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Frontline is the 9th studio album by Dub Pistols. Chief rabble-rousers & festival favourites, the band are known for their veritable feast of jump-up party-starting sounds, melding dub, reggae, dancehall, ska & DnB into an irresistible tonic that has seen them amass a merry band of Pistoleros across the world.

For this chapter, they are joined by a stellar band of featured artists including both legendary & award-winning collaborators such as Horseman, Top Cat, The Freestylers, Myki Tuff and Chezidek alongside long-term Posse members The Ragga Twins, Lindy Layton, Natty Campbell, King Yoof and Cheshire Cat, and regular Dub Pistol frontman Seanie T.

So, saddle up and join the gang, it's time to ride to the Frontline!

Dublin-based producer Moving Still further blends both his Saudi Arabian and Irish heritage on 'Kalam Hub', a triumphant new EP that marks the fifth release on CWPT/Cooking With Palms Trax. Following a series of 12” edits and original productions that have put his sounds in the record bags of DJs including Hunee, Nabihah Iqbal and Esa Williams, 'Kalam Hub' presents an ambitious expansion of the Moving Still sound, delving into his identity and background to open up imaginative, universal new corners for club culture.

This potent musicality is immediately evident from the first notes of 'Kunafa King'. Taking its title from a traditional Arabic dessert, analogue midi sounds deliver a skewed take on the traditional Saudi rhythms of the artist's youth, before expanding into a wistful diversion for any self-respecting dance floor. It's a trick Moving Still pulls off again on the pulsing 'Hayati 89', which transforms from a traditional aesthetic into a blistering, neon-tinted Italo banger, the kind of track designed to compliment an accelerated spin in the car gracing the eye-catching cover of ‘Kalam Hub’, a collaboration with the artist alongside Manchester-based graphic design studio, Dr. Me.

Concluding the record's A-side, the rhythms take a trippier turn for the duration of 'La Titasil Feeya'. Translating to “don't call me!” and making sonic reference to teenage years immersed in rock, metal and general angst, it unfolds as something akin to Middle East-tinted techno with a formidable kick drum, before exploding in colourful, organic breakbeats. Immediately on the flip, the sense of wonder returns in a sonic mirage for 'My Bosa Is For You', weightless rhythms blending with an electric organ and charming, lightly psychedelic breakdowns.

Further sonic tricks fall from Moving Still's delicately-tailored sleeves on 'Haram Odyssey', where an almost impossibly tight bass line provides the function for contrasting synthesis and unpredictable percussion, drawing parallels between the sometimes confusing aspects of the artist's dual-cultural life as a child, through to the music he makes as an adult. Fittingly, the record concludes with ‘Kalam Hub', a triumph of minimalist percussion and traditional instrumentation that pays tender tribute to the Moving Still's grandmother, translating simply to “Love Talk”.

Originally released in May 2006 through the German label Karaoke Kalk, »Osaka Bridge« was an album that captured the joyful amateurism of Tori Kudo's free-spirited Japanese collective Maher Shalal Hash Baz and Bill Wells’ rich, wistful and easy sense of melody. Approaching brass band and jazz music with a knack for making playing imperfectly feel perfectly right, »Osaka Bridge« became nothing short of groundbreaking when it was released to critical acclaim, becoming an instant classic among musicians and fans alike. Coinciding with the release of the second LP of Wells’ on-going collaboration with Danielle Price on tuba, »The Sensory Illusions«, Karaoke Kalk makes this highly sought-after record available again on vinyl for the first time in 16 years.

The pairing of the prolific Scottish pianist and composer and the fluctuating collective active since the mid-1980s was an easy, natural one—a union particularly apt and complementary. But this is not to say that the 15 recordings which made up »Osaka Bridge« were in any way seamless. The horns played by these self-taught musicians strain and struggle with Wells’ luscious arrangements; each note is given all the stiff emphasis that you’d expect of a high school brass band at its first rehearsal. Songs fall in and out of rhythm, and a track like »Poxy« misses its intended swing feel by a country mile. Of course, this is all part of the magic. Maher Shalal Hash Baz take Wells’ melodies and strip them back to their emotional core, disallowing all artifice and revealing a stark, serene beauty.

Particularly affecting are »On The Beach Boys Bus«—described by colleague Jens Lekman as the »the most beautiful melody I’ve ever heard«—and »Time Takes Me So Back«, the two tracks sung by Kudo’s wife Reiko. Inspiration for both pieces came to Wells in dreams. The former was sung by a group of tanned Californians on the way to a Beach Boys convention, the latter by his grandmother shortly before she passed away. Reiko’s voice gives each song a haunting fragility that enhances their phantasmagoric character. »Cowtail Calypso«, on the other hand, was born when Wells asked Tori Kudo to sing Roger Miller’s »King Of The Road« over a syncopated, propulsive melody. Kudo’s ambiguous response (»maybe,« which according to Wells usually translated to »forget it«) resulted in a brief, idiosyncratic track that nevertheless exceeded all of Wells’ expectations.

Of the instrumental tracks, »Liquorice Tics« stands out for its rolling rhythms and circular melody, while »Family Sighs« creates a brooding atmosphere which perfectly encapsulates the conflicting feelings many people have for their immediate family. For the most part, the instrumentals are concise—a melody stated once and then dispensed with—but their brevity only heightens the impact. Even (or especially) 16 years later, »Osaka Bridge« continues to be an almost accidentally timeless document that captured fleeting moments and personal revelations at their most spontaneous and unaffected. As someone put it so aptly in a Discogs comment a few years back, »this is the album which is able to make aliens understand what humankind is about.« You better turn up the volume so that everyone can hear it everywhere.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

Since 2006, Pierce The Veil have unassumingly yet consistently climbed their way into the hearts of millions worldwide via an unshakable devotion to making honest and hypnotic hard rock. The San Diego band — Vic Fuentes (vocals, guitar), Tony Perry (guitar), and Jaime Preciado (bass) — released A Flair for the Dramatic 2007 and Selfish Machines 2010, the latter of which camped out at No. 1 on the Billboard Heatseekers Chart. They have steadily built a dedicated and diehard fanbase through touring and by nurturing an honest connection. PTV truly established themselves with 2012's Collide With the Sky, which spawned their first RIAA Platinum-certified single with "King for a Day." They followed with Misadventures in 2016, which charted at No. 4 on the Billboard Top 200 and notched No. 1s on multiple charts, including Top Alternative Albums, Top Hard Rock Albums, Top Independent Albums, and Top Rock Albums. In between sold-out tours all over the globe and a headlining stint on 2015's Warped Tour Main Stage, the musicians garnered five Alternative Press Music Awards (including "Album of the Year" for Misadventures), two Kerrang! Awards, and a Revolver Golden Gods Award. They've graced the covers of Alternative Press, Kerrang!, Rock Sound, and more — multiple times. Elsewhere, their digital and streaming footprint is nothing short of staggering. They've tallied over 1.5 billion global streams and almost 370 million YouTube views — proving that growth is a constant for them. Ultimately, Pierce The Veil, who've earned multiple gold and platinum certifications, remain one of the most beloved bands of their generation and they show absolutely no signs of slowing down as they march into a new decade ready to share the most important music of their career.

Ian Haywood aka Ian Sweetness was born in Kingston, Jamaica. Gifted with talent, this versatile singer of culture Reggae music and Lover’s Rock, started at the age of nine with the church choirs. Bob Marley, Dennis Brown, Beres Hammond, Frankie Paul and the old school Reggae foundation artists are his greatest inspiration. His first recording was at the age of nineteen at the Creative Sounds Studio in Kingston. The tune’s title was “Rude Bwoy” feat. Simpleton. After that, he started to work with sound systems in his area, and from there he began to spend time in studios around Jamaica, such as Arrows Studio, King Tubby’s, King Jammy’s, Penthouse, Bobby Digital, and more.
Ian recorded tunes with different producers and labels, for example, Jah Life, and Bobby Digital, and was based at Arrows Studios, but still working with producers in Jamaica & overseas.

Priscilla Renea Hamilton , known professionally as Muni Long (pronounced "money long"), is an American singer and songwriter. Under her birth name, her solo debut studio album, Jukebox, was released through Capitol Records in 2009. She then spent the following decade co-writing songs for other recording artists, including the singles "California King Bed" by Rihanna, "Worth It" by Fifth Harmony, "Love So Soft" by Kelly Clarkson, "Imagine" by Ariana Grande, and the global chart-topper "Timber" by Pitbull featuring Kesha. She has received four Grammy Award nominations throughout her career, including for Best New Artist, Best R&B Song ("Hrs & Hrs"), and Best R&B Performance ("Hrs & Hrs"). She also received a nomination for Album of the Year through her work on Back of My Mind (2021) by H.E.R. . Public Displays of Affection is a soundtrack of intimacy that seemed to offer an answer: You let love lead. "I am a lover," Muni Long explains. "I prefer to be kind. I believe in fairytales. The reason Public Displays of Affection worked is because love was absent in R&B." For that breakthrough project, Muni wanted to mimic the ebbs and flows of a relationship, dipping and diving between moods and sounds - which is real, because love can be tumultuous, too.

