&B and funk.
As Q Magazine put it: "It's quite a feat to produce music that works for the mind and the hips, but
Ronson has pulled it off magnificently, with virtually every track sounding like a single“

The extroverted blend of attitude, energy, and ostentatiousness that spills from the New York Dolls’ self-titled debut can be seen in full view on the album cover. Depicting the quintet in its hallmark flash-and-trash apparel and in drag appearance, the 1973 album scared away a considerable amount of potential listeners while capturing the attention of a sizable audience that recognized the band for what it was: zeitgeist pioneers who helped develop the punk and glam rock movements.

Named by Rolling Stone the 301st Greatest Album of All Time and by Mojo the 49th greatest album of all time, New York Dolls receives long-overdue audiophile treatment on Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, this collectible version marks the first time the group’s career-making statement is available to be experienced in audiophile quality.

Far from harboring the crude elements that became associated with the punk scene, New York Dolls benefits from keen production overseen by none other than Todd Rundgren. Though more accustomed to working far higher-caliber musicians, Rundgren — taken by the New York Dolls’ charisma and cool, if not their instrumental approach — fully understood the ensemble’s aesthetic. He captured what went down at New York City’s Record Plant with an astute blend of live-on-the-floor feel, raw authenticity, and professional acumen.

On Mobile Fidelity’s definitive-sounding reissue, you can hear those facets as well as key details, dynamics, and textures with previously unimaginable insight. Rundgren preserved generous degrees of grit, grime, and grease while bestowing the raucous music with elevated levels of separation, solidity, and impact every landmark recording deserves. His vision extends to introducing choice accents — barroom piano notes, Moog synthesizer passages, Buddy Bowser’s honking saxophones — that add to the songs’ appeal without interfering with the primary architecture.

Afforded extra groove space on this pressing, the tenor, presentation, and attack of both vocalist David Johansen and now-iconic guitarists Johnny Thunders and Sylvain Sylvain come across with stunning vibrancy and vitality. The New York Dolls often seem headed off the rails and into the red, but somehow, the strut, swagger, and sloppiness — and the associated sleaze and scruff, scrape and snarl, frenzy and feverishness those characteristics entail — remain together as a whole that shakes its collective fist at the frustrations, isolation, disarray, and disillusionment of youth chaos and urban decay.

Kicking off its debut with “Personality Crisis,” cited by Rolling Stone as one of the 500 Greatest Songs of All Time, the band makes obvious its grasp of alienation, deviance, displacement, and suburban disaffection — as well as its capacity to play hanging-by-a-thread boogie, noisy rock ‘n’ roll, and Brill Building-inspired pop. The lipstick-kissed New York Dolls possesses traits many of its harsher predecessors would overlook: joyfulness and melody, topped with a knack for knowing how and where to take a song inside of three-and-a-half minutes.

Dive and dash with the belligerent “Looking for a Kiss”; stomp your feet and clap your hands to the big choruses of “Jet Boy”; surrender to the demands and provocations of the coded “Vietnamese Baby”; decide whether “Bad Girl” yearns to explode or implode. It’s one of several tunes here that allude to the world coming to end. Of course, that doesn’t mean there isn’t time for a fling before everything burns. “There’s no place I gotta go,” yowls Johansen. And he means it.

Adorned with tonal crunch, glitter, and gristle, New York Dolls takes pride in its brashness and brattiness. The rambunctious effort, which earned the band the distinction of being voted both “Best New Group of the Year” and “Worst New Group of the Year” in the pages of Creem, displays knowing reverence for the blues without calling attention to the style. The folk-laden “Lonely Planet Boy” is nothing if not a collision of heart-on-the-sleeve emotions and the desire in the face of challenges to maintain a tough-skinned exterior. An interpretation of Bo Diddley’s “Pills,” complete with shivering harmonica and clattering rhythms, announces there’s no cure for what infects this band. It’s that contagious. And how.

His deliveries gushing with campy fun, playful irreverence, and sheer decadence, Johansen doubles as the equivalent of an open fire hydrant that spouts at will. He’s at once tender and vicious, serious and tongue-in-cheek. On arguably his finest hour on the album, Johansen’s phrasing, passion, and lyrical ambiguity alone turn “Trash” into an insistent glam-rock gem whose echoing harmonies and girl-group references stamp it a pop classic.

Too much, too soon? Only for those averse to some of the finest rock ‘n’ roll ever put on tape.

