Search:gi yo

• 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.

The last album of Dead Cat In a Bag on vinyl! 180g + downloadcode.

"Do you know it? Ennio Morricone, Nick Cave, Mark Lanegan, Tom Waits and Zach Condon walk into the bar, and there are all the seats occupied by the Dead Cat In A Bag musicians. Really." - this is how Jarek Szubrycht started the review of the last album of the Italian group Dead Cat In Bag in Gazeta Wyborcza. And he was right. Really.
Yes! Dead Cat In A Bag is back! They are back with a new album "We've Been Through".

After exploring several so called Neo-Folk regions, flirting with Folk Noir, mostly with Traditional Folk in a modern perspective, for example Americana to Tex-Mex and Balkan Music to Alternative Country, on this third record the ensemble drifts to a cinematic landscape, focusing on the theme of overcoming.

We've Been Through puts together World Music elements incorporating an almost soundtrack experience for a journey into both Day and Night, Hope and Disillusionment and telling stories of broken romances and shipwrecks.

Utilizing banjo and theatrical vocal delivery, together with with classic and odd instruments, the band remap the original charts but still set sail the desired destinations. And if, about the previous records, critics were prone to recall the prowess of Waits, Cave, Lanegan, Cash and Tindersticks, this time it will be harder to name the grandfathers.
Now there is a Morricone (or was it Badalamenti?) guiding spirit and a dreamlike universe full of memories, from the dry electric blues of a stream of consciousness duet in Duet For Nothing to the unexpected crooning vocals provided by Liam McKahey (CousetauX) in Lost Friends (a banjo droven dirge dealing with electronics and a bassoon, with steal percussions and a music saw for a frame), from the rendition of the traditional Wayfaring Stranger, balancing between electric guitars and Bluegrass, to the intimate cover of Leonard Cohen's Hunter's Lullaby, from the rock-(swamp)blues of The Cat Is Dead (enriched by Italian bass hero Gianni Maroccolo, from Litfiba and C.S.I.) to the soft meloncholy of the string quartet in Between Day And Night, from the dark cabaret of Fiddler, The Ship Is Sinking to the soft porch song, between Willard Grant Conspiracy and Kris Kristofferson, of the final title track.
You can hear a shrawn and a blues harp, whispers and choirs, love and dudgeon as the record goes. This is the sound of an orchestra playing on a sinking ship: what else could a fiddler do? And what can we do, in the end?

Turbo Recordings is proud to present a 12”-inch vinyl release of Tiga’s trance pilgrimage to the centre of your personal space, “There Is No Distance Between Us.”
Co-produced by Tiga and on-again/off-again musical life partner Jesper Dahlback, the track was originally released digitally as a b-side to the Tiga mega-hit “Easy” earlier this year, and is now available in its glorious physical manifestation with an insane after-hours techno remix from Paris producer u.r. trax, perhaps the first Turbo
artist with a Master’s Degree in something other than Comparative Tiga Studies.
“Yeah, I’m back up in your area,” says Tiga from atop the rock-climbing wall inside his virtual panic room. “Something just didn’t sit right with me about this track not existing on the material plane. Here I am singing about human connection and not giving you something you can hold in your filthy hands? Anyone who knows me knows I
hate hypocrisy, so I had to make things right, vinyl-style. If I could make the world’s problems go away by pressing records, I would. And I can, so I will. This is only the beginning."

Chaos & Colour, the energetic and triumphant 25th studio album from British hard rock legends and progenators Uriah Heep, bristles with explosive classic rock guitars, supreme harmonies, and Heep’s famously generous keyboard foundation.

Led by founding member Mick Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the eleven tracks. Opener “Save Me Tonight” shows the band’s weighty yet blistering chops, whilst “One Nation, One Sun” is a journey of soaring balladic contemplation.

“Fly Like An Eagle” emanates magic and mystery in a way that the late, great Ronnie James Dio would have heartily approved, and “Closer To Your Dreams” is a battle cry for all rockers to get out there and do it, with Shaw imploring that “So many have tried but slipped away/Now it’s time for you to have your say.” Throughout the album, Bernie Shaw’s timeless vocals are expertly supported by keyboardist Phil Lanzon, bassist Dave Rimmer and Box, with Russell Gilbrook on drums rounding out exceptional performances throughout.

Produced at Chapel Studios by Jay Ruston, and engineered by Pieter Rietkirk, Chaos & Colour is a superb album of quality hard rock from the pioneers of the genre who continue to create top class material. Old fans will be reinvigorated whilst new fans will surely find Chaos & Colour an exceptional discovery.

Chaos & Colour will be available to pre-order from November 4, in Black and Coloured Vinyl configurations, as a standard CD Digipak, a Deluxe CD packaged in a hardcover book with Uriah Heep’s Chaos & Colour signature patch and in digital formats.

Tunisian oud player and vocalist Dhafer Youssef is at the vanguard of a movement in contemporary music that brings East and West together. He is one of the most inventive oud players in the world and has succeeded in freeing the instrument from its traditional role and bringing it into jazz.

In 2016, he released his solo album Diwan Of Beauty And Odd, which he recorded together with Aaron Parks, Ben Williams, Mark Giuliana and Ambrose Akinmusire. The album was received with critical acclaim and fuses Arabic and Western culture. It features the popular tracks “Fly Shadow Fly” and “Diving In The Air”.

Diwan Of Beauty And Odd is available as a limited edition of 500 individually numbered copies on translucent magenta coloured vinyl, housed in gatefold sleeve and includes an insert.

What humbly began as the amateur strums of a 10-year-old on the
ukulele, catapulted into an expansive 60-year long career that has taken Athens stalwart, Davis Causey, everywhere from playing with Marvin Gaye, Jerry Butler, and Jackie Wilson to Derek Trucks, Waylon Jennings, and Kris Kristofferson, just to name a few
Next in the long line of his musical contributions is his second album on Strolling Bones Records: New Things From Old Strings, a perfect collection of songs that have followed him through time. This album is the culmination of a lifetime dedicated to loving and making music or, in Davis' words, a great way to almost make a living! The album features old friends Randall Bramblett and Chuck Leavell plus a special appearance from Duane Allman's 1961 Gibson Les Paul
(SG).)This started out as a form of musical therapy to get through the pandemic, but soon became something more. Most songs began with just a chord progression and grew from there with the help of the other musicians. Some songs came fully formed while others had to be coaxed into existence. These songs reflect my many influences. From Chet Atkins and Johnny Smith to Duane Allman and Mark Knopfler to Martin Taylor and many others. My mom was a
great believer in me and my music being herself a writer. Once heard it said that if you steal from one source it's called plagiarism, but if you steal from a lot of sources it's called research. Consider me a researcher

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.

2022 Repress

A brand new selection of unreleased musics composed by the great Alain Goraguer (working with Serge Gainsbourg & Boris Vian, as well as having released on the great "Cosmic Machine" Compilation and known for his Cult Soundtrack "The Fantastic Planet. ".

Today we present his works

for movies from the golden age of french pornography, brought together on a collector vinyl, object of all desires.

To stress the Cult Status of this, MCX was previously released only through a crowfuding campaign in july 2018 - which reached 700% of ist initial goal

Eight never released before tracks composed by Alain Goraguer, orchestrator and composer of an impressive number of monumental french pop songs, from Boris Vian to Serge Gainsbourg, and well known by hip-hop fans and sampling lovers for his cult soundtrack for The Fantastic Planet.

Tracks saved from oblivion and fully restored, from the soundtracks of these evocative titles : Swinging Couple Cruise, Private Nurses, Right of the First Night and A Foreign Girl in Paris

Comes with a 12 pages color X-Rated Excercise book, with the classics : coloring, points to link and carvings, with a gallery of characters to carve and to layout of the included locations, to elaborate your own orgy, with any outside help ! Designed by famous french illustrateor Erwann Terrier.

The third release on We Are FTR welcomes Oros to the family with his Inside Out EP, presenting a trio of cuts to perfectly showcase his sound. 'East' kicks things off, stretching out over the full A side with its captivating yet stripped back groove characterised by carefully crafted string samples. On the flip things get deeper, starting with the deceptively powerful 'Rek' which finds the perfect blend of head-down introspection and driving energy. 'Bartolomeo' closes out the EP with its alluring atmospheres sucking you in before more strings give a nod back to the A side and tie everything together perfectly.

