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Formed in late 2018, the at the time 4-piece band from Denmark pursued the stylistic vein of the 90"s shoegaze scene with crusty distortion guitars, progressive drums, and supremely airy vocal figures. Only two years after their formation, the band self-released their lo-fi-heavy debut EP, Everytime; a daydreamy handful of songs with alluring atmospheres of heartbreak and self-disorientation, that was quickly discovered by the legendary platform KEXP through their digital sale on Bandcamp. Meltways" debut album, Nothing Is Real, is a strikingly infectious collection of explosively driven songs. Warm blankets of noisy guitars and oceans of reverb melt with Mathias" angsty, yet liberating lyrics. Recorded in Esbjerg at Tobakken Studio, mixed and engineered by Mathias, and mastered by Slowdives Simon Scott.

The story of Astral Bakers is an obvious one. Four experienced musicians get together in the same room, and make music as if it were the first time. Some say acoustic rock, others say soft grunge. Songs in English, halfway between Big Thief, Supertramp and an unplugged Nirvana concert. Initially, Sage (formerly of Revolver), Theodora, Nico Lockhart and Zoé Hochberg know each other from having collaborated together on other tours and records. All have worked with artists as varied as Clara Luciani, November Ultra, Woodkid, Pomme and Revolver. Together, they crave something different: epiphanies and presence, friendship and purity. No demos, no re-recording: just circular listening, between two guitars (Sage and Nicolas) that converse with each other, a bass (Theodora) that holds time, and soft drums (Zoé)thatenfoldthewhole.Selected by Spotify for their RADAR program, and already acclaimed by critics,this10-trackdebutalbum,writteninalivesetting,isalreadymakingitsmarkonthe 2024 indie landscape.

There is a parallel, submerged dimension in which musicians meet when they improvise. Sound microcosms emerge in those moments, and this is precisely the magic that BOTTAZZ! wanted to photograph in their first album: BOTTAZZ! VOL.1.

A "live" album, capable of transmitting spontaneity, sonic truths, empathy, feelings; ingredients that are difficult to transmit by recording the instruments individually or with other techniques.
Recorded in the historic "Auditorium 900" studios, a true time achine, as well as an institution for music in Naples.

Auditorium 900 took up the challenge in the figure of sound engineer Fabrizio Piccolo and from here the sound of BOTTAZZ was born!

A sound made up of lysergic Funk trips, 70's influences in all possible nuances: from progressive funk to Santana's Hispanic rock, up to touching its darkest and most hidden latitudes; audio waves
nfluenced by the soundtracks of the cinematography linked to those times, organs, synths, percussion and wah wah guitars, which generate a melting pot in which nothing is taken for granted.

BOTTAZZ! VOL.1 is a ship's diary, a journey into which each sailor has inserted its own emotions accumulated over the years, thus giving us a sincere and genuine record. Happy navigation.

Mandalaband began life in the early 1970's, gaining cult status as one of the most forward-thinking prog outfits of the time. The brainchild of David Rohl, who formed a lineup featuring future Sad Cafe members Vic Emerson (keyboards), Ashley Mulford (guitars), John Stimpson (bass guitar and backing vocals), Tony Cresswell (drums) and vocalist Dave Durant.

Mandalaband received critical acclaim with legendary BBC radio presenter John Peel playing the entire album on his show before promptly re-broadcasting the whole thing immediately after. Unfortunately, at the time, this didn't translate to sales and Mandalaband fell into obscurity. However, with the advent of the internet, their legend grew, exciting a new generation of prog fans.

We are now pleased to make these recordings available again and offer a chance to dig into some of the most interesting progressive music of the '70s. As well as presenting the original album remastered, David gained access to the original 24-track analogue master tapes, having them restored and digitised at Abbey Road Studios before reinforcing the sound and instrumentation before remixing the entire album.

Nearly fifty years on, a veil of sonic mist has been lifted from these unique recordings.

Format: 2LP 180g gatefold edition featuring the original album and David Rohl 2024 remix of entire album, both remastered at AIR Mastering, with rare bonus track. Includes newly written liner notes.

While most of the Norwegian movers and shakers of their generation eventually moved to Oslo, Israelvis stuck it out in their native Trondheim. “Albino Blue” was recorded by the classic trio line-up consisting of Viggo, Jens-Petter and drummer Gillo, and has all the ingredients that made Israelvis such an exceptional band, brilliant tongue in cheek lyrics, crunching guitars and fantastic songs!

From the depths of Gothenburg, The Family Men emerge. Since 2017, they have slowly carved out a sound entirely their own within the current music scene, standing out as one of the hardest groups in Sweden today. Making use of unconventional sampling, chainsaw-guitars and gritty industrial tones, they manage to blast their way into yet uncharted musical territory. Their debut album 'No Sound Forever' is an explosive, daring and vital record of a band ready to swallow you whole.

Repress. The trio were formed at the end of 2011 by Fredrik Bolzann, leader of the avant garde black metal band Darvulia and former bassist of Malhkebre, who recruited bassist Lo Klav and drummer Niko Lass to help him realise his doom laden dreams. Mining a very similar territory to Witchsorrow, or the first Electric Wizard album, Witchthroat Serpent sound at once refreshingly distinct and instantly familiar. We have a feeling their eerie, heavy-as-balls sound is going to make doom fanatics across the globe very happy indeed... The main success of Witchthroat's Serpent's self-titled doom debut lies in the contrast between the raw vocals and the fuzzy guitars, both of which are produced by Fredrik Bolzann.