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

Editrix is a Massachusetts-rooted trio known for their wild, gnarly take on experimental rock. Blending jagged guitar riffs, unpredictable rhythms, and bursts of cartoonish eccentricity, the band creates a sound that's both chaotic and compelling. Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing _ ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix's most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion _ in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder (released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band's new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person. The Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed "vibe" up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with `70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II _ which found the act toying with Finnish death metal and harsh noise _ The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold_, Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like "meditative" and "evocative" to describe Editrix's methods, but the end result is crunchy, intricate, and impressively baffling. Easygoing as the band's operation may be, The Big E is a strong jump forward for Editrix inching them towards the center of the avant-rock constellation.

Between The Seed And The Timber is a cycle of six songs exploring ritual and mystical aspects of the modern era. At times both noir and psychedelic, they evoke a strong sense of nostalgia for a disappearing age. In contrast to industrial music’s dystopian semiotics, Jas Shaw challenges us to hear sounds inspired by machinery, electricity and mechanisation in a new light.

“I made the synth parts for a Swans gig,” says Shaw. “As SMD we’d supported Swans. James was away doing some production but I didn’t want to pass it up, so I offered to open solo. It turned out the gig was sooner than expected so I made all these synth things to do live.”

Shaw put the tracks to one side and forgot about them, only returning to them years later. “You know when you’ve changed as a person and you listen back to something from a different angle? I suddenly could hear what I had been after. It reminded me of experiences I’d had at Swans gigs. I wanted to achieve that energy and charge.”

Dubbing techniques are crucial to the sound of the record. “I set up a few synths on a table and had my mixer running loads of auxes back into the desk so it was all on the edge of feeding back. Then I realised that if I put a mic into the desk I’d have an extra feedback route. I found a setting where I could get it to build when I pointed the mic at the monitors but then turning it away you could put the brakes on the regen.”

Between The Seed And The Timber is Jas Shaw’s inaugural release for the London based, Kindred-affiliated TEETH label. TEETH is rooted in a reverence for texture, space, and sonic decay - amplifying experimental sounds that blend dreamlike melodies with weathered landscapes. Each release informs the next, with every track as vital as the last to complete the whole set.

Orchestrated by Jojo Mathiszig-Lee, founder of London’s Kindred, the label celebrates like-minded talent from the community, providing a platform for transgressing music.

Artworks are made by Scarlet Griffiths.

Zum 100. Geburtstag von Peter Thomas - der Kult-Soundtrack neu aufgelegt! Zum Jubiläum des 1925 geborenen Komponisten Peter Thomas erscheint einer seiner größten internationalen Erfolge erneut auf Vinyl: Bruce Lee: The Big Boss (Revised) - die alternative Filmmusik zum gleichnamigen Martial-Arts-Klassiker von 1971. Die ursprünglich 2020 veröffentlichte und längst vergriffene LP wird nun als 180g-Vinyl in schwarzer Pressung neu aufgelegt und ist ab sofort wieder im Handel erhältlich. Die Musik - ein mitreißender Mix aus Big-Band-Sound, Funk, Space-Age und psychedelischer Elektronik - wurde vom deutschen Verleih als westliche Alternative zur Originalmusik in Auftrag gegeben und entwickelte sich zur offiziellen internationalen Filmmusik des Films (außerhalb Chinas). Das aufklappbare Gatefold-Cover wurde vom renommierten Künstler Adrian Keindorf gestaltet und verbindet Retro-Ästhetik mit modernem Design. Diese Veröffentlichung ist der Auftakt einer Reihe, die dem Werk von Peter Thomas (1925-2020) gewidmet ist. Bereits erschienen sind:

Winnetou und sein Freund Old Firehand
Steiner - Das eiserne Kreuz 2
Edgar Wallace
Derrick & Der Alte
Ein Muss für Soundtrack-Sammler, Bruce-Lee-Fans und Liebhaber außergewöhnlicher Filmmusik.

Joyful Intimate Harbour Gateway

Nubiyan Twist present NT Soundsystem - Dubplate Inferno, a new 9 track album reimagining tracks from their critically acclaimed album ‘Find Your Flame’, transforming them into bass-heavy, dub-infused dancefloor killers. Produced by band leader Tom Excell alongside singer Aziza Jaye, the remixes channel the raw energy of the band’s live performances, blending their signature fusion of jazz, afrobeat, soul, and reggae with the gritty, immersive sound of traditional UK soundsystem culture.

The album features some extra guests on vocals, legendary MC Horseman appears on a drum & bass version of ‘Battle Isn’t Over’ whilst newcomer SkillFul Kxng from Kingston, Jamaica, breathes some Dancehall fire on ‘Woman’, adding to contributions from the original record including Seun Kuti, Mamani Keita & NEONE the Wonderer.

This project is a celebration of collective musical innovation, paying homage to the UK’s rich soundsystem heritage while pushing boundaries with their genre-defying style.

Nubiyan Twist have built up a name as one of the forerunners of the UK Jazz scene, fusing together global grooves, soul and jazz; intertwined with electronic elements, horn-led melodies and spontaneous improvisation.

