Buscar:glo

While 1967's Velvet Underground & Nico was a part of Andy Warhol's global artistic vision, 1968's White Light/White Heat was free of all Warholian influence, so in a way it could be thought of as another debut album. Here the music was left to fester on its own, with no artistic visionary interfering or trying to create a soundtrack for his pop art, and the Velvets filled that void with an album that is an aural subway car full of drunkards, junkies and whores rumbling through the bowels of NYC with a one way ticket to oblivion. Translucent purple vinyl LP.

Wackelkontakt are the trio that currently spearheads the Jerusalem scene, playing music that's precise yet eclectic, cruel and abrasive even when vulnerable. An unholy mixture of trap, industrial, experimental and power electronics. Wackelkontakt have already made a global mark with the sensory overload of their live multimedia performances and the scintillating presence of frontwoman Tomer Damsky AKA MC Slice, backed by Eyal Lally Bitton (electronics, visuals, scenography) and Marco Milevski Tomasin (drums and electronics). Wackelkontakt's wildly eclectic approach, bound by an impossibly consistent sound, is a direct result of the band living a minute away from The Old City's Damascus Gate and recording in the ultra-orthodox neighbourhood of Me'a She'arim; Jerusalem is present in the music, not in the shape of touristic exotica but in a sense of conflict, paranoia and isolation. The lyrics are equally contradictory, schizophrenic and chaotic. Emotional manipulation clashes with a desire to shake and be shaken, to allow oneself to become sucked as far as possible from self-loathing. When self-reflection arises it is bitter, ridiculous, pathetic, interweaving with philosophical texts lifted directly from the likes of Deleuze & Guatarri, Foucault, Artaud, WJT Mitchell and others.

The Staples do it again with another Ska classic that is guaranteed to get you singing along. This song is something of a good time anthem with happy vibes contrasting with some of the negatives that are around right now. With this song Neville and Sugary Staple really know how to put a smile on people’s faces. I can see this becoming a live favourite.

Dr Pete Chambers BEM, Coventry Observer

My goodness, the best of two huge talents. Husband and wife team Sugary & Neville Staple haven’t disappointed again! Feel good ska-based melody, toe-tapping and butt-shakingly good!TRISH ADUDU, BBC RADIO CWR

Well known for changing the face of music not once, but three times, 2Tone music legend Neville Staple (From the Specials), also known as the ‘Original Rude Boy’ and his super sidekick wife, Sugary Staple, release their brand new song, ‘Be Free Baby’, on the highly respected, Pickout Records.

A super ska track which mixes the original influences of Jamaican sounds, along with the 2Tone style that this dynamic ska duo, take on tour with them globally, alongside their top band of musicians.

Written by Neville Staple, who has scores of music awards from 40 years of 2Tone & Ska hits and albums, and his super talented sidekick, Sugary Staple and acclaimed record producer Lloyd ‘Pickout’ Dennis this song is a truly happy song, to take our minds away from the difficult days of Covid lockdowns, into a party mood of freedom and dancing. Fans will love the irresistible skanking beat, along with super feel-good lyrics to sing along to.

“After recently writing a song about the Lockdown, which related to the tough days of staying home and following rules and so on, I decided we needed some uplifting music too.” Explained Sugary, Frizzle TV Award Winner and Skamouth Festival Founder. “There is so much doom and gloom about in the news and we know how music can really be so good for the human soul. This tune has a lot of love and feeling behind it, as it encompasses all the fun, freedom and thrills that we have on stage, when we perform live. A whole year of global touring has been postponed, so we put the vibrance of a live show into this song.

Neville agrees, “I love writing with Sugary, as we are both on the same wavelength. We feed off each other. We were both in need of getting out there and performing for the masses but have had all our 2020 shows moved to next year, so we decided to bring the party to everyone through this song. We love the traditional sound and the bluebeat vibes too, with a twist of 2Tone magic. It makes me think about our holidays back home in Jamaica and beach parties, street carnivals, gigs and festivals. This is a happy tune for dancing away the blues!”

Devin The Dude is back with another classic. At 14 tracks, Soulful Distance plays on the current global scenario and oozes the familiar smooth sounds and cruising music that Devin is best known for. Keeping things local, the album features several notable Houston natives, including Scarface, Slim Thug, Big Pokey, & Lil Keke.

Anne-Marie’s second studio album, ‘Therapy’, is the official follow-up to her multi-platinum and four million-selling 2018 debut, ‘Speak Your Mind’ the UK’s biggest-selling debut release of that year. An artist whose everywoman candour and knock-you-down vocal range has reverberated across the globe, ‘Therapy’ is a collection of songs that embody Anne-Marie’s characterful artistry, self-effacing attitude and beautiful honesty; attributes that have not only catapulted Essex-born Anne-Marie to platinum status in the UK to the USA and everywhere in-between, but ones that have seen her reign supreme a fearless Gen Z role model.