Hollie Kenniff's second LP for Western Vinyl, We All Have Places That We Miss, is a gallery of cloudlike synths, seraphic strings, and humming guitars, all coaxed into cohesion by Hollie's own wordless singing. The album's 2021 precursor, The Quiet Drift, landed on Bandcamp's Best Ambient list alongside the description "Drawing on the deep tones of drone, dream pop harmonies, and new age's bright tranquility, Kenniff evokes the forests, lakes and rivers of her past and present surroundings with a zen patience." Here on Places_ she strides even further into reminiscence, seeking and commemorating the fondly tragic ache of half-remembered locales lost to time: A grandparent's dim living room from an ambiguous decade; a lonely clearing beside a trail we can't remember if we walked or just dreamt; the calming light of a movie that aired years before we were born though our feelings insist we were there with the characters. We All Have Places That We Miss transmutes such glimmers into a palpable sonic kingdom that can be revisited at will, recalling the pedal-board ambience of Windy & Carl, Adam Wiltzie, and Liz Harris.

It seems fitting that a trilogy of albums celebrating nature should conclude some eight years after its second chapter. Manchester-via-Todmorden based instrumental trio Plank’s first two LPs – 2012’s kosmiche-inspired Animalism and 2014’s more expansive and structurally disruptive follow-up Hivemind – enjoyed relatively quick gestation periods. However, Plank are firm believers in letting nature run its course, and so it is that their third LP Future of the Sea arrives early in 2023. “I always knew I wanted to make three albums inspired by nature” says Plank main-man David Rowe (synths / guitar). “Future of the Sea is another exploration into odd time signatures and traditional rock instruments alongside synths and electronics.”

“Future of the Sea is a celebration of the power and majesty of our oceans and how humankind has been destroying them through industrial scale fishing and global warming” says Rowe. “Rachel Carson put it more eloquently in her book The Sea Around Us: ‘It is a curious situation that the sea, from which life first arose should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’” A post apocalyptic underwater city scape adorns the cover in an illustration by Jake Blanchard, whose work you'll also see on Richard Dawson's latest album 'The Ruby Cord'.
The synthetic nature of Plank’s sprawling rock odysseys feel at their most pronounced on Future of the Sea which leans to the band’s love of Pink Floyd era Meddle, Camel, film score composers like John Carpenter and Vangelis, 70s experimentalists Harmonia, 1980s King Crimson and 90s post-rock adjacent group Tortoise. In polyrhythmic dexterity if not heaviness, Plank also take some influence from Meshuggah, and it’s in their movement between the 16 minute final album track’s sections that it feels most prominent. They swerve from crunching stoner rock jams to more ambient spatial explorations, crescendoing progressive peaks, 80s synth pop and finally a crushing riff-laden finale.

American dancehall vocalist Sluggy Ranks was part of a growing dancehall movement in the '90s which emphasized cultural roots and positive messages instead of "slack" artists' obsessions with sex and violence. Ranks was born in Kingston and grew up in its Ray Town section, attending the same primary school as Wayne Wonder. Ranks began his singing career in the mid- to late '80s, coming to the U.S. to record the beginning of a series of Jamaican hit singles that included "95% Black 5% White" and his signature song, "Ghetto Youth Bust." Ranks later re-recorded both songs for his full-length 1994 album, Ghetto Youth Bust, which was produced by King Jammy and issued in the U.S. on Profile Records. While the majority of Ranks' most significant output through the '90s was largely issued on singles (and thus not very accessible to most American listeners), he also cut albums like Just Call Sluggy and 1999's My Time.

Early in his career as a child star during the late 1960s, reggae singing legend Dennis Emmanuel Brown, received the nickname of "boy wonder of Jamaican music." In 1981, reggae fans unanimously ordained Brown with a new title, "Emmanuel, the Crown Prince of Reggae" and the undisputed heir apparent, following the death of reggae "king" Bob Marley. Brown, with his extremely powerful tenor and distinctive singing voice, established himself easily as one of the most impressive reggae artists of the twentieth century. A happy and friendly man, Brown amassed a loving and loyal following throughout his career, and upon his death at the early age of 42, he was widely eulogized for his outgoing personality. He recorded more than 100 records, including over 50 albums, from the time he was in his teens. The world of reggae music lost a "towering talent," noted Billboard magazine, when Brown passed away on July 1, 1999.

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

Cross the outerbridge from New York's Staten Island and you'll end up in New Jersey, Perth Amboy to be exact, home to 60s Garage/Soul group, 'The Invaders'.

Jerome James, lead singer/songwriter, and his 4-piece group reigned at the forefront of local aspiring teen musicians, playing alongside acts such as Marvin Gaye & Tammi Terrell when Motown hosted their east coast revue, yet only recorded once, at Super Sound Studios, NJ. The resulting songs from this session were sixties tinged instrumental 'Wildroote', but more importantly, one of the most iconic sweet soul songs, 'O Lord'.

An independent production released on the groups own label, Da Gail, served as a calling card for fans & shows alike, prior to the group rebranding as 70s disco outfit 'Hosanna'. Fun fact - hammond player, Teddy Andreadis went on to play with Guns n Roses, Carole King, Chuck Berry, and it all started with 'The Invaders'.

For Dancer Only ist die legendäre Clubnacht von Bill Kealey, dem ebenso trinkfesten wie umtriebigen Sammler und Jäger aus Dublin. Quasi jedes Wochenende ist er mit seinem 7"-Vinylkoffer unterwegs und beglückt die Massen. Da er das schon ein paar Jahrzehnte macht, gehört er zur absoluten Champions League derer, die sich mit Rhythm & Blues der 50er und all seinen Spielarten beschäftigen. Dies ist seine erste Compilation und wir behaupten, dass es eine der Besten ist, die Stag-O-Lee je veröffentlicht hat.

Repressed On translucent blue vinyl! Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy DMX – get lost in their crates. For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay! A1. Run's House A2. Mary, Mary A3. They Call Us Run DMC A4. Beats To The Rhyme A5. Radio Station A6. Papa Crazy B1. Tougher Than Leather B2. I'm Not Going Out Like That B3. How'd Ya Do It Dee B4. Miss Elaine B5. Soul To Rock And Roll B6. Ragtime

Sparta is the powerful fifth studio album from the El Paso, TX band, following their 2020 comeback Trust The River and Jim Ward’s 2021 solo record, the blistering Daggers (both also available on Dine Alone Records). The band will be direct support for an Aug/Sept North American tour with The Get Up Kids. All drums on the record performed by Tucker Rule (Thursday/Frank Iero). Other guest spots include performances by Geoff Rickly (Thursday), Kayleigh Goldsworthy, Angelica Garcia and more.

Taking over stages around the world, RUSSKAJA made a name for itself as a unique, diverse formation that moves crowds wherever they go. "Russki Style" is RUSSKAJA in their purest form - balancing catchy heavy riffs, ska, polka and punk while maintaining a blood pumping tempo! With well over 20 million streams on Spotify alone and touring relentlessly while still rocking stages on TV as the house band on the prestigious "Willkommen Österreich" – RUSSKAJA’s Turbo Ska Punk is unstoppable! 2nd SINGLE : Kings & queens of Turbo Polka, RUSSKAJA, bring you a jolly good Christmas time! Brass and violins come together on this ska-infused Christmas classic; with this unique parody version of WHAM’s smash hit "Last Christmas", RUSSKAJA are guaranteed to spice up your holiday season – russki style! With over 20 million streams on Spotify alone and relentless touring while still rocking as the house band on prestigious TV show "Willkommen Österreich" – RUSSKAJA’s Turbo Ska Punk is unstoppable!

The Soninke collective consciousness finds its origins in a founding myth, a blood pact: the legend of Biida and the decadence of the empire of Ghana or Wagadu (evoked by Léopold Sédar Senghor as a land of plenty in his poem Le Kaya Magan). From the 3rd century AD, gathered in the region of Sahel, on the edge of the Sahara desert, the Soninko ruled over their kingdom and its capital Kumbi Saleh. According to folklore, they were blessed with abundant rain and nuggets of gold could be picked directly from the ground.

They owed this prosperity to a providential but cruel protector: the Wagadu Biida, a seven-headed serpent who lived at the bottom of the Kumbi well. Every year, as a reward for his favours, the Biida demanded an offering: the life of the most beautiful virgin woman in the community. Sacrifices took place for generations, until the 13th century AD, when fate chose Siya Yatabéré, Maamadi Sehedunxote's sweetheart...

Centuries later in 1977, Gaye Mody Camara, a young Soninke raised in Mali's Kayes region, settled in France to found his own empire. Initially selling wax, kola nuts and other goods in his Parisian outlets, he rapidly started distributing cassette tapes and eventually producing a multitude of recordings for his own label: Camara Production.