Blue Vinyl
In den letzten fünf Jahren hat sich Kenny Beats zu einer der wichtigsten Persönlichkeiten im Rap entwickelt. Er hat karrierebestimmende Musik für Leute wie NBA Youngboy, FKA twigs, Dominic Fike, Rico Nasty, Freddie Gibbs und Vince Staples produziert, absurden christlichen Rap mit dem Komiker Zack Fox gemacht und Agit-Punk für IDLES aus Bristol aufgenommen. Er hat auch neu definiert, was es heute bedeutet, ein Produzent zu sein, indem er eine Generation von Heim-Beatbastlern durch seine verschiedenen Tutorial-Livestreams und die episodische Produktionsserie "The Cave" angeleitet hat. "LOUIE" ist Kennys allererste Veröffentlichung als Solokünstler. Er schöpft aus der reichen, soulgetränkten Tradition von Ausreißern wie J.Dilla, Madlib und D"Angelo, um zum ersten Mal Themen seiner eigenen Familie, Kindheit und Erziehung zu erkunden. "LOUIE" ist eine Hommage an Kennys Beziehung zur Musik insgesamt und bietet mit einem Ensemble von Kollaborateuren und Musikern von Mac De Marco bis Thundercat ein neuartiges Produzentenalbum, das seiner eigenen, immer noch wachsenden Stimme ganz neue Schichten hinzufügt.

green vinyl / printed sleeve / 180 grams
Hadone's nine-track LP shares a first glimpse of his immersive 'Things We Never Did' concept.

November 2022 sees the inception of not only Hadone's first ever feature LP but also his artistically driven and expansive label project 'Things We Never Did'. Marking the first release on the imprint, 'What I Was Running From' spans nine individually unique records, including a special collaboration with friend and fellow French producer Askkin. One of the standout breaks tracks on the LP, it was the first track they made together.

A culmination of all things influential in modern underground techno, blending 4x4 raw techno tracks with more spirited melodic pieces, Hadone's debut LP is a telling celebration of several immersive sub-genres combined with his renowned sonic despondency. The result: a careful balance of richly electronic emotional cuts and racy industrialised techno with a gritty minimalist feel. "Not only the music is destined to evolve, but the whole environment that goes with it will be rethought on a recurring basis" adds Jeremy.

Title track 'What I Was Running From' was made after he finally found inspiration after the pandemic and was written in an hour. "I think my best tracks are made fast, as they don't reply in any intention but feelings only, therefore they are natural and reflect my true style" adds Jeremy.

Its fast paced bassline and jittery stabs, give the track a choppy break beat influenced vibe opening the album with true intent. 'What I Was Running from' offers a transcendental eye through the looking glass at a project that incorporates music, a digital interactive universe, a fashion collaboration with precocious
Parisian footwear brand Phileo. A creative collaboration which has resulted in a limited collection of 2 styles, available on both TWND's digital universe and Phileo direct.

For the 1st year designs, graphism by Raphael Clerget "leverages the power of art to underline the importance of saving our relation to time and improve focus." Raphael brings his vision of complexity and darkness through refined aesthetics carried out for the digital universe, label and merchandise.

Die neue Ausgabe der Bootleg Series von Bob Dylan, "Fragments - Time Out Of Mind Sessions (1996-1997): The Bootleg Series Vol. 17" erscheint als 5 CDs umfassendes Deluxe Boxset sowie als Standard-Version auf 2 CDs oder 4 LPs. Sie enthält in der Standardversion das Album "Time Out Of Mind" in einem 2022er Remix sowie zwölf ausgewählten Outtakes und Alternativversionen. Volume 17 der gefeierten Dylan-Reihe wirft 25 Jahre nach seiner Erstveröffentlichung einen neuen Blick auf das Meisterwerk "Time Out Of Mind" und zeichnet dessen Entstehung nach. Angefangen bei den bislang unveröffentlichten Song-Fassungen aus den 1996er Teatro-Sessions mit Dylan (Gesang, Gitarre, Piano), Daniel Lanois (Gitarre, Orgel), Tony Garnier (Bass) und Tony Mangurian (Schlagzeug, Percussion) bis hin zu (ebenfalls unveröffentlichten) Live-Mitschnitten aus den Jahren 1998-2001. Anfang 1996 begann Dylan, der seit der 1990er LP Under The Red Sky kein Album mit Eigenkompositionen veröffentlicht hatte, mit der Arbeit an neuen Songs. Von August bis Oktober ging er mit Daniel Lanois, der sein 1989er Album Oh Mercyproduziert hatte, ins Teatro Studio in Oxnard/CA, um dort Demos für eine mögliche neue LP aufzunehmen. Als die Songs im Januar des Folgejahres Form angenommen hatten, zog man ins Criteria Studio in Miami/FL um. Die Studiobesetzung wurde aufgestockt, und so fand sich in Florida ein illustrer Mix aus Session-Musikern und Mitgliedern von Dylans Tourband ein: Bucky Baxter (Akustikgitarre, Pedal Steel), Duke Robillard (E-Gitarre/Gibson L-5), Robert Britt (Martin Akustikgitarre, Fender Stratocaster), Cindy Cashdollar (Slide Gitarre), Tony Garnier (Bass, Kontrabass), Augie Meyers (Vox Orgel, Hammond B3, Akkordeon), Jim Dickinson (Keyboards, Wurlitzer E-Piano, Pumporgel) sowie die Schlagzeuger Jim Keltner, Brian Blade und David Kemper. Das Album "Time Out Of Mind", der schließlich aus diesen Sessions entstand, avancierte zu einem Dylan-Klassiker. Songs wie "Love Sick", "Can't Wait" oder "Not Dark Yet" wurden zu Lieblingsstücken der Fans. Mit "Make You Feel My Love" gelang Dylan sogar das Kunststück, dem Great American Songbook einen neuen zeitgenössischen Standard hinzuzufügen. Zahllose Künstler, darunter Billy Joel, Neil Diamond oder Adele, haben diesen Song gecovert. Bei den Grammy Awards 1998 gewann "Time Out Of Mind" in den Kategorien 'Album of the Year' und 'Best Contemporary Folk Album'.

"One Day" ist eines der energiegeladensten und komplexesten Alben der kanadischen Hardcore-Legende Fucked Up, obwohl es nur 10 Songs enthält. Fucked Up waren in der Vergangenheit eher für ihre epischen Auswüchse bekannt, von gewaltigen Konzept-Alben bis hin zu 12-stündigen Konzerten - es mag also überraschen, dass ihr sechstes Studio-Album ihr bisher kürzestes ist, geschrieben und aufgenommen innerhalb eines einzigen Tages - was dem Album auch den Titel gab. Man sollte nun aber nicht Spiellänge mit Substanz verwechseln: Der Sound der Band ist nur noch größer geworden, noch härter, mit noch dichterem Melodie-Dickicht. Das Album klingt vollmundig und unmittelbar, mit Musik, die brutal und leidenschaftlich rüberkommt, so wie sie nur Fucked Up machen können. Die Gitarren klingen gigantisch und die musikalische Abenteuerlust, die das epische, üppige "Dose Your Dreams" von 2018 kennzeichnete, ist auch hier sehr präsent. "One Day" ist ein unbestreitbares Werk der Zuversicht von einer Band, die weiterhin auf höchstem Niveau agiert und Musik macht, die garantiert ein Leben lang, und darüber hinaus, hält.

Clear Vinyl

"One Day" ist eines der energiegeladensten und komplexesten Alben der kanadischen Hardcore-Legende Fucked Up, obwohl es nur 10 Songs enthält. Fucked Up waren in der Vergangenheit eher für ihre epischen Auswüchse bekannt, von gewaltigen Konzept-Alben bis hin zu 12-stündigen Konzerten - es mag also überraschen, dass ihr sechstes Studio-Album ihr bisher kürzestes ist, geschrieben und aufgenommen innerhalb eines einzigen Tages - was dem Album auch den Titel gab. Man sollte nun aber nicht Spiellänge mit Substanz verwechseln: Der Sound der Band ist nur noch größer geworden, noch härter, mit noch dichterem Melodie-Dickicht. Das Album klingt vollmundig und unmittelbar, mit Musik, die brutal und leidenschaftlich rüberkommt, so wie sie nur Fucked Up machen können. Die Gitarren klingen gigantisch und die musikalische Abenteuerlust, die das epische, üppige "Dose Your Dreams" von 2018 kennzeichnete, ist auch hier sehr präsent. "One Day" ist ein unbestreitbares Werk der Zuversicht von einer Band, die weiterhin auf höchstem Niveau agiert und Musik macht, die garantiert ein Leben lang, und darüber hinaus, hält.

• To celebrate Kent’s 40th birthday (admittedly a month late, due to pressing times), we are releasing our first ever box set of singles. This is due to getting access to the Loma vaults and finding some previously unheard soul gems to augment the best of the soul dance tracks from the esteemed imprint.

• Starting with THE discovery of the soulful ‘20s we present LA soul group the Marvellos, whose ‘It’s Your Love That I Need’ – written by the great Willie Hutch – is a Motownesque dancer whose arrangements and melodies are so stunning we also issued the backing track as its instrumental B-side.

• The Invincibles were another fabulous Los Angeles outfit whose four Loma releases were ballads but two great dance tracks, the sublime ‘Heartstrings’ and the manic ‘Got A Thing Goin’’ showed they could really turn it up when needed.

• Ben Aiken’s ‘Satisfied’ is a stone classic Northern Soul dancer - finding the more subtle ‘If You Should See Her’ and ‘That’s All You Gotta Do’ in the vaults makes the Philly singer the best represented artist of the set.