With the full tracklisting yet to be announced, Mind Charity ambassador Anne-Marie is delighted to confirm that ‘Therapy’ will feature her already-released UK Top 3 and Gold-selling ‘Don’t Play’ with KSI and Digital Farm Animals; recent feel-good Nathan Dawe and MoStack collaboration ‘Way Too Long’; as well as Niall Horan collaboration, ‘Our Song’, which the pair wrote with Phil Plested and TMS (Lewis Capaldi), with the latter also on production.



An album of candour and vivacity in equal measure, Anne-Marie wrote ‘Therapy’ with Max Martin (Ariana Grande, Taylor Swift), Kamille (Little Mix, Headie One), MNEK, Raye, TMS, Blake Slatkin (The Kid Laroi, 24kGoldn), Ed Sheeran, Nathan Dawe and Plested (Lewis Capaldi) – production comes from Mojam (Aitch, Fredo), Fred Ball (Rihanna), TMS and Blake Slatkin.



Anne-Marie has become one of the globe’s most successful pop stars since hear breakthrough in 2016. An artist with over five billion streams to her name, in her home market, she has secured 1 x platinum album alongside five Top 10 singles to date. And 2021 has seen her continue her winning streak, too – her January release ‘Don’t Play’ spent twelve weeks inside the Top 10 in the UK’s Official Singles Chart and has subsequently become the biggest song of 2021 so far by a British female artist (OCC). Not to mention her prime time debut as the new, and winning, judge on talent show, The Voice, earlier this year.



Rewind to 2020 and alongside charitable work and recording, Anne-Marie released her first-ever documentary titled ‘How To Be Anne-Marie’, exclusively with YouTube. Shot in her home county of Essex at a time when her years’ plans were turned upside down due to the pandemic, Anne-Marie took us back to where it all began. In the hour-long film, we saw her recounting her difficult school years, the close bonds she shares with her family, fans and friends, as well as the plights of stardom that she candidly spoke about with her peers, Little Mix.

'Triage' offers a rare look inside of the songwriter. This album finds Rodney Crowell introspectively looking for answers and for healing, resulting in what he has called his most personal record yet. This new collection of songs was written during the great political, environmental and economic upheaval that has marked recent years. The noise of that chaos encouraged Crowell to look inward for solace and answers. The result is this series of songs that contend with these themes, but approaches them from a place of healing, love and solution. That they are being released while we find ourselves walking through a global pandemic, is a gift of perfect timing.

On the 11th May 2018 USM will release a vinyl (180 gram) and CD reissue of the Jay-Z's In My Lifetime, Vol. 1' and Vol. 2...Hard Knock Life' on 2LP.
- In My Lifetime, Vol. 1 is the second studio album by American rapper Jay-Z, released on November 4, 1997, by Roc-A-Fella Records and Def Jam Recordings. The majority of the production is handled by Puff Daddy's production team The Hitmen from the Bad Boy label, giving the album a generally glossier sound than its predecessor.
- Vol. 2... Hard Knock Life is the third studio album by American rapper Jay-Z. It went on to become his most commercially successful album, selling over 5 million copies in the United States. Vol. 2... became Jay-Z's first album to debut at #1 on the Billboard 200. The album won Grammy Award for Best Rap Album at the 41st Annual Grammy Awards.

On the 11th May 2018 USM will release a vinyl (180 gram) and CD reissue of the Jay-Z's In My Lifetime, Vol. 1' and Vol. 2...Hard Knock Life' on 2LP.
- In My Lifetime, Vol. 1 is the second studio album by American rapper Jay-Z, released on November 4, 1997, by Roc-A-Fella Records and Def Jam Recordings. The majority of the production is handled by Puff Daddy's production team The Hitmen from the Bad Boy label, giving the album a generally glossier sound than its predecessor.
- Vol. 2... Hard Knock Life is the third studio album by American rapper Jay-Z. It went on to become his most commercially successful album, selling over 5 million copies in the United States. Vol. 2... became Jay-Z's first album to debut at #1 on the Billboard 200. The album won Grammy Award for Best Rap Album at the 41st Annual Grammy Awards.

Certain Sound Records are pleased to announce the release of the brand-new album from Montener The Menace – Anyone Home?