Crossing paths and collaborating over the next four decades with legendary artists, griots and industry moguls like Boncana Maïga, Jean-Philippe Rykiel, Ganda Fadiga, Diaby Doua or Ibrahima Sylla, Camara became one of the great independent music producers of his generation, and a pilar of the Parisian Soninke diaspora.

Released in close collaboration with Gaye Camara and with the assistance of Daouda N'diaye, one of A.P.S' (Association pour la Promotion de la langue et de la culture Soninké) historical members, this selection of songs and accompanying notes aim to shed a light on an intricate culture and its modern music, injustifiably unknown outside of West Africa and the various Soninko diasporas around the world.

From Malian Zouk to Mauritanian Reggae and other psychedelic groovers originally released on cassettes or digitally, we have given the utmost attention to bringing this music to a new format. It has been carefully remastered and pressed on a couple of 180g vinyls, with riso printed liner notes.

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!

Musical legends from opposite sides of the world come together on Hell Yeah's next EP as Japan's Calm and Finnish musician Jimi Tenor collaborate on big city takes. It features two new singles as well as remixes from the celebrated tapes and Belfast's best-kept secret, The Vendetta Suite.

This most satisfying of eps came together when the psychedelic space-jazz-funk king and noted musician, composer and producer Jimi Tenor was in tour in Japan. Label head Marco arranged for him to head into Calm's studio in Kawasaki, Tokyo, and real magic happened.

'Big City Takes' is gloriously lush, with serene chords, delicate flutes and organic percussion. Tenor's airy vocal brings the soul as an intimate and late-night groove emerges to melt your heart.

Then come two remixes from tapes. The first is powered by dusty old-school drum breaks. They're doused in subtle euphoria with a nimble bassline down low, while the second one is stripped right back to a pulsing rhythm and killer phased bass. Spread chords bring sunrise feelings to this most colourful of grooves.

On the flip side, Calm offers a version of 'Time & Space' that is nearly eight minutes of exquisitely blissed-out downtempo. Chords ripple like waves, flutes flutter like birds and the whole thing is filled with the joys of a new spring day. The remix comes from The Vendetta Suite, a label regular and under-the-radar talent who is defining his native Northern Irish scene with his fresh fusion sounds. His version brings a new age ambiance to post-rave Balearic comedown. It's one that douses you in life-affirming synths as drums gently persuade you to sway along.

Bosq & Kaleta unite again for Afro Disco dance floor fire. With their massive 'Wake Up' continuing to make waves the duo refuses to rest on their laurels and keeps pushing. 'Ipade' is the first single off their upcoming joint album, and draws slightly more on Kaleta’s history playing with King Sunny Ade and some of the pioneering work of the time fusing traditional African music with electronic sounds.

Scottish jazz trumpeter Malcolm Strachan releases his second solo album "Point Of No Return" on Haggis Records on 27th January 2023. A follow-up to his debut album "About Time" from March 2020 (also on Haggis Records), which received great critical acclaim and strong radio support across the globe. Once again, Malcolm delivers an album of original music written by himself and featuring material covering a broad spectrum of jazz styles. From modal jazz grooves to Brazilian samba beats, Latin rhythms to cinematic soundtrack vibes, and along the way, some beautiful ballads.

If the first album nodded slightly to mid-late 1960s classic Blue Note Records type jazz, this one is more reminiscent of the jazz fusion albums that Malcolms's jazz trumpet hero Freddie Hubbard recorded for the legendary CTI Records label in the early-mid 1970s. The same groove-based jazz where soul and funk beats are at the heart of the arrangement. Rock solid rhythms that allow complex horn parts and improvisation to float over the top with ease. The ensemble playing is strong and the leader's trumpet solos show why he's been one of the most in-demand session musicians in the UK for the last 20 years.

He's recorded and toured with the likes of Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jess Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds, Abstract Orchestra and Blue Note Records jazz saxophone legend Lou Donaldson. Of course, he's also a founder and existing band member of the UK funk kings The Haggis Horns.

The core band on "Point Of No Return" are musicians that Malcolm has known and worked with for over two decades, often in The Haggis Horns, and most appeared on the debut album. Those musicians making a welcome return are Atholl Ransome (tenor sax/flute), George Cooper (piano), Danny Barley (trombone), Courtny Tomas, (double bass), and Erroll Rollins (drums). Newcomers this time are longtime Haggis Horns guest percussionist Sam Bell plus special guest vocalist UK jazz singer Jo Harrop, who adds non-verbal Flora Purim style vocals on tracks one and three. Three tracks feature strings, arranged by Phil Steel, with all the strings played by Richard Curran. One of the tracks is the beautifully poignant ballad for strings and trumpet "The Last Goodbye" which could easily have come from a film soundtrack and where Malcolm digs deep into his love for jazz ballads in his solo.

"Point Of No Return" by Malcolm Strachan will definitely appeal to lovers of contemporary acoustic jazz with a classic jazz feel. For those who love the music of Blue Note Records and CTI Records and trumpeters Freddie Hubbard, Donald Byrd, Lee Morgan, Art Farmer, and Miles Davis. Without a doubt, it will be one of the standout UK jazz releases of 2023.

Limited Loser edition on dark green vinyl. There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

• Co-writer Charles Spurling sang and wrote at King in the late 60s, providing songs for James Brown, Hank Ballard, Junior McCants and Peggy & Artie among others. ‘Ball Of Fire’ is an exceptional song, first recorded by Connie Austin as a smouldering mid-tempo number on which she pours her heart out. It would be updated a year later by Marva Whitney who took it at a faster funkier pace. Charles Spurling remembers Connie as a good-looking, fast-living girl who was murdered in Los Angeles soon after.

• Spurling was a good singer himself and had five King releases between 1967 and 1969. The excellent ‘You’ve Got Love On Top Of Love’ failed to make it to wax until now. Kent found the tape in the King vaults and issued it on CD in 2001; now it is on a righteous single.

Honoring the craft and the ones that came before him through undeniably infectious beats that brace the weight of his choice samples and original layers. Getting his chops up through his younger days, Shane spent his time developing instrumental obstacle courses for local emcees to dance around including Gift Of Gab (Blackalicious), Spills (NY) Kinetic Source (Ozomatli) and Cashus King (LA.) By the age of 21 Shane threw himself into the ring of the Stones Throw beat making contest. To only the surprise of himself, Shane walked away twice as a weekly winner of the battles. After a small hiatus due to the birth of his daughter Clementine, Shane jumped back on the pads and began crafting the instrumentals for what would become Apostolos. With the instrumentals in flux Shane reached out via Instagram to an upcoming emcee out of the Duck Down Camp, a prodigy of the late, great Sean Price, Rim. After chatting back and forth for a small time, making sure Rim knew Shane was in this project for the right reasons, Rim jumped on board and even helped land other up and coming NY emcees like Eddie Kaine & Spills. From there everything snowballed. One feature led to another and soon enough the album was taking shape with features from not only Rim and Eddie Kaine, but hip-hop heroes such as Masta Ace, Planet Asia, A.G. of D.I.T.C. and Geechi Suede. With a few more instrumentals and spaces to fill Shane reached out to long-time bay area engineer/producer Deegan Mack Adams to help with the mixing and mastering and overall release of the project. Apostolos gets its namesake and back cover imagery from Shane Sounds' great great Grandfather, Apostolos Christakis who immigrated to the United States from Greece at the turn of the 20th century. The documents you see on the back cover are Apostolos’s army registration documents only a week after coming to the United States. We pay our respects to the ones who came before us and allowed us to be here to create this project. Salute!

Hear the immortal sounds of Elvis Presley rockin' the USA from Virginia to Rhode Island, through to North Carolina and Nevada. Greatest Hits Live is
a stunning set that charts his colossal, hitmaking journey from his formative years in Memphis to a worldwide stage as the King of rock 'n' roll. This
is a golden opportunity to hear these legendary hits performed in their heyday, live on stage, in front of his adoring fans. As one of the most
renowned cultural icons of the 20th century, Elvis may have 'left the building’, but he's here in all his glory for a new generation to enjoy. '‘til we
meet again, may God bless you. Goodbye.'
Get Yer Vinyl Out brings together these greatest hits performed by the man himself during his reign in the 70s as the all-time king of rock ‘n’ roll.
Superb, professionally remastered original broadcasts, pressed on Eco Mixed 180g Vinyl and presented in a deluxe gatefold sleeve with background
liners and timeline photos.