• New York-based Carl Hall is another singer with a released classic - ‘Mean It Baby’ and a great unissued tape vault find – ‘Like I Told You’. The pair sit well together on their new 45 pressing.

• The Enchanters cut several tracks after they left Garnett Mimms; ‘Just A Little Longer’ is a great Drifters-sounding number which we’ve coupled with the beautiful ‘I’ll Find A Way’ by Bobby Reed.

• ‘See The Silver Moon’ by west coast girl group the Apollas would have wowed them at Wigan. The poptastic number has the perfect stomping dance beat, beloved of the Casino’s patrons. Alas it was not heard until 2012 when researcher and co-compiler Alec Palao unearthed the master tape. We paired it with Larry Laster’s terrific ‘Go For Yourself’ which shares the backing track of fellow Northern monsters ‘Lighten Up Baby’ and ‘Somebody Somewhere (Needs You)’, more than holding its own.

‘Living Rooms’ is a full-blooded debut of rich, playful, experimental pop from the artist Fe Salomon – full of unabashedly big songs and sumptuously big sounds. Fe’s soulful and arresting lead vocals weave amongst soaring strings and big band brass sections; clattering percussion and disjunctive rhythms; dirty electro synth and butchered guitar. A collaboration with producer and contemporary classical composer Johnny Parry, ‘Living Rooms’ is a true pop album with a distinct, exuberant and deeply generous sound.

Born in Northampton, Fe moved to London at 18 for a place at Theatre College; but soon left to concentrate on music and songwriting, falling quickly into the Camden music scene, and earning her a prolific career as a singer. Building on her diverse musical background and honing her unusual sonic style, this album has been percolating at the back of Fe’s mind for a long time. The perfect storm of personal and external factors thus created the moment to make it. ‘Living Rooms’ tells stories of multiple lives lived and lost

in the city, of friendships that meant everything and the characters you’ll never meet again, of transience and loneliness, and of getting by and moving on.

At the forefront of the album is an organic and fiercely honest lead vocal performance. However, Fe permits her voice to be twisted and distorted into the fabric of the instrumentation. The un-doctored lead vocals are frequently haunted by angels and demons, created through Fe’s uninhibited willingness to this manipulation, and capturing the more visceral emotions within the expression of the human voice.

‘Living Rooms’ navigates a wide spectrum of sounds and emotions. Take album opener “Polka Dot”, a track that mixes emotive vocals with an avant-garde alt/pop production to conjure a cut as stylish as it is shrouded in shadowy mystique. A track “about mourning innocence, and the darkness that’s picked up along the way, with an ‘up yours’ sarcastic tone, and not wanting to grow old”, it sets the scene for a twisting collection that up-ends expectations at every opportunity.

Elsewhere, the chunky hooks of “Super Human”, the sci-fi/country/big band of “Wired of Caffeine”, or the intimately sung vocals and Vaughan-Williams-esque string sections of “Taxicabs”, all contribute to an album that evolves like a rich and constantly surprising tapestry.

Although the conception of the album was a frenzy of wild experimentation. The album is faithful too, and celebratory of many joyous pop traditions; but searches for ways to reinterpret the familiar. And no less so than on the off-kilter centre-piece “Quintessential England”. Through wry lyricism and vivid imagination, the track paints a lucid, if lonely, depiction of a life lived out in the sticks; one that ultimately arrives at the conclusion that perhaps “the grass isn’t always greener”.

Gifted with the kind of superpowers that have blessed Alison Goldfrapp with her unwavering glam-pop allure and Stevie Nicks with that invincible soul, Fe Salomon’s empowering first release will prove she’s cut from the same cloth and ready to be your newest musical hero.

"Luna's 1992 debut (originally released under the short-lived band name Luna 2 for contractual reasons) got most of its press due to Dean Wareham's former position as leader of the critically adored Galaxie 500, but his new cohorts Justin Harwood (bass) and Stanley Demeski (drums) were fresh from stints in the Chills and the Feelies, respectively. A rarity among albums by this type of alt-rock supergroup, Lunapark sounds like an appealing conglomeration of some of the best aspects of all three participants' former bands.
The album spawned two college radio hits, the deliciously depressive 'Slide' (with its memorable opening line, 'You can never give the finger to the blind') and the jittery, propulsive 'Slash Your Tires,' but nearly all of the 12 songs have memorable guitar hooks, stick-in-your-head choruses, and a newfound sense of humor in Wareham's deadpan lyrics

French pianist Melaine Dalibert, known for his releases on contemporary music labels such as Another Timbre and Elsewhere, his work with David Sylvian, Ensemble 0, Sylvain Chauveau, and world premieres from Gérard Pesson, Giuliano D'Angiolini, Michael-Vincent Waller, Tom Johnson, has signed with FLAU in Japan to release a new album Magic Square.

Across the album's eight tracks, the French pianist and composer takes listeners on a "fantasy journey". Travel is at the heart of Magic Square, but not of the physical kind. Instead, his emotive and intriguing piano pieces inspire inward travel and daydreaming, reflecting the past two years of pandemic and introspection.

Having received his training in Rennes and the conservatories of Paris, Dalibert has a musical background that is naturally entrenched in the technical aesthetic of classical music. However, experimenting with algorithmic ways of writing and other mathematical concepts such as fractals, Dalibert's music combines emotion and logic for captivating results. His music has been played on BBC Radio, Radio France and NTS Radio, among others.

“Melaine Dalibert, himself a composer whose works similarly deal in patience and space, is an ideal interpreter « As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language. » (Mark Medwin, Dusted Magazine, juillet 2021) of such beguilingly modest music, and this sensitive recording lets every detail resound.”
Steve Smith — The New-Yorker

“compositions by French pianist Melaine Dalibert, is a warm stream of harmonious ripples that echoes the graceful postclassical music of Max Richter, Ólafur Arnalds, Jóhann Jóhannsson, etc, but the economy and precision, combined with Dalibert’s calm hands on the keys, put it on a whole other level of beauty.”
Derek Walmsley — the WIRE

“As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language.”
Mark Medwin — Dusted Magazine

“Dalibert is one of the most effortlessly talented and subtlety creative pianists at work today”
Roger Batty — Musique Machine

“Au-delà des genres et au dessus de ce monde, le pianiste français Melaine Dalibert continue d’échafauder une œuvre d’un autre temps, d’un futur à construire avec une musique qui doit autant à Federico Mompou qu’à l’Acousmatique. Night Blossoms, son dernier disque en date (avec la participation de David Sylvian sur deux titres) est une pure merveille !”
Greg Bod — Benzine Mag

“La musique de Melaine Dalibert, héritière de cinquante ans d’expériences minimalistes, correspond à l’impérieux besoin du public d’aujourd’hui de cultiver un hors-temps et de se plonger au cœur du son. Elle y répond parfaitement”
Guillaume Kosmicki — Res Musica

“Comment des pièces reposant sur des constructions aussi abstraites et rigoureuses peuvent-elles susciter autant d’émotion à l’écoute ? La musique de Melaine Dalibert projette l’auditeur dans un univers où l’assommant temps quotidien n’a plus cours. Plus de mesure, plus de début ni de fin : pour qui accepte de se laisser prendre, Night Blossoms fait perdre tous les repères du commensurable”
Guillaume Kosmicki — Hémisphère Son

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.

One of the most incredible things about great music is that it has the ability to take the
listener to a place they’d rather be. A compelling song can carry someone back in time to a
treasured memory, or transport a person to a spectacular western prairie they’ve only visited
in their dreams. Ned LeDoux’s music has that kind of power. As a songwriter, he has a knack
for bringing people, places and emotions vibrantly to life with his insightful lyrics, and warm,
strong voice that makes him soundlike a beloved friend you always want to hang out with.
Those gifts are fully on display on LeDoux’s new album Buckskin.

2 LPs-set (3 sides)
Recorded in Paris, November 22 and December 17, 1958.
Original issues: LP Fontana 680.202 ML & EP Fontana 460.642 MR.


