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Dieses Album enthält ausführliche Anmerkungen von Gründungsmitglied Harry Howard und wird zusammen mit den 2024-Remaster-Editionen ihres Debütalbums 'Get Lost (Don't Lie!)' und ihres zweiten Albums 'I'm Never Gonna Die Again' veröffentlicht. Auf der Tracklist dieses Albums finden sich ihre mitreißende, treibende Neuinterpretation von Alice Coopers 'Luney Tune' aus dem Jahr 1972 sowie Coverversionen von 'Open Up and Bleed' von Iggy Pop & James Williamson, 'Some Velvet Morning' von Lee Hazlewood, das Leadsänger Rowland S. Howard vor allem mit Lydia Lynch coverte, und 'Hey! Little Child' von Alex Chilton.

Die Band bestand aus dem in Australien geborenen Rowland S. Howard, der als Nick Caves Mitstreiter bei der Birthday Party bekannt wurde, seinem Bass spielenden Bruder Harry Howard, dem Schlagzeuger Epic Soundtracks (früher bei Swell Maps und Jacobites) und der Keyboarderin Genevieve McGuckin. Sie schlossen sich 1987 zusammen, nachdem Soundtracks und die Howard-Brüder sich von Crime & the City Solution getrennt hatten, und gründeten zusammen mit McGuckin These Immortal Souls in London.

"Corrosion of Conformity's In The Arms Of God was released in 2005 and was the last album to feature Pepper Keenan on vocals and guitar until his return in 201The set shows a return to the form of albums like Deliverance and Wiseblood, where it features a new form of progression and maturity not seen in older Corrosion of Conformity releases and resembles a true underground metal album as opposed to the much more catchy and commercial albums of their classic era in the 90's. The opener of the album, ""Stone Breakers"", closely resembles a Tony Iommi-led Sabbath jam, while such other ragers as ""Paranoid Opioid"" and ""Never Turns to More"" feature a classic COC sound. In The Arms Of God is widely seen as one of their best albums to date and is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl. "

In The Arms Of God by Corrosion Of Conformity, released 26 April 2024, includes the following tracks: "It Is That Way ", "Rise River Rise " and more.

This version of In The Arms Of God comes as a 2xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a silver disc. Another vinyl is pressed as a silver disc.

Career trajectories are rarely linear or make logical sense. Life is always unpredictable so all you can do is put in good work and keep at it. Joh Chase is a testament to this. Over the past two decades, the Seattle-raised, Los Angeles-based artist has persistently honed their songwriting and toured, opening for acts like Noah Gunderson and David Bazan. This dedication comes out entirely in their songs, which are so timeless, confident, and inviting they can only come from someone who’s devoted their whole life to their craft. Chase’s new album SOLO feels like a turning point for them: it’s the culmination of a lifetime of writing, losing, loving, and doing it all yourself. The LP adventurously toes the line between genres and sensibilities but it’s all filtered through Chase’s charming and fully-formed vision. SOLO is a testament to Chase’s do-it-yourself ethos throughout their entire career—they chipped away, self-funded tours, and crowdfunded this LP. But by finding their voice, they now no longer feel alone. “This is the most support I've ever had in my life,” says Chase. “I do not feel alone at all. There’s so much energy and generosity here around these songs.” Though it’s not their debut, SOLO feels like a reinvention for an artist: a daring reintroduction for a timeless talent. “I spent my life making music and trying to do it about 10 different ways,” says Chase. “Now this one feels like it. This album feels like a leveling-up of my music in general. When I look at it now, I realize this is the first record that's really me.” “Mesmerizing, infectious, joyful, and heartbreaking; this is the best new album I've heard in a decade. Joh Chase has arrived

Stuck in the depths of a dark alley, blocked by yet another breeze, hitting a stone wall, road sign ahead: Dead End.
Impasse. "Cul-de-sac".
Hip‐hop. The original, some would say, official music of the late 20th Century Bronx.
Some say it has endured it's fair share of distractions, detractors and defectors. Some say it has murdered itself, having been abandoned by its so‐called best men, those who have gone off in other directions, or who have, simply, just beat‐retired. Yet, there are plenty of Soldier Monks still out there, prepared to sweat it out in the Temple of Machinery and Mics.
Low Cut honored this cause four years ago, with his MPC crafted minimalist version of NY Minute and he's back to ring the bells and unsheathe the samples!

The starting point of Dead End's production remains the 90's boom-bap, but the will to carry it even further brings it to its destination. By decorating it with rich samples flushed out after digging through vinyls pressed several decades ago, it is guided by a compass pointing deposits to the East. With sound quality inherited from a fastidious composition and mix works, using inspiration rather than just being a copycat, Dead End celebrates it without setting it up as a museum piece.

Picturing the beatmaker stuck in the depths of a dark alley, ended with a brick wall, is easy. But far from isolated in his Parisian basement, Low Cut has rung phones in New York, Baltimore and Detroit, rounding up the faithful. He magnetized the hidden but sharp forces, and gained attendance of legends. The casting of Dead End : Ruste Juxx & Nutso, Dirt Platoon, Guilty Simpson, Torae, Rasheed Chappell and the stainless Masta Ace, among other beat crushers. Also starring DJ Duke, Nix'on, Topic and Ordoeuvre with their DMC titles crates, for a deep beatfight on bars scarified of scratches.
Heavy atmosphere, martial beats and street soul, Dead End is also the final episode of the projects initiated by Low Cut, based on the model of a producer inviting various MCs.
He will then replace his turntable needles, refresh his sample banks, and settle the BPMs of his productions on more abstract frequencies.

Groovy was the third album to be released by acclaimed jazz drummer Red Garland. Originally released on Prestige Records in 1957 this energetic jazz album was performed by a trio made up of Garland alongside Paul Chambers (bass) and Art Taylor (drums). This new edition is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket.

Es gibt nur wenige Alben in der Geschichte der zeitgenössischen amerikanischen Musik, die die Bezeichnung ”Original Jazz Classic” mehr verdienen. Es ist das erste von zwei Riverside-Alben, die vom legendären letzten Auftritt des ersten Bill Evans Trios stammen - aufgenommen am letzten Tag eines Village VanguardEngagements, kaum zehn Tage vor dem tragischen Tod des Bassisten Scott LaFaro. Die Aufnahmen sind seit langem bekannt dafür, dass sie die Essenz der einzigartigen Interaktion zwischen den drei Musikern einfangen, die das Trio auszeichnete.

Diese Neuauflage von Sunday At The Village Vanguard erscheint als Teil der OJC-Serie und wurde bei RTI auf 180-Gramm-Vinyl gepresst.