Repress. The trio were formed at the end of 2011 by Fredrik Bolzann, leader of the avant garde black metal band Darvulia and former bassist of Malhkebre, who recruited bassist Lo Klav and drummer Niko Lass to help him realise his doom laden dreams. Mining a very similar territory to Witchsorrow, or the first Electric Wizard album, Witchthroat Serpent sound at once refreshingly distinct and instantly familiar. We have a feeling their eerie, heavy-as-balls sound is going to make doom fanatics across the globe very happy indeed... The main success of Witchthroat's Serpent's self-titled doom debut lies in the contrast between the raw vocals and the fuzzy guitars, both of which are produced by Fredrik Bolzann.

All & Nothing has become one of the icons of Spanish underground rock of the 70s and their records are among the most sought-after pieces by collectors. With a short discography consisting of just two singles - one of them was even released in Argentina with an alternative cover- the band All & Nothing has become one of the icons of Spanish underground rock of the 70s and their records are among the most sought-after pieces by collectors. The group was really nothing more than a studio project, put together by journalist and record producer José Luis Alvarez, who never performed in public. Their goal was to record songs in the same style that the emerging Andalusian rock scene was already doing in the south of Spain under the influence of the latest international rock trends -imported through the US military bases- and the local musical idiosyncrasy. Although most of the recorded songs - some of whom remained unreleased for years- succeeded in reflecting the original goal, for this first single of All & Nothing their producer instructed the band to record something similar to Iron Butterfly's classic 'In-a-gadda-da-vida', and 'Underground Vibrations nº 2' seems to be a very accomplished effort. The record has become a very sought-after item for those collecting the lesser-known side of 70s Spanish underground rock. The stunning rhythm section on both sides of the single plus the overwhelming organ solos and firing wah-wah and fuzz guitars explain the high interest on this elusive 45, a must in the top DJs record boxes. We are happy to reissue this amazing All & Nothing debut 7" for the first time, remastered from the original tapes and featuring the 1970 sleeve artwork.

Get ready to unleash another fine release on BCSM Records. We present you a powerful tune and version by singer Christine Salem from Reunion Islands and danish dub wizard Dub Across Borders (DAB) , combining the best of world music and dubwise business.
The characteristic, deep and powerful voice of Christine Salem first made its way to
the speakers in the Dub Across Borders studio one winter night in 2018. Through a musical friendship in Brazil, DAB was presented with a recording of one of Salem’s live concerts.

Instantly, the stripped down vocal/percussion style arrangements of the songs resonated with a raw authenticity and nerve which sparked inspiration. Shortly after, with a sort of ‘bootleg-approach’, DAB was found reworking the song “Kadjembawe” into a heavy dub version, adding several other instruments like, organ, bass, guitars, etc. Some years later when the rework had gone rounds with friends and alike, it was presented to the Swiss bass clarinet virtuous Eloi Cálame.

From his studio in Switzerland he then transcribed and recorded the horn arrangements with trumpeteer Jaronas Hoehener. After many e-mails with Christine and her management, the song being reborn into its dubby self. Then it was presented to Tino from BCSM who took charge in the endeavour to present it to the world.

Side A / Double A / Iko (Never Felt This Way)
Back once again with his signature big breaks sound, Double A dips into a multitude of sample genres for this party sure-shot.

A building intro pays off with a drop of bangin’ drums and funky
horns, and features a nod to his D&B / hardcore breaks origins with a sneaky vocal sample throwback around the halfway mark. If you’re looking for a sure-fire set-starter, you found it!

Side AA / Jim Sharp / Tell Me What To Do
The man who needs absolutely no introduction in the 45s world returns for his second release with Mountain 45s.

Jim takes a classic funk sample and with his usual polished touch, pays his respects to its earliest iteration as a New York party breaks mainstay.

Piano stabs, funky guitars and horns, mixed with call and response vocals alongside the originals make this one yet
another can’t miss from the maestro. Don’t sleep!

First album in seven years from Maple Death Records founder James Jonathan Clancy (Italy/Canada), and the first under his birth name following previous ensembles His Clancyness (Fat Cat, Maple Death) and Brutal Birthday (Total Punk, Improved Sequence). In the interim between those projects and this latest, ‘Sprecato’, Clancy has refined and honed his vision —steadily and carefully drawing from a host of disparate influences to create a new kind of singer-songwriter album that bridges the divide between cosmic loner-folk, proto-ambient music, and the epic, intricately arranged world of vintage Italian soundtrack music. For ‘Sprecato’, Clancy has assembled a transnational cast of renowned guest collaborators; including Stefano Pilia (co-producer/guitar/modular/synths/bass), Andrea Belfi (drums), Enrico Gabrielli (flutes, PJ Harvey/Calibro 35), Francesca Bono (piano, Bono/Burattini) —while the core of the band features Dominique Vaccaro (guitars, J.H. Guraj), Andrea De Franco (synths, Fera) and Kyle Knapp (sax, Cindy Lee/Deliluh).