”I’ve never played for such an audience” declared Art Blakey in tears. lt was November 22nd, 1958, and he’d just come offstage after one of the “Jazz Wednesdays” concerts at the Paris Olympia. For a first appearance by the “Jazz Messengers”, they’d made quite an impression. Not content with pulling a huge crowd off the Boulevard des Capucines (the demand was so great that a second concert had to be staged on December 17th), they’d converted everybody to the “Hard Bop” religion in two sets where, united in a kind of exultant communion, jazzmen, jazzophiles and curious bystanders alike had been crushed together in high spirits, paying no attention to the presence of Brigitte Bardot escorted by Sacha Distel. That night Blues March had almost replaced the Marseillaise anthem (and Moanin’ the Oignons). Yet none of the Messengers had ever been to Paris. They’d get to that later, and then some, but for the moment they were perfect strangers. Not only strangers to the public, but unknown even to a sizeable group of jazz fans : the next issue of “Jazz Hot” magazine (most of it devoted to them) arrived like an invasion by the carabimeri… the blaze lit at the Olympia had gone out, of course, and Blakey had moved into the “Club St. Germain” to light others; there, each of his gigs could have been a remake of the famous cabin scene in the Marx Brothers’ “A Night At The Opera”…

Among the Messengers’ “greatest hits”, only Moanin’ came close to Blues March. Constructed in the manner of a gospel, with the piano in the role of the preacher, and the orchestra that of the congregation, punctuating the sermon with shouts of approval, the theme was by pianist Bobby Timmons, whose fiery spirit can be explained by his educayion: “… the fact I played rhythm ‘n’ blues had a great influence on my style, and for me, it’s the foundation of jazz.” Moanin’ had sent the Olympia fans Into transports of delight, and even excited the curiosity of Hugues Panassié, who chanced to be passing by (“Bop”, in any form, being hardly his cup of tea) : he was prompted to go backstage and ask what it was he’d heard… Decidedly, in 1958, the Jazz Messengers were miracle-workers!

Subterranean Jungle is the seventh studio album by the American punk rock band the Ramones, released by Sire Records in February 1983. The album appealed to a hardcore punk rock style rather than featuring several pop-oriented pieces; this is due to the fact that guitarist Johnny Ramone received more leeway with steering the overall genre with his hard rock influenced riffs.
40th Anniversary of the seventh Ramones album. Subterranean Jungle marked a return to the roots of the band. Includes "Time Has Come Today.

UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’.
Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named.

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.

• Pre-Fuzztones
• Psychedelic tunes were where Tina Peel were at.
With a handful of songs that would re-emerge later on Fuzztones albums
• 3 colour black, white and pink vinyl
• Only 500 copies pressed
• Previously only issued in Italy 20 years ago
• Liner notes by Rudi Protrudi.

Korea Town Acid (Jessica Cho) is wildly creative. She is an electronic artist at her core, but that barely scratches the surface of what her sound encompasses. Citing influences as UK future bass, glitch, jungle, and alternative hip hop, KTA fuses these sounds with concepts of movement and texture, to create multi-faceted works that go beyond the club. Born in Seoul, Korea, Toronto based DJ/Producer Korea Town Acid maintained a fierce but mindful schedule amidst pandemic induced lockdowns. With the ease of restrictions and the gradual return to a version of normalcy, KTA continues to thrive, without hitting pause. In 2021 she released her full length LP Metamorphosis, a self produced ten-track record, featuring collaborations from Toronto based artist DESIIRE, U.K based Korean pianist and rapper Pianwooo, Seoul rapper PNSB, L.A beatmaker Dreamdave, and New Jersey MC, L.J The Alien. She swiftly followed that up six months later with the release of Cosmos, another self produced full length LP that boasts the 2022 Juno Award nominated track, ‘Sobriety’. She also contributed to Cadence Weapon’s 2021 Polaris Prize winning record Parallel World, producing the track ‘Play No Games’. Despite touring restrictions in 2021, KTA delivered a notable hardware set as part of Hinter Live, showcased at POP Montreal, and continued her monthly online residency at The Lot Radio in New York. Korea Town Acid released her latest LP, Elephant in The Room, via URBNET. The twelve track self produced and mixed album, was mastered by East End Mastering in Toronto, ON, and features a lineup of Canadian guest collaborators, including Zander Miller, Khrono K, and Hood Joplin. In anticipation of the release, KTA has been actively securing live performance sets to showcase new tracks, with recent appearances at Vancouver’s Wonderment Festival, Montreal’s MUTEK Festival Toronto’s Summer of Seoul festival at the TIFF Atrium, Peprally, and Promise Cherry Beach series

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!

The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism. “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human. It really hits a nerve, and it utterly immerses me to a point where I can’t move.” The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it. Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by. “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.” Never more so than on the first single, ‘The Golden Age’, which is the album’s centrepiece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it. Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest. This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record. “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.” The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ hidden pictures in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.” He’s right, it perfectly sums up the conflict between Romanticism and 21st century life. “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.” With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.1.Ballerina 2.Metamorphosis 3.The Golden Age 4.Sunday Kid 5.So To Speak 6.The Lot

Motörhead veröffentlichen ihr 23. (und letztes
Studioalbum) Bad Magic von 2015 noch einmal in einer
erweiterten Version.
"Bad Magic: SERIOUSLY BAD MAGIC" beinhaltet
frisches Bonusmaterial und zwei bisher unveröffentlichte
Tracks: "Bullet in Your Brain" und "Greedy Bastards",
sowie eine glanzvolle Live Performance von der Bad
Magic Tour beim gigantischen Mt Fuji Festival in Japan
2015. Als Bad Magic 2015 veröffentlicht wurde, tat es
einen gewaltigen Schlag und alle, die meinten Motörhead
wären zahmer geworden, wurden eines Besseren belehrt.
Das Album erreichte in Deutschland auf Anhieb die Top 1
Chart Position. Producer Cameron Webb hatte seinen
Anteil daran; er überzeugte die Band, das Album in den
NRG North Hollywood, Maple Studios und Grandmaster in
Kalifornien live aufzunehmen- zum allerersten Mal in der
Ära Kilmister/Campbell/Dee.
Eine der versteckten Juwelen des Albums auf "Bad
Magic: SERIOUSLY BAD MAGIC", ist Motörheads
berühmteste, international gefeierte Version des David
Bowies Klassiker, "Heroes". Ursprünglich sollte der Song
auf Bad Magic (2015) erscheinen, wurde jedoch in der
letzte Minute wieder heruntergenommen. Jetzt aber fand
"Heroes" seinen Platz auf "Seriously Bad Magic".

"Just when you thought it was safe to go back in the bassbins, Mysticisms brings the latest in its Dubplate series. After the success of his first digital dubb excursions on the version, Persian returns with a second 10” of reggae inspired electronics, covering Bass, Breaks, Digidub and now also, Jungle.

Taking no prisoners with the massive opener Survival Dub, Persian marries classic breakbeats and toasting to bouncing, dance floor effect. THE party starter. This is followed by Smoke Mari, a looping steppas of FX and breaks to lay down the Dubplate clash.

As ever the link between rave, breaks and sound system culture is explored, this time with the Roots’n’Lovers opening of There Is No Love giving way to a Junglist drop, before risin’ to a beautiful soul sermon.

Finally, taking it all down, tings wrap with the deep, sampledelic dub of Zatoichi’s Troubles. With a bass to destroy many a speaker, it’s lanquidity morphs from the EP’s hedonism of sound clash styles to a gliding “tokers delight”.

Smoke the Mystery. "

Samosa Records heads into the autumn with a crackling and enchanting EP from one of the masters of funky grooves and dusky beats, LTJ EDITS.

Opening the EP on the A-side, we have the perfectly pitched ‘Somebody’. Tight bassline merges with church- like organ chords, a sharp guitar riff and a soulful vocal that you feel in deep your bones. Meticulously constructed, this track will resonate with anyone familiar with LTJ Edits’ work (and newcomers alike).

A2 brings us the title track, Mr Man. This masterpiece has everything you want from a slow, thumping groove. At 98 bpm, it’s a trademark LTJ Edits smackdown, but oh boy - it has so much more in the trunk. Mesmeric, hypnotic - the familiar smooth mid-range tenor vocal gives you goosebumps on your goosebumps. An instant classic.

The B side kicks things off with mid-tempo stomper ‘Give All’. Make no mistake, this is LTJ Edits in the kitchen cooking soul food with a hint of blues and lashings of rare groove. A rolling, powerhouse of a track that also delivers a message to the masses, you’ll have this one thumping out of your speakers for a long, long time. Everybody needs it. Got to have it.

Finishing off this outstanding release is the cherry on top of the funky cake - simply entitled ‘James’. As soon as the guitar riff and bass starts, you get the meaning behind the title. This is all about the raspy, unmistakeable vocal, chanking guitar and funkadelic, bluesy bassline. A rhythmical, funk infused JB bath bomb from start to finish. After your first listen, you’ll want to go straight back on this ride.

The Mr Man EP is a serious chunk of vinyl and LTJ Edits has found a perfect home at Samosa Records. You have this in your record box and you’re ready for anything.