Anyone Home is the hotly anticipated follow-up to “I Have a Hidden Hobby” and is comprised of 14 superb tracks featuring an ensemble of legendary figures from both the US and UK Hip Hop scenes with appearances by Masta Ace, Rah Digga, Craig G, Keith Murray, Edo.G, Micall Parknsun, Cracker John, AG & Guilty Simpson to name just a few.

Production is handled by such heavyweights as Domingo, Roccwell, Keynotez and all cuts are provided by the legendary JabbaThaKut.

The album campaign was launched with the release of 3 excellent singles – High Noon, The Struggle and Take it Back all of which were met with extremely positive reviews from blogs and magazines alike, in addition to this acclaim the tracks have received airplay on a global scale via stations such as Shade45 and Itch FM.

Montener showcases his massive progression as an artist since his previous release with great confidence while still maintaining his trademark sense of humour that fans have come to love and adore. He demonstrates great diversity throughout by being able to touch on some difficult subjects such as suicide and mental health and parenthood as well as his more traditional upbeat content.

“Its gonna make a great impact on the scene, just what we need, when we need it most.” – Skinnyman

The classic 1991 album remastered and expanded with rare and previously
unreleased tracks. Extensive liner notes by band biographer Keith Cameron.
A landmark of the grunge era.
By going back to basics with ‘Every Good Boy Deserves Fudge’, Mudhoney
flipped conventional wisdom. Not for the first time - or the last - they would be
vindicated. A month after release in July 1991, the album entered the UK
album chart at Number 34 (five weeks later, Nirvana’s ‘Nevermind’ entered
at 36) and went on to sell 75,000 copies worldwide. A more meaningful
measure of success, however, lay in its revitalisation of the band, casting a
touchstone for the future. The record is a major chapter in Mudhoney’s
ongoing story, the moral of which has to be: when in doubt, fudge it.
The album began at Music Source Studio, a large space equipped with a 24-
track mixing board - downright futuristic, compared to the 8-track setup that
birthed the band’s catalytic 1988 debut, ‘Touch Me I’m Sick’. The Music
Source session quickly turned into a false start when the results, in guitarist
Steve Turner’s words, “sounded a little too fancy, too clean.” Lesson learned,
the band went primitive and got to work at Conrad Uno’s 8-track setup at Egg
Studio. Named after the cartons pasted on the walls in an optimistic attempt
at sound-proofing, Egg boasted a 1960s vintage 8-track Spectra Sonics
recording console, originally built for Stax in Memphis.
So it was that, in the spring of 1991, Mudhoney made ‘Every Good Boy
Deserves Fudge’. The resulting album is a whirlwind of the band’s influences
at the time: the fierce ‘60s garage rock of their Pacific Northwest
predecessors The Sonics and The Lollipop Shoppe, the gnashing posthardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the
lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism
of Zounds and the satirical ferocity of ‘80s hardcore punk. The quartet’s
special alchemy meant these fond homages never slid into pastiche.
Ultimately, ‘Every Good Boy Deserves Fudge’ epitomised the best of
Mudhoney: here was a band reconnecting with its purest instincts and, in the
process, reinventing itself.
This 30th Anniversary edition, remastered by Bob Weston at Chicago
Mastering Service, stands as testimony to the creative surge that drove them
in this period. The album sessions yielded a clutch of material that would
subsequently appear on B-sides, compilations, and split-singles. This edition
includes all those tracks and a slew of previously unreleased songs,
including the entire five-track Music Source session.

The Ember, The Ash is 鬼 from Unreqvited’s post blackened death metal project that explores the heavier, darker, deeper and weirder sides of the DSBM genre. "Throughout all of Unreqvited’s manifestations, 鬼’s roots in post-hardcore ring out in the form of bright, building riff-walls that welcome the dawn of a new day. More of a DSBM artist through his general emotional intensity that escapes the prison of despair, Unreqvited becomes a candle in the depths of darkness. Surely, there needs to be a place to store overwrought feelings in order to arrive at a place of hope, and that’s where The Ember, The Ash comes in. 鬼 has added the new band to his list of rock and metal ventures, and it is arguably the gloomiest yet. While his songwriting still very much mimics the building of a staircase, it is one that aims steadily downward to the pits instead of upwards to the heavens." - INVISIBLE ORANGES