1000 black vinyl LPs. London-based ‘indie-supergroup’ SUEP announce their long-awaited debut mini-album Shop, a collection of 6 oddball, car-boot-sale pop songs with a sprinkling of theatrical storytelling. Led by Georgie Stott (of Porridge Radio, Garden Centre) and Josh Harvey, SUEP was born out of a near-decade of playing in sheds and barns with like minded personnel, holding a mutual love for Paul McCartney, Jona Lewie, the B-52s, Devo and other performative freaks enjoying themselves. Following a move to London from Brighton, the pair added George Nicholls (The GN Band, Joanna Gruesome, The Tubs), Will William Deacon (PC World, Garden Centre), and Ollie Chapman (Boil King) to the line-up. The 5 piece take turns writing songs and taking the lead vocal duties in a wonderfully playful but coherent collaboration, with their debut being a kaleidoscopic off kilter pop ride, taking the listener through haunted castles, deprived encounters, days lost to the imagination in bed, and through the integral friendships that give SUEP the energy to keep dancing to their own beat. The album was arranged and recorded in the Red Lion Boys Club, an ex-youth centre in which Georgie and Josh both lived. Using equipment collected by Josh in his travels as a bootsale and market trader, the sports hall was transformed into a makeshift studio for a few days, with sessions conducted by producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) Mark Riley (BBC 6 Music) described SUEP’s debut single and album opener, ‘Domesticated Dream’ (2021) as “perfect pop music.” The joyfully kitsch track brims with a 70s Yamaha disco beat, deep bass, nostalgic drum machines, and hooky melodies. Possibly the most psychedelic and infectious track born out of lockdown, it tackles homelife, drinking too much, and making big plans that never come to fruition, but with a big technicoloured positivity for the future of the human-race, with the chorus’ refrain, “the psychedelic 4000s,” predicting the return of the psychedelic Age of Aquarius in a couple of millennia time. The following single ‘Misery’ (2021) is pure cosmic swing-pop wizardry in part inspired by spy music and The Supremes. Ollie, The track’s baritone vocalist, describes it as “A love song disguised as a song about loss. It's about cherishing the things that matter but it’s also about having the courage to say goodbye,” with each line of the song a small story about a different character. Whilst latest Shop taster ‘In Good Health’ is darkly euphoric like a pleasantly strange meeting of Siouxsie Sioux and Jona Lewie. It’s a playfully discombobulating mix of 80s jangly guitar, chirpy keyboard and moody post-punk tackling mental health, drug addiction, and the power of friendship, written after the song’s vocalist Georgie came out of hospital following a mental health crisis. “I wanted to write a song that encapsulated how important my relationships with my friends and boyfriend were at that time” she explains “…and one that also felt dark like I did at the time. I couldn’t go outside due to anxiety surrounding my health so I stayed inside for weeks. People would visit and watch films with me or let me tattoo them or make music with me. My community helped me recover.” Elsewhere on Shop is ‘Just The Job’ fronted by Harvey and described by him as “About the relief of accepting a menial existence, and allowing life to be boring - but (within that) how the small things are the important ones, how pulling a sicky or extra long lunch break are important things to do for yourself. It’s an anthem for working people who’ve had enough - and a crowd favourite at SUEP gigs. The darker undertones and post-punk angles of the Georgie-fronted ‘Onions’ is inspired by the crapness of cliques, with the band calling the song “A cry of welcome to all;” and finally the hooky ‘Friend of Mine,’ described as “A love letter to all the people that come and go throughout your life no matter how long you know them”. SUEP have received coverage in Independent & Clash, (among many others), with big support from Mark Riley and Steve Lamacq (BBC 6 Music) for early singles.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

Orange Viny

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape at times calm, at times turbulent, and ever changing? H.C. McEntire’s new album Every Acre grapples with those themes that encompass grief, loss, and links to land and loved ones. And naming claiming land, claiming self, being claimed by ancestry and heritage permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In “New View,” McEntire cites poets “Day, Ada, and Laux, Berry, and Olds” fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire’s voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: “Bend me, break me, split me right in two. Mend me, make me I’ll take more of you.” Permeated by heartbeat-like drums, “Shadows” develops quiet ruminations on surrender and loss reminiscing, moving on. This ponderous, dreamlike song asks the question of how “to make room.” How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, “Rows of Clover” is a lamentation, one that touches on the loss of a “steadfast hound.” The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers–esque understated soul groove. But what stands out the most is an image of being “down on your knees, clawing at the garden” the only explicit mention of a person in the song. “It ain’t the easy kind of healing,” sings McEntire, seemingly from further and further away as her voice echoes; and healing takes time, time takes time truths that linger painfully. “Dovetail” is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire’s gentle, trembling vibrato harmonized in thirds in a celebratory manner calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions such as wonder, sadness, nostalgia that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre explores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life both stingy and gracious, both hurtful and kind.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

• Bunny Lee was the first to actually use reggae in the title of a record with ‘It’s Reggae Time’ Striker’s propensity for creating hit records during this period was unmatched and he was awarded the prestigious “title of Jamaican Producer Of The Year in 1969, 1970, 1971 & 1972” the years covered by this new Boss Reggae focused compilation.
• Striker’s complete mastery of the new reggae rhythms and “versioning them over” are showcased on this release with the emphasis placed on the outstanding contribution of the cream of Kingston’s session musicians

• There was plenty of genuine discontent in Britain at the tail end of the 1970s, and it had little to do with bin strikes or dark rumours about overflowing morgues. In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. “Winter Of Discontent” is the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since.

• “Winter of Discontent” has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes “The Daisy Age”, “Fell From The Sun” and “English Weather” ("really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on “Winter Of Discontent”. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence.

• The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity.

• “Winter Of Discontent” is the definitive compilation of the UK DIY scene, and a beacon in grim times.

35th anniversary release of Liege Lord's seminal metal album "Master Control". Liege Lord are a staple of the United States power metal scene for a reason – all three of their albums; Freedom’s Rise, Burn to my Touch, and Master Control, are undoubtedly classics of the genre. It exemplifies the best features of the genre; aggression, speed, catchy vocals, varied riffs, pounding drum and bass, blistering solos, and a strong production to tie it all together. Interesting tidbit, "Master Control" was engineered by Terry Date (Overkill, Pantera, White Zombie, Slipknot, Deftones and more)

Nimrod, Green Day’s fifth studio album, was originally released on October 14 1997. The Billboard Top10 LP declared “Green Days best!” by Kerrang was driven by the hit singles “Hitchin’ A Ride”, “Redundant”, “Nice Guys Finish Last” and “Good Riddance (Time of Your Life)” the latter of which has sold 5 million copies in the US alone. The song was written as a spiteful ballad and has evolved into the soundtrack of everyone’s seminal life moments; even being featured in the Seinfeld series finale. The album has sold over 3 million copies in the US (triple platinum) and has been certified multi-platinum, platinum, or gold in several other countries, including the UK, Japan, Canada, Australia and Spain.

This 25th Anniversary Edition includes the original album, one disc of previously unreleased Nimrod demos, and a live set from Philadelphia recorded one month after Nimrod was released. The 14 track demos disc includes two unreleased Green Day tracks (“You Irritate Me” and “Tre Polka”), plus a cover of the classic Elvis Costello song “Allison” (previously unreleased). The live album was recorded at The Electric Factory in Philadelphia on November 14 1997. The 20-songset includes several songs from Nimrod, plus fan favourites from their previous albums and singles.

This 1965 collection from The King of Soul™ is as fresh and urgent now as ever. Featuring “That’s How Strong My Love Is” and “Mr Pitiful” among this beautifully curated collections of soul ballads, this is a foundational record in any collection.

Cacophony is the second Rudimentary Peni album. Released after the band returned from their first hiatus following a series of personal events that changed the band forever. The thirty track LP keeps turning heads 34 years after its release. Far from writing another “Death Church” the band embarked on a truly bizarre quest - to record an album based on the life and writings of horrors absolute king H.P. Lovecraft. A dense cacophony of total free songwriting. Dark, gothic, intricate, unexpected head-scratching punk. The short bursts of music twist and turn at every corner - the vocals are part classic Blinko and part spoken word, the guitar is full of distorted awkward tones and the very inventive bass and drums are locked together creating a truly unique album. Cacophony is the benchmark of outsider Punk and the influence and cult nature of this album grows with every passing year. This reissue stays close to the original version, with Nick Blinko’s incredible cover art, including a 11” x 11” 8-page lyric booklet.

Observatories is the collaborative music project by Ian Hawgood and Craig Tattersall. This is their second opus together after their first release "Flowers Bloom, Butterflies Come" on IIKKI in March 2021.

Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano.

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 15 solo albums on his moniker The Humble Bee and almost the same under his name on some collaborations.

Mysticisms keeps the Dubplate series moving, welcoming one of the seminal Dub producers of all time in Scientist. His unique studio techniques and understanding of rhythm are exalted and present on Step It Up, an enlightening example of his genius and matched with a widescreen remix by label associate DJN4, aka DJ Normal 4, teaming up with fellow Dusseldorf producer AKI AKI, to offer a dreamland breaks-steppers anthem.
The fact that Hopeton Overton Brown aka Scientist is one of the true pioneers of Dub music is undisputed. His productions, first as an apprentice at Studio One, then breaking through whilst teamed at King Tubby's studio, led to Channel One and a series of seminal Dub masterpieces throughout the 1980s, mixing engineer Henry 'Junjo' Lawes' productions with the Roots Radics, alongside vocalists Barrington Levy, Jonny Osbourne and Jah Thomas.

