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Repress!

European version of the long overdue LOS CRUDOS Discography collection. LOS CRUDOS, formed in Chicago's Pilsen neighbourhood in the early 90's, are a Latino punk band with a strong socio-political message and an extremely militant DIY attitude. During their first incarnation, spanning the years 1991 to 1998 the band self-released their own records, printed their own merch, booked their own shows and toured relentlessly around the world. From South America to Japan including a 3 month European tour in the winter of 1996. They spoke to the freaks the outsiders and the minorities and were not afraid of confronting the white middle class punk who reigned supreme during the terrible 90's. A time which will not be remembered for their hardcore output except for a few exceptions, in which CRUDOS are surely included. Their sound, far from being a copycat of whatever flavour of the month was reigning at the time was heavy rooted in the golden years of European and Latino American ferocious hardcore punk. With bands as IMPACT, WRETCHED, OLHO SECO, TERVEET KADET or MASACRE 68 as obvious influences in a time when the simple mention of any of those bands (or any non English speaking bands really) was usually met with a laugh or a joke. They sang in Spanish, with aggression and conviction and that made their message spread out widely, reaching thousands of Spanish speaking punks both in Latino America and Spain as well as inside USA where third generation Latino kids surely were missing a voice within the punk scene. The band split up in 1998 after a really intense year of touring and reformed in 2008. The band will be undertaking their first ever Scandinavian tour in July/ Agust 2016. This collection, originally released as a benefit for MRR magazine last year, includes all the LOS CRUDOS output plus compilation tracks as well as a couple demo tracks and an unreleased song. The European version comes in a gatefold sleeve and brings a 40 page booklet with flyers and the lyrics of all songs.

Track list: 1. Tiempos De La Miseria 2. Me Robaron 3. Crudo Soy 4. La Madres Lloran 5. Eliminación 6. Desde Afuera 7. Asesinos 8. Se Ve En Tu Cara 9. Cipayos, Traidores y Vendidos 10. Sin Caras 11. No Estoy Convencido 12. Curiosidad 13. ¿Por Qué? 14. Tú Lo Enseñaste 15. Lucha Para Que Te Escuchen 16. Corrido Jodido 17. Escaleras 18. Llegan Empujando 19. Nada Cambia 20. Achicados 21. En Mi Opinión 22. No Te Debo Nada 23. Levántate 24. La Caída De Latinoamérica 25. Nos Quieren Como Siempre 26. No Me Vengan A Salvar 27. Déjanos En Paz 28. Tierra De Libertad 29. Victorias y Ganancias 30. Unidad Prohibida 31. That's Right We're That Spic Band 32. Poco a Poco 33. Suéltalo 34. Migra Violencia 35. Viejos Patéticos 36. Del Pasado Al Presente 37. Esto No Trae Precio 38. A Los Inseguros 39. Tomando Los Golpes 40. No Existen Palomas Blancas En Mi Barrio 41. No Va A Haber Revolución 42. ¿Quién Es El Pendejo Más Grande? 43. ¿Qué Pasó Con La Paz? 44. Metiendo Sal En La Llaga 45. ¿Vas A Regresar? 46. Hardcoregoismo 47. Naciste Con Voz 48. Ilegal, ¿Y Qué? 50. Identidad Perdida 51. Vendedores De Dolor 52. 500 Anos 53. ¿Ahora Quién Se Queja? 54. Lengua Armada 55. ¿Qué Paso Con La Paz? (Alt. Version) 56. Peleamos 57. Escupiendo En Tu Propia Cara 58. Que Te Conviene 59. Me Lo Paso Por El Culo 60. Cobardes 61. Desde El Barrio 62. Sin Título 63. Somos Peligrosos 64. No Se Acabó 65. Lo Que Queremos 66. ¿Qué Me Importa? 67. Mediocre

Orange Vinyl
Four trax of filthy warehouse techno featuring two fast and furious bombs from Spanish underground whizz-kid Seon - "Fuck The Church" already garnering a cult following with it's cheeky sample. Co-Ax and Pest control go dark and dirty with the clanging "Saturated", whilst Technika funks it up on "It's Alive!".