Dark Matter ist Pearl Jams zwölftes Studioalbum und die erste Veröffentlichung der Band seit dem von der Kritik hochgelobten Gigaton (2020). Das Album ist der Höhepunkt eines frischen und rasanten Ansatzes der Band und des Produzenten Andrew Watt (Rolling Stones, Iggy Pop, Post Malone, Miley Cyrus, etc) Während die Band bei Gigaton in vielen Aufnahmesitzungen Songkonzepte erarbeitete und die Fertigstellung des Albums etwa drei Jahre dauerte, kamen die Bandmitglieder für Dark Matter ohne vorgefertigte Songideen und ohne eigene Instrumente in die Shangri-La-Studios. Die Kreativität fand in Echtzeit statt und war eine wirkliche Gemeinschaftsleistung. Die LP wurde in drei Wochen fertiggestellt. In einem Interview mit Classic Rock sagte Mike McCready kürzlich, “Andrew Watt really kicked our asses, got us focused and playing, song after song. It took a long time to make Gigaton, but this new one didn’t take long. Andrew was like: ‘You guys take forever to make records. Let’s do this, right now.’”Von der Bühne ihres Konzerts in Austin im Sommer 2023 sagte Eddie Vedder “We’ve made a record for next year. What I can tell you is if you like the musicians in this group, you’re gonna hear them playing at their highest level.” Dark Matter erscheint auf CD, Vinyl und als Deluxe CD (inkl. Dolby Atmos Version)

The collaborative project from Vincent Lemieux and Guillaume Coutu-Dumont, Flabbergast, returns this March with a new EP, entitled ‘Default Mode Network’ and coming via Swiss imprint Adam’s Bite.

Vincent Lemieux is a staple of the Montreal, Canada underground and a widely beloved DJ for his impeccable technique and selections, he’s also offered up productions on the Studio Club and DISDAT labels and a collaborative EP alongside Ohm Hourani for Jigit and co-founding the Musique Risquée alongside Akufen, Deadbeat and Stephen Beaupré.

Guillaume Coutu-Dumont, a fellow Montrealer has long been a prized producer for his unique spin on micro house and
deep house music with his music finding a home on the likes of Mule Musiq, Meander and Dokutoku among others. In 2015 the two joined forces for their Flabbergast debut on Circus Company, have gone on to release with Yoyaku and Copier/Coller, and here makes a triumphant return for Switzerland’s Adam’s Bite with four fresh original cuts.

Opening the EP is the playful ‘Peppermint Poddle’, fuelled by oscillating synth tones, twitchy percussion and saturated bass alongside a spoken word vocal. ‘Manger Du Bon Manger’ then
shifts focus to cinematic organ lines, jazzy drums and a snaking bass groove throughout.

‘Mou D’état’ kicks off the B-side and sees the duo dive deeper via ethereal atmospherics, their signature wonky, mind bending synths and an amalgamation of processed vocal murmurs. Lastly
‘Dans L’oeil’ sees César Merveille join the party, the trio working collectively to create a unique slice of percussion fueled microhouse with intricately intertwined organic percussion, dubby
synth flutters, cinematic pads and pulsating subs.

Deep and soulful Revival style tune from the rising star out of Canada, Shayne Amani. For the fans of Chronixx, Protoje, and all Roots music!

Here In, Absence" ("Here, In Absence" for the book) is the result of the dialogue between the Finnish photographer Mikael Siirilä and the music artists The Humble Bee & Offthesky initiated by IIKKI, between March 2023 and January 2024.

After a first release in 2019 on IIKKI ("All Other Voices Gone, Only Yours Remains"), a second one in 2020 on LAAPS ("We Were The Hum Of Dreams"), Craig Tattersall (The Humble Bee) and Jason Corder (Offthesky) come back with a third stunning out-of-time beauty, paired with the Mikael Siirilä photography works.

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 16 solo albums on his moniker The Humble Bee and almost the same under his name on some collaborations.

Jason Corder is experimental-ambient multimedia artist based in Denver, CO. He has been producing music, video art, audio software, and the occasional interactive sound sculpture, for over 20 years. He teaches private courses on generative music and occasionally lectures on various sound design topics at Denver University. He currently is the Audio Director at the Denver based videogame studio Dire Wolf. Over the years, he has worked with labels such as Home Normal, 12k's term, Facture, LAAPS and more. Over the years he has performed at Mutek, Decibel, Communikey and other festivals, sharing the bill with likeminded artists Pole, Matmos, William Basinski, and more.

Mikael Siirilä: "I am a darkroom artist (b. 1978) based in Helsinki, Finland. My small individual photographs examine the themes of absence, presence and outsiderhood. My characters appear immersed in their inner worlds and moments of being: simultaneously absent and intensely present. The pictures also reveal the outsider’s gaze, lost in observation and reflection. My pictures are true observations captured with minimal interaction with the subjects. Their origin is in the act of looking, and they feel causally connected to the world. The craft of printmaking is inseparable from my artistic expression. I work solely with black & white film and the darkroom. The slow, contemplative process lends the pictures a calmness. I make physical pictures I want to stare at, feel and become lost in. Again and again."

Fine Art Book, Ltd. to 500 copies:
Hardcover book printed on Munken Lynx 150g/m2 // 80 pages, 18cm x 24cm, 51 photos // Logo and slot embossed // Selective UV varnish // Visible seam and cutting cover pages // Hand-numbered, hand-stamped.

We are delighted to bring you the first in the Ivan The Tolerable Archive Reissue Series, Autodidact!

Originally released on a 10” lathe cut by Ack Ack Ack Records in February 2018, this has now been remastered and repackaged, and will now be available on ltd edition khaki vinyl, with only 250 copies pressed. Here’s a bit about the record in Oli Heffernan’s aka Ivan The Tolerable own words-

“I recorded the bulk of this record over a weekend in January 2018, in the midst of a very minor breakdown that was to last for pretty much the entire year. I was living in a big house all on my own, smoking too much and not really seeing any people. Happy days indeed.
It was tracked in the back room of 97 Hambledon Road, Middlesbrough using two questionable microphones, a broken HH 100 amp, my friends drums and a Tascam DP08 (that wasn’t to see the year out, RIP 2009-2018) When I was done, Robbie came round and recorded a ton of violin drones through my amp and i remember feeling like I’d gone into a trance a few times, then Ben recorded his parts at home and sent them over. Mixed and mastered the same night - I released it myself a month later as a lathe cut 10”and then promptly moved on. I listened to the album for the first time in years to write this sleeve note and I think it is possibly the closest I’ve ever got to capturing the sound I hear in my head - I love how grubby and cavernous it sounds, claustrophobic and swirling - the track Autodidact I have recorded 4 more times since this version and I’ve never got that sound back. I’II keep trying.’’
“Oli Heffernan, June 2023’’

Norman Connors' 'She's Gone' is a timeless blend of Soul and R&B from his 1981 album, 'Mr C'. 43 years since its initial release, 'She’s Gone' still endures as a masterpiece, showcasing Connors' musical prowess and ability to create unforgettable compositions. Lush arrangements, masterful instrumentation, and heartfelt vocals define the track with Norman Connors seamlessly fusing horns, strings, and rhythm instruments for a rich sonic experience. This 7'' heavyweight vinyl single, presented here exclusively for RSD is the first time this single has been available since 1981 & gives fans old and new the chance to own a slice of this classic, in demand Norman Connors production. remastered, but with slick early 80's aesthetics as was.