Step It Up precedes, taken from the period of seminal Tubby's work with Bunny Lee and in this instance, with Barry Brown classic vocals and Lee's house band, The Aggravators, backing. As often with Reggae's history, much is disputed, however, this unmistakable Scientist production showcases Brown's high pass filters in effect, the trademark riding 4/4, utilising the 4 track mixing desk to create a joyous bounce.

Working on the license from the outset, Tim Schumacher aka DJN4, waited in the wings to dive in the desk for a modern-day remix. Partnering with up-and-coming producer Aki Vierboom (Phaserboys / Candomble), the Digi-Dance MixX is bass-quaking histrionics, a steppers meets rave culture overdose that will be heard from festivals to dancehalls, a righteous dub-breaks riddim y'all.

Step the Mystery

Soul Jazz Records are releasing Count Ossie and The Mystic Revelation’s seminal 1975 album Tales of Mozambique in an expanded double album/single CD/digital format, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview.

Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.

Count Ossie’s drummers performed on the first commercially released single to integrate Rastafarian traditional music with popular music: the vocal group The Folkes Brothers’ groundbreaking song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the momentous arrival of Haile Selassie at Kingston airport.

His legendary jam sessions up in his Rastafarian compound in the hills of Wareika, Kingston, are famous for the many Jamaican musicians who attended including The Skatalites players – Roland Alphonso, Don Drummond, Johnny Moore, Lloyd Knibbs – and many others.

The Mystic Revelation of Rastafari formed in Kingston, Jamaica, in 1970, a union of Count Ossie’s Rastafarian drummers – variously known as his African Drums, Wareikas or his Afro-Combo – and the saxophonist Cedric Im Brooks’ horns group, The Mystics.

The Mystic Revelation of Rastafari are the defining group in bringing authentic Rastafarian rhythms into the collective consciousness of popular music, their unique music is at once rooted in the deep traditions and rituals of traditional drumming and chanting alongside a forward-thinking, even avant-garde, artistry influenced by the likes of John Coltrane, Sun Ra, Pharoah Sanders and other pioneering African-American jazz artists radicalised and charged by the civil rights movement of the 1960s.

Tales of Mozambique is a truly unique and fascinating ground-breaking album.

Count Ossie and The Mystic Revelation of Rastafari are the central group featured on Soul Jazz Records recent "Rastafari - The Dreads Enter Babylon” a collection showing the influence of Rastafari in Reggae and Jamaican popular culture.

Soul Jazz Records will also be releasing Count Ossie and The Rasta Family 'Man From Higher Heights’ in the near future.

* Bonus tracks

REVIEWS

" All roads in Rastafarian roots music lead to Count Ossie.He’s the lead character in this compelling subplot, the musician who was one of the first to put Rasta tenets into the heart of popular music.

He did so from his camp in the hills above Kingston, Count Ossie and his drummers casting a spell on the musicians who gathered to check him out and then went on to spread the word about the powerful nyabinghi rhythms and mesmerising percussion.

This is a reissue of the 1975 album Count Ossie made with his Rastafarian drummers and saxaphonist Cedric ‘Im’ Brooks’s group The Mystics.

It’s a groundbreaking, majestic work, by turns righteous in tone and joyous in execution. It’s the sound of Ossie and his ensemble narrating a history lesson and you’d be daft not to want to find out more." IRISH TIMES

In a Hip Hop match-up as heavy as Freddy vs Jason was to horror cinema, Los Angeles emcee's Mykill Miers and Pawz One have announced a collaborative album titled "Double Homicide". The project is packed with multi-syllabic lyrical barrages and DJ cuts as gritty as the boom-bap backdrops for a journey through the dark underbelly of the city of angels.

Mykill Miers, the self-proclaimed "Hitchcock Of Hip Hop" has been a threat on the mic since the late 90's, coming up in the same circle as notables including Planet Asia, Dilated Peoples and Phil The Agony. Pawz One has been releasing music for the past decade has been repping hard for the real ish. Speaking on their initial link-up Pawz recalls "I had obviously known of Myk for a while from killing it on the "Wake Up Show" to all the work he dropped. I was circulating around shows in LA a few years back and we ended up on the same bill a few times. We exchanged contact and did a few songs and I felt like it was a combo people would like to hear more from."

Production on the album includes work from Default Beats, Big Bob, Phaisrok, DJ Ray Swift, Science and Mykill Miers himself. Turntablists including DJ Rhettmatic, DJ Merk1200, DJ Breeze, DJ Romes and DJ Fastcut lend their skills and emcees including Ruste Juxx, Mic Handz, Edo.G, El Da Sensei, King Magnetic and Buddah.

Pressing Info: 180g 'muddy water' (transparent green) vinyl, mono audio, printed inner sleeve, hand numbered, limited to 500. As part of their ongoing King Gizzard bootleg series, Fuzz Club are releasing a mono version of 'Polygondwanaland' - the Aussie psych legend's twelfth studio album and the bootleg that started it all. Polygondwanaland first appeared as a partial leak on the band's demos for the album. The leak was uploaded to SoundCloud but was soon taken down. As a result, news of the album was scarce and mostly involved rumours, one of which stated that it would be the last of the five albums released in 2017. The track "Crumbling Castle," which appeared on the demo, was performed live by the band as early as September 2016, albeit in a much shorter form. However, it lay dormant for many months during an especially prolific period for the band, leading to speculation that the track might have been scrapped. Both the track and the music video were finally released on 18 October 2017, exactly one year after the first performance of the song was uploaded to YouTube. The legitimacy of the demos was all but confirmed at this point, as not only did the track feature the album's name in the lyrics, but it also contained lengthy musical passages equal in duration to the demo. Polygondwanaland was officially announced on the band's Facebook page on 14 November 2017. The release date and cover art were publicized by the band, who stated, "This album is FREE. Free as in, free," encouraging fans to make their own copies and bootlegs of the album.

The legend of Twilight Force began to form in the year 2007 of the Human Era. It was the result of a yearning to bring back the golden age of Epic Symphonic Power Metal. But Twilight Force soon became an entity of its own, evolving and elevating the genre to new heights and sounds. By fusing triumphant melodies with rich orchestral arrangements and swift performances, Twilight Force creates an intense and immersive experience. Transporting the listener to a magic realm filled with wonder, heroic tales and mesmerising tales from the mythical world known as The Twilight Kingdoms.

Using their vast experience from previous musical endeavours, their classical training, and technical proficiency, Twilight Force spawned the first ever Adventure Metal album in 2014 H.E. - Tales of Ancient Prophecies. Two more critically acclaimed albums followed in its wake, Heroes of Mighty Magic (2016), and Dawn of the Dragonstar (2019), with the fourth opus At the Heart of Wintervale set for release on January 20th, 2023 on Nuclear Blast Records.

Once again, the cover artwork has been created by the brilliantly skilled Kerem Beyit, and is directly connected to the album’s title track as the band explains: “It depicts the tale told in ‘At the Heart of Wintervale’ where an evil curse is broken, and the ancient dragon may finally roam the realms again, free and unfettered!"

At the Heart of Wintervale will be released on CD, Digibook, and Vinyl. The limited Digibook edition will also include three bonus tracks. The first one is a song, many of the band's loyal knights may somewhat recognize; it is an acoustic blend of some of the older works, featuring an entrancing vocal performance and guitar work by Twilight Force's very own wood elf Aerendir. The second and third bonus tracks are orchestral versions of two songs from the album, where fans will have the opportunity to experience a different soundscape, and perhaps discover new exciting elements and intricacies never discerned before.

With the band embarking on a headlining tour through Europe and UK on time with the album’s release, Twilight Force look immensely forward to continue their epic tale.
“So, sharpen your swords, dust off your magic tomes, and brew your strongest potions. It is time to join Twilight Force on their quest for the eternal glory of the Twilight Kingdoms, once again.
May the Power of the Dragon guide you!”

Having toured the world and delivered one of the pandemic’s most legendary live streams – including bodybuilders and furniture smashing at the old American embassy in Oslo, Aiming for Enrike started working on new music in 2020. Now ready with their fifth album Empty Airports, the tunes flourish further through atmospheric expressions, into floating, minimalistic, electronic, and ambient soundscapes. Empty Airports was composed and recorded in reflection of the quiet Covid19 life during the patience testing lockdown months of 2020 and 2021. Not only is this the duo's longest album ever, but it's also their first double album. The songs are inspired by and belong somewhere between Thom Yorke, Ashra, Nils Frahm, King Crimson in the 80s, Jon Hopkins and Steve Reich. The cover art for Empty Airports is the finishing touch that elevates the album to a complete piece of art. Thor Merlin's unique artwork is a generatively designed collage consisting of clippings from 19 digital paintings and 10 images created with shader programming in Sakuhin: an open-source program that Merlin also uses for live coding of visuals for Aiming for Enrike. The album cover's individual images will be available NFTs. Guitarist Simen Følstad Nilsen says: "Minimalism, which has always been an important part of our expression, is now cultivated to a much greater extent. When the rush to fulfill musical expectations is abounded, it gives the music more space to become more hypnotic and mesmerizing than before." Empty Airports is another fantastic release from the forward-leaning duo, which justifies that Aiming for Enrike lives entirely in their own universe.

