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Prove You Wrong is the third studio album by Prong, released in 1991. The album turned heads worldwide with its more melodic approach to Prong’s formula of hardhitting industrial Hardcore Thrash Metal.

The album yielded two singles: “Unconditional” and “Pointless”. Surprising song on Prove You Wrong is the Stranglers’ cover Get A Grip (On Yourself) which is sung by new bassist Troy Gregory.

Available as a limited 30th anniversary edition of 666 individually numbered copies on silver & black marbled vinyl. The package includes an insert with lyrics.

Collection of some of Frank’s finest songs presented as a collector’s edition picture disc.

After a tumultuous period of emotional blows, leaving the majority of the band getting to grips with new life scenarios, the new album is rooted in reflection and redemption, and sees You Me At Six harness those darker experiences as a catalyst for creativity, empowerment and positivity.
Recorded over five weeks at Karma Sound studio in Bang Saray, and continuing their creative relationship with that album’s producer, Dan Austin (Biffy Clyro, Massive Attack, Pixies), ‘SUCKAPUNCH’ is the sound of a band embracing change. You Me At Six have crafted their most experimental, personal and
progressive record to date

-LTD. COL. EDITION-

We are always sitting on a handful of unreleased songs that didn't make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions. Listening to these tracks you can imagine how difficult some of these decisions were in the first place to leave them off the albums. An absolute standout is "Regenerate," a song that finds Lee in the country soul realm, a style that Mr Fields, a North Carolina native, flourishes in. A drum break starts the song and then drops into a chorus where El Michels, Paul & Big Bill Schalda belt out the earworm chorus. Lee sings an encouraging tune about finding your way out of a low point in a relationship while The Expressions lay down an airtight groove. "Thinking About You" takes it back to the dance floors with what will surely be a hit at Soul parties around the globe. An uptempo drum break opens the song and Lee launches into a tale about the unbreakable bond with his significant other and how they keep each strong through moments of hardship and pain. People who have seen Lee perform live in the last decade might have been lucky enough to hear his rendition of Little Carl Carlton's "Two Timer". For those of you who haven't heard it, Big Crown Vaults has got you covered. A faithful version of the song showcases Lee's gorgeous voice and the Expres- sion's unwavering groove. Another treat on here is the fuzzed out funk banger "Do You Know" where Fields uses his platform to address some of our societal woes in a "Make The World" style. A deeper from the vaults number is "Out To Get You", an instrumental that Lee never laid down vocals to. Even as just a rhythm track it stands as a testament to The Expressions musical prowess, the band that created 5 studio albums with Lee Fields which will go down in history as stone classics.

When Lindstrom and Prins Thomas get together, expect the unexpected. The Norwegian production duo's third album III is also their first outing together in eleven years, since II from 2009 and as ever, Lindstrom and Prins Thomas have crafted their own unique sonic world between the two of them. This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good. Since the release of II, Lindstrom and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time - slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing." Eventually, the bulk of III came together over the last year, as Lindstrom and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic "we never turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrom sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses." Above all else, III is a testament to the adventurousness of Lindstrom and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

Colored Vinyl edition : Solid White. The album remastered for the very first time, with Roland Gift's involvement. Incudes download card featuring the album 10 + 22 rare & unreleased bonus tracks (B Sides, remixes) =32 Tracks Total.

San Diego's sweetest export is back with two sublime sides of West Coast flavored soul. The soft, tremolo-kissed intro of "Will I See You Again" seeps out of the speakers like a cool Cali breeze, allowing the drop to hit like Thor's hammer on the dancefloor. As the groove gets in you, Josh Lane's vocals send you to a place transcendent of time and space... A world where lovers love, and hate has no place. "It's Our Love"'s mellow but funky feel grinds out a vibe that tempers the "beat" in Beat-Ballad. Thee Sacred Souls are raising the bar to heady, elusive new heights.