‘Where the Viaduct Looms’ comprises nine Nick
Cave cover versions with vocals and
instrumentation by 14-year-old Nell Smith and
instrumentation and production by The Flaming
Lips. The album was mastered by Dave Fridmann
at Tarbox Road Studios.
 This inspiring and heart-warming story begin when
Smith, originally from Leeds (UK), moved to
Canada and first met Wayne Coyne at the age of
12 at The Flaming Lips’ headline show at the Sled
Island Festival, Calgary, in 2018 with her family.
Nell had already attended several Lips shows and
was a regular at the front of the stage, dressed in a
parrot costume and screaming out the band’s
songs. Coyne soon began to notice the kid in the
parrot suit and sang a David Bowie cover directly
to her at the show in Calgary, with Nell singing
every word back.
 A musical bond formed with Coyne staying in
contact with Nell and her father Jude as she
learned to play guitar, while their creative
relationship began to flourish when she started to
write her own songs.
 When a planned trip to record with the band in
Oklahoma had to be cancelled due to the
pandemic, Coyne suggested Nell record some
Nick Cave songs and email them to Oklahoma to
be backed by the band. Coyne chose Nick Cave
because Nell didn’t know him and wouldn’t have
preconceived notions as to how to sing the songs.
 LP pressed on blue 140g vinyl in 3mm spined
outer sleeve.

'Hear what happen now! We used to punch the juke box lunchtime... Me and me friends had a kinda thing like the juke box was our sound system and we'd use our lunch money to play the baddest tunes on the juke box.

We were aided and abetted by a kinda dodgy little shop keeper cause we were kids and we were in the rum bar punching the juke box when we weren't supposed to be allowed! So we were breaking all the rules... punching the juke box and taking turns to play the wickedest tunes in the juke box...' - Ossie Thomas.

Breaking rules from the outset Ossie Thomas had furthered his childhood fascination with music while still attending Oberlin High School and many more rules would be broken when together with Phillip Morgan he set up the Black Solidarity label in 1979 on Delamare Avenue deep in the heart of the Kingston ghetto...

'I used to tell people that dance hall was like styles and fashions, if you have a wicked style and you have the fashion you go make it in the dancehall... You understand... - Ossie Thomas.

“This is for the family,” Abe Linx says. “It’s not really about who doesn’t love us, it’s about those that do. The ones we motivate and inspire. It’s for those people.” The World Famous La Familia Forever is the powerful sophomore effort from Abe Linx & Tully C., two incredibly gifted emcees who have crafted a contender for the best release of 2022. Across this EP’s 10 tracks, the Indianapolis-repping duo showcase their worldview, dig into their personal histories, and firmly plant themselves on the hip-hop map. And as Abe Linx spits on the stunning track “WORLDWIDE”: “Who the f*ck gon’ tell me different?” In addition to the passion of Abe Linx & Tully C. and their collaborators, TWFLFF stands on its own because it is just so sonically engaging. The production is equally crunchy and fascinating, because it flirts with sounds crafted by legends without sounding dated. This is timeless, raw hip-hop helmed by two talented rappers and their favorite producers like Nomstks & AWSME J, as well as longtime collaborators Baleboy Geechie & DJ GB.
You can tell that Abe & Tully took their time with these songs, meticulously piecing them together in the two years since their previous release. Each cut moves seamlessly into the next, bringing that special kind of cohesion. Just listen to how “RABIES” moves into “400MPH (skit)” and then “SKYSCRAPER,” a brilliant slice of showin’-out rap elegance. While there are only three guest features on the project, they’re used to great effect and make as much of an impact as their hosts. Planet Asia stomps all over the aptly titled “SHOWOFF,” while Willie The Kid complements the smoked-out vibes of “CHANDELIER.” And when Bub Rock shows up on “RABIES”? It’s a wrap as soon as he hops on that piano-laced, dusty instrumental. TWFLFF is a mission statement, with pieces that also sound like a word of warning to anyone looking at these two sideways. Or, as Tully C. raps so perfectly on “CHANDELIER”: “I be in this b*tch, with my clique/ So don’t act stupid.” The World Famous La Familia Forever drops on vinyl right in time for the holidays through their recent partnership with Fat Beats.