First Terrace Records is happy to present a new album from Bianca Scout, the South London based musician and choreographer. Having, in recent times, worked with luminaries such as Space Afrika, Mika Levi, Klein and Coby Sey, the time is certainly ripe for Scout to present her own vision and to firmly establish her talent among the rich tapestry of her peers.

The record was formed and sculpted from a three day recording session at St Giles Church in Camberwell (shout out Nick the Vic). The airy experiments and embryonic compositions that emerged from these sessions were then transferred from those lofty halls to the intimacy of the bedroom studio where they were twisted, teased, pruned and nurtured into the collection of sublime songs here presented. Scout's innate sense for narrative - and ear for exquisite creakiness - acted the shepherd for every gesture.

Celebrating a momentous five decades in the industry, legendary
musician and songwriter Paul Carrack, who's 'Golden Voice' features on
numerous classic world wide hits such as 'How Long' (ACE') ,
'Tempted' (Squeeze), 'The Living Years', 'Over My Shoulder' ( Mike and the
Mechanics) teams up with the GRAMMY Award-winning SWR Big Band &
Strings on epic new album " Don't Wait Too Long"
The covers album celebrates the pioneering golden era in music from the 50s and
beyond spanning blues, gospel, country and jazz. The first single "Cryin' Won't
Help You" out in Jan 2023 is Paul's tribute to the legendary BB King.Paul has a
deep love of R&B songs from the fifties and beyond. For him, 50s music was filled
with intense emotion, it was wildly kinetic and had a profound impact on his
career. In Paul's mind, it's where all modern pop music began, the sounds were
spectacular and revolutionary. Days when the change from jazz to pop was
stretched via pioneers and great singers like Bobby Bland, Ray Charles, Aretha
Franklin, and Lloyd Price..These artists always resonated as fantastic performers
with stylistic records that had such joy and intensity.
The 50s were not only a time for musical revolution but a social and generational
upheaval of vast and unpredictable scope. The power of this music is as vital
today as it ever was with the power to change lives forever.
After working with the SWR band on a number of projects, Paul and his producers
had the idea to find and record a selection of these time-warped classics, some
well- known, others not so much, and the title track , a modern song that harks
back to those times called 'Don't Wait Too Long'. The result is an impassioned,
compelling album. Honest, epic, touching, the album showcases a great vocalist
who is at home with his art and talent.
NATIONAL TV & RADIO.BBC Breakfast - Will take first week Jan / BBC Radio 2 -
Cerys Matthews - First Week Jan / Talk Radio - 2nd week Jan / Sky News - Beth
Rigby Interview - Second Week Jan / Greatest Hits - First Week Jan / GB News -
Live Interview via Zoom First Week Jan / Talk TV - Live Interview via Zoom first
week Jan / Ch 5 News - TBC week 2 Jan / ITV News - 2nd week Jan

When R.A. The Rugged Man dropped his first album, it seemed like he'd been around for years...and, well, he had. The Rugged Man's storied background includes early 90s collaborations with legends like Mobb Deep and The Notorious B.I.G., plus a few epic appearances on the seminal "Soundbombing" compilations. But until this 2004 masterpiece, he had never released a proper album. Thankfully, R.A. delivered "Die, Rugged Man, Die", a defiant opus that kick-started his journey from industry outcast to independent hip-hop icon. Featuring the classic single "Chains", "Die, Rugged Man, Die" proved R.A. could deliver on a full-length album, and remains an impressive body of work. Now, the previously out-of-print collection is available again on vinyl, complete with new updated artwork. Despite the efforts of doubters, R.A. The Rugged Man lives.

New for 2023 Metal Blade Records reissues the brilliant third album from OSI, featuring Jim Matheos (Fates Warning), Kevin Moore (ex Dream Theater, Chroma Key) and Gavin Harrison (Porcupine Tree, King Crimson) on drums throughout. The album also features a guest appearance from Mikael Åkerfeldt (Opeth) on "Stockholm", which the Swedish musician composed together with the two O.S.I. masterminds, and also included are three bonus tracks, one of which is a harmonic cover of Elliott Smith's "Christian Brothers". In 'Blood', O.S.I. have succeeded in creating a lasting album at the crossroads between rock and progressive metal. Music that alternates between atmospherically dense and aggressively demanding elements, while effortlessly transcending barriers between different styles and genres.

New for 2023 Metal Blade Records reissues the brilliant third album from OSI, featuring Jim Matheos (Fates Warning), Kevin Moore (ex Dream Theater, Chroma Key) and Gavin Harrison (Porcupine Tree, King Crimson) on drums throughout. The album also features a guest appearance from Mikael Åkerfeldt (Opeth) on "Stockholm", which the Swedish musician composed together with the two O.S.I. masterminds, and also included are three bonus tracks, one of which is a harmonic cover of Elliott Smith's "Christian Brothers". In 'Blood', O.S.I. have succeeded in creating a lasting album at the crossroads between rock and progressive metal. Music that alternates between atmospherically dense and aggressively demanding elements, while effortlessly transcending barriers between different styles and genres.

The British heavy metal band Fastway formed in 1982 by former Motörhead guitarist “Fast” Eddie Clarke. He recruited Humble Pie drummer Jerry Shirley and vocalist Dave King, who later founded Flogging Molly. Their debut album was originally released in 1983 and features the two singles “We Become One” and “Easy Livin’”. Despite not being released as an official single, the track “Say What You Will” became one of their biggest hits to date.

Fastway is available as a 40th anniversary edition of 1000 individually numbered copies on red coloured vinyl and includes an insert.

Includes one-sided 7” ('It's All Punk (Full version)”, signed and blind stamped limited edition print, fly poster (20cm x 30cm), 20 page 12” x 12” booklet with lyrics and photos laid out in style of newspaper.

The ‘It’s All Punk Rock’ album was initially inspired by various artworks Punk Artist Mal-One had completed and titled. These titles usually turned into Punk Poetry / Lyrics and finally into songs. The idea would lead to grouping these songs together and to add the additional difficult cherry on the top. The songs would also include the word ‘Punk’ in each of their titles. Creating what we called the first Punk Art Concept Album. The title of the album as well as summing up the contents, grew from a term Mal-One had used for years when asked what had inspired a certain work or what was the meaning behind something …”It’s All Punk Rock”’ would be the quick reply.

Each song tells the story or relates the ideas behind a work, whether that be 430 King’s Road (where Punk meets Rock ’N’ Roll) the story of the various guises that Malcolm McLaren and Vivienne Westwood would conceive for their shop from LET IT ROCK, TOO FAST TO LIVE TOO YOUNG TO DIE, SEX, SEDTIONARIES. Anarchy Tour After Grundy (Punks out on Parole) the story of the `Anarchy Tour’ and what happened after the infamous appearance by the Sex Pistols on the ‘Today’ show with Bill Grundy. Punk Rock Jubilee 77, the Silver Jubilee celebrations of 1977 and its punk overtones. The Punk Rockers Gig Prayer, a Punk poem for the various venues that bands played back in those heady times. The Last Punk on Portobello Road (Ode to Joe), a lament to Mr Joe Strummer an inspiration to us all. Yes, every picture as they say tells a story, in this case never a truer word spoken.

Hope you enjoy the ride sonically and visually.

With so much going on in the world right now, it's safe to say we need to spread far more Joy then is circulating…

And who else deliver's Joy of this magnitude? The king of disco, Dr Packer. The Legendary Champion Records has enlisted the mirror ball man of the last decade to flip this absolute classic from Staxx and the gorgeous vocals of Carol Leeming. Perfect for sunsets AND sunrises, charge your cocktails!


DJ Feedback:

David Guetta - tasty update

Utah Saints - Minitsry Of Sound / FFRR - Cool groove. Production on point

DJ Kue - Dope!

MING - Nice one, I'll Play !!!

Steven 'Sugar' Harding - Milk & Sugar / M&S Recs - Love it!

DJ Rae - Good memories, nice work

Ember - Huge!

D.O.N.S. - Cool House tune. Support!

Black Legend - Defected / Simma Black - big one

Ruben Mandolini - Snatch! / Mother / Saved - Nice!

Sugarstarr - Defected / Toolroom / Vienna - Excellent

Tommie Sunshine - PACKER ALWAYS DELIVERS!!!

Vanilla Ace - Nice sounds

Kyle Kinch - Realm / Solotoko / Farris Wheel / HUGS - groovy

Severino - sweeet

MB Mgmt - top draw !