Written and recorded between London & Bologna, the initial spark for the album was to be found in the book length work ‘Gli Sprecati’ (Canicola Edizioni), by visionary Italian comic’s artist Michelangelo Setola, who ultimately provided Clancy with the graphics

that grace the album’s cover and overall visual sensibility. Something of Setola’s near apocalyptic pastoralism runs through the record, even as Clancy’s themes grow beyond the seed they’d originally planted. Drum machines that sound as if they’ve been excavated from the earth meet detuned pianos and guitars; bucolic traces of synths stretched beyond all reckoning. While the band is both loping and epic —with shades of Pentangle’s Terry Cox in the live drumming in particular —there’s a new emotional depth and

Pink & Green Pinwheel Vinyl. Celebrate the 10 Year Anniversary of Pity Sex' breakthrough debut full-length record Feast of Love with this commemorative anniversary edition LP. This reissue features the album in full along with three bonus tracks: 'Euclid,' 'Acid Reflux' and a cover of Pixies' classic 'Gigantic.' The anniversary edition also features a gatefold jacket previously unavailable in the United States and an updated lyric sheet.Walking the razor's edge between overdriven navel gazing bliss and perfect pop sensibility, Ann Arbor's Pity Sex have crafted a breathtaking debut LP in 'Feast of Love' that's both awesomely beautiful and deftly evocative. Massive, harmonically distorted guitars and airy dual male/female vocals are hallmarks of Feast of Love, all drenched in warm, dreamy reverb. Most impressive however, is how the band utilizes pop conventions - both vocal and instrumental melody, and a strong and pounding rhythm section - while delving deep into the ethereal power of textured soundscapes. Guitars fuzz and flange, weaving between distinct, identifiable parts and simple brushes of colored noise. The voices similarly drift between carrying delicate melodies and delivering evocative feeling. Calling on the infectious, hooky inclinations of the Pixies, dreary melodies of the Breeders and sonic mass of My Bloody Valentine, Pity Sex's Feast of Love twists and churns with these beautiful yet fleeting vignettes captured in sound.

Roberto Agosta, or just Agosta as he likes to be called, is a Sicilian DJ and producer from Catania active all along the eastern coast of Sicily, a place that proved to be a soulful place and a training ground for a long career, making him an excellent music selector and a reference point in the spread of alternative music.

A soundtrack music enthusiast since he was a child, now a vinyl "serial gathere", Agosta has always put his vast knowledge at the service of a very personal sound that sums many different music styles and contaminations, simple and profound but straightforward and direct at the same time.

Agosta’s eponymous album, released on LP, CD and digital formats, was conceived during the Covid-19 lockdown, thanks to the precious collaboration of friend DJ and producer Massimo Napoli aka Galathea, with whom Roberto has already started another project called AN-AN that will produce a new record for Space Echo at the end of 2022.

This record highlights a typical chill-out aesthetic, thanks to its trip-hop and ambient rhythms and atmospheres, while a deeper exploration reveals the psychedelic essence of the entire work, a daring and exciting journey in the most primitive Sicily, and the energy that sustains all of its ten tracks.

Much of their author and his lifestyle - mainly based on meditation, the search for spiritual elevation, the relationship with nature and the regaining of contact with those particular places and with the people who live there - is revealed by those tracks that constitute a soundtrack for this spiritual but also extremely physical journey.

The song titles are, in fact, intrinsically linked to Roberto’s real life: the Gorna and Ilice mountains at the foot of Etna, the Carricante vineyard and its excellent wine, Unna, Three Chestnuts, Varanni, Don Alfio, Lady G. Each of them represents a pleasant and dreamlike narration and the escape from the complex dynamics of a city like Catania, among echoes of the most dreamy Pink Floyd, the softer side of ’70s krautrock, but also the Massive Attack and Tricky’s Bristol scene.
There’s also an excellent choice of synthesizers and overdubbed guitars, thanks to the talent of the multifaceted musician and producer Salvo Bruno Dub, and of Manuela Amalfitano, Loredana Poidomani and Deran Obika’s voices.

Agosta is an introspective, deep work with a cinematic vocation, perfectly rooted in the territory where it took shape, among sunny landscapes, lush with vegetation but also deserted and arid lands. From Sicily to the cosmos... enjoy!

ITALIAN LIBRARY GEM RE-IMAGINED BY BEATMAKER KORALLE AND RAPPER ILLA J

Four Flies is proud to present a new installment in the RELOVED series, 'New Levels / Chartreuse', with an original track from late-70s Italian ensemble Modern Sound Quartet and a rework from producer and beatmaker Koralle featuring iconic rapper Illa J.

In keeping with the aim of the series, which is to put a modern and urban spin on tunes from Italian golden age soundtracks and library music, Koralle has used the unique jazz-funk sound of the original sample to create a smooth and stylish hip-hop beat to which Illa J adds irresistible swag and coolness. More than a remix, 'New Levels' is a new composition that takes 'Chartreuse' into the world of contemporary hip-hop and rap.

Lorenzo Nada, aka Koralle, is a musician, beatmaker and producer from Bologna, Italy. Nada is best known for his project Godblesscomputers, which kicked off a couple of years ago while he was living in Berlin. After releasing four albums/EPs and touring Europe with a four-piece band, Nada is heading into a new direction as Koralle. Firmly rooted in hip-hop, Koralle is taking his jazz crates and field recordings to the studio. Equipped with an array of synths, Rhodes and bass, he creates deeply textured tracks that touch mind, body and soul. "Each beat is like an object found at the bottom of the sea," says Koralle to describe his music. And adds: "The samples emerge from the depths of my record collection and find a new meaning, transformed, like corals from the bottom of the ocean."