2024 RSD Release

What we gonna do right here is go back, way back, back into time…and one of the most sampled refrains in dance music history. A 7 inch double header of two of the biggest records from the Jimmy Castor Bunch, the 1 million plus selling ‘Troglodyte’, flipped with ‘It’s Just Begun’. This funk masterpiece lit up the Bronx in the ‘70’s and was the spark from where Hip Hop caught fire. Get in early and go in hard. Funk, Soul, Hip Hop and dance fans all need this beaut. Original RCA labels and sleeve, all remastered for 2024.

Ricochets started their career back in 1998, and quickly became a force to be reckoned with in the Norwegian rock scene. They gained a lot of attention all over Scandinavia as a solid live-band next to their Norwegian peers Madrugada & Midnight Choir. "Isolation" was their third record, first released in 2005. Now on vinyl for the first time, remastered and packed in a great looking gatefold sleeve.

"Isolation" by Ricochets includes the following tracks: "Isolation", "Written On My Grave", "I'm Gonna Eat Myself", "Blues In Bb-Minor" and more.

LEACH. With three full length releases and one EP already under their belts, the Swedish Death’N’Rollers have certainly established LEACH in the Scandi music scene. They’ve redefined the internationally cherished Swedish sound by merging elements of the iconic Gothenburg scene with that special aggressiveness of northern hardcore, while mixing in a good measure of old-school Stockholm death. Defining attributes of their work are electrifying and exciting smash songs with groovy twists – picture a blood-thirsty, melody-hungry bastard child of Entombed and Exodus, two of the band’s biggest, long-lasting influences.

On their eponymous debut, Super American Eagle deliver manna for heavy rock fans craving ergine detours into noise, psych and sludgy dank, herbal grooves. A union delivered via chance, Brent DeBoer of The Dandy Warhols, Dave Mudie from the Courtney Barnett band and Bob Harrow of Immigrant Union, played an impromptu Immigrant Union NYC show as a three-piece. That night the chemistry was undeniable and so Super American Eagle soon took flight. Known for the individual talents they bring to other’s bands, the trio take control of the destination, reveling in the creative liberty that beats at the heart of the project. From a lightening moment of musical connection Super American Eagle have built a thrilling, fuzz-filtered debut of urgent and essential psych and super heavy rock vibes.

Big Crown Records is proud to present Brainstory’s sophomore full-length album Sounds Good.

Based in L.A. but hailing from the Inland Empire's own Rialto, California, two-thirds of Brainstory, Kevin and Tony Martin are brothers by blood, while Eric Hagstrom is a brother through their music and long term friendship. Since they started the band they have constantly faced situations that forced them to rise to the occasion. They got signed to Big Crown Records, they stepped up their game. COVID happened, they learned to record themselves. They started touring a ton sharing the stage with the likes of Lady Wray and they got their live show super tight. All of this time spent grinding and growing has certainly paid off. The path to take their art to the next level is clearer than ever, and once again, they are here for it. If there is one thing that is abundantly clear on Sounds Good, it’s that Brainstory has leveled up.

Part of this evolution is undoubtedly attributed to having access to and working constantly in their own studio in Long Beach. Another major factor is that their brotherhood has expanded. "I've been playing music with my brother all my life and now with Eric for a long time," Tony tells us. "Leon, though, is like another brother I've just met."

Leon Michels, Big Crown's co-owner, produced this record and applied his unmistakable golden touch in crucial ways. The other member of the extended Brainstory brotherhood whose contributions were essential to the album, is studio engineer legend Jens Jungkurth who controls the tones and textures of the music. "That's what you're hearing, our connection, the fun moments, the little details," Kevin describes. "This record isn't half what it is without them—and it made us want to match that effort," and match that effort they did. Album opener "Nobody But You" is an uplifting, dance ­oor burner, that shows off a new side of Brainstory's range. Drummer Eric Hagstrom’s crushing back beat lays the foundation for an inspirational feel good banger that manages to take the uncomfortable truth that “nobody will save you but you” and turn it into pure blissful motivation. "Peach Optimo" is a laid back half time tune that blends the bounce of Down South Hip-Hop with California G funk and Jazz. They once again show off their B said ballad talents with "Gift Of Life" but this time taking the genre to a new place with lyrics about existentialism and a track that is drop dead gorgeous, haunting, and profound all at once. "NyNy" is an homage to Kev and Tony's recently deceased grandfather while "Too Yung" is a show stopping, deeply personal, stripped down number about being introduced to

alcohol at a young age. They put another hit on the boards with "Hanging On," a Latin / Psychedelic Soul inspired banger featuring Claire Cottrill on background vocals while "XFaded” addresses the all too common vicious cycle of smoking and drinking too much over a trippy shuf­e.

"It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." That's one way to describe change: catching up to oneself. Each member of Brainstory has gone through shifts, both personally and musically, and all of that threads through Sounds Good. It's easy to say that the music industry can be short on lasting, genuine relationships. However, for Brainstory, from day one it's been about standing by each other, for each other. Their friendship started the group. Track listing:

Drummer Kendrick Scott and bassist Alexander Claffy join rising-star Danish pianist RasmusSorensen for the release of a special trio project - BalancingAct- recorded in true jazz spirit in the heart of New York City. Timeless repertoire and intricate originals combine in a piano trio session which captures thetradition of years gone by: three players meeting in a studio to produce music which somehow sounds as if they spent a lifetime together. Sorensenrelocated to New York City in 2018 to pursue his studies at the Manhattan School ofMusic on a full-tuition scholarship and within five years had proved himself as a compellingcreative force, playing alongside some of the scene"s most reputable musicians and performing his original compositions in some of the world"s mostrevered jazz clubs. In line with New York"s fast paced spirit, the session with Claffy and Scott was set up, planned and recorded within a matter of days, with the musicians meeting on the day and spending just three hours together in the studio. It"s something of a rite of passage for pianists to showcase their treatment of classic jazz repertoire;Sorensen choses a selection of Great American Songbook classics and a lesser-knownColtrane number for this, his sophomore album. Alongside a handful of originals, the recording with two veteransof New York"s prestigious scene is a masterclass in energetic, spontaneous, playful and exciting piano trio playing. Effortless groove, rich contemporaryharmony, virtuosic improvisations, dextrous rhythmiccomplexity and intricate arrangements make for an adventurous and thrilling listen; the first meeting of three fearless and experienced masters of their craft. Jazz is no stranger to the concept of passing the baton from one generation to the next, not through loud exclamations and accolades, but by who the greats choose to work with. With Balancing Act, Sorensenhas not only produced a beautiful trio album, but staked his claim - with the help of Scott and Claffy - as one of the ones-to-watch from the new generation of pianists.

Alcatrazz was Jimmy Waldo's teddy bear's name as a kid, from there the band chose the name; originally they were to go with "The Rosie O'Donnell Experience", but later felt that would indicate sympathy with the celebrity. The band's initial line-up consisted of Graham Bonnet (lead vocals), Yngwie Malmsteen (guitar), Gary Shea (bass), Jimmy Waldo (keyboards, vocals) and Jan Uvena (drums, vocals). Shea And Waldo were previously members of the group New England. Uvena had worked with Alice Cooper. Malmsteen had been in the Swedish Prog-Metal band Silver Mountain and had recently come to the US and joined the band Steeler for one album. Alcatrazz's material was written by Malmsteen, Bonnet, Waldo and Vai. Shea dubbed the group "Alcatrazz". Features all of their greatest hits.