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

Philly’s own Chained Bliss set tongues a-waggin’ back in 2019 with their Stained Red cassette EP, gathering more than a few comparisons to the Wipers’ early racket in the process. Well, now they’re back with a debut album that seems to have skipped right ahead from Is This Real? to Over The Edge: this self-titled LP has all the gut-punching ramalama, knockabout guts’n’glory of that first tape, with added layers. Melodic guitar lines come perilously close to jangling over crunching power chords, while furiously yelped choruses give way to sumptuously put-together breakdown sections that catch you off guard and kick you in the shins before legging it down the street. Chained Bliss clearly love scrappy, skatey garage rock (echoes of Agent Orange’s Living In Darkness abound) as much as they love pushing that raucous clatter into something spacious - the meditative sections that flow effortlessly into absolute ripper Pillars Of Abuse are as unexpected as the thoughtful but head-spinningly energetic sections that bring Creative Seizure so thrillingly to life. Other times they’re just as happy to keep you careening towards the pit with two-minute bangers, but that’s the beauty of this record: it’s never smarter than when it’s playing dumb, and the rest of the time it’s just pretty damn smart. Here’s a challenge: can you listen to Ominous Life’s gnarly pop without raising those fists of yours skywards and landing a firm thump on the air? Or Drifter’s swaggering stomp? Or, or, or… ahhh hell, you get what I’m saying here. Every single cut slays, every single hook snags itself on your brain. You’ll come back for more, and more, and more. Are Chained Bliss your new favourite band? Well, gee, we’ve never met and I don’t know what you like and it’s not for me to say… but on the other hand, yes. Yes, they are. They’re heading straight for your heart and they ain’t budging. Will Fitzpatrick

FAFO RECORDS Welcomes Camilo Gil from Chile and ONE+1 from Spain to the artists' family.

We are very happy to present you the Privilege Ep ..... in loving memory of Octavio Gil, a fanatic music lover, and father of Camilo Gil.

The EP is already a superlative category as it contains two original tracks plus Dubbie House like PRIVILEGE, and a powerful remix, from the golden child of Frankfurt as the great Sascha Dive is in the legend category, with his groove and deep house.

And the other side, we have already immersed ourselves in the house of law, with Venganza Poetica that makes you dance at any time of the day in its original mix, and needless to say that the remix, by a creator of Detroit's first generation of techno, the same as Juan Atkins - Derrick May - Kevin Saunderson - Shake Shakir - Blake Baxter, and we have in the FAFO family the legend in life like Santonio Echols, from the motor city.

A very creative ep that delivers, dance and culture at the same time.

FAFO Records All rights reserved.

Triple coloured vinyl version (Each disc is a different colour) of the double CD that came out on Cherry Red in 2021 Presented in Tri-fold gatefold sleeve with 16 page 12x12 colour booklet, poster & photograph.
ONLY 350 COPIES WORLDWIDE
Among the first crop of Creation Records bands in the mid-1980s, THE LOFT seemed the most likely to break through. Following the success of The Smiths, guitar-based independent pop was in vogue, Alan McGee’s Creation label was turning heads – its bands blending 60s psychedelia, the melodic end of punk and a new sound which would soon be immortalised on NME’s C86 cassette. And in this London quartet, Creation had their answer to bands like Television, The Only Ones or early Modern Lovers, offering taut, off-kilter songs with an irresistibly deadpan cool.
Sadly, after just two singles, 1984’s downbeat debut ‘Why Does The Rain’ and the punchier sequel, ‘Up The Hill And Down The Slope’ – an indie hit which the band performed live on TV show The Oxford Road Show, The Loft dissolved, with various members founding new bands The Weather Prophets, The Caretaker Race and The Wishing Stones. They left behind seven studio tracks, a BBC Radio 1 session for Janice Long and one track from a Creation LP documenting the scene’s roots in small club The Living Room.
However, The Loft’s legend endured, eventually prompting a reunion in the early 2000s with all four original members – singer/songwriter/guitarist Pete Astor, guitarist Andy Strickland, bassist Bill Prince and drummer Dave Morgan. Alongside various well-received live shows, that led to a new single, ‘Model Village’ (2006) and more recently a session for Gideon Coe on BBC 6 Music (2015). The Loft’s reputation as founding fathers of a new breed of mid-80s indie pop continues to grow to this day, with the band often cited as an influence.
Compiled and coordinated by the band, Ghost Trains & Country Lanes expands on previous retrospectives of The Loft, adding those reunion recordings (including three previously unissued tracks), the Gideon Coe session and several live recordings from that historic performance at The Living Room back in 1984. (including many exclusive songs which were never recorded in the studio).
With new sleeve-notes by Danny Kelly, this is the definite tribute to The Loft

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 fifth release on Blue Matter is a debut album from a guy whose performance and writing would easily give the impression that he is a seasoned campaigner. The confidence and the musicality are of a standard rarely heard. Michael Cullen Murphy was born and raised in Nashville, and moved to the UK when he was 11. His father was friends with the great Peter Rowan and many other country and folk artists, and since childhood, understandably, Mike has been dabbling in folk and country. However, Mike is better known as a reggae specialist, and has kept his special musical talents extremely quiet. Even though we had been friends with Mike for years, we had no idea he was an accomplished singer, player and songwriter, which is why we were so amazed when he played us the almost completed album. Not only does he have a great singing voice, but his songs have an impressive depth and sense of melody. If one had to put some kind of label on the music contained within this record, it would probably contain the words 'Americana' and 'folk’, but that doesn't tell the whole story. There are touches of classic singer/songwriter and psychedelia too. Suffice to say, you need to give it a listen and decide for yourself. Blue Matter are really proud to be able to release this fabulous debut album. We think Mike Murphy certainly has all the necessary credentials to make his mark. Will it happen? Who knows? Your call, folks.

Mitka is a sound engineer and musician from Ekaterinburg, who mainly works in the film industry. We’ve contacted him after listening couple of his tracks on the web, his music amazed us, but we didn’t knew anything about Mitka himself. He doesn’t play live shows, doesn’t post on social media and in general it feels like he has an ascetic lifestyle.

For “Sound2” album Mitka has been recording drums in the forest, because “acoustic there is better than at home” and he didn’t had money for a studio. He made a guitar by himself because regular fret position is not for him, many of his compositions are played in quarter tone. The titles of the songs on the album are just Mitka’s notes, for understanding harmonies and tunings.

“Sound2” gives you the mystical and cinematic feeling, but at the same time sounds warm and familiar. While listenin this album you can imagine your walk through the green forest covered with fog. You might not know the way out, or how did you get there, but your mind can stay quiet and calm, because Mitka will be your guide.

THE FRIIMEN MUZIK COMPANY (also known as FRIIMEN) was formed after the Biafran war in 1973-1974 in the town of ABA in the eastern part of Nigeria. Aba was the Number 1 Music Hub in the entire Eastern Region of Nigeria. While bands and artists like ‘Ofege’ and ‘Fela Kuti’ ruled the LAGOS scene, bands like ‘Friimen’ and ‘The Apostles’ were ruling the ABA scene. Before forming the band, most of its members were already working together as freelance session musicians backing up solo artists on several recordings and concerts (or were playing in military bands that gradually became civilian bands because the war had just ended). FRIIMEN members’ credits were numerous and they played, wrote or performed on recordings from well-known acts like The Funkees, The Jets, The Apostles…and countless others. When they started concentrating on writing their own songs, the group instantly took off and became an overnight hit that resulted in them doing multiple successful nationwide tours. FRIIMEN would go on to record three albums: Free Man (1976), We Can Get It On (1978) and Merry Man (1979). All three albums were released on the Aba based label Anodisc Records (THE key label to be on if you wanted your music heard and out there), Anodisc also released hit records by ‘Sweet Unit’ and ‘Voice Of The Cross’ but The Friimen Muzik Company was the label’s signature band. The album we are presenting you today (Free Man from 1976) was recorded at the famous Decca Studios in Lagos and comes swinging right out of the gate with a set of no less than EIGHT monster tunes. Expect nothing less than crazy afrobeat and over the top melodic funk influenced by a wide array of artists (both local and international). Mesmerizing solos, captivating grooves, impeccable sequences that turned many heads…everything you need to get a dancehall into a complete uproar. The musicians’ skills are just plain incredible! FREE MAN is a quintessential record that every serious collector or fan needs to have in his/her collection.

With the recent release of "Don't Let The Sunlight Fool Ya," the chart-topping full-length album from NYC reggae legends The Slackers, we wanted to bring you two more brand new songs! We're giving them the best treatment possible by pressing them on 12" UV digitally printed vinyl. "New York Berlin" is commentary on friendship during changing times in center cities. Both friends and neighborhoods were treasured despite their flaws but both ended up going away. The moral of the song is to remember to love everyone around you while they are around you. Meanwhile, "Tell Them No" is a song of empowerment and finding one's inner strength through adversity. Based on trombonist and vocalist Glen Pine and his nephew's real-life struggles with bullying, the song encourages its listeners to rise above the fray and not to let detractors get the best of you. Stand up for yourself, fight back, then allow yourself to heal. When listening to these two tracks, it's easy to see why The Slackers have been going strong for over 30 years. With unparalleled charm and wit, these two songs are yet another example of the timeless songs this incredible and special band can craft! Limited to 1500 copies -get one whilst you can!

Bellowhead re-connected online during the lockdown in 2020 and for the
sheer fun of it remotely made and released 'New York Girls At Home' - all
from their respective homes around the UK
This unplanned performance was warmly received and ignited another idea for
the band to reunite - in person - for a full length recorded show at a mansion
house just outside London.This one- off performance was broadcast online in
December 2020, selling over 10,000 tickets and featuring a host of Bellowhead
favourites, including New York Girls, Roll Alabama, London Town and Roll the
Woodpile Down.