Rapping on Koralle's beat is Detroit artist Illa J. Raised in a musical family (his father played piano, his mother sang, and his older brother is the late hip-hop producer J Dilla), he grew up surrounded by jazz, gospel and soul, before building a name for himself as a rapper with a distinctive flow and timbre, but also as a singer and songwriter. Illa J has said of his approach to lyric writing that "the melody comes first, then I bring the words in, even when I'm rapping, you know rhythmically. I'm a singer, so melody comes first, but in terms of the subject matter, the music tells you."

The Modern Sound Quartet was an ensemble led by Milanese pianist and composer Oscar Rocchi. It included Rocchi on keys, Andrea Surdi on drums, Ernesto Verardi on guitars, and Luigi Cappellotto on bass. 'Chartreuse' (written by Cappellotto) comes from their 1976 library LP Cocktail Bar – a collection of jazz-funk/jazz-rock/fusion tunes, each named after a famous spirit. While little known to the general public, Cocktail Bar is highly sought after by diggers, DJs and beatmakers.

'New Levels / Chartreuse' is the fifth release in the RELOVED series, following Jolly Mare's retouch of Piero Umiliani's 'Discomania' (12"), Free The Robots' rework Gianni Safred's 'Autumn 2001' (7"), Dengue Dengue Dengue's remix of Giuliano Sorgini's 'Oasi Nella Giungla' (7"), and Fratelli Malibu's reversioning of Alessandro Alessandroni's 'Tema di Susie' (12"). The 7" releases are co-curated by fellow independent label Little Beat More.

Mit "Duet for Guitars #2" machte M. Ward durch sein charakteristisches Raspeln und seine Fingerpicking-Fähigkeiten auf sich aufmerksam. Die Songs sind weniger umfangreich als spätere Platten und die Bandbreite reicht von Wiegenliedern bis hin zu rockigen Liebeserklärungen. Erstmals erschienen 1999 bei Co-Dependent Records, fand eines der ersten 1.000 Exemplare seinen Weg zu Howe Gelb, der "Duet for Guitars #2" im Jahr 2000 bei Ow Om wiederveröffentlichte. Es wurde danach nicht mehr aufgelegt und blieb ein schwer zu findendes Stück des M. Ward-Katalogs bis 2007, als es mit drei neuen Tracks auf Merge wiederveröffentlicht wurde. Mehr als eine Entstehungsgeschichte, ist "Duet for Guitars #2" ein wunderschönes Album, das Lo-Fi und Americana-Liebhaber in Ohnmacht fallen lassen wird, ganz zu schweigen von neuen und alten M. Ward-Fans.

Escape Music is delighted to announce the release date for the long-awaited Robert Hart fourth studio album title “Circus Life” (Bad Company / Manfred Man’s Earth Band / Diesel / The Jone’s). Limited Edition Vinyl in “Green Leaves” colour (500 all numbered 001 to 500), also will include hand signed postcard by Robert Hart! Produced by Steve Overland & Steve Morris / Robert Hart – Vocals (Solo / Bad Company / Manfred Mann / Diesel) / Featuring guests: Steve Morris - Guitars (Heartland / Lonerider / Ian Gillan) / Steve Overland Official - Backing vocals (FM / Lonerider / solo) / Robert Säll - Guitars (Work of Art / WET) / Steve Mann - Keyboards (MSG / Ousey Mann / Lionheart) / Chris Childs - Bass (Thunder / Lonerider) / Harry James - Drums (Thunder / Shadowman) / Keith Atack - Guitars (Atack / Bonnie Tyler / David Cassidy) - Robert Hart is a much-loved British vocalist and has been involved with many top acts over the years such as Manfred Mann’s Earth Band, Bad Company and The Jones Gang. He is also remembered for his fine solo albums, more recently “Pure” which was released by Escape music in 2020. Robert has such a versatile vocal range and can adapt his vocals to many types of rock music, such as AOR, Hard Rock and Blues rock and he has demonstrated this admirably on many occasions since the 1980’s. This is no exception. “Circus Life” also features many musicians and songwriters such as Steve Overland and Steve Morris who wrote the songs we have on show here. The style of “Circus Life” is an extension of what Robert gave us for the “Pure” album but this new recording tops even that. We have bags of melody and some excellent musicianship, as you would expect for such a line-up. If you like Bad Company then you are not going to be disappointed with these 12 tracks.

MRG223LP is black vinyl in a jacket + printed sleeve + printed insert for full album download. File Under: Alternative. In 2003, everything broke open for Ward with the release of Transfiguration of Vincent. Critically lauded and long beloved, Pitchfork hailed it as an album that “broadcasts timelessness and defies genre constraints,” and Slant placed it on their list of the best albums of the 2000s.

On Transfiguration of Vincent, Ward’s elegant fingerpicking, evocative croon, and heartrending lyricism came into full bloom, casting a spell so powerful that even a song as universal as David Bowie’s “Let’s Dance” felt not only new but irrevocably his.