'Available exclusively on Disney+ beginning Dec. 25, 2020, Disney and Pixar’s feature film “Soul” introduces Joe Gardner, a middle-school band teacher with a serious passion for jazz music. The story is particularly relatable to the artists behind it. For Jamie Foxx, who lends his voice to Joe, it begins with jazz. “Like Joe, I hear music in everything,” said Foxx. “When you’re a jazz artist, man, you talk a little different: ‘Hey, cat!’ I got a chance to go to a few jazz fests and meet Herbie Hancock, Chick Correa—hang out with those guys. They have a way of talking, a way of dressing—everything funnels toward their music, toward the jazz."

It’s time for another dose of Classic Symptoms and this time get ready for an NHS trip back to the years of 2003-2006.
The fourteenth instalment of the exclusive release series which sees extremely limited vinyl presses of Hospital classics, has drawn for four untestable originals from Logistics, Q-Project, London Elektricity and Danny Byrd.
First up is Logistics’ 2006 liquid-funk anthem ‘City Life’ originally featured on his era-defining debut album ‘Now More Than Ever’ supported by legendary figures including Fabio & Grooverider, LTJ Bukem and Andy C. Hypnotizing piano loops and deadly subs keep things rolling on this exemplary slice of fast soul funk.
Drum & bass all-star Q-Project is up next as his timeless banger ‘Obsession’ gets a 2020 vinyl revival. Originally supported by the likes of High Contrast and Friction, ‘Obsession’ still receives widespread rotation to this day as its unforgettable melody and groove assert it as a certified dance music destroyer.
“Fast Soul Music” is the brainchild of Hospital head-honcho London Elektricity and was initially featured on his 2003 album ‘Billion Dollar Gravy’. A clear cut example of the much loved loungecore sound, the uplifting London Elektricity classic influenced styles and the legendary Hospital “Fast Soul Music” compilations for years to come.
Signing back to Hospital Records in 1999, Danny Byrd’s musical endeavour has been commendable to say the least. “Soul Function” represents the classic sounds of Danny Byrd with 2005 dancefloor energy. Garnering support from pioneers such as Bryan Gee and Total Science, Danny Byrd’s drum & bass style continues to go unmatched.
Don’t sleep on securing your extremely limited press of four Hospital classics from the 2003-2006 era. This one is for the serious collectors - once they’re gone, they’re gone.

Bridges To Bremen is a full-length show performed by the Stones on the fifth and final leg of the Bridges To Babylon Tour. Filmed at the German city’s Weserstadion on September 2, 1998, the band had by then completed four legs in the stadiums and arenas of North America (twice), Asia and South America before finally landing in Europe early that summer. This concert film has been meticulously restored from the original masters, and the audio remixed and remastered from the live multitrack recordings. Four tracks from their Soldier Field performances in Chicago are included as bonus features. Eagle Vision’s SD Blu-ray range presents upscaled standard definition original material with uncompressed stereo and DTS-HD Master Audio surround sound for the best possible quality. Formats include a 3 x 180gm black vinyl release. DVD details Region: 0, Picture Format: NTSC, DVD Aspect Ratio: 4:3FF, DVD Audio: Dolby Digital Stereo, Dolby Digital 5.1 Surround Sound, DTS 5.1 Surround Sound, DVD Format: DVD-9. Blu Ray: Region: ABC (all) Picture Format: NTSC, BD Aspect Ratio: 16:9 (4:3PB, BD Audio: LPCM Stereo, DTS-HD 5.1 Master Audio, BD Format: BD-50

Italian composer Gadi Sassoon debuts on A Strangely Isolated Place with an experimental exploration of impossible physics; an intricate soundtrack based on newly created sounds and abstract atmospheres. In 2015 Gadi was invited to Edinburgh by The NESS Project to check out their groundbreaking sound synthesis work. With the help of a supercomputer, the NESS group had created new digital systems capable of creating sounds so complex, rich and realistic they were indistinguishable from acoustic instruments. Better yet, the code could be hacked to create completely imaginary sonic worlds with bizarre physical properties. Gadi fell in love with this idea and became resident composer at NESS for the following years, collaborating with the researchers to create impossible instruments: mile-long trumpets blown by dragon fire in Black Hole Fanfare, needle fingers brushing eternally vibrating strings in Pi (p), giant resonating lattices of bound masses and springs in the Moto Perpetuo suite and Collision Suite, marbles sliding on thousand-string fretboards in Young's Modulus, morphing bouncing objects in Chaos & Order, an orchestra of giant bowed basses in Life On A Tidally Locked Planet. Multiverse was designed and created by bending the laws of physics in subtle ways, effectively creating acoustic simulations from parallel universes. Gadi combined the NESS sessions with analogue synths and live instruments in his Milan studio, with the intent of creating a space for the listener to get lost in - blurring the lines between organic and synthetic, loud and quiet, the abstract and the familiar.