Jerk Boy - I've been eye'ing of this for a reboot for years ! I played this to death back in the day!..great remix !

Yolanda Be Cool - Sweat It Out / Club Sweat - cool...

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Draconian Times is probably the main album for Paradise Lost, so much so that they still tour the album today, which remains one of the milestones in the Metal scene of all time. Recorded at The Forum in London, this live set includes a few fan favorite tracks from their extensive back catalogue which rounded out a truly spectacular performance. Are there any highlights? Oh yes. Opening track ‘Enchantment’ still ranks as one of the best songs this band has penned and the moment when the haunting piano intro gives way to the rest of the band kicking in is a real shiver-down-the-spine moment. ‘Hallowed Land’ and ‘Forever Failure’ (complete with Charles Manson intro) sound as powerful and relevant as when they first came out, and the performance of ‘Shadow Kings’ stands head and shoulders above the original. After being released on DVD and CD, the album was also released on double vinyl, here you will find two new unreleased colors and a truly exceptional packaging: this album comes out in deluxe Triple Gatefold edition, in two colors (Gold / Silver) 500 limited edition each.

Hidden Beyond Time is the debut album by Finnish Heavy Metal group
Green King, a 34-minute long experience that showcases the dynamic
nature of this four piece
Inspired by the many subgenres of heavy music, Hidden Beyond Time moves
from hard hitting cuts fueled by chugging, galloping riffs that brings to mind the
great metal era of the 70/80s and relentless, Stoner Metal infused adrenaline
shots to more mellow, experimental tracks featuring folk inspired melodies. SALE
SPOTS - Debut album from this great Finnish rock band. - Green King Feature
members from other bands of the new generation of Finland, such as Rokets and
Velvet - Stoner influenced Heavy Metal with a touch of Nordic Darkness. - They
have made their mark on Finnish metal underground by playing fierce live shows
filled with musical mojo and speedy guitar solos. - Two vinyl colours (Transparent
Violet and Green) available, both in limited editions of 500 copies each. - For fans
of Stoner Rock/Metal, modern Doom Metal, and all things heavy.

Hidden Beyond Time is the debut album by Finnish Heavy Metal group
Green King, a 34-minute long experience that showcases the dynamic
nature of this four piece
Inspired by the many subgenres of heavy music, Hidden Beyond Time moves
from hard hitting cuts fueled by chugging, galloping riffs that brings to mind the
great metal era of the 70/80s and relentless, Stoner Metal infused adrenaline
shots to more mellow, experimental tracks featuring folk inspired melodies. SALE
SPOTS - Debut album from this great Finnish rock band. - Green King Feature
members from other bands of the new generation of Finland, such as Rokets and
Velvet - Stoner influenced Heavy Metal with a touch of Nordic Darkness. - They
have made their mark on Finnish metal underground by playing fierce live shows
filled with musical mojo and speedy guitar solos. - Two vinyl colours (Transparent
Violet and Green) available, both in limited editions of 500 copies each. - For fans
of Stoner Rock/Metal, modern Doom Metal, and all things heavy.

We Are Busy Bodies presents Live at Bonnaroo '22 as part of the King
Gizzard & The Lizard Wizard Bootlegger Series
Songs on the LP were recorded live in Manchester, Tennessee at Bonnaroo on
June 17, 2022.
The songs have been remastered for vinyl by Noah Mintz at Lacquer Channel
Mastering and pressed on Orange buzzsaw-shaped color vinyl.

With this release the label celebrates the return to the ranks of the founder Worg. A triumphant homecoming comparable to that of Jason, the main character of the Argonautica, who travelled in search of the Golden Fleece (Il Vello d'Oro) aboard the ship Argo. After many vicissitudes, the hero returned to Iolco, his homeland, to reclaim the throne usurped by his half-brother Pelias.

This new chapter in the Lykos saga focuses on the deeds of Jason and the Argonauts, but also on a key figure who was indispensable to the success of this quest, Medea. Thanks to her and her magical skills, the fellowship of heroes succeeded in grabbing the Golden Fleece. Through careful sound design, hinted melodic cells and complex rhythms, Il Piano di Medea by Worg, sums up details and facts related to this extraordinary legend. Starting from the prophecies of the Oracles, to the tragic and bloody ending of the epic poem, which took place with the death of King Pelias by his own daughters, hypnotized and manipulated by Medea's magic.

The narrative begins with the track Oracolo, characterized by a syncopated groove, nebulous atmospheres and the presence of a dark anthropomorphic synth, which alludes to the solemn, grave and authoritative voice of an entity. A prophetic spirit that warns the listener of the dangers that lurk for those who dare to enter this new sonic adventure. In order to foretell the future and to spread their word, the gods took possession of the bodies of priests who had fallen into ecstasy, using them as intermediaries. In his reinterpretation of Oracolo Neel, the grand Maestro of techno, in a similar way uses musical elements such as a harsh and acid bass line or a tight rhythm to lead the listener into a psychic state of suspension and mystical elevation.

In the music piece Il Vello d'Oro, Worg draws attention to the rare preciousness of this magical relic, rumored to have the power to heal all wounds and for this reason longed by Jason. To evoke the purity of the golden mantle, the artist uses shimmering percussion, radiant textures and the omnipresence of an FM synth bass, full of brilliant harmonics. All enhanced by sound details scattered throughout the arrangement.

Eryx, the record's final track, has a fluid and sinuous flow, with sound elements that recall water, a natural element, protagonist of the Argonauts' journey to the remote Colchis. A melody echoes in the distance, disappears and resurfaces to then collide, like waves on the rocks, with the complex and jagged rhythms that mark the gradual evolution of the
track.

Bassist/composer Christian McBride's 'The Movement Revisited: A
Musical Portrait of Four Icons' is the culminating documentation of a
richly inspired piece lauding four key figures of the Civil Rights
Movement: Rev
Dr. Martin Luther King, Jr., Malcolm X, Rosa Parks and Muhammad Ali.
Marshalling his ever- sharpening skills as a composer, arranger, conductor,
musician and lyricist, McBride has created a historically and culturally
illuminating five- part suite for an 18- piece big band, chorus and narrators that
places the motivating forces as well as the goals of the Civil Rights Movement
within a powerfully relevant artistic context. It is a one- from- the- heart project
McBride was, apparently, destined to undertake.
This recording of The Movement Revisited marks the addition of a fifth
movement, Apotheosis, which acknowledges the election of Barack Obama as
the first African American President of the United States.
2-LP regular weight black vinyl gatefold jacket.

Tracked in April of 2021 at Dial Back Sound in Water Valley, Mississippi
with Bronson Tew and Matt Patton at the helm, and drums and bass,
respectively
Ernie was able to stretch out his guitar prowess and rip every solo on the album
with Jimbo Mathus on keys and leading the band along with his Squirrel Nut
Zippers' horns and strings, Taylor Hollingsworth on some extra guitar, and
Schaefer Llana with AJ Haynes on the backing vocals. What's left is a fiery
offering of funky blues with equal measures of soul and rock'n'roll interspersed
for a delectable bayou audible feast. Funkier than last weeks gumbo with a psych
blues side order.

Destruct is an MC from Los Angeles who joined forces with legendary
Hip-Hop artists forging his reputation on a global scale in the Hip-Hop
community. Alongside with Mind the Wax, Destruct brings some of his
most ground-breaking collaborations, with fourteen tracks including
classic and unreleased joints featuring Sean Price, Blu, General Steele of Smif-N-Wessun, Moka Only, Jake One, Kev Brown among others,
exclusive to "The Best You Never Heard" vinyl.

500 on clear vinyl - Pitch Shifter ‘The 1990 Demo’ - Agent provocateurs who prophetically foreshadowed the Brexit debacle with their 1999 release ‘Un-United Kingdom”. Spanning a career of over 30 years, the band released ten albums, toured 30 countries, were featured on the covers of Kerrang! and Metal Hammer magazines, recorded Peel Sessions, won Kerrang! awards, had their music featured on video games, on tv shows and in Hollywood films, played main stages at Reading, Ozzfest, Vans Warped Tour and the Big Day out Festivals, were featured in 2000AD Magazine with Judge Dredd and fucked a lot of shit up along the way! Here for the first time, the band release their original demo, previously unreleased and unavailable to the general public. The original audio has been enhanced and the vinyl includes a revisited track, that did not feature on the original release ‘Behemoth’, with vocals recorded by M D Clayden. The demo landed the band their first record deal in 1990 with Peaceville Records, where the band then forged these tracks into their critically acclaimed debut ‘Industrial’.