In 1979 as a 15-year-old Eddie Piller was perfectly placed to be at the epicentre of the Mod revival. An inquisitive passion
for music, a family connection to Mod royalty The Small Faces, and an attitude that saw him travelling his home city, then
the country and then the world to take in the sounds that were emerging. In the years since, Piller has been a legendary
figure within the music industry setting up and continuing to own the ground-breaking Acid Jazz label, signing multiplatinum artists such as Jamiroquai and The Brand New Heavies collaborating on compilations with Martin Freeman and as
an award winning broadcaster even setting up his own Totally Wired Radio station. In The Mod Revival he looks back at the
movement that set him on his way.
• Mod is a sixties youth movement original built on sharp clothes, American soul music and nights on the town, that has never
really died. The originals added young British groups to their likes and then moved on, but their influence echoed on
through the 1970s in Northern Soul clubs, and in the sixties influenced bands of the pub rock era. When punk arrived, it was
supposed to sweep away the past, but instead the Sex Pistols were covering the Small Faces. The Clash brought in Mod DJ
Guy Stevens to produce London’s Calling, The Buzzcocks sounded closer to the Hollies than The Ramones and in The Jam’s
Paul Weller there was a musical and sartorial nod to the past of The Who, The Beatles and pop art arrows.
• Weller had spent the 1970s becoming obsessed by mod and saw punk as having a similar youthful energy to the era he had
missed by being born a decade too late. For others Weller’s style proved an inspiration, and as the Jam broke through in late
1978, they saw a wave of bands follow in their wake, and they themselves influenced others to form their own groups. But
there were other things. In bleak late 70s Britain the glorious optimism of the 1960s looked bright and shiny, and as it was
only a decade or so in the past, it was easy to pick up original records, clothes and books for pennies, and as you bought
these you met other like-minded souls who did the same. For those a little too young for punk, it was a community of gigs,
scooters, clothes, bands and records, and for many it developed on through.
• Eddie never stopped being a mod and has a unique perspective having now lived through four decades of being intimately
involved in the music that has emerged from the mod scene. In this part two double vinyl edition (Part 1 and its CD
equivalent reached #14 in the UK compilations charts) Ed guides us through some of his favourite music from the scene. He
guides us through a plethora of bands whose influences include The Who, The Kinks and the Jam, to sixties soul and R&B,
those with an eye on psychedelia. The records have a vitality and a certain stylish swagger to them, that marks them out as
mod. In the deluxe booklet, Piller has written a 5000 word note describing what it meant to him and has granted access to
his own scrapbooksfrom his many years of gig-going from which pages and memorabilia are reproduced.
• Eddie Piller’s Mod Revival is a personal appraisal from the founder of The Modcast, on what the mod explosion of the late
70s and 80s means to him…

Token celebrates its 100th release with Luke Slater, a legend of the genre, releasing under one of his most iconic aliases: Planetary Assault Systems. For over 25 years, Slater has delivered unparalleled quality in his music - a formative figure in Techno and instrumental in defining the sound globally, few can touch the Brit for depth, urgency and hit rate.

Exhibiting near enough perfect renditions of classic dance-floor moods, the four track EP is a wrought iron rollercoaster through some of the artist's most exacting work. Booming opener Bang Wap chugs unrelentingly while a lithe FX line does the bulk of the movement in the high mid range - building tension before a satisfying release in the last quarter. A2 Bolt is classic Planetary Assault Systems - hypnotic and driving with a single sequence dipping in and out of view. On the flip, Say It Loud could be an idiosyncratic hit waiting to happen - dry and tight in the drum department for maximum effect, and featuring a recurring vocal sample chopped and skewed for tension. Closer Shine takes a deeper, more psychedelic route with shades of the classic, jacking Detroit sound in the pitch bent lead line, but maintains the energy throughout with stylish delay sends upping the ante where required, all in all delivering a neat finish to the EP.

A classic Vee-Jay side from 1965 that originally sneaked out on the Bay Area Wee label. The´original goes for around £100, the second Wee press for £75, while the Vee-Jay version is 50 quid a throw. That said, copies are few and far between these days.
Featuring an upbeat, brass-powered Temptationslike harmony with a call and response, a deep sax
wail and a piano motif pushing it forward towards a
glorious middle eight that breaks into a Gospel roll
out.
Powered by Ric-Tic-like drum rolls; a euphoric
soulful classic split into two essential parts.
The Ballads were a four-piece from Oakland,
across the bridge from San Francisco, featuring
Freddie Hughes, who would later sign to Wand.
The band themselves almost made it, charting in
1968 with the Willie Hutch-produced ‘God Bless
Our Love’ but this earlier recording is the business.
Both sides remastered from the original sound
source.

Fast-rising producer Mr.Diamond makes his debut on Hot Creations this June with the three-track Dance With Me EP. The release continues a standout 2021 for the young talent, which has seen him release on Saved Records already this year.