Type “Was Joan of Arc” into Google and the suggested endings for this statement give you an accurate gauge of her place in pop culture: “Catholic” / “a nun” / “canonised” / “a prophet” / “French” / “a witch” and so on. Related questions to “What were Joan of Arc’s last words” on the info-sharing site Quora include “Was Joan of Arc bisexual” and “Was Joan of Arc simply crazy?” Everyone seems to agree this person was burned at the stake in 1431, but beyond that, Joan’s narrative is an enigma. It is this lack of definition that the production duo Pillow Queen harnessed for their second release, Burn Me Up. Inverting the image of the devout Christian girl, the Joan who stands as this record’s heroine was a heretic, a transvestite, most definitely a dyke and a hot femme-top at that.

Opening up the A-side, the title track is a call— a battle cry, but also a summoning. In a time of need one calls upon their patrons and elders from history; a DJ beckons and gathers dancers to the floor; prayer and sweat go hand and hand. A traditional Irish bodhrán drum beats out the first rhythms, joined by a steamy vocal sample that gets caught, chopped, and soon “Burns Me Up” is pumping along with organ chords and distorted keys. Pivoting away from the 4/4 format, “Submission” is a textured, downtempo slow-burner, with close-mic’d vocals from Vani-T and the D. Tiffany’s deft drum programming. When the choral pads come in, there’s an echo of the 1990s German worldbeat project Enigma, with its Gregorian chants and flutes laid on top of lounge beats—here, though, the chorus is stripped of kitsch, only driving the track deeper into a mood.

If Burn Me Up’s sequence of tracks is read as a kind of narrative, they seem to tell the story of Joan’s last moments. “Burn Me Up” is, frankly, heat—aggressive, the high-end crackles and the bass puts a pyre under one’s feet. “Submission” is like an exhale, a giving-in to death’s grip; there is, along with the sensuous tread, a melancholy. It only makes sense that one flips the record to “Resurrection”, which rolls in a tremolo’d wail of pitched vocals for 30 seconds before a kick drum begins the 141-BPM march. The percussion is central here, as the track shifts between polyrhythms like a range of resuscitations, varied heartbeats. “Salvation” closes the record, again dialling back the tempo to the deep nod of dub. To no surprise, the scene of redemption here is not one of sunlit cherubs—the church bell sample tolls one strike every few measures of bass-throb and shadow, while Vani-T intones, “Then he lay down and died”. Death can be salvation to some; living as many selves, living in contradiction, is a saving grace to many more.

Dynamic Sounds Studio has its roots firmly set in Jamaica’s history. It was the first state of the art studio built in Kingston, Jamaica and a firm favourite with all the topflight homespun artists. Bob Marley chose to record the bulk of his seminal 'Catch A Fire' album there and many foreign musicians trying to catch some of that reggae magic and emulate that sound have beaten a path to its doors. As you will see the studio had a history already of its own, that was carved out before it became the aptly named Dynamic Sounds.

Originally named WIRL Studio's (West Indies Records Limited), it was set up initially to record Jamaica's versions of the American Rhythm and Blues tunes that were proving so popular  on the island. It was started back in 1958 by Political leader Edward Seaga an astute businessman, who had many interests around the island including clubs and bars. As the R & B music evolved into its own styles from Mento into Ska, one of its main protagonists Byron Lee and his band the Dragonaires would be at the forefront and be seen as ambassadors to the cause. Edward Seaga would choose the band to head the 1964 World’s Fair and take them to New York to showcase the Jamaican Ska Music. His political ambitions leading the American friendly JLP (Jamaican Labour Party) against the Cuban inspired PNP (People's National Party), would see him cutting back his other interests and lead to the selling of WIRL, lock stock and barrel to Byron Lee. On taking over the business he renamed it Dynamic Sounds and extended it to include not only a top of the range recording studio but a pressing plant to distribute the new hot sounds of the day directly to the streets of Jamaica. The address would also change to 15 Bell Road, it's old address No 13, seemingly too unlucky for such a fine establishment.