Alcatrazz was Jimmy Waldo's teddy bear's name as a kid, from there the band chose the name; originally they were to go with "The Rosie O'Donnell Experience", but later felt that would indicate sympathy with the celebrity. The band's initial line-up consisted of Graham Bonnet (lead vocals), Yngwie Malmsteen (guitar), Gary Shea (bass), Jimmy Waldo (keyboards, vocals) and Jan Uvena (drums, vocals). Shea And Waldo were previously members of the group New England. Uvena had worked with Alice Cooper. Malmsteen had been in the Swedish Prog-Metal band Silver Mountain and had recently come to the US and joined the band Steeler for one album. Alcatrazz's material was written by Malmsteen, Bonnet, Waldo and Vai. Shea dubbed the group "Alcatrazz". Features all of their greatest hits.

Origu and Unique Records bring you a UK Hip Hop Holy Grail.
For the first time on vinyl this double sider features two standout tracks from the 1993 "The Rhyme Wrecka EP“.
The short lived group Freakin’ Inglish from Salford & Manchester gained massive respect in the Hip Hop scene with their tape only debut just to break up in the year after. After a digital only release in 2013 and a CD reissue by Chuck D’s SpitSlam label in 2021, the uptempo title track and the cleverly produced „A-Dorable“ make their vinyl debut.

Freakin' Inglish is a Hip Hop group from Salford & Manchester, (United Kingdom). Formed in 1993, The group originally consists of Emcee's (Red Venom, Eric-T & Yozzer) the group quickly split up the following year. They released their debut EP "The Rhyme Wrecka" in '93, along with other tracks via Fat City Records and other stores round the UK.

A reunion on the 2nd decade (2013) of their formation in (1993) was planned by Red Venom & Hip Hop Producer: Nate Whittaker Featuring original members Red Venom & Eric-T along with Nate Whittaker as the missing 3rd member, taking Yozzer's place in the group, but as a producer. red venom has now gone on too be a member of the rhyme syndicate and is putting out albums and a reunion is set now for 2021 with eric t and red venom and a new member .

Produced By Donovan Germain, recorded at Channel One and Harry J's, backed by The Roots Radics & The Taxi Gang, originally released in 1982. A pre-digital taste of what was to come.

TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

Coolly opening the album, "And The Folklore Continues" can be said to be both a titular and actual nod to his past work. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. Just divine. The sparkling "La Califas Perdido" follows, all dreamy melodic guitars and twinkling vibes over dusty drums and a fine bassline. The shuffling, conga-assisted "I Would Go With You" is a gentle, romantic gem whilst the brief but beautiful "No Time For Time" feels in a hurry to let us know that Tommy can work with more propulsive rhythms. In this case, they underpin Tommy's gorgeous, shimmering guitars wonderfully well.

The head-nod funk of "Calling For Ya!" (get it?) features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The startling instrumental "Mosaic Man" closes out the side with a lean slice of mellifluous, virtuoso guitar bliss.

The reflective "What Have I Been Doing Since I Was Gone?" opens the B-side in glorious fashion, the type of melancholic melodic head music that should soundtrack a bright walk on a cold winter's day. The hypnotic groover "Paper Switchblade" is a razor-sharp fuzz-funk whilst the beautifully downbeat "Never Forget To Remember" is a kaleidoscopic kalimba-koolout. Galloping cop-funk breaks workout "Run With The Hunted" is a rollicking ride and it's followed by the fresh chiming guitar funk of "New Terrain".

The upbeat and bright "40 Summers", featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Just straight up guitar pop. "The Simple Man" a gorgeous, melancholic ballad, closes out the record with deeply yearning vocals from Tommy, a rarity and a treasured one at that.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Totally killer previously unreleased dub companion LP to Flick Wilson's "School Days" LP. Jah Life was no slacker when it came to mixing dubs, and sat in with Scientist at King Tubby's for the mixing of many of the classic Junjo/Radics/Scientist albums. But more importantly, they also mixed a ton load of dubs for Jah Life himself, many of which, like this album, remain unreleased...until now! Nine out of ten tracks from the Flick Wilson album are dubbed here, and one track from the Wayne Jarrett "What's Wrong..." album. Classic Scientist 1980 style mixing, nothing else like it, hard stuff. Cover features a fantastic previously unseen photo from Beth Lesser.

Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time.

AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks."

The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences.

This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

"Memorie d'Inverno" is the first collaboration album from Original Krash (Producer) & Casco aka Helmet (Performer) with the partecipation of various dope mc's and singers also the vynil exclusive include two remixes from leggendary prodcuers Dj Skizo (from Alien Army) and The Next One (from Zulu Nation and Rock Steady Crew).

"Memorie d'Inverno" is a concept album released for Outboard Music in June 22 and the title in italian stands for "Winter Memories".
The LP it's worked and founded on the classic style of Hip Hop where bassline, cuts and drums reign on the productions all made with the MPC5000 sampling original vynils. The songs are concived as a phootage of a memory, so made too survive forever in the ear of the listener. All the tracks has been mixed analogically by Matteo "Nost" Nolli at Nost Studio (excluded the two remixes made directly by the producers) with the supervision of Original Krash and the work on the sound it's an essential part of the LP and melted with the fact that most of the beats are sampled from Jazz and Soul defines the Hip Hop flavour of the album.

Thw philosophy and the work ethic behind "Memorie d'inverno" it could be perfectly resumed in the titles of the intro (True Knowledge Is The Future) and the outro (Today, Not Tomorrow) as a perfect closing circle. The message is don't waste your time around unuseful stuff and keep focused on what you like and really desire to reach, so you better tie the laces to your shoes, bust your back and study to obtain what you deserve beacuse no one is gonna do that for you.
Krash and Helmet thaks everyone who will support our business remebering to the one who hasn't already purchase the order that they really should beacuse... Italians Do It Better .

TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

It's a new lineup,” landlord of the avant-garage Kid Congo Powers exclaims of the Pink Monkey Birds edition responsible for the fifth studio full-length of their 19 year recording career, That Delicious Vice. “We've gone from a four piece to a three piece,” continues Kid, whose unique guitar style has been at the center of some of the most forward-thinking bands in punk and garage: The Gun Club, The Cramps, Nick Cave and the Bad Seeds, and Knoxville Girls, to name a handful. “I'm not sure if living in the desert is making me want more space in music or not,” laughs Kid, a Tucson resident for a few years now. “Maybe I’m turning into a desert stoner rocker. But I'm not a stoner, so that's not happening.”