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this 2LP 45RPM & SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

In 2021, nyMusikk's annual festival of sound, "Only Connect", commissioned an interpretation from I LIKE TO SLEEP of the first movement of Olivier Messiaen’s Turangalila symphony. A project which initially led to a 15-minute piece performed at the festival, with the trio re-writing the music of Messiaen, but also rewriting the music of their own. Messiaen as a reference and compositional tool may be heard in the album for those really listening for references. With “Sleeping Beauty” the trio also explore even heavier riffs than before, seasick grooves and tempi, and deeper ambient soundscapes. Through extensive improvisation, the effects and processing of the sounds are way more extreme than before, almost awakening the sleeping beauty. During the pandemic, the band also had to find new ways to write music without the presence of every member, introducing the vibe-samples from the old Mellotron sound gallery to the band. Quarantillity, one of the themes which appears several times throughout the album - almost used in a similar way as the flower theme in the Turangalila symphony - is a direct result of sitting alone in quarantine, playing the Mellotron while listening to vibraphone extraordinaire Bobby Hutcherson. This theme could also be seen as a continuation of the previous album tracks named Pause I & Pause II from “Bedmonster” (2017) and “Daymare” (2020). Like “Daymare”, “Sleeping Beauty” was recorded in Duper Studio in Bergen, co-produced with the band’s all-time favourite sound wizard Jørgen Træen. It is also mixed and mastered by Træen, making the music sound as brutal, intense and intimate as experiencing I LIKE TO SLEEP in a live setting. “Infernal, scrotum-shrivelling energy sorely missing in today's music” said Jazzwise about their previous album, mentioning King Crimson, Magma, Tony Williams Lifetime, electric Miles and 60s free energy jazz as possible references. But that’s only one side of the story, there are plenty of quieter moments at work here, and the dynamic range is wide. Nicolas and Øyvind first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around 70s progressive rock, classical music, jazz and improvisation. Taking their name from a Thelonious Monk quote, I LIKE TO SLEEP was formed, first for fun, but soon with higher ambitions, winning the prestigious "Young Jazz Musicians of the Year" award in 2018. Still only in their early 20s and still studying jazz at NTNU in Trondheim, they are also active as composers, freelancers and in other projects and are among the most promising on Norwegian scene. Amund Storløkken Åse – vibraphone and Mellotron Nicolas Leirtrø - baritone guitar, bass-VI and Mellotron Øyvind Leite – drums Tracks

Los York's became the epitome of Peruvian garage sound and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. It took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. It features a beat-influenced go-go twang guitar garage psych tone throughout, including a bunch of covers like Alan y sus Bates' 'Pronto Un Doctor' or The Box Tops' 'The Letter', and amazing originals like 'No Puedo Amar' with an intense garage beat. First time official reissue. - DESCRIPTION: The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The band was backed by Melcohita on vibraphone and Mario Allison on percussion.

Exklusive Wiederveröffentlichung von 'The Somberlain', dem klassischen Debütalbum der schwedischen Melodic Black/Death Metal Band Dissection, das ursprünglich in den Unisound Studios aufgenommen und 1993 veröffentlicht wurde. Die neu gemasterte Version von Dan Swanö, dem ursprünglichen Tontechniker, lässt diesen Black Metal Meilenstein besser als je zuvor klingen!

- Ltd. 2LP (Limited double picture disc edition including 8 Page vinyl size booklet)

Exklusive Wiederveröffentlichung von 'The Somberlain', dem klassischen Debütalbum der schwedischen Melodic Black/Death Metal Band Dissection, das ursprünglich in den Unisound Studios aufgenommen und 1993 veröffentlicht wurde. Die neu gemasterte Version von Dan Swanö, dem ursprünglichen Tontechniker, lässt diesen Black Metal Meilenstein besser als je zuvor klingen!

- Ltd. 2LP (Limited double picture disc edition including 8 Page vinyl size booklet)

Zehn Jahre Local Bastards. Und auf der Bühne stehen noch immer dieselben Mistkerle wie am ersten Tag.
Mit ihrem neuesten und mittlerweile sechsten Studioalbum „Dekade – 10 Jahre Local Bastards“ setzen die Jungs Maßstäbe, verbinden Altes mit Neuem und behandeln tiefgreifende Themen wie nie zuvor. Die Suche nach dem eigenen Ich und dem individuellen Sinn des Lebens oder die Diskrepanz zwischen Recht und Gerechtigkeit: Der neue Longplayer der vier Hessen spielt textlich in der obersten Liga.
Neben fünf brandneuen Songs enthält das Album fünf Lieder, die im Laufe der zehnjährigen Bandgeschichte entstanden sind und im neuen Sound daherkommen. Die limitierte Jubiläumsedition überzeugt mit einem 60-seitigen Earbook mit unveröffentlichten Archivbildern und einer 1:45h Dokumentation zur Bandgeschichte.
Zehn Jahre Local Bastards – ein Anlass, der gebührend gefeiert werden muss. Mit ihrem Jubiläumswerk machen die Jungs genau das und werden ihre Fans vom Hocker reißen.
Make some noise for the Bastard Boys!

1LP Kastentasche Vinyl mit 10 Tracks, schwarz/gold marmoriert & handsignierter Beileger mit Songtexten.

repressed !

After the trilogy of King Sporty & The Ex-tra's EPs in 2018, Emotional Rescue returns to the music of Noel Williams with this first ever single release of his 1976 reggae disco bomb, Safari, backed with a special discomix by Lexx.

Taken from William's debut album, Deep Reggae Roots, it can be considered a culmination of his career to date, from growing up on the streets of Kingston, Jamaica, to his first singles for Studio One and Trojan, his relocation to Miami and the birth of his Konduko label and moves to incorporate the local clubs growing affiliation with funk and disco.

Prescient to the coming wave, Williams enlisted some of Miami's finest in George Perry and Clay Cropper (Chocolate Clay), Ron Smith (KC & The Sunshine Band) and legendary producer Alex Sadkin (Compass Point, Bob Marley, Grace Jones, Talking Heads).

The stand out from the album, Safari, with it's hazy, low slung groove of razor sharp rimshot, guitar licks and funk bass is topped with an incessant chant 'Disco, Safari'. Criminally brief, the choice of Lexx to step in the mix was a simple one. His dubbed rework is perfect, laidback, letting the groove roll and King Sporty's mantra shine.

Mozes And The Firstborn liefern waghalsigen Garagen Pop, catchy Surfmomente, kratzige Gitarrenriffs, Ahh's und Ohh's gewürzt mit reichlich Selbstironie. Im Frühling als Support von Two Gallants, The Growlers und FIDLAR auf Vorstellungsrunde, erscheint am 20. September das Debüt Album in Deutschland, Österreich und Schweiz bei Siluh Records. Im Herbst 2013 folgen Auftritte u.a. beim Reeperbahn Festival, dem Waves Vienna und der Berlin Independent Night. Das verschmitzte Grinsen haben die vier Jungs nicht umsonst aufgesetzt. Nach unzähligen Shows auf House Partys, in Coffee Shops und Spelunken haben sich Mozes And The Firstborn auf die großen Bühnen der Niederlande gespielt und rumpeln bisweilen selbst in nachmittäglichen TV-Formaten. Auf Europas wichtigstem Newcomer Festival Eurosonic gewannen sie schließlich auch die Schweißporen der internationalen Gäste für sich. Launig, waghalsig und mit viel Übermut präsentieren sich die vom Garagen-Punk-Rock der 70ies infizierten Jungspunde vor Publikum. Nun erscheint ihr selbstbetiteltes Debütalbum in Deutschland, Österreich und der Schweiz auf dem Wiener Label Siluh Records, das zuletzt mit Releases von Sex Jams und Mile Me Deaf ein Händchen für rotzige Gitarrenmusik bewiesen hat. Mit lausbübischem Humor, dem Draufgängertum der jungen Rolling Stones, der verpeilten Lockerheit der Black Lips sowie dem erstklassigen Songwriting von Indie-Heroen wie Guided By Voices überzeugten sie auch das kalifornische Label Burger Records, das bereits zum internationalen Sprungbrett für Szenegrößen wie Ty Seagull, Black Lips oder King Tuff wurde.

2009 sees the verdict on Gorgoroth's trademark case after two years of dispute between Gaahl/King Ov Hell and Infernus for the rights of the band's name and logo. When ruled that Infernus was the owner, Gaahl and King Ov Hell formed God Seed, releasing one studio album in 2012. This Live At Wacken was recorded live in 2008, when the band used to play under the name Gorgoroth, with Ice Dale and Teloch on guitars and Nick Barker on drums as guest live musicians for this show. The album could not be released that year due to legal disputes. For the first time on vinyl, this edition comes in LP 140g with Gatefold Jacket, limited to 300 copies on Black vinyl and 200 copies on Transparent Yellow vinyl.

* `Got to be Conscious’ was a massive underground hit back in 2002 and is well worthy of a reissue presented here by Partial Records.
* Backed with `Long Way to Go’, both tracks were featured on King General’s 2009 CD set `Broke Again’ (just released on vinyl for the first time - PRTLP018 – minus these two tracks)
* Mixed and produced in fine style by The Bush Chemists.
* Featuring 3 previously unreleased mixes, including the original cuts, with two additional dub mixes following each vocal.