Recorded and produced in their top of the range, custom-built analogue
home studio based in their Liverpool flat, forthcoming album HISS was
painstakingly and lovingly crafted by the band, who reveal themselves as
true audiophiles and songwriters of the highest calibre in the process
The record sees the band coming full circle, triumphantly returning to the lofi
roots that began their journey. Traversing the subsequent ups and downs of indiepop stardom since their major label debut in 2017, the band have found
themselves most at home back where it all began "at the quiet, sentimental heart
of their delicately unfurling, midnight- hour- favouring songwriting magic, with
complete creative control."Of the cathartic nature of the undertaking, Halls says:
"HISS is as honest an album as I'll ever be able to make. It was winter 2020; the
whole world had ground to a halt, and the pain of being separated from pretty
much everything I love had begun to turn into music in my head."

Since he first emerged at the end of 1999 with instant UK garage classic Re-Rewind, Craig David has scored 25 UK top 40 singles (16 of them top 10), nine UK top 40 albums (five of them top 10) and amassed over 5 billion (!) streams worldwide. In fact, over 1.5 billion of those came via his most recent releases, 2016's chart-topping comeback album, Following My Intuition, and 2018's career consolidating The Time Is Now. If you're more used to the old school metrics, that's 20m global sales. And speaking of global, he's played sold out tours everywhere from America to Australia, Japan to Germany. Across his twenty-plus year career, he's collaborated with the likes of Sting, Kano, Diplo and KSI, while also becoming one of the biggest DJs in Ibiza via his TS5 soundsystem. Award-wise we're talking 14 Brit Award nominations, two Grammy nominations, four MOBO awards and three Ivor Novellos honouring his songwriting. It's impressive, sure, but that's the past. It's ephemera. “I always feel like you need to be more real-time and present in the now,” David confirms.
That present involves an excellent new album, his eighth, in the shape of next year's 22. “It's 22 years since the first album, it will be 2022 when the album drops,” he explains of the title. This month sees the arrival of 22's glorious, MNEK-assisted lead single Who You Are, which cocoons a feel-good pop lyric about being present in a pristine UK garage casing courtesy of producer Digital Farm Animals. Like all Craig David classics it feels both box fresh and warmly nostalgic. “It will live in the world this song,” David says. “It feels so authentic, it has intention. Put on Who You Are to try and talk to someone that needs help.”

The idea of putting a smile on people's faces is at the heart of 22, an album whose title itself reflects myriad different themes. “There's also a spiritualism in the number 22 and what it represents,” he says. “In numerology it's a very powerful number and in terms of angel numbers it's bringing balance and equilibrium to my life. We're in a world where there's a lot of me against you, and so it's bridging the gap.” The title also represents distance; it's a date stamp that marks his career longevity. So what does the album's contents say about Craig David in 2022? “At its core it's still very much everything I've honoured since I was a kid, but in some ways I'm being more playful,” he says. “Loosening up the chains of my history. My debut is probably the most clear expression of who I am because it was my first outing – it's everything you are. So on this album there's that energy mixed with the wisdom and experience I can bring to the world. I've not mastered anything yet, I'm a newcomer still.” Still very much born to do it, just older and wiser.