It's a new lineup,” landlord of the avant-garage Kid Congo Powers exclaims of the Pink Monkey Birds edition responsible for the fifth studio full-length of their 19 year recording career, That Delicious Vice. “We've gone from a four piece to a three piece,” continues Kid, whose unique guitar style has been at the center of some of the most forward-thinking bands in punk and garage: The Gun Club, The Cramps, Nick Cave and the Bad Seeds, and Knoxville Girls, to name a handful. “I'm not sure if living in the desert is making me want more space in music or not,” laughs Kid, a Tucson resident for a few years now. “Maybe I’m turning into a desert stoner rocker. But I'm not a stoner, so that's not happening.”

Welcome back to Demon’s ‘Disco Discharge’ series, originally issued in a series of 2CD collections between 2009 and 2012. The themed compilations of full-length, extended Disco originals, lovingly curated by the mysterious “MrPinks” and with detailed sleeve notes by author and Disco aficionado Alan Jones, have remained in-demand among collectors and the club cognoscenti. This time around, the series kicks off with ‘Classic Disco’ and ‘Disco Fever USA’. Doing exactly what it says on the tin, ‘Classic Disco’ mixes 12 undeniable dancefloor landmarks on 140g orange vinyl, from recognizable names like Change, Manhattan Transfer and Cheryl Lynn, with deeper cuts from exotic names like Dr. Buzzard's Original Savannah Band (an early incarnation of Kid Creole!), The Peter Jacques Band and Double Discovery. And as if to prove a cool Disco track could come from anywhere or anybody, ‘Classic Disco’ also features an essential re-edit by The Glitter Band!

Stevie Ray Vaughan's third studio album Soul To Soul was released in 1985, just two years after his massive debut Texas Flood. Moving more into a soulful R&B-tinged blues sound, Stevie included two new band members on keyboard and saxophone for Soul To Soul. The band know their way around a number of cover versions of songs penned by Hank Ballard, Doyle Bramhall, and Willie Dixon, bringing a variety of influences into SRV's brand of modern blues. His own compositions such as “Say What”, “Ain't Gone 'N' Give Up On Love” and “Life Without You” reveal an artist that is ever passionate in delivering real blues, and growing in his songwriting at the same time.

Soul To Soul is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

"Message From The Country was the fourth and final studio album by The Move, a British rock band that consisted of Roy Wood, Jeff Lynne, and Bev Bevan. After the release of this final studio album, the trio went on and founded Electric Light Orchestra. The influence of The Beatles runs through most of the songs stylistically, while still sounding like the first ELO album, which was recorded during the same lengthy recording sessions as Message From The Country. The Move generated what was, song for song, their most complex and challenging album. Message From The Country is available as a limited edition of 1000 individually numbered copies on white coloured vinyl. "

Message From The Country by The Move, released 12 April 2024, includes the following tracks: "No Time", "Until Your Moma's Gone", "The Minister", "The Words Of Aaron" and more.

This version of Message From The Country comes as a 1xLP.

The vinyl is pressed as a white disc.

Discovered while working as a publishing assistant at Mute Records, Pallot signed to Polydor Records and released her first album in 2001. The release of her critically acclaimed second album 'Fires' in 2006 drew comparisons with Joni Mitchell, Fiona Apple and Tori Amos, and spawned hit singles 'Everybody's Gone To War' and 'Sophia', plus Brit Award and Ivor Novello nominations. 'Fires' has been newly remastered by Phil Kinrade at AIR Mastering and is accompanied by a second CD featuring a selection of B- sides (including 'Love Will Tear Us Apart' as featured onBBC/RTE's 'Normal People'), rarities, and eight previously unreleased tracks. Nerina Pallot will be performing the 'Fires' album in full during a headline performance at The London Palladium on 13th April 2024.

"Fires" by Nerina Pallot includes the following tracks: "Damascus", "Learning", "Mr King", "Sophia" and more.

The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.

First time on vinyl

His most recent release, in his own words: "let's say it sounds as if 'bubbles' and
'life playing tricks' had a baby".

Nia Archives is the star at the forefront of the latest era of jungle. Since her emergence in 2020, her collagist soundscapes have helped bring the sound to a new generation of clubgoers (though fair warning: don’t call her a “revivalist” – she’s the first to point out that the scene never went away). So when it comes to talk of the 24-year-old producer, DJ, singer and songwriter’s much-anticipated debut album, the odds are you’re thinking of a full-length record of weightless jungle tracks with basslines so intense they’ll leave your ears ringing.

But the reality of the Bradford-born, Leeds-raised artist’s first ever album – while very much replete with that exquisite jungle sound she does so well – is also doing something a little different. On the thrilling and freeing Silence Is Loud, Nia Archives is looking to make music for beyond the rave. As she explains: “I think music can be experienced in different ways, and there’s different kinds of music for different scenarios. Say you’re at a festival listening to music with thousands of other people, that can feel really uniting. But then you might listen to an album on your own in the bus, or in a taxi; and this project is definitely more a record to sit and listen to than a collection of club tracks.” Nia is intent that Silence Is Loud is taken in as a full body of work of something “more song-focussed, putting interesting sounds on jungle.” It means that this is a record which finds gloomy Britpop, warm Motown, soaring indie, a love for Kings of Leon’s Aha Shake Heartbreak, skittering IDM, Madchester, classic rock, old skool hardcore and more, woven and fused into her ragga and junglist tapestry, all layered with feeling, imbued with her songwriterly lyricism about loneliness, relationships, family, navigating her 20s, and the intense potential power of silence.

The vast sonic palette on Silence Is Loud comes down to Nia’s broad array of influences through her life. With her Jamaican heritage, Nia remembers hearing jungle as a child via her nana, as well as at Bradford Carnival, where she was drawn to the soundsystem culture, dancing carefree on the floats in the parade. The first album she ever bought was Rihanna’s debut, Music of the Sun, and she also went to Pentecostal church back then, and was obsessed with gospel. Aged 16, she moved to Manchester, where she didn’t really know anybody: and so, her solution to meeting people was going out. “Partying was a huge part of my life,” she says, “They used to do little freestyle cyphers at the house parties and I would join in – that’s kind of how I got into singing.” She had found music boring at school, but in meeting all these new people she became interested in making her own music as a hobby. “I was making boom-bap kind of stuff which I didn’t really like in the end,” she laughs, “My lyrics are quite deep, so on a hip-hop beat it all sounds really depressing. I wanted people to dance to my music.” And so she began experimenting with faster tempos alongside that melancholy songwriting, teaching herself how to make beats on Logic: “It’s all been a lot of trial and error, really.”

Nia went to study music in London, and was also interested in visual art, making collages and VHS: “Before the music, I was trying to make a visual archive of my life and the people around me,” she explains, “And then my music was like my diary, and a sonic archive, as well.” Hence, she paired the word “archives” with her middle name, Nia. To this day, in her spare time she’s working on pulling together a documentary on the global nature of the jungle scene.