One of the most cherished albums in the Merge catalog, Transfiguration of Vin- cent is both a great place to begin your love affair with M. Ward and a deep, stunningly realized work that listeners have returned to over and over again for 20 years. Tracklisting: SIDE A. 1 Transfiguration No. 1 2. Vincent O’Brien 3. Sad, Sad Song 4. Undertaker 5. Duet for Guitars No. 3 6. Outta My Head 7. Involuntary. SIDE B. 8. Helicopter 9. Poor Boy, Minor Key 10. Fool Says 11. Get to the Table on Time 12. A Voice at the End of the Line 13. Dead Man 14. Let’s Dance 15. Transfiguration No. 2

Today, less than two months following the final tour date of their As Long As You Are tour, Future Islands announce the details of their new album People Who Aren"t There Anymore which will be released January 26, 2024. The seventh album from the band - Samuel T. Herring (vocals, lyrics), William Cashion (bass, guitars), Gerrit Welmers (keyboards, programming), and Michael Lowry (drums) - follows 2020"s As Long As You Are. People Who Aren"t There Anymore heralds a new chapter for Future Islands who, despite having formed nearly two decades ago, continue to challenge themselves and each other. Where they"ve pursued ever-higher energy anthems in the past, they"ve turned inward this time, and unlocked a new level of ferocity, delivering some of their most inspiring and most heartbreaking tracks by doing the opposite: taking their time, making each breath, each syllable, each cymbal crash count. The result is a powerful, defining statement from a group of musicians that have made the best album of their career. People Who Aren"t There Anymore was co-produced by Future Islands and Steve Wright, and mixed by Steve Wright and Chris Coady (who returns to working with the band for the first time since 2014"s Singles).

Today, less than two months following the final tour date of their As Long As You Are tour, Future Islands announce the details of their new album People Who Aren"t There Anymore which will be released January 26, 2024. The seventh album from the band - Samuel T. Herring (vocals, lyrics), William Cashion (bass, guitars), Gerrit Welmers (keyboards, programming), and Michael Lowry (drums) - follows 2020"s As Long As You Are. People Who Aren"t There Anymore heralds a new chapter for Future Islands who, despite having formed nearly two decades ago, continue to challenge themselves and each other. Where they"ve pursued ever-higher energy anthems in the past, they"ve turned inward this time, and unlocked a new level of ferocity, delivering some of their most inspiring and most heartbreaking tracks by doing the opposite: taking their time, making each breath, each syllable, each cymbal crash count. The result is a powerful, defining statement from a group of musicians that have made the best album of their career. People Who Aren"t There Anymore was co-produced by Future Islands and Steve Wright, and mixed by Steve Wright and Chris Coady (who returns to working with the band for the first time since 2014"s Singles).

Cardinal Fuzz (UK) and Feeding Tube Records (USA) once again join forces to release this behemoth of an album! “Attack Of Sound” is an unapologetic swooning love letter to pop music. It’s the perfect album, where dissonant and harsh guitars are juxtaposed with almost bubblegum pop. Sheets of feedback over inept tribalism and sugared by amazingly sweet vocals. This album works brilliantly as Ajay & Holly show their innate love of classic 60s pop and psychedelia as much as the Stooges. The ghosts of Love and Phil Spector haunt the wasted grooves of "What The Girl Does" and "Damned And Drowned", while the lurching punk noise mayhem of "How We Made It Seem" resurrects the in-yer-face Detroit icons like the MC5. "Attack Of Sound" remains a touchstone for all the people who ever believed that rock was for waking you up....equal parts Beach Boys’ melody and Velvets’ minimalism. It still provides that visceral thrill…an attack of sound!

Im Jahr 2003 kam der Durchbruch für M. Ward mit der Veröffentlichung von "Transfiguration of Vincent". Pitchfork lobte es als ein Album, das "Zeitlosigkeit ausstrahlt und sich über Genregrenzen hinwegsetzt", und Slant setzte es auf ihre Liste der besten Alben der 2000er Jahre. Auf "Transfiguration of Vincent" ist Wards elegantes Fingerpicking, sein beschwörender Gesang und seine herzzerreißende Lyrik in voller Blüte. Selbst ein so universeller Song wie David Bowies "Let's Dance" klingt nicht nur neu, sondern unwiderruflich als wäre es sein eigener. Als eine der meistgeschätzten Platten im Merge-Katalog ist "Transfiguration of Vincent" sowohl ein großartiger Ort, um die Liebesbeziehung zu M. Ward zu beginnen, als auch ein tiefes, atemberaubend realisiertes Werk, zu dem die Hörer seit 20 Jahren immer wieder zurückkehren.

PROJECT REGENERATION VOLUME 2 Project Regeneration Vol 2 is a collection of 13 brand-new Static-X songs which contain the final vocal performances & musical compositions of founding vocalist Wayne Static, along with the original Wisconsin Death Trip lineup featuring Tony Campos (bass), Koichi Fukuda (guitars) and Ken Jay (drums). The new album was produced by the band’s current vocalist/guitarist Xer0 and mixed/mastered by long-time collaborator Ulrich Wild and is the 2nd installment of the 2-part release.

Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

Neon Green Vinyl, limited to 500 copies. Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

Few bands have burst quite so brilliantly onto the scene as Clap Your Hands Say Yeah. Fewer still can say their debut album defined a scene, a time, and marked a paradigm shift in the music industry. But the then five-piece, fronted by the enigmatic Alec Ounsworth, managed all this and more; no wonder their self-titled record is still considered one the finest, and most influential, indie releases of the 2000s.A heady blend of left-field pop and melodic, exuberant indie rock, the record repurposed a number of classic new wave references for a new generation of music fans. Fun-loving and quirky, the band achieved that rare alchemy - synthesising a dizzying array of styles and influences into something wholly their own. And that something was utterly glorious, full of buzzing synths, trebly guitars, bustling drums, and lilting, wailing vocals. The record's raw, ramshackle sound was an integral part of its appeal; time has merely magnified that charm. In `The Skin Of My Yellow Country Teeth' and `Upon This Tidal Wave Of Young Blood' Ounsworth wrote two of the most uplifting, celebratory tracks of this millennium, obvious highlights on an album of consistent excellence, and one rightly lauded for re-writing the rules of what indie bands could be.