Dance With Me sets the tone, with jazz-fused horn string samples cosying up next to stripped-back kick-hat combos. It’s a signature peak-time offering that highlights the young talent at his best. Bongomastic takes on a darker edge, as murky drum loops converge on punchy late-night percussion. London Bass rounds off proceedings, a pacey minimal-laced number that you can’t help but move your feet to.

Mr.Diamond has taken the electronic music scene by storm in recent times. His maiden release came in 2019 and he’s since gone on to produce for a selection of contemporary house’s leading labels, including Solid Grooves Raw, Saved Records, Seven Dials and many more besides. Dance With Me EP marks a career milestone, a testament to his keen-ear for production, and sets the tone for a bright future that will see him continue to rise up the global dance ranks.

While 1967's Velvet Underground & Nico was a part of Andy Warhol's global artistic vision, 1968's White Light/White Heat was free of all Warholian influence, so in a way it could be thought of as another debut album. Here the music was left to fester on its own, with no artistic visionary interfering or trying to create a soundtrack for his pop art, and the Velvets filled that void with an album that is an aural subway car full of drunkards, junkies and whores rumbling through the bowels of NYC with a one way ticket to oblivion. Translucent purple vinyl LP.

Legendary psychedelic guitar music from the Islamic Republic of Mauritania finally available on vinyl!
Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered.
For fans of the more raw side of Sublime Frequencies, Sahelsounds, the ripping tape-hiss psychedelia of Les Rallizes Denudes, and anyone remotely interested in GUITARS.
12” 160 gram black vinyl LP, with 2 spot color reverse-board jacket, and 8-page full sized booklet with extensive notes and photos, and a history of Mauritanian guitar playing.
‘’this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.’’ 8.0 Pitchfork
The LP version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie.
Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention.

American cellist prodigy Yo-Yo Ma recorded Sing Me Home with the Silk Road Ensemble, a musical collective with performers and composers from all over the world. The album features guest appearances by Grammy Award winning artists Toumani Diabaté, Gregory Porter, Lisa Fischer, Bill Frisell and many more.

Released in 2016, Sing Me Home was meant to open hearts, ears and minds during a time of tragedy and political turmoil. “All around the world, people constantly meet the unfamiliar through change,” Yo-Yo Ma said of the album. “Rapid or dramatic change can feel threatening, tempting us to build walls to defend against the unknown. At Silk Road we build bridges. In the face of change and difference, we find ways to integrate and synthesize, to forge relationships, and to create joy and meaning.”

Bringing together the cultural backgrounds of the musicians, Sing Me Home is a culturally conscious album, reflecting on modern globalisation and collaboration. From Macedonian folk to traditional music from Mali, and from Irish fiddle to Indian sitar: it all comes together wonderfully. Critics agreed, and the album went on to win the Grammy Award for Best World Music Album in 2017.

"Behold! Arise! Vast distances from Earth’s dimension, in a galaxy millions of light-years away, the WIZARDTHRONE resurges! Traversing vivid sci-fi multiverses in the spirit of H.P. Lovecraft via comprehensively established technical death- power- and symphonic black metal, Hypercube Necrodimensions (out July 16 via Napalm Records) is a bombastic journey through hyperspace and otherworldly realities. Featuring members of ALESTORM, GLORYHAMMER, AETHER REALM, FORLORN CITADEL, NEKROGOBLIKON and more, the musical brilliance of WIZARDTHRONE is absolutely undeniable. Title track “Hypercube Necrodimensions” is a hard-hitting, astronomically technical trip through portals of the Euclidean reality, entering the fifth dimension with whirlwinding synth and guitar leads. Throughout the runtime of Hypercube Necrodimensions, WIZARDTHRONE effortlessly sear from one fast-paced sonic romp to another, evident with frost-bitten “Frozen Winds Of Thyraxia”’s orchestral blast beats, or “Forbidden Equations Deep Within The Epimethean Wasteland”’s incredibly elaborate, multi-faceted songwriting. Hypercube Necrodimensions finds its grand finale in the extensive 14-minute sci-fi experience “Beyond the Wizardthrone (Cryptopharmalogical Revelations of the Riemann Zeta Function)”, taking you through the prismatic light of the twin stars of Thyraxia into the cathartic revelations of WIZARDTHRONE’s cosmos! Featuring guest appearances from Aleksi Munter (SWALLOW THE SUN/INSOMNIUM), Florian Magnus Maier (DARK FORTRESS/ALKALOID) and Evan Berry (WILDERUN), Hypercube Microdimensions is a spectacular display of WIZARDTHRONE’s musical finesse, constantly pushing the boundaries of heavy metal and thus offering a one-of-a-kind Extreme Wizard Metal listening experience!