Jazz Trumpet Session is one first connected discs of Jazz Collection's.
Grouped by instrumental theme, this jazz compilation brings together the biggest names in jazz: Miles Davis, Chet Baker, Lee Morgan...
The podcasts on the history of jazz offered in the Vinyl application (on IOS or Android) are exciting.
And if Jazz is in you, you'll love to continue the experience with the sequel to Jazz Collection by Vinyl & Media

Led by the dynamic Frederick ‘Toots’ Hibbert, the Maytals are rightly regarded as one of the greatest singing trios in the history of Jamaican music. During an incredible recording career that spanned six decades, the group scored hit after hit on the island’s music charts, with their inimitable, unique blend of fervent gospel and downhome country seemingly impervious to changes in styles and fashion.
The best of their work, however, is widely regarded to be their rock steady and early reggae recordings for Leslie Kong’s revered Beverley’s Records during the late Sixties and early Seventies; a period that spawned groundbreaking work such as ’54 46’, ‘Monkey Man’ and ‘Do the Reggay’, to name but a few.
The Essential Artist Collection brings together the very best of their output from this period, including the above tracks, along with numerous other classics, such as ‘Sweet And Dandy’, ‘Pressure Drop’ and ‘Night And Day’.
Available as a 28 track double vinyl LP and a comprehensive 2CD compilation, both collections superbly demonstrate just why the unforgettable music of the Maytals will continued to be loved and revered for many years to come.

Sacrifice is Motörhead’s 12th studio album and was originally released on 27th March 1995. It is the second, and last album to feature the four man line-up of Lemmy, Phil Campbell, Würzel and Mikkey Dee. Lemmy, proud of the album is quoted as saying “This is a very good album. Put it in your system and your girlfriend’s clothes fall off.” The title track was still a live favourite up until the band came to an end. BMG are reissuing this album as orange vinyl and digipak.

2022 markiert das 20-jährige Jubiläum der Symphonic-Metal-Titanen EPICA. Nach fast 1 Million verkauften Alben weltweit und über 300 Millionen kombinierten Streams auf allen digitalen Plattformen hat die niederländische Band ihr Talent, Metal mit einzigartigem Operngesang zu kombinieren, unter Beweis gestellt.
Jetzt gibt es nun die Neuauflagen der EPICA Alben „The Phantom Agony“, „Consign To Oblivion“ als Expanded Version (inklusive 3 und 4 Bonustracks) und „Design Your Universe“ (Zum Ersten Mal als „Remixed Version“ auf Vinyl) , die zu Meilensteinen des Genres und Raritäten auf dem physischen Markt geworden sind.

For nearly 60 years, John Cale has been reimagining how his music is made, sounds, and even works. MERCY, Cale’s first full album in a decade, moves through true dark-night-of-the-soul electronic torment toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.

John Cale announces MERCY, his first new album of original songs in a decade, out January 20th via Double Six / Domino. For nearly 60 years, or at least since he was a young Welshman who moved to New York and formed The Velvet Underground, Cale has been reinventing his music with dazzling and inspiring regularity. There was the bewitching chamber folk of Paris 1919 followed instantly by the gnarled rock of Fear, the provocative and spare song cycle Music for a New Society followed more than 30 years later by mighty and unabashed electronic updates. Once again, here is Cale, reimagining how his music is made, sounds, and even works. His engrossing 12-track MERCY moves through true dark-night-of-the-soul electronics toward vulnerable love songs and hopeful considerations for the future.

On MERCY, Cale enlists some of music’s most curious young minds: Animal Collective, Sylvan Esso, Laurel Halo, Tei Shi, Actress. They’re only some of the astounding cast here, brilliant musicians who climb inside Cale’s consummate vision of the world and help him redecorate there. Cale turned 80 in March, and he’s watched as many peers have passed away, particularly during the last decade. MERCY is the continuation of a long career’s work with wonder. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.



The writings and recordings that shaped MERCY piled up for years, as Cale watched society totter at the brink of dystopia. Trump and Brexit, Covid and climate change, civil rights and right-wing extremism—Cale let the bad news of the day filter into his lines, whether that meant contemplating the sovereignty and legal status of sea ice melting near the poles or the unhinged arming of Americans. Lessons from a life (still being) richly lived floated to the fore, too, nodded to on the previously released “NIGHT CRAWLING.” If we’re always regretting our past, aren’t we conscripting ourselves to permanent disappointment?

During “STORY OF BLOOD,” after the piano prelude gives way to a frame-rattling beat and synthesizers that feel like sunshine splashed across a snowfield, the voices of Cale and Weyes Blood’s Natalie Mering slide past one another, two phantoms trying to find a partner amid the modern din. “Swing your soul,” they both sing in aspiration. In the final verse, Cale remembers this existence is not just about himself. “I’m going back to get them, my friends in the morning. Bring them with me into the light.” The accompanying video by Emmy-winning director Jethro Waters is a mix of disturbing and serene featuring both Cale and Weyes Blood. Its deep tones and religious images emphasize the track’s dark, spiritual mood.

Cale elaborates: “I’d been listening to Weyes Blood’s latest record and remembered Natalie’s puritanical vocals. I thought if I could get her to come and sing with me on the ‘Swing your soul’ section, and a few other harmonies, it would be beautiful. What I got from her was something else! Once I understood the versatility in her voice, it was as if I’d written the song with her in mind all along. Her range and fearless approach to tonality was an unexpected surprise. There’s even a little passage in there where she’s a dead-ringer for Nico.”

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

Red Vinyl

Die legendäre 'Rhythm Revolution' LP von Ferry Djimmy aufgenommen für die kommunistische Revolution in Benin gilt als ein einzigartiges Zeugnis des Afrobeat. Neben Anspielungen auf Henrix, Kuti und James Brown hat das musikalische Erbe von Ferry Djimmy etwas wirklich Einzigartiges. Die LP erscheint auf rotem Vinyl und erstmal in der gleichen Form wie bei ihrer Erstveröffentlichung.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

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.

2022 markiert das 20-jährige Jubiläum der Symphonic-Metal-Titanen EPICA. Nach fast 1 Million verkauften Alben weltweit und über 300 Millionen kombinierten Streams auf allen digitalen Plattformen hat die niederländische Band ihr Talent, Metal mit einzigartigem Operngesang zu kombinieren, unter Beweis gestellt.
Jetzt gibt es nun die Neuauflagen der EPICA Alben „The Phantom Agony“, „Consign To Oblivion“ als Expanded Version (inklusive 3 und 4 Bonustracks) und „Design Your Universe“ (Zum Ersten Mal als „Remixed Version“ auf Vinyl) , die zu Meilensteinen des Genres und Raritäten auf dem physischen Markt geworden sind.

Tyranny and Mutation is the second studio album by American hard rock band Blue Öyster Cult, released on February 11, 1973, by Columbia Records. The album was recorded at the Columbia Studios in New York City during the year before and was produced by Murray Krugman and Sandy Pearlman. On May 12, 1973, the album peaked at #122 on the Billboard 200.

The song “Baby Ice Dog” features lyrics by singer/poet Patti Smith (who was keyboardist Allen Lanier’s girlfriend at the time), who would make several lyrical contributions to the band’s repertoire during its career. The song “The Red & The Black”, with lyrics referencing the Royal Canadian Mounted Police, is a renamed, re-recorded version of “I’m on the Lamb But I Ain’t No Sheep” from the same-titled debut album. The song was later covered by the Minutemen and Band of Susans.

Celebrating its 50th anniversary, Tyranny and Mutation is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.

The American-based funk/disco band Heatwave formed in 1975 and its lineup originally consisted of Johnnie Wilder Jr., Rod Temperton, Roy Carter, Mario Mantese, Ernest (Bilbo) Berger and Eric Johns. Their most popular hits include “Boogie Nights” and “Always And Forever”, which both feature on the 1976 debut album Too Hot To Handle. “Boogie Nights” charted at #2 on both the UK Singles Chart and the Billboard Hot 100 and was certified Platinum by the RIAA. The track was covered many times, including by KC and the Sunshine Band, Will To Power, 911 and The Weather Girls. The album Too Hot To Handle is produced by Barry Blue, who also produced for Andrea Bocelli, Diana Ross, Celine Dion and The Wanted amongst others.

Too Hot To Handle is available on vinyl for the first time as a 2LP expanded edition, featuring 8 bonus tracks, including 2 alternative versions of their disco classic “Boogie Nights”. This 2LP-set is available as a limited edition of 1000 individually numbered copies on pink & purple marbled vinyl.