Exclusive to INDIE STORES: Hiss and Shake Records to release ‘Logically Yours’ – a limited edition, 5 x LP boxset of 50 essential recordings from seminal post-punk icon Lora Logic including 2 classic Essential Logic albums, early single releases, EPs, B-sides, rarities, vinyl exclusives + first new Essential Logic studio album in 43 years! Includes the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) + ‘Pedigree Charm’ + 2 retrospective compilations of early single releases, EPs, B-sides, rarities + vinyl exclusives ‘Aerosol Burns & Other Misdemeanours’ + ‘No More Fiction’ + new studio album ‘Land of Kali’ (first in 43 years) + 20 page booklet with introduction from Celeste Bell + Lora Logic Q+A. Susan Whitby, aka Lora Logic was one of the most distinctive talents from the post-punk era known for her intoxicating, rough-around-the-edges, yet exhilarating sax playing and haywire vocal style. Her offbeat, occasionally arresting lyrics tackled alienation, sexism, poverty and urban isolation, and with a complete disregard for convention, she carved her own path not only in her short-lived music career but also personal life. She was still in her teens when she answered an ad in Melody Maker “Looking for young punks,” and in 1976, with her friend Marion Elliot (aka Poly Styrene), she formed the punk band X-Ray Spex and acquired the pseudonym, Lora Logic. The duo soon achieved notoriety with the irresistible feminist protest single, ‘Oh Bondage Up Yours’ (1977) – Logic arguably stealing the show with her thrilling punk sax. “X-Ray Spex was my first band, I happened to be accepted, It happened to work, I happened to get famous overnight. I’d been playing sax in a cupboard in my room; I thought I better do something.” However, just prior to recording 'Germ Free Adolescents' (1978), X-Ray Spex's debut album, she found herself unexpectedly ousted from the band. With abundant enthusiasm and encouragement from Geoff Travis, founding director of Rough Trade Records, she went on to form Essential Logic, creating some of the most liberating and exciting music of the early post-punk era, not only as Essential Logic, but also as a solo artist. Hiss and Shake Records are pleased to present a limited edition boxset of 50 essential recordings from the irresistibly engaging Lora Logic archive, allowing for a new generation to become aware of her incredible creative output. Across 5 LPs, ‘Logically Yours’ includes in their entirety, the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) (1979) – Essential Logic’s sole studio album, and Lora’s solo album, ‘Pedigree Charm’ (1982) – her last studio album before turning her back on the music business, sad and disillusioned and fighting drug addiction, which saw her turn to a Hare Krishna lifestyle, alongside Poly Styrene, embracing a fresh new chapter. This totally absorbing and definitive collection also includes two retrospective compilations; ‘Essential Logic – ‘Aerosol Burns & Other Misdemeanours’, which comprises early single releases, B-sides and oddities including the gloriously chaotic ‘Aerosol Burns’, the essential punk/disco ‘Music Is A Better Noise’, and ‘Fanfare In the Garden’, showcasing Lora at her most pop. In addition, ‘Essential Logic – ‘No More Fiction’; contains 10 vinyl exclusives, including ‘Do You Believe in Christmas?’, recorded with the Krishna Kids Choir in 1985, alongside tracks recorded circa 1997, with Martin Muscatt, Dave Farren (Bad Manners) and Gary Valentine (Blondie), forming the basis of what would have been Essential Logic’s third studio album, ‘No More Fiction’. Having recently returned to the studio refreshed and rejuvenated, ‘Logically Yours’ also includes ‘The Land of Kali’ (co-produced by Youth), the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Despite her short-lived career in the music business, Lora still managed to perform and appear on releases with many artists including US experimental rock band Red Crayola between 1978 and 1981, and also appeared on recordings by The Stranglers, The Raincoats, Kollaa Kestää, Dennis Bovell, Swell Maps and later, Boy George. Undoubtedly an iconic figure of the UK post-punk scene, Lora Logic’s boldness, adventurousness and sense of fun can be seen as an influence on numerous female artists today including Karen O from Yeah Yeah Yeahs, Peaches and St. Vincent among others. Tracklisting: Essential Logic ‘Beat Rhythm News (Waddle Ya Play?)’ (1979). A1 ‘Quality Crayon Wax OK’ A2 ‘The Order Form’ A3 ‘Shabby Abbott’ A4 ‘World Friction’ B1 ‘Wake Up’ B2 ‘Albert’ B3 ‘Alkaline Loaf in the Area’ B4 ‘Collecting Dust’ B5 ‘Pop Corn Boy (Waddle Ya Do?)’…… Lora Logic – ‘Pedigree Charm’ (1982). A1 ‘Brute Fury’ A2 ‘Horrible Party’ A3 ‘Stop Halt’ A4 ‘Wonderful Offer’ A5 ‘Martian Man’ B1 ‘Hiss and Shake’ B2 ‘Pedigree Charm’B3 ‘Rat Allé’ B4 ‘Crystal Gazing’…..Essential Logic – ‘Aerosol Burns & Other Misdemeanours’. A1 ‘Aerosol Burns’ (1978) – Debut single A2 ‘World Friction’ (1978) – ‘Aerosol Burns’ B-side A3 ‘Eugene’ (1981) – Single A4 ‘Tame the Neighbours’ (1981) – ‘Eugene’ B-side A5 ‘Music Is A Better Noise’ (1981) – Single A6 ‘Moontown’ (1981) – ‘Music Is A Better Noise’ B-side B1 ‘Fanfare In the Garden’ (1981) – Single B2 ‘Stereo’ (1982) – ‘Wonderful Offer’ single B-side B3 ‘Rather Than Repeat’ (1981) – ‘Wonderful Offer’ single B-side B4 ‘The Captain’ (1979) – ‘Fanfare In The Garden’ B-side B5 ‘Soul’ (1983) – Previously unreleased on vinyl B6 ‘Stay High’ – Previously unreleased on vinyl….. Essential Logic – ‘No More Fiction’. A1 ‘Essential Logic’ (1991) – Vinyl exclusive A2 ‘On The Internet’ (1998) – Vinyl exclusive A3 ‘Under The Great City’ (1997) – Vinyl exclusive A4 ‘No More Fiction’ (1998) – Vinyl exclusive A5 ‘Love Eternal’ (1997) – Vinyl exclusive B1 ‘Barbie Be Happy’ (1998) – Vinyl exclusive B2 ‘Not Me’ (1998) – Vinyl exclusive B3 ‘The Beautiful and the Damned’ (1997) – Vinyl exclusive B4 ‘Marika’ (1997) – Vinyl exclusive B5 ‘Do You Believe in Christmas?’ (1985) with the Krishna Kids Choir – Vinyl exclusive……Essential Logic – ‘Land of Kali’ (2022). A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