The influence of soundsystem culture has been ever present in their music, from dub sessions the band used to attend in Leeds to jungle raves of East Anglia in the 2000’s. Band Leader Tom Excell has a history of DJing and producing dance music, including with reggae side-project Chief Rockas, working with reggae giants such as Super Cat, Luciano & Turbulence.

Nubiyan Twist’s lead singer Aziza Jaye was born of Jamaican heritage and has grown up around soundsystem culture, boasting an incredibly versatile vocal style and large catalog of work alongside a plethora of producers, including recent work with Mungo’s Hi-Fi.

KILN return with an opulent new display of hue and swing on Lemon Borealis , a sumptuous
gallery of dazzling motifs that display a finely hewn concoction of visual tones and vital pulse.

Across its 12 cuts, this collection utilizes a fresh process of condensing immersive sprawl into compact, punchy and colorful sound.
Using aspects of live performance, beatmaking and waveform sculpting, the troika of Kevin Hayes, Kirk Marrison and Clark Rehberg III create
evocative and invigorating dioramas, continuing to surprise and enchant listeners after over thirty years into their collaboration.

Deep in waves of Hi-meets-Lo Fi, KILN delivers a panchromatic daymark arranged to biochemically align and stimulate your personal syntax, forging
a tapestry of sonic reveries ranging from the aquarium-on-fire radiance of DrnkGrlfrnd, a garden groove of field-recorded percussion in
Maplefunk Diptych, to the sizzling guit-noise whiteout of Deacon Rayhand.

Their eighth album, and first for A Strangely Isolated Place, on Lemon Borealis, KILN expands upon the long-explored themes of mosaic
texture, subtle melancholy, eroded consonance, and vivid cadence to reveal yet another aperture to their unique magnetic universe.

Lemon Borealis will be available on 12” Transparent Ochre Smoke vinyl and digital on July
18th. Mastered and cut by Andreas Lupo Lubich, and featuring artwork by KILN.

We all knew what was on the line before ever setting foot in the studio to record Gone For Good. “Grow or die” had become our mantra. We had endured a four year hiatus (2018 - 2022), reconciled our personal grievances, re-established the band to our original fanbase and beyond, and grew from a trio to a four-piece. It was clear to us that not only was change going to be a constant presence in our lives and careers, it was the fuel that kept the fire lit. To us, Gone For Good is a record from a band that finally arrived at who they wanted to become after 15 years of searching. In an ever evolving industry that seems to deliver countless new artists that are fully realized, perfectly sculpted, we cast a line of hope that there is still room for a band with a story of becoming.

The Last Revel's 5 previous studio albums give listeners a roadmap; hints and clues to who we are now. Gone For Good continues our story in the most powerful way. It's a challenging thing to do to be 15 years into a grassroots career of self-released music, self-promoted touring, and truly believe that we hadn’t written our best songs yet. That there was something deeper down in the well. Gone For Good is the manifestation of this belief and the songs reflect this with stories of sacrifice, courage, love, faith, and self-reflection. We called on Dave Simmonett of Trampled by Turtles to produce Gone For Good for two reasons: one being that Dave’s deeply personal and prolific songwriting career is a testament to the fact that a good song can move mountains.

Two being that we knew having someone involved that we admired so dearly would bring out the best in us. No one wanted to show up to the studio and show Dave a song they didn’t truly believe in. Working with Dave at Pachyderm Studios in Cannon Falls, Minnesota over the course of 4 days was a powerful experience. Dave encouraged us to record everything live, together, in one room. The result being a sound we were searching for throughout our entire careers. It's just us; no studio magic to hide who we are. As a band we are the most proud of this record because we earned it. The countless hours working on our craft, the years touring, the work it takes to go on, it all shows up on Gone For Good. Whatever happens next belongs to us.

Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

Gold Nugget Vinyl, limited to 400 copies. Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

Under his Orion Westbrook alias, the man cooks up some serious heavy-hitting house grooves with a funky twist that hits just right. Side A brings the heat with Pasadena’s own queen Moniquea, laying down her signature style — smooth, confident, somewhere between singing and rapping, and always on point. She glides effortlessly over this modern boogie gem, oozing style and swagger. The wildest part? These two only met once — but the chemistry is undeniable. Flip it to Side B and you’re treated to the sultry voice of Mae Rojas, a familiar name from the Cee-O-Funk sessions. Her sweet R’n’B flavor blends perfectly with a catchy, cosmic-tinged beat that’s equal parts seductive and futuristic. Personal but danceable — the kind of cut that lingers. Both tracks walk the line between dancefloor fire and laidback cruise, and that’s the magic here — funky, versatile, and 100% fresh.

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'