Double vinyl LP pressing. Wagram music present a release chock-filled with jazz tunes that have been appropriated and live on in the sample-heavy world of hip-hop! Includes tracks by Nina Simone, Bob James, Doris Day, Billie Holiday, Dinah Washington, and many others.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

RAMPAGE’s Veil of Mourn is superlative in every sense. There’s a distinct ruggedness to the band’s ceaselessly shifting style of thrash. Mind you, NOT necessarily “rawness” – although the album’s production certainly tends toward the rough – but RAMPAGE’s execution eschews the super-clean sharpness that thrash metal was largely heading toward in the post-Master of Puppets era. With form meeting content, the power-trio’s songwriting similarly takes all sorts of labyrinthine paths short of being qualified as “tech,” racing around and restarting with sometimes-maddening fury. Hooks thankfully abounded, and RAMPAGE’s attack undeniably possessed a death metalled underbelly not unlike Dark Angel or aforementioned Oz cult icons Hobbs Angel of Death. With that songwriting often reaching a fever pitch of diabolism and all three members barely keeping that fury in check, Veil of Mourn becomes a palpitating experience, a veritable ‘80s horror movie turned into a thrash record. The creepy cover art only heightened this sensation.

Tardam Records was born out of a collaboration between the Southern Italian City of Taranto at the top of the Puglian isthmus and Amsterdam, the far more northerly metropolis. The label was founded by DJ Goffredo Santovito and musicians Fabrizio Carrieri and Mikel Van Der Meulen. They were passionately motivated to release the music of a select set of European groups that were capturing a new sound in retro soul and R&B. Over the next four years they released nine singles from groups including the Mighty Typhoons, The Spinshots, The Ska related Uppertones and the raw R&B sound of the Working Voodoo Club, which resulted in dance floor winners, rare 45s and many great moments.

In celebration Acid Jazz asked their friends from Tardam if they could release a compilation of their work, and when they said yes, the label commissioned an exceptional mid-Century style illustration by Dutch illustrator Emanuel Wiemans to wrap it all up in.

After a long lockdown and moving to Berlin, the label is back with the next release on Lost Control 2097. They've been waiting for too long to release this record but it's finally here. And OH, it was worth the wait. Salford's very own 'The Fly Insect' (a lot will know him as Johnny Abstract in the Bohemian Grove era) has amassed a large silo container worth of radioactive mutant funk that he's been holding onto for a long while, literally 100 years. Lost Control have been lucky enough to open the taps on this Fly tanker and this EP/mini album is just a slippery snippet of the the sub-aquatic machine-musik. There is 6 tracks of dripping 90s.......the 2090s; ranging from cybernetik techno to ambient electro and back straight at it with heavy robotics. There is one emotional monster of a moment called '12 (Acresfield)' which is a tribute track to the late great Dave Ball aka D-Ball (another electronic legend from Salford). It's been getting repeated plays on our NTS show for good reason. But Decay is the lead track, AND LEAD US IT WILL...into the utter depths of another Fly based multi-verse. Don't sleep on your chance to grab Fly history and don't say so we didn't warn ya. Limited to 300 copies. Digital will also be available for those not wanting wax. This is one for the all the mutants out there. Stay Bzzzzzzttttttttttttttt!

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.

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

Reissue of Amédée Ô Suriam's banger 'Hot Shot' in editted form, comes with two very dope remixes by 'Manoo'.. Sourced from the master tapes and properly remastered!

Amédée Ô Suriam was one of those flamboyant souls touched by grace. Percussionist, author, composer, singer, stylist, sculptor, the Martiniquan put his divine inspiration at the service of a hybrid and visionary creation. His sudden death in 1992, while in his thirties, left behind him "Tension Hot-Shot", his only solo release from 1989. A resolutely avant-garde track, whose fusion of traditional African and Caribbean music with the beginnings of the house movement in Europe is underlined by the subtitle "Afro House" on the A side of the EP, a term that was barely used until then. It is this mysteriously precursory track that Chineurs de House has found, remastered and reissued today, finally shedding light on the fascinating work of an artist who had fallen into oblivion.

Vocals (Tension Hot-Shot) : M.C. Kann, Amédée Ô Suriam & Marie-José FA
Chorus-Keyboard (Tension Hot-Shot) : Luther Pérau
Chorus (Tension Hot-Shot) : Prosper St-Aimé, Rémi Laposte
Synth-Bass (Tension Hot-Shot) : Fred Montabord
Saxophone (Tension Hot-Shot) : Pietro Lacirignola
Structure (Tension Hot-Shot) : Allan Dee, J.C. Broche

Mastering : Perception Mastering
Remix (Tension Hot-Shot) : Manoo
Remix (Laissez Yo) : Jonquera
Remix (Roulé) : Manoo

Written & Composed by Amédée O Suriam

Recto picture : Rail Production
Verso picture : Bruno Resdedant
Graphic Design : Patrick Richard re-arranged by Clara Carpentier
Stylists : Joseph Zim & Amadéus

Special Thanks
Joëlle Suriam, Baptiste Heiles, Gildas Lointier, Aurélien Lévêque

Mal-One’s latest single is again taken from a title of one of his Artworks Kiss Me Punk (till my mouth gets Numb). The cover of the single is the artwork itself, giving the listener something to contemplate as ‘The needle hits the Plastic, hear those speakers hum’ as the lyrics point out.

This single does not carry the usual ‘Version’ side, but is what we call a ‘Double “AA” Feature’, as the flip side track is the full unedited version of the title track to Mal-One’s forthcoming debut album “It’s All Punk Rock’’ due out on 15 October 2021. Hope you enjoy this double feature…long live the 45…..

For the first time on CD and LP, an anthology celebrating the work of composer, arranger, producer and pianist Webster Lewis from his time at Epic Records. The era of 1976-1981 is one of polished, luxurious jazz funk and soul, defined by Webster across his four albums at Epic supported by an array of guest musicians, lush string sections and often uncredited singers. This collection contains the artist’s signature tracks “Barbara Ann”, “Give Me Some Emotion”, “El Bobo” and recently uncovered gems from the vaults “Reach Out”, “Boston” and “Japanese Umbrella”. The CD features an exclusive essay written by Will Fox with unique insights from the legendary DJ Patrick Forge. The recently discovered recordings appear on vinyl for the first time on the LP edition.

Can you hear the hoofs? For their first Various Artist Compilation, Espace Noir is proud to bring to its stables some of the most daring riders in the scene. All the way from Canada come Unknown Mobile and Maara. They join Melbourne (Naarm) favourites Mabel and Reflex Blue. The result? Stomping 303 lines, spaced out vocals and punching breaks that might just knock you off your saddle. Giddy up cowboy, these equine beauties are gonna take you for a real gallop.



c B1 | Reflex Blue - Floating Down Stream Virtual Mix

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.

The 1980s will forever be remembered for electropop sensations, yet few, if any, are quite as sensational as Yaz's Upstairs at Eric's. A standard-setting mélange of smoky blues singing, jazzy arrangements, disco-tinged beats, and dancefloor vibes, the smash debut fits equally as well at a late-night club as it does in a living room, where the record's complexity and exoticism takes listeners hostage. No wonder the 1982 landmark remains one of the decade's most essential albums.

This numbered edition Silver Label LP breathes with a decongested openness, textural richness, and expansive tonal palette. Alison Moyet's inimitable vocals, such a huge part of the record's appeal, are dramatically enhanced, her sensual timbre, bittersweet crooning, and knockout range now encompassing the full frequency spectrum and projecting outward in a way that traverses the flatness of the original pressings.

Indeed, her bluesy deliveries are at once elegant and exuberant, and give collaborative partner Vince Clarke free range to construct beat architectures that encompass freewheeling disco, house music, uptempo dance, and chilled-out pop. The former Depeche Mode member also layers on elegant keyboard melodies, establishing contagious hooks and electronic-laced landscapes that preceded the techno explosion and do so with a cooler elegance. Tape loops, random field-noise dialogues, and synth-stroked bass notes add to what's nothing less than a perfect collusion of moody paranoia and soulful warmth.

While a cousin to synth-pop LPs by the likes of the Eurythmics, Soft Cell, OMD, and Depeche Mode, Yaz's Upstairs at Eric's is singular for its chemistry between Moyet and Clarke – and an insouciant batch of songs high on emotion, style, and substance.

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.