The studio has become part of the Jamaican culture and each twist and turn in its musical story has been caught and recorded here. We get on board when the music had slowed down to the reggae skank that we now know and love. We have picked some fine cuts that we feel best represent the times. The rhythms are pushed to the fore and the great Sylvan Morris a much-underrated studio master, always came up with some interesting effects to enhance the version cuts. A fine time in reggae's history caught at one of Jamaica's finest studios. Dynamic Sounds from a Dynamic Studio.....

Tappa Zukie (David Sinclair) born 1955 Kingston,Jamaica actually cut his first record in England,after being sent there aged 17.
He was breaking from his troublesome past that found him running with the rough crowd on the streets of Kingston. On his arrival in sunny Ladbroke Grove London, producer Bunny Lee called him up on stage at a local dance to sing a tune. Impressed with the results fellow producer Larry Lawrence got the young Tappa in the studio the very next day and cyt 'Jump and Twist'.
This led to cutting his 'Man I Warrior' album,but somewhat disillusioned and homesick he returned to Jmaica shortly afterwards.
But this venture in the Uk was to pay dividends,seeing his 'I Man Warrior' album receive great reviews on its release.
We have collected together some great lost treasures and some alternative cuts to some of Tappa'sbetter known releases.
Mr Zukie, DJ/Toaster/Producer Roll the tape one more time if you please.......

Here comes another bundle of Timmion soul to decorate your record shelf and grace your turntables. It's a fantastic opportunity to sink yourself into Pratt & Moody's second release, the crossover gem "Words Words Words", the equally sublime rolita by Thee Baby Cuffs "My My My Baby" or continue your soulful trip with Willie West's latest deep offering "I Can't Leave You Alone".

In case you didn't yet get your hands on Carlton Jumel Smith's beautiful dancer "This Is What Love Looks Like", it's naturally included in this box of joy, as is jazz funker Ernie Hawk's non-album blaxploitation tinged track "Tracking Down", which can only be found as the b-side of "Cold Turkey Time" single release. Buy now and you'll be unboxing in no time.

Smoove & Turrell have never been scared of a gamble or two and over the course of their career, and their latest album - 'Stratos Bleu' marked some of the biggest stylistic changes to date. Though long lauded as one of the UK's top bands in funk and soul circles, their album was a decidedly rawer analogue affair drawing on influences as diverse as Detroit techno, Bristol bass as well as the party starting breakbeat funk they are so well known for.
Hitting #1 position in the Official UK Dance Charts on release week and grabbing the Album of the Day accolade from BBC 6 Music proved the band were entirely right. Given the strength of the source material it was only right to issue a remixes album on the project and there was no shortage of producers lining up to get involved.

Dance luminaries including Ray Mang, Ashley Beedle, Steve Cobby and Fouk all signed on immediately. So it, made sense to put together their fine interpretations on a disco house focused vinyl. This 4-track ep also includes the outstanding acid house rework of the band's album favorite 'E.P.' by newcomers Rayka.

Black Stone Cherry’s third album Between The Devil & The Deep Blue Sea offers another amount of the fully loaded southern rock from the group that was awarded the Best New Band at the Classic Rock Awards in 2007. The opening statement “White Trash Millionaire” refers to the celebrity culture and all the things that will come with being famous. The stomping riffs and country turn of their music is mixed all over the album. They’re bringing something a little bit dirty, but it never get’s too much of the good thing on this record. The melodic compositions, great vocal work and outstanding rhythms makes this another worthy release by the band.

Dark Green Marbled Vinyl

One town, three times of the day, a triarchy of Techno music, rolling into the deep – coming as green marbled vinyl with an exclusively designed festival wristband!
Rico Puestel rears a monument to his growing-up-town „Uslar“ with three different approaches on this second part of the home-loving „Solling“ series that dig deep into a downscaled and natural framework of sound (all recorded and produced right at that place).