Back on those first two EPs, Headz Gone West (2021) and Forbidden Feelingz (2022), she honed that junglist sound, painting it with new flecks of colour and vibrance. It was only after she started releasing work that she realised pursuing music could be a viable life path for her. The decision has been paying off ever since. Nia Archives placed third in the prestigious BBC Sound Poll for 2023, alongside garnering a nomination for the Brit Awards’ Rising Star prize, plus wins at the DJ Mag, NME, the MOBOs and Artist and Manager Awards. She has also toured the world – be it North America, Europe or Asia – and even opened a show in London as part of a little something called Beyoncé’s Renaissance World Tour. She’s renowned as a party-starter in her own right, too, with takeovers at Glastonbury, Warehouse Project and her own Bad Gyalz day event. She’s done official remixes for the likes of Jorja Smith, had a huge summer hit with her Yeah Yeah Yeahs rework ‘Off Wiv Ya Headz’, and worked with brands like Corteiz, Nike, Flannels, Burberry, FIFA and Apple. In just three years, it’s fair to say that Nia Archives has become a need-to-know name in dance music.

But Nia is not interested in being one fixed thing. Building on the terrain from her third EP, Sunrise Bang Ur Head Against Tha Wall, the universe of Silence Is Loud is not totally unfamiliar territory; but it’s still emblematic of a bolder scope than we’ve heard from the artist before. Working with Ethan P. Flynn (the songwriter and producer known for his work with FKA twigs and David Byrne), the resulting record is an impressive feat of deftly-sculpted textures; sometimes big and euphoric, like the wobbly, lusty bass of ‘Forbidden Feelingz’, or elsewhere notably gentle and quiet – see: the gorgeous, surprisingly drumless ‘Silence Is Loud (Reprise)’, a heartfelt number that sits somewhere in the school of Adele. “I really sharpened my songwriting skill on this project,” Nia says, “I was really intentional about what I was writing about, and I really loved co-producing with Ethan. His process is so different to anyone I’ve worked with before, and he’s got a kind of DIY set-up like me.” Flynn’s flat overlooks the Barbican, adding that unquantifiable futurist urban quality that the area holds to the music. The pair enjoyed the collaborative process so much that the album was done within three and a half months.

Perhaps this is why Silence Is Loud maintains an exuberant immediacy while still being sleek and spacious, interspersed with flourishes of metallic beats, lush melody and topped with her sugary but powerful vocal, floating over it all. There is an intimacy to the record, perhaps in part due to Nia writing most of her lyrics while sitting in bed in her flat in Bow (once a bedroom producer, always a bedroom producer). You can hear it on the refrain for lead single ‘Crowded Roomz’, which finds rippling guitar lines cutting taut through the beats as Nia refrains: “I feel so lonely crowded rooms.” The song is an examination of life on tour, constantly surrounded by people, but not necessarily those she can be herself around; more than that, the track is exemplary in the category of sad bangers.

Silence Is Loud often finds itself in that push and pull between melancholy and euphoria. There’s a celebration of her unconditional love for her younger brother (the title track), a rumination of an evening with an Irish boy she met by Temple Bar (‘Cards On The Table), or a letter to herself on the light and airy ‘Unfinished Business’, even coming to terms with a lover having a past they haven’t quite processed yet (“nobody comes with a clean slate”). The latter was recorded the week after a music festival, and accordingly captures Nia’s vocal in its not quite healed, husky state.

Nia’s work is always a snapshot of where she’s at when she’s making it. This might not be the debut album you were expecting, but that’s what makes Silence Is Loud so special. Nia Archives has learned the rules of her sound, and is unafraid to break them, pushing jungle and herself into new, unchartered territories that, in turn, go some way to map the history of the greats of British dance music. More than that, it plants her firmly in that lineage.

"When I moved to Minnesota from Pittsburgh in 1994 all I brought with me was a big duffle bag and an acoustic guitar. I was 19. In that bag was a Radio Shack cassette recorder. I spent that time writing and filling up a tape with new songs. A few years later I earned enough money from my restaurant jobs to buy an old reel-to-reel 4-track recorder and some other instruments which allowed me to slightly expand my production ideas. More songs kept flowing and I made my self-titled album adding drums and bass. Over the next few years, as things grew, those sparse cassette songs fell on the back burner until 2002 when I decided to re-record a bunch of them at a higher quality. To keep with their original vision, I asked engineer Tom Garneau if he could record me playing them live in his living room. We left the production minimal and rough which I think serves these particular songs well. No overdubs. Just solo acoustic guitar and vocals. I called the album Simple Life. It was originally just a limited release. Until now. I hope you enjoy it."

unior Marvin - musikalischer Leiter und Gitarrist von Bob Marleys legendärer Band The Wailers - gilt als einer der größten Reggae-Musiker aller Zeiten.
Juniors neues Album 'Happy Family' erscheint fast zeitgleich zum Kinostart von 'One Love', dem viel beachteten Bob Marley Paramount Biopic Spielfilm. Die Rolle des Junior spielt im Film sein Sohn Davo, der auch selbst Musiker ist. Eine Neuaufnahme des Marley Klassikers 'One Love' ist dann auch die erste Singleauskopplung aus 'Happy Family'.

Junior Marvin ist in Jamaika geboren und in London aufgewachsen. Am Valentinstag 1977 (ironischerweise der gleiche Tag, an dem der Film in die Kinos kommt) traf er die verstorbene Ikone Tuff Gong, die ihn als den "jungen Jimi Hendrix von London" bezeichnete. Marley bat Junior sofort, sich seiner Band als Leadgitarrist anzuschließen. Marvin war bis zum Tod Marley's einer seiner engsten Freunde. Juniors Gitarrenspiel hatte einen großen Einfluss auf Marley, und seine Musikalität ist in so bahnbrechenden Marley-Songs wie 'Could You Be Loved' (den Junior ursprünglich geschrieben und Marley geschenkt hatte), 'Waiting in Vain', 'Buffalo Soldier', 'The Heathen', 'One Love' und 'Jamming' deutlich zu hören.

Junior Marvin beschränkt sich jedoch nicht nur auf Reggae, sondern spielte unter anderem auch mit Stevie Wonder und Steve Winwood (er lehnte sogar ein Angebot von Wonder ab, dessen Band Wonderlove beizutreten, um Marleys Angebot, Mitglied der Wailers zu werden, am Valentinstag 1977 anzunehmen).

- Col. LP: (Red Gold Green Vinyl)

Experimental metal trio LOCRIAN are a prophetic voice of decline and a pioneering force in the world of metal. LOCRIAN’s sonic tapestry weaves elements of black metal, ambient, and experimental music, creating a genre-defying experience that pushes the boundaries of conventional metal norms. Their new album “End Terrain” set for release on April 05, is the proper follow-up to 2015’s “Infinite Dissolution” (Relapse Records) and continues in the vein of LOCRIAN’s distinguishable sonic blueprint brought forth from said release along with such albums as the Relapse Records released “Return To Annihilation” and “The Clearing/The Final Epoch”. 2022 saw the return of LOCRIAN making their return on their Profound Lore debut “New Catastrophism” which saw the trio explore and return back to the more experimental side of their roots.

“End Terrain” is the group’s most direct and concise work to date. More complex and layered than anything in the prolific trio’s catalog, “End Terrain” is a concept album exposing a vision of a future earth consumed by waste. An apocalyptic landscape, inhabited by a generation who despise their parentage and a dying breed fully aware of the wasteland they have left. Mountains of trash and an uninhabitable planet, endless and dead. End Terrain is about inertia and regret, about the future and a mirror to the present, about mourning and extinction.