Limited Violet Vinyl repress for Indies only. Genre: alternative/punk/heavy/riot grrl. Debut album for legendary Tasmanian noise-punk band formed in the early 90s. Recordings span more than 20 years, including tracks thought lost on a corrupted hard drive from the late 90s. Legendary Australian punk band Little Ugly Girls formed in Hobart, Tasmania in the very early 90s, but have never released a record until now. This new self-titled set is officially their debut album, and features recordings spanning more than 20 years. The band formed around fiery vocalist Linda Johnston, whose high-kicking stage antics make her one of Australia's most electrifying frontpeople, and her guitar demon brother Dannie "Bean" Johnston. After moving to Melbourne in the mid 90s, the band settled on their classic lineup of Brent "Sloth" Punshon on drums, and rock-solid bassist Mindy Mapp (previously of another cult 90s band, Brisbane's much-loved Fur). Little Ugly Girls played with the likes of Bikini Kill, Fugazi, and once memorably headlined over the White Stripes in Melbourne. But their only recordings released to date include a handful of 90s cassettes. Now nearly 30 years since they formed, the debut album by Little Ugly Girls shows them at their towering best - fierce and inspiring, with Linda's scarifying lyrics and impassioned delivery set to a huge wall of taut punk noise. It has been a long time coming, but it's as good as you could have dreamed. Tracklist 1. Tractor 2. Slip 3. Jimmeh 4. Senseless 5. Baggage 6. The Pit 7. Storm After Storm 8. Dead C 9. Snap 10. Tardis 11. Vinegar 12. Boxen-Hooda-Hayda

In early 2023 PNFG will bring the definitive expanded version of Biff Bang
Pow's seminal "The Girl Who Runs The Beat Hotel" available on both Pink
and White vinyl and featuring an expanded track listing as below
"Someone Stole My Wheels""Love's Gone Out of Fashion" "She Never Understood"
"He Don't Need That Girl" "She Shivers Inside" "The Beat Hotel" "The Happiest Girl
in the World" "If I Die" "Five Minutes in the Life of Greenwood Goulding" "The
Whole World Is Turning Brouchard!" + "It Happens All The Time" "It Makes You
Scared" "Sunny Days" "The Death of England"

In early 2023 PNFG will bring the definitive expanded version of Biff Bang
Pow's seminal "The Girl Who Runs The Beat Hotel" available on both Pink
and White vinyl and featuring an expanded track listing as below
"Someone Stole My Wheels""Love's Gone Out of Fashion" "She Never Understood"
"He Don't Need That Girl" "She Shivers Inside" "The Beat Hotel" "The Happiest Girl
in the World" "If I Die" "Five Minutes in the Life of Greenwood Goulding" "The
Whole World Is Turning Brouchard!" + "It Happens All The Time" "It Makes You
Scared" "Sunny Days" "The Death of England"

Baroness will release their eagerly-awaited new album ‘Gold & Grey’ on June 14th via Abraxan Hymns.



“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offers Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate.



I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”



While ‘Gold & Grey’ found the band once again working with Purple producer Dave Fridmann (The Flaming Lips, Mogwai), sequestering themselves at Fridmann’s remote upstate New York Tarbox Road Studio. The 17-track album ushered in two significant changes: a decidedly different recording process and guitar player Gina Gleason’s debut on a Baroness recording.



The band, who tracked portions of the vocals, guitars and overdubs in Baizley’s home-basement studio, another first for them, eschewed their normal routine of entering the studio with meticulously detailed plans and instead opted for a looser, more improvisational approach that resulted in their most collaborative and emotionally evocative release to date.



Featuring John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums), Baroness received a GRAMMY Award nomination for Best Metal Performance for ‘Shock Me’ from the 2015 album ‘Purple’.

Das Quintett VARIALS aus Philadelphia - Mitchell Rogers Gesang, Mike Foley Bass, James Hohenwarter
[Gitarre], Shane Lyons [Gitarre] und Sean Rauchut [Schlagzeug] - haben ihr neues Album Scars For You to
Remember angekündigt. Der metallische Moloch ist ihr dritter Longplayer und wird am 14. Oktober über
Fearless Records erscheinen.
Das Gleichgewicht entsteht inmitten von Extremen. VARIALS wechseln nahtlos zwischen Momenten erdrückender Kraft und melodischer Gelassenheit, wobei sie die Harmonie in der Mitte der gegensätzlichen
Pole freilegen. Die Band schärft diesen unverwechselbaren Stil mit brennender Intensität, unbändiger Energie und kompromissloser Kreativität. Diesen Sound haben sie im Laufe der Jahre sorgfältig kultiviert.
Mit Pain Again [2017] und In Darkness [2019] hat sich die Band eine treue Fangemeinde erspielt. Letzteres
brachte ”Romance” hervor, das 3 Millionen Spotify-Streams anhäufte, Tendenz steigend.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

Paranoid and lazy, never knowing who is your friend and who is just
watching a screen, never really hungry and never satisfied - Fever Dreams
and Daymares of Family Dinners with the network news so loud you can
hear the white noise pop like firecrackers
Floating through this dimension on the path of least resistance, unnoticed and
unbothered til you're old enough to die. The pitiful fantasy of having people cry at
your funeral, while your spirit watches from the rafters. Feeling lost in your body
like a ghost under a bed sheet.
Fourth Dimension Intervention, by The Homeless Gospel Choir, was recorded over
five days in August 2021 at The Lodge KY by John Hoffman. It's the first album to
feature all five members of the band, the first self produced album, and the first
full length to be released by Don Giovanni. Pressed on Seaglass Blue color vinyl.

After 9 full length studio albums and playing their asses off at over 800 shows, the Finnish disco metal machine Turmion Kätilöt is ready for the next level in their world dominance. Their 10th full length studio album “Omen X” will be released in 36 countries on 13th January 2023 via Nuclear Blast. The touring cycle starts in Finland immediately after the release of Omen X. Band will play its biggest show ever in Helsinki Ice hall on 14th January 2023. After couple of shows in the home country “Omen X” will be served all over Europe with 20 gigs inFebruary 2023 – see the full show schedule below.
”In the Omen X production, we encountered only positive problems. Due to the closures caused by Covid 19, there were so many songs available this time that it was even painful to choose only one album of songs from them. The amount of material and the difficulty of selection seemed to take up an unnecessary amount of valuable studio time at times. Otherwise, making the album went smoothly as always. From the artist's point of view, the album got a hell of a new sounds and atmosphere. A very cleansing experience. The tenth prophecy has been given. You're welcome!” - MC Raaka Pee
Turmion Kätilöt was formed in 2003 in Finland by MC Raaka Pee and Dj Vastapallo. Soon they were joined by the other members of what would become Turmion Kätilöt: Master Bates, Run-Q, DQ and Spellgoth as a second vocalist. With a couple of line-up changes as Dj Vastapallo left the band in 2009 replaced by Bobby Undertaker on guitars (ex-Deathchain) and Spellgoth leaving in 2017 replaced by Shag-U (Fear Of Domination) on vocals, Turmion Kätilöt has become the mean disco metal machine they are today.
From the very beginning Turmion Kätilöt has had a reputation of being a great live band. Disco beats from the 90’s, metal to the pedal, melodies, sing-a-longs, you name it – there are no rules. Yet still if you peek under the skin you can find the darkness pointing its finger to you. Their live shows have been praised to be the fiercest and craziest mayhem to be witnessed creating the twisted world of Turmion Kätilöt.

After the success of their full-length LP earlier this year, Night Owls are back for more and ready to take the bar even higher! This first 45 from a new string of recording sessions features two heavy hitters in the funk/soul community; N'Dea Davenport from London's famed The Brand New Heavies and SoCal's own Trish Toledo (Now-Again Records, Silent Giant, Mango Hill).
Side A is the classic soul body mover "Cramp Your Style" (All the People) featuring N'Dea Davenport, which Hip-Hop heads will recognize as the foundation for Boogie Down Productions' "Still #1" and Cypress Hill's "Real Estate." Davenport's soulful delivery elevates Night Owls' flip, echoing the famous Studio One riddim "Greedy G" by Brentford Road All Stars and the quirks of the original. Side B follows up with Motown classic "Your Old Standby" by Mary Wells and features Latina Soul phenom Trish Toledo. Adding a little more bounce and groove to the original, Night Owls’ flip sets the backdrop for Toledo to shine brightly and deliver a vocal performance that perfectly echoes Mary Wells in her youth.
Both sides are must-haves, be it spinning at a party or slowing things down slightly while cruising around the neighborhood, just in time for the holiday season. Produced by Dan Ubick and Night Owls. Recorded and Mixed by Dan Ubick for DanUbe Productions at The Lions Den in Topanga, CA.

A shaven-headed chanteuse hiding the voice of a soul legend beneath her fluffy bear hood, Sharon Kovacs is an enigmatic phenomenon. Emerging from the music college and improvised open mic nights in Eindhoven in the Netherlands, she has forged her own unique path through life’s devious twists and tangles, and entranced the globe with her wicked allure. The Bond-like tango noir of her
2013 EP My Love, partly recorded in Cuba, was an instant European hit, even
reaching #1 in Greece. In 2015 her debut album Shades Of Black charted in
36 countries, making the top 10 in Germany and hitting #1 in her homeland. 60 million YouTube views, a modelling contract with Viva Paris, a clutch of awards and high-profile sets at major festivals and a Robbie Williams support slot later, Kovacs’ dark, raw, bare-hearted soul with distinct touches of the greats (Holliday, Simone, Bassey, Winehouse, Portishead’s Beth Gibbons) is on the verge of making her a sultry superstar.

Child Of Sin is the brand new 2023 album. Its title track and also first single features German singer and megastar Till Lindeman. The album features the additional singles “Not Scared Of Giants”, “Fragile”, “Bang Bang” and “Goldmine”. This 10-track set is available as a limited edition, pressed on voodoo coloured vinyl and includes an insert.