Comes with a biographical interview insert telling the fascinating story behind Fantasy Train and the creation of their unique 1984 album for the first time.

File together with: Donnie & Joe Emerson - Dreamin' Wild and Jr. & His Soulettes - Psychodelic Sounds albums.

"From a southern small town this after school project is hard to describe other than there's nothing else like it. Teens exploring soul, funk and rock and this album is their interpretation of all three. Catchy tunes, plenty of effects and earnest vocals. Fantasy Train is one of the freshest sounds I've heard in many years of digging." Rich Haupt (Rockadelic).

"Cool teen rock meets DIY modern soul laden with psyched guitars, weird sci-fi effects, and alternate male/female vocals. There's also cheesy synth-wave realms and dreamy late night gospel overtones." Taro Miyasugi (Vinyl Anaconda).

"Fantasy Train is a unique, genre-bending album cooked up in the sweltering Southern heat that impresses me with a special kind of style and panache. It is an amazing venture - their sound is clearly rooted in the soul of the '60s and the funk of the '70s but flourishes even further with the added electro-swagger of the '80s, and there is a certain genius to its fluidity. I don't really believe in genres anyway. The band's wild imagination and their excellent musical use of a laser pistol made clear to me that this album was one of a kind." Sam Swig (Mystery Brew).

Finnogun’s Wake is the delightful portmanteau of a band fronted by Shogun (vocalist of Royal Headache, and later Shogun and the Sheets) and newcomer Finn Berzin. Decades apart in age but united in tutelage and outlook, they have mitigated the Joycean tome of What To Do Now, and crafted the four debut songs of the Stay Young EP from the inside out, sharing the spotlight for a riveting, deafening smear of melodic pop and buzzsaw guitars.

Mourning the departure of his best mate to a life overseas, Shogun started hanging out with his friend’s younger brother, Finn. The two of them started spending their free time together, one having seen a fair chunk of the world through music, the other just starting to figure it all out. They went through the essential lessons that could be gleaned from Definitely Maybe and Hüsker Dü, Finn got himself a guitar, and the songs simply fell out of both of them, with this initial batch as the result. Shogun sings on “Blue Skies” and “Strawberry Avalanche,” and Finn takes the lead on “So Nice” and “Lovers All,” and while there’s no mistaking Shogun’s striking delivery and fatalistic lyrics, Finn proves himself as a carousing foil, holding his ground like the natural he’s become.

Taking into account the fevered, quick-burning success of Royal Headache, this group is the most likely candidate to do it all again, giving the sense that some people can write bounding guitar leads that stick to you like burrs from the brush, and sing so effortlessly you’re embarrassed and a little mad about how great it all sounds. Backed on these recordings by keyboardist Gabrielle De Giorgio (a longtime collaborator of Shogun’s from back in the Sheets era), bassist Campbell Troy (who was in Shogun’s first hardcore band Nintendo Police back in the mid ‘90s), and DMA’s drummer Liam Hoskins (on some COVID-enforced boredom with no tour-dom), Finn and Shogun stare down a changed world from two very distinct poles, and aim to fill it with glorious songs just like these.

The Ganjas Meets Nairobi. The Space Rock of the Chileans together with the Dub of the Argentines. First time on vinyl celebrating 10th anniversary. Sounding laid-back and incisive at once, crisp production and rock sensibilities. The Ganjas are one of the best exponents of Chilean Space Rock and a fundamental-must-listen to understand the new Chilean psychedelic scene of the last decade. They began 25 years ago with long jam -kind -of-playing, with steady drum beats and simple basslines, but adding innovative and colorful lyrics and synths, without never losing the song structure. On the other side of the Andes, the eclectic by nature Nairobi laid the groundwork for a new style in Dub. Since 2009 they had released 3 studio albums and worked with the best legendary Dub producers: Mad Professor, Lee “Scratch” Perry and Sly & Robbie. Touring the same year 2014 in Chile they coincided with The Ganjas at BYM Studios for an unforgettable session that brought this recording, that boasts an intricate rhythm, sumptuous keyboards, and soaring guitars offering elastic grooves, disembodied vocals, and deep bass lines. The album itself revisits the past while also looking to the future. The songs are particularly creative, with the Bob Marley & The Wailers cover ‘The Heathen’ totally revitalized and other passages like ‘Pastor’ and ‘Eagle & Snake’ that travel through an incredible mix of styles, brilliantly blending Trip-Hop, Dub FXs from soundboard, a Brian Jones-esque style slide guitar, and songs like ‘Soul Salvation’ that brings an steady reggae beat with genius saxophones lines from Ignacio Czornogas (King Krule). Mastered by Cem Oral at Jamming Masters (Berlin). AVAILABLE 300 BLACK VINYLS. For fans of: Primal Scream (Echo Dek), Sumo, Dub Syndicate-Murder Tone, Upsetters, Peaking Lights, Peter Tosh-Mama Africa.

Bandoleros is a concept album, intended as a modern spaghetti western soundtrack. The soundscapes are inspired and dedicated to Italian Western B Movies and his underrated music. Dusty guitars, crunchy drums, synthesizers, and horns, offer the perfect hip-hop background for Lynx and an inspired KK.

In January 1983, Minor Threat went into Inner Ear Studio for the first time as a five - piece (Brian Baker had moved from bass to second guitar and Steve Hansgen was now playing bass).