It's coming home, it's coming home - house music is coming home! A second instalment of the Groove Access: series Chicago Is Home offers us five fresh tracks from the windy city landing in a glorious cavalcade of razor edged snares and hypnotic jack house. Ed Nine & Kid Enigma's 'Bandleaders' opens side one in spectacular fashion with spoken mantras lying deep in the mix, distinctive phasing arpeggios, poking keyboard riffs and ringing cymbals. JSquare's 'Get Wicked' kicks with even more power, tribal rhythms bouncing of bleepy melodies, before 'Move' by Geto Mark rounds off the side with the strutting, beautifully brutal 'Move', a proper 3AM peak time pleaser. Steve Noah's 'The Hater' opens side two, a wily acid line worming its way across a raw, stripped down backing before exploding into serious gnarliness when you least expect it. AFTR's 'Undercover' rounds things off with another knuckle duster of a tune, leaving no doubt that Chicago is still the place to be when it comes to house.

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

TONICO 70'S SOULFUL SIDE SHINES THROUGH IN NEW ALBUM CO-PRODUCED WITH PEPPE MAIELLANO (BANDA MAJE)

The cover of the new album by musician, rapper, DJ/producer and Banda Maje's co-founder Tonico 70 features an honest, unfiltered photo his mother took of him with a disposable camera – a photo that is as blunt and sassy as hip hop, but at the same time filled with the sweetness of soul music. The style of Antonico is all there, in that shot of a nine-year-old kid that was just beginning to discover and love music – a passion that, as he says now, "has been driving me for over thirty years."

Coming after many years of songwriting, beatmaking, MCing, live performances and collaborations, this new album, his first released on Four Flies Records, connects the dots between past, present and future, presenting Tonico 70 as a fully-rounded artist rather than just a rapper, and one aware of his own many facets.

Co-produced with Peppe Maiellano, Banda Maje's other founder, Antonico offers an intimate portrait of Tonico 70, who has put his 'tough-music-smuggler' persona aside to let his soulful side shine through, giving us a warm, funk-inspired and very original take on the so-called 'Napoli power' sound.


Lyrically too, the album takes us deeper into his world. Here, Tonico 70 evaluates his personal history, speaking about his joys and disappointments, his highs and lows, and the friends and lovers who are or were in his life.

Sometimes his flow is confidential and nocturnal – in "Vic'l", for instance, where the sound is smooth and sweet, rife with contrapuntal notes and harmonies that are clearly reminiscent of 70s soul, but also in the bluesy rap of "Doppia Chance" and the prayer-like song "For For". Other times he gets bolder and brasher, like in the reggae-inspired in "Quaqquara Qua", or in "The Revolution Will Not Be Telefonin", which is obviously a (cheeky) tribute to Gil Scott Heron.

A number of tracks feature long-time friends and collaborators: rapper Morfuco in "Italia 90" (a funky uptempo song with powerful gospel vocals in the chorus), the Funky Pushertz crew in "Sai Com'è" and, perhaps most importantly, the Salifornian soul-funk collective Banda Maje, who give new life to three songs from the artist's previous discography: "Vir Buon", "Gente Antica" and "Fantasie".