A seamless and harrowing blend of experimental, post-rock, and post-metal, “End Terrain” is the perfect manifestation of modern, forward-thinking experimental music pushed to a maximalist conclusion.

In the ever-evolving realm of extreme music, LOCRIAN stands as a testament to the power of artistic exploration. Their geographical spread mirrors the expansive sonic landscapes they traverse, cementing their status as trailblazers in the avant-garde metal scene.

"Locrian are a many-tendriled beast. The formerly Chicago-based trio, having released a myriad of albums ranging from abstract guitar noise to krautrock-and-drone-informed metal, are poised to release their first "song-based" album since 2015's Infinite Dissolution (compared to 2022's New Catastrophism–an improvisation-guided, full-band drone and noise album). End Terrain is a high-concept, intense album, telling a very pers

The nineties are often described as a hedonistic decade, a party decade when all arrows pointed upwards. In music culture, first things that comes to mind is the peak of club music, big-mouthed and drunken British rock bands, extreme Black Metal, and the high-energy "Scandi-rock" - a scene that the Euroboys members themselves were part of, in bands like Gluecifer, Team Spirit, Fair Fuck and Turbonegro. "Soft Focus" broke out from the noise after the nineties, and started introducing new vibes in the rock genre. With inspiration from the music scene that grew out of Laurel Canyon and California in the early seventies, Euroboys came up with a rock album that was soft on the edges, warm sounding with bittersweet melodies. Today, names like Fleetwood Mac, Eagles and David Crosby are of course gods on the retro sky, but it wasn't like that in 2004. This first time on vinyl reissue of "Soft Focus" has been remastered from the original tapes, and also features two bonus tracks that resurfaced in the process, mixed and released for the first time.

Dogs Of War is the twelfth studio album by the heavy metal band Saxon, released in 1995. This one marked a period of changes for Saxon, both in their sound and lineup. Thanks to early ‘90s albums like Solid Ball Of Rock and Forever Free, Saxon convinced many skeptics that they still have plenty of quality heavy metal to offer and after a three-year recording hiatus, the band returned to glory with the massive-sounding Dogs Of War. Once past its thunderous opening title track, Dogs Of War delivered a slew of improbably memorable and distinctive numbers, including ""Big Twin Rolling (Coming Home),"" ""The Great White Buffalo"" and ""Demolition Alley."" It was also the last album with longtime guitarist Graham Oliver as a member of the classic formation, who left shortly after the album release. Dogs Of War is available is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

Dogs Of War by Saxon, released 12 April 2024, includes the following tracks: "Don't Worry ", "Hold On ", "Demolition Alley ", "Give It All Away " and more.

This version of Dogs Of War comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc.

”Honor Roll Of Hits” is a 4 way vinyl split featuring 20 hard hitting tracks from the Lövely Records associated bands Sweet Teeth, GASP, First in Line, and Statues. It perfectly sums up the essence of the label and provides a glimpse into the alternative scene of Sweden, offering everything from ´90s inspired alternative rock to highly energetic hardcore punk.

"Honor Roll Of Hits" includes the following tracks: "Mercury", "Burning", "Running", "Move on" and more.

This version of the split album comes as a 1LP on transparent red vinyl.

The YUM YUMS, Europe's ambassadors of power-pop are back with a brandnew album!!! Their sixth full-length is called "Poppin' Up Again" you you can be sure that whenever they have a new album poppin' up, it's gonna be a hit record!!! It's stacked with catchy hi-energy, guitar-driven power-pop songs, complete with sugary multi-layered harmonies and lyrics that seems to be stolen from some 12 year-old girl's diary. Like Joss Hutton once wrote in Bucketfull Of Brains Magazine, "Let's consider the three minute pop-song for a second or two: so simple in it's construction, so inscrutable in it's perfection, so many who have tried and failed! For me the YUM YUMS have been THE band to watch over the past few years, their perfect (yep, it's true) take on the "power-pop" thang is a source of constant pleasure and amuzement". A pretty good description that is, but what more can we say about the undisputed kings of pop? This time they deliver their idea of REAL POWER-POP, where the word power is written in capital letters and fill it up with a perfect dose of classic rock'n'roll. Putting together the essential ingrediences of the music of the RAMONES, the REAL KIDS, the PLIMSOULS, the DEVIL DOGS, the early SWEET and the OHIO EXPRESS, the 6t's and the 7t's, bubblegum, glam and punk, pop and r'n'r, they create their very own YUMMY sound. So, what we're talking about is extremely catchy pop-music with a fat, rockin' guitar sound, well executed vocal-lines, ridin'-on-the-waves drums and a crunchy punk feel to it. It simply makes you feel good!

Produced by El Michels Affair & Tommy Brenneck (Charles Bradley, Menahan Street Band). Taken from forthcoming debut album due out in Summer 2024. Thee Heart Tones treat us to another must have 7" while the finishing touches are being put on their debut album. A bunch of talented kids from Hawthorne, California that came right out of high school and wound up in the studio with two legendary producers (El Michels Affair & Tommy Brenneck) cutting their first album in 5 days. Here on this 45 are two more of songs drenched in the magic that was captured. Side A "No Longer Mine" is gritty and driving mid tempo banger that lead singer Jazmine Alvarado's honeyed voice smooths out. A declaration of young love gone wrong, Jazmine states the facts and lays down the law like a boss with a chorus that will live in your head rent free. Side B "Cry My Tears Away" is a heavy duty B Side Ballad that can hold court with the best of them. This is sure to find a place in the hearts of all the slowie enthusiasts and soundtrack many a slow dance, joy ride, and late night.

Mancunians Aerial Salad describe their cross-genre sound as “Madchester Punk,” a nod to their heroes in Happy Mondays, XTC, and Carter USM, spiced with the current furore spearheaded by burgeoning Brit-wave bands like Yard Act, Shame, and High Vis. Their second album ‘R.O.I’ leans on these influences, driven forward by pure rock’n’roll swagger while conjuring a late stage, capitalist hell scape through brutalist lyrical narratives. To put it mildly, Aerial Salad is the band you want to see play the breakdown of establishment’s after party, and you already know you’re gonna love it! This is an album that moves seamlessly from pulsing post-punk beats to unstoppable stadium rock anthems. ‘The Same 24 Hours (As Beyoncé)’ is Britpop rallying against the fake facade of influencer culture, ‘All Yer Dreamin’ is Mark E Smith at the Hacienda, ‘Chances’ is Oasis taking on Talking Heads. Aerial Salad find space to explore new genres without losing the sense that this is a band born out of the hard touring, DIY punk scene, a community that continues to be close to their heart. The northern three piece want us to know they’re as authentic as it gets. Injecting that raw chaos and violent charm from the stage straight into their recordings. Their goal is to make themselves known to everyone and anyone, from rave heads to indie kids, poets to rockers. ‘R.O.I’ is fantastical while acutely bedded in modern post-Brexit, Un-united Kingdom canon. We’re all trying to find our places in this new world, let Aerial Salad be the soundtrack.