They had six new songs that would end up being the centrepiece of what became the ‘’Out of Step’’ 12" EP. The band had also decided to re-record the song "Out of Step" with some extra language to try to clarify the lyrics, as well as "Cashing In", a tongue-in-cheek song about the DC punk scene which they had only played live once.

After much debate, "Cashing In" was added as a hidden track on the original vinyl release though not listed on the cover or label. There was still blank tape on the reel, so they decided to record an instrumental with the working title, "Addams Family" and then recorded new versions of "In My Eyes" and "Filler" to hear what they sounded like with two guitars.

"Addams Family" ended up being used as a coda to "Cashing In", but the other two songs were never mixed and largely forgotten for over 35 years until the multitrack tapes were taken into the studio to be digitized in 2021.

Surprised by the discovery, Ian and Don Zientara mixed the two songs along with the complete take of "Addams Family". These outtakes are now being released on a 7" to mark the 40th anniversary of the release of ‘’Out of Step’’.

Jakarta Records is proud to present “Les Grandes Vacances” courtesy of Beirut’s Cosmic Analog Ensemble, aka multi-instrumental phenom Charif Megarbane. The LP is an expansive musical odyssey, one that paints a melodic tapestry woven from an eclectic panorama of sonic tools. Funky beats, dreamy melodies + cinematic flair combine to create an experience that transcends time. From vibrant funky energy to introspective moods and library-inspired tunes, “Les Grandes Vacances” captures the essence of past and present, inviting you to indulge in the perfect balance of “groove-stalgia.” Out January 19, 2024.


Cosmic Analog Ensemble (1.6k Spotify Monthly Listeners – SML), the prolific one-man band helmed by Charif Megarbane (61.5k SML), the staggeringly prolific producer, instrumentalist, and all-around musical mastermind, returns to his “Ensemble” with LP “Les Grandes Vacances.” Megarbane's artistry has garnered widespread recognition, with notable placements in Spotify Editorial Playlists like "Global Groove" (679k) and "Folk Fabrique" (162k), along with coverage from esteemed platforms / publications such as BBC Radio, Bandcamp, The Vinyl Factory, Time Magazine, and Esquire, among others. Building on the success of his debut solo release “Marzipan” in 2023 via Habibi Funk, “Les Grandes Vacances” is a sonic journey that captures the full scope of Megarbane’s sonic habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. Now, Jakarta Records presents a new expansion in the Megarbane sonic universe.

In the enchanting sonic world of “Les Grandes Vacances,” Cosmic Analog Ensemble expertly combines diverse musical elements to craft an immersive experience. From vibrant funky energy to introspective moments and library-inspired compositions, the album's sonic palette is rich and varied. The meticulously designed artwork by Simone Cihlar (known for collabs with Anderson Paak., Tom Misch, Ivan Ave, Tapioca and others) complements the album's thematic depth, enhancing the visual and auditory journey for listeners.

First single is the thrilling sonic escapade, “La Ligne Claire,” set to release on November 10th in conjunction with LP pre-order. The track immerses listeners in vintage spy movie ambiance, featuring groovy drums, warm keys, thematic guitars, and strings that create an unforgettable car chase scene. As part of the rollout schedule, this single offers a glimpse into the album's captivating fusion of nostalgia and innovation, promising a musical adventure that lingers and resonates in your ears. Second single, the lush and groovy “Le Dictionnaire des Sentiments,” follows in the sonic footsteps of Serge Gainsbourg (complete with beautifully poignant French lyricism), out December 8th to round out the year. The track jerks the listener towards a more meditative state and expanding, cinematic sound.

Kicking of 2024 will be the absolute funkified single 3 “Maritime Jazz,” out January 5th. The track transports you to a groovy marina where the movement of the sea and boats sways you along a Madlib / Yesterdays New Quintet-esque groove.

Reflecting on his creative process, Megarbane cites a stream of consciousness approach to the Cosmic Analog Ensemble: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.”

It's the pair you've all been waiting for! FINALLY!

Alan Tew's driving jazz-rock, sleuth-funk masterpiece, Drama Suite Part I is finally reissued to sate your appetites for arguably the very best library two-parter in existence. If you don’t know, get to know. Originally released in 1976 but wonderfully timeless, Drama Suite Part I is at the top of every library funk collectors' list. It's easy to see why...

Racing out the gate, the gritty crime funk of "The Detectives" makes for a thrilling, wild ride. A dramatic action theme, it's packed with strident playing and bags of attitude. There follows 10 (ten!) drama-tinged, horn-heavy, wah-wah-laced, conga-enhanced, synth-riddled links for neat segues and maximum funk fever. "Helicop" is another fast paced and energetic dramatic action background with great breaks and horns. "The Big One (Prelude)" has an ace bassline and creeps along superbly to create expectation and contains an amazing rolling piano loop that just stops you dead in your tracks. It's all building to "The Big One", a driving, dramatic, full-band action with fantastic funk breaks, heavy horns and *that* piano refrain. It was sampled by Jay-Z, and you can't really blame him, can you? The brief, tense "Headlights" and (even briefer) burner "The Burn" add some - you guessed it - deep drama over insistent rhythms to close out Side A.