This album shows that Tonico 70 has reached a stage of maturity in his career, one where his music extends beyond rap and hip-hop to incorporate rich instrumentals and multiple genres that carry the echoes of his experiences and encounters in the lively alleys of Salerno's historic district, and of the people whose lives unfold there, in the heart of the Mediterranean.

Emanating from a ‘prehistoric’ existence near the end of the last millennium, Andy Votel and his slightly older college mates were once best recognised in Mancunian clubs and bars as teenage vinyl nerds and bum-fluffed battle rappers under the collective name Violators Of The English Language (which in acronymic form explains Andy’s own exotic pen-name).

As steadfast supporters of the 1980s / 90s Brit-core rap scene coming out of London, the multicultural Violators’ Mancunian accents were perhaps a bridge-too-far to secure dream job contracts for humble labels like Kold Sweat and Music Of Life. An unlikely constructive meeting with Gang Starr’s DJ Premier (while Andy helped out at a radio station), plus playing warm up DJ sets for countless US rap heroes might have temporarily added inspirational fuel to the fire, but after an active period combining graffiti, rapping, scratching, obsessive record digging and beat making into their daily operations, adulthood eventually began to rear its unwelcome head.

A decade later, Andy Votel and his digging skills would begin to provide direct sample material for the likes of Madlib, Mos Def, Jay Z, Nas, Dr Dre, Ghostface Killa and Action Bronson, amongst others, and the Violators’ black book of breakbeats and catalogue numbers soon began to feed a same-butdifferent rap beast.

For a project that has taken thirty years, it would be totally inadequate to call the formation of Hypocritical Beatdown Records a lockdown-project. There’s a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

As well as Andy Votel taking care of both production and part of the microphone duties, some might recognise fellow MC and solo recording artist Figure Of Speech as a prominent voice here. The trio of Magnets (Rap Group) sees Andy also joined by local B-Girl legend Jeni Chan aka Penny Chew, and rapper and DJ Benjamin Hatton who has previously recorded with Kid Acne, The Mongrels and Sheffield’s Invisible Spies’ long-running squadron. Widely respected visual artist Rick Myers (now living in Massachusetts) also contributed scratches for many of these recordings via file sharing and custom dub-plates to keep the Violators’ authentic line-up intact, as well as galvanising the crew’s semi-reluctant art-school roots.

Extra production credits for the label also go to Sean Canty from Demdike Stare, and the late great Dan Dwayre aka Black Lodge (Mo Wax) who sadly passed away during the completion of these recordings. The members of Violators Of The English Language who you’ve not yet heard of will quickly make themselves known as the needle drops on this long-mooted debut vinyl release.

San Diego born and raised DJ/Producer, Dillon Marinez, today releases his latest EP ‘Wormhole’, out now on Dirtybird.

Curated by Claude VonStroke, the compelling two-track project presents a dynamic soundscape showcasing the sonic duality of one of Dirtybird’s newest rising stars. The chaotic, high-energy sound of its titular track ‘Wormhole’ is instantly mesmerizing, while its companion ‘Facelift’ is a deep, rolling burner.

Regarding the EP, Dillon Marinez said, “My first Dirtybird Campout inspired both tracks. Claude’s set especially was full of some thick stabby bass which was right up my alley. This sound gave me an idea for each lead and the rest flowed naturally.”

Continuing to grow as a consistent member of the Dirtybird flock, Marinez’s latest EP, ‘Wormhole’ marks his fifth release on the esteemed label following last year’s ‘No Pressure’ EP and earlier singles like ‘Dance For Me.’

Taking inspiration from funk, hip hop, and reggae, Marinez credits his father and brother for exposing him as a kid to the multi-genre sounds that shape his music style today. A bassist since childhood, it was only natural for Dillon to be drawn to the ebbs and flows of house music. Learning Ableton in college, Marinez was able to incorporate a blend of rhythmic elements to create his unique bass lines and incredibly catchy beats known to captivate crowds.

Releasing music on Dirtybird marks a full circle moment for Dillon, as he has previously named Dirtybird’s artists Justin Martin and Shiba San as major sources of inspiration for his music.

Marinez invites fans to join him on his rhythmic journey and stream ‘Wormhole’ today.

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road