Black Fri. RSD 2023 Lipstick Red LP Collectible Concert Poster

Available again on vinyl, this quintessential collector’s edition includes Sam Cooke’s sensational album, Twistin’ the Night Away, originally issued by the RCA Victor label in 1962. It was Cooke’s second effort following his 1957 debut LP, and remains one of the singer’s most accessible records despite the fact that the material consists primarily of “Twist” numbers chosen by the producers to cash in on that craze. Cooke was shoehorned into doing numbers like “Camptown Twist”, “Twistin’ in the Kitchen With Dinah”, and “Twistin’ in the Old Town”, as well as his version of Hank Ballard's “The Twist”.

He is at his most soulful, exciting, and passionate, on the popular title track “Twistin’ the Night Away”; the bluesy “Somebody Have Mercy”; the romantic lament “Somebody’s Gonna Miss Me”; the ebullient “Sugar Dumpling”; the achingly beautiful “A Whole Lot of Woman”; the soaring “Soothe Me” (with Lou Rawls); and the slow dance number “Movin’ and Groovin’”. In 2001, music critic Bruce Eder declared, “Twisting the Night Away is not only one of the great dance albums of its period, but a brilliant soul album as well, which is why it holds up 40 years later.”

Find all the greeatest songs of the King of Rock & Roll in a nice 5LP boxset

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

One of the more melodic and interesting bands of ska’s third wave, Grand Rapids’ Mustard Plug’s ‘Yellow #5’ features a mix of melodic choruses and horn charts, loudly distorted guitar and upbeat punk or rock beats. Now available on purple vinyl. “Fans of early Bosstones would like this a lot, and the band get extra points for not succumbing to easy novelty lyrics, instead writing about the more introspective sides of life and love” - Reno Gazette

repressed !

Emotional Rescue dives back into one of its specialties, the formative years of Post Punk and Dub influenced music, presenting the, to date, unheralded Skinbat Scramble. The rarity of the unknown, the discovery of rich, lost music, it is a delight to release a compilation of the band's previously unreleased recordings. A snapshot of time, a journey that covers several decades of friendship but is concentrated here on the fertile 80's scene.

Forged around the friendship of Mark Eason and Fergus Crockford, but with ever changing line-ups, flowing in and out during misspent youths, self-taught playing, falling in and out of bands, travelling that well-worn journey from Home Counties boredom to the excitement of a rough edged London, taking in as music as possible, from Motown on to the The Velvet Underground, The Rolling Stones, Bowie, Pink Floyd, Gong and Fripp & Eno, before Dr Feelgood, Eddie & The Hotrods and a dose of John Peel led to discovering Dub and Punk and witnessing that short-lived burst of creativity at the Roxy Club, Marquee or Vortex and exploring back to early Rock'n'Roll, Rockabilly and old Surf'n'Soul, alongside the likes of Wire and Suicide.

As the Post-Punk sounds mixed simultaneously with Two-Tone, local Art College gave way to university and the early struggles of finding a way in the late 70s / early 80s of Thatcher's Britain. Music was central, Skinbat Scramble finally appearing, morphing from numerous teen bands, early studio excursions of tape loops and effects leading to the first recording sessions in 1981.

The slower tempos, introspection, open structures, and shimmering experimentation of Post Punk were pivotal. John Foxx's early Ultravox, Siouxsies' "Lord's Prayer" period and The Electric Chairs seminal "So Many Ways", influenced to a freer future. PIL, ACR, Section 25 and Pink Military let imaginations briefly roam.

'Far out and weird', those first recordings made at Leeds Uni's Fine Arts Dept utilized Revoxes, Tandberg, MiniMoog and even a borrowed drummer. This was followed up with completed sessions at Elephant Studios in London, forming the basis of this compilation.

The tight scattergun rhythms on opener Submit, in both Vocal and short Dub mix, bely an unreleased band. Taught and crisp, it's like a song you've heard propelling open-minded, leftfield dancefloors for years.

The writing, musicianship and studio mastery displayed on North By Northwest and Skiddadle should not be music unreleased for almost 40 years. In North Dub and closer, Pixie Boot Dub their understanding of the opportunities of dub Reggae are clearly apparent, ethereal music wormholes for late night smokers.

However, it is in Basement Voltaire that the band step out time. Recorded in 1986 this is a 9-minute proto-techno wonder that mixes all their psychedelic meets punk youth in a crescendo of crashing claps and rolling toms that is of a time and so far ahead of its time.

And that was that, after 6 gigs, including a couple at the infamous St Martins, to an audience total you can fit on one hand, the band's first incantation closed and the master tapes were stored for several decades, waiting for "The Psychedelic Pirates" to finally surface.

Revision of new beats on the horizon
Every 20 years or so, certain musical movements come full circle. Young musicians are inspired by genres dating back two decades, channelling them through their modern sensibility. The legendary J Dilla’s Donuts album was released in 2006 and instantly marked a starting point for the work of musicians worldwide, laying the foundations especially for the beat scene in Los Angeles. A whole young generation of musicians brought up on the new, instrumental and abstract hip-hop has carried jazz into a new era. The four London-based musicians who make up Uniri have gone one step further by abandoning the idea of a jazz band and "bedroom production" in favour of collective composing, creating a new look at the new-beat aesthetics, framing it as a road novel set in an unspecified time and space.

Uniri translates as ‘one unified dream’ and is the key driving motto of the project conceived by Chiminyo (Cykada, Maisha), the band's founder and head honcho. The project materialised in his private studio, where he invited fellow jazz musicians Amane Tsuganami (Jorja Smith, Maisha), Al Macsween (Nubya Garcia, Gary Bartz, Kefaya) and Luke Wynter (Nubyan Twist, Golden Mean) to spontaneously compose together. Hence, despite this being the band's first album, it wouldn't be right to call them rookies. The result of Uniri's collaborative work is the psychedelic, rhythmic album Infinite Reflections, packed with cosmic and warm synths, which neatly balances hip-hop beat and jazz composition. It's safe to say this music is even more appealing when played live, although it's equally suited to the club dancefloor.

UK Jazz has become a permanent fixture in the London landscape, but also across Europe and the US. Today, the musicians who shape the new wave of jazz are drawing on more and more genres, reducing solo improvisation for the benefit of composition and increasingly drawing on influences from the beat scene. Among such formations are the British NOK Cultural Ensemble, the Polish Błoto, the Belgian ECHT!, and the Dutch Comité Hypnotisé. Uniri is part of this emerging yet already international trend, creating an entirely fresh aesthetic that echoes artists such as Flying Lotus, Samiyam, Dorian Concept, Ras G and Nosaj Things oriented around the Californian 'new beats generation' scene.

The title Infinite Reflections alludes to a phenomenon observable on the open sea or during intercontinental flights. Gazing at the horizon blurs the boundary between the ocean and the sky, forming an infinite palette of blue shades. This inspiration sparked an elusive musical narrative, navigating between a sea voyage and an astral journey, destination unknown.