The initiation ritual on A1 with Uslar at 6'23 in the morning starts off with an actual electric guitar theme, originally recorded back in 2003, that builds the foundation hub to one crisp and point-blank Techno-Electro ceremony. The clean minimalistic sound will showcase all the details of any structure within while one's certainly getting caught by the overall force of melodic attraction like the sun working its path through the misty valleys.

At 13'35 noon, a rising rhythmical and progressive interpretation of the initial morning sounds makes an appearance on the flipside that doesn't allow much time to leap right into the centre of the da(y)nce, immediately creating the guesswork where side AA is leading all along.
The evening hours at 21'55 then take a flying leap into the mystical peak of the whole process, taking the morning sounds from side A into some uneasy realms and sceneries, prevailed by an almost voodoo-like momentum and a dance into the depths of its surrounding woods that will coherently dignify 90's loop Techno par excellence.

This fourth record on Exhibition is and feels right here and right now, paying tribute to the past and many different streams of Techno while cherishing a future that has yet to be written, celebrating the

"I have been in love with the Detroit sound of techno since forever, so when I discovered Subradeon, I was immediately struck by the soul and energy of their music. I have been lucky enough to get to know Giuseppe and Salvatore over the last year and so it was always a dream for me to have them release a record together on Sous. Now this is happening, I couldn't be more excited. They have made three spectacularly good tracks that I know will last forever in my heart, and hopefully in yours too" opens Anja.
Sous has been drip feeding us top line releases all year long, despite the world coming to a standstill, Anja believes that continuing to release music is important to keep spirits high. She has been showcasing some of the newer talent from around the globe alongside some household names including Marcus Suckut, Fort Romeau and Mella Dee to the last release from Italian duo Reform.
October brings Subradeon. Hailed as the new school of the techno scene, they might have grown up in the Neapolitan underground scene, but their sound has become a melting pot of influences from their current home town of Berlin and the duo's self- confessed spiritual home of Detroit.
Giuseppe Salone and Salvatore Lannotta deliver their debut release 'Breaking Down Borders' on Sous, compromising of their characteristic raw soul, profound meaning and energetic purpose. This package includes a remix from Techno pioneer Stephen Brown (Djax Records, Transmat, Music Man).

One of the two great chapters in reggaes history was the DJ phenomenon that conquered the Sound Systems in and around Kingston town in those heady 1970's, the other was the dub plates specials that allowed the DJ's to explore a tune in the first place. Giving some fine question and answers to its original vocal, emphasising its meaning or taking it into another subject matter altogether. When you have these two styles and add to it that original vocal, dubbed in at various points you get a fantastic melting pot that lifts a tune and can take it almost anywhere it likes.

Although DJ's were operating in Jamaica in the 1950's and 1960's with the likes of Count Matchuki and Sir Lord Comic, their role was that of mainly selector with a few vocal embellishments to instrumental tracks to gee up the crowd. 1969 saw the art form broaden with the likes of DJ King Stitt (Winston Spark) who scored a couple of hits for producer Clancy Eccles with 'Fire Corner' and 'Herbsman Shuffle'. But it was Clancy Eccles next releases with a certain U Roy (Ewart Beckfort) in the same year that saw the style explode. When hearing the DJ holding the crowd’s attention on King Tubby's Home Town Hi - Fi Sound System, the producer rushed the DJ into the studio and cut 'Wake the Town' and 'Rule The Nation'. Which would top the Jamaican charts in the soon to follow 1970.

In true Jamaican musical style when a new sound hits on the radio waves, many would soon follow. With an abundance of already tried and tested hits, producers would get the new
toasters of which there were many and revamp and breathe new life into their back catalogues.

But what makes this set of cuts, chosen for this release that little bit more interesting, are the working of the dub plates and effects alongside these vocal talents. Adding another layer to this musical cake.

A fine selection of tunes worked over by the cream of the 1970's DJ circuit.U Roy, I Roy. Jah Stitch, U Brown, Dillinger, Prince Jazzbo, Dennis Alcapone and the vastly underrated Shorty the President alongside some classic King Tubby dubs surely a match made in heaven...

Hope you enjoy ride…….