Flip over for "The Detectives (Slow Version)", a relaxed, thoughtful version featuring synths. You might recognise it as being sampled by Domo Genesis and Evidence for "Tallulah" from their brilliant collaboration a few years ago. "The Detectives (Interlude)" is another slow, pensive version featuring electric piano and a trombone solo in the centre section. There follows 6 further links, Detectives versions essentially, with guitars, electric pianos, flugelhorns - all very cool and relaxed rhythms. The strutting majesty of big-time highlight "The Build Up" is next. It's a medium-slow drama background with occasional light statements of The Detectives theme peppered throughout. Nice. The fantastically-titled "Snout" is a slow, tense background theme which features a repetitive guitar figure with alto flutes over the top. The tense, stabby funk of "The Prowler" rounds out proceedings, with nervous figures over a slow, insistent cymbal beat.

As with all of our KPM re-issues, the audio for Drama Suite Part I comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…

Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.

Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.

As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

The post-garage-punk and psychedelic power pop anomaly Chemtrails return with their upcoming third album - their boldest yet with a more danceable and rhythm-driven style, armed with their trademark fuzzy guitars and playfully sinister melodies. Working with producer Margo Broom (Fat White Family, Goat Girl) this time around, the group has traded in their DIY approach for a more hi-fi studio sound, remaining just as raw and wild as ever, but with a whole new level of focus and intensity.

Divino Nino's new album Foam feels like catching up with a lifelong friend. There's undeniable songwriting chemistry between guitarist Camilo Medina and bassist Javier Forero, who met as kids in Bogota, Colombia and years later reconnected by sheer happenstance after their families had both moved to Miami. Both studied at the School of the Art Institute of Chicago where they met guitarist Guillermo Rodriguez and eventually Drummer Pierce Codina. Now Chicagoans, their rhythmic, soulful - and at times bilingual - Latinx punk songs are a reflection of their continent-spanning bond and proof that Divino Nino couldn't have formed without unlikely but happy coincidences.The ten tracks on Foam feature wistfully romantic lyrics like the yearning plea on the title track ("I really wanna run away with you"), and sunny, honeyed arrangements. Songs like "Quiero" trade-off between English and Spanish with woozy guitars and harmonies anchoring the sweetness of the lyrics. The quartet's Latin American roots seep in throughout the LP's silky psychedelic flourishes but especially on single "Maria," which is sung entirely in Spanish. Inspired in equal parts by Argentine punk and the narratives of Mexican telenovelas, the personality-filled track is one of the most memorable on the record.

Opaque Lime vinyl. The Loneliest Girl is the third studio album by New Zealand musician Chelsea Nikkel, better known as Princess Chelsea. It was recorded by Chelsea between 2016 and 2017 in her home studio in West Auckland, New Zealand. The Loneliest Girl examines the loneliness and ultimately the artistic satisfaction a strong work ethic can bring, the result of which is this eclectic collection of pop songs. As a studio based artist Chelsea was conscious of not wanting to fall too deep into a production hole for her third album and wanted to more than ever before capture moments of inspiration, madness and spontaneity on record. Chelsea's trademark arrangements featuring classic 80s Synths (Yamaha DX7, Roland D-50), ambient guitars, and orchestral instruments are all here but are presented in a more refined and simple manner than on her previous releases. Stylistically The Loneliest Girl moves away the more uniform synth sounds of The Great Cybernetic Depression to more eclectic territory similar to her first release Lil' Golden Book and certainly sounds like a record made by a lover of pop music across all genres from 60s girl groups to 80s power ballads, and late 80s acid house to 90s pop. Like her earlier work, adult issues are presented in a humorous and sometimes childlike manner, and this juxtaposition rather than softening the blow makes jarring social commentary hit harder.

Aptly titled Two Worlds, Tigers Jaws sophomore full-length draws on the strengths of the band's raw, minimalist atmospheres and driving grunge-rock rhythms, funneling them into a catchy, brooding and brilliantly focused album. Sounding as confident as ever in abandoning dependence on traditional pop structures, songs ebb and flow naturally as the band explores fresh tones and textures. Firmly planted in their own niche of the 90 s-era Midwestern emo sound, Two Worlds probes Superchunk's indie-punk stylings, Weezer's discordant pop moments and the far edges of Kurt Cobain's brain while managing to sound almost nothing like those groups. Chimey clean guitars weave in and out of the mix, juxtaposing a gain guitar laden with thick grit. Standing alone, the tones create familiar Tigers Jaw moods, but when combined, the effect lays the foundation for swelling walls of sound. Pulsing bass fills the low end, locked with the drums in rhythmic unison, alternately tracing guitar lines and stepping forward to grab the listener s car. Similarly, the drumming style perfectly compliments the songwriting with steady beats and measured flash. Lush and resonant cymbal splashes constantly flourish, adding color and a new spaciousness. Keyboards swell in a wave of warmth creating the band s defining ambiance, in parts taking on more adventurous melodies and chord tones. At its core, Two Worlds is a Tigers Jaw album through and through. It evokes many moods the band is known for, but adds a depth that will leave listeners discovering new reasons to love them with each new listen.

Available on black vinyl 10”. Recorded in Berlin & remotely in 2023, the opening track “Abandon Ship (Martian Meltdown Mix)” runs at over 11 minutes and plays at 33 rpm, “Maybe Make It Right.” the B side is nearly 4 minutes & plays at 45 rpm.


With Anton Newcombe (Vocals/ Guitars) Hakon Adalsteinsson (guitar), & Uri Rennert (drums) playing on this offering. Emil Nikolaisen (Serena-Maneesh / BJM) & Ryan Carlson Van Kriedt (Asteroid #4 / BJM) on engineering duties. The release comes in a heavyweight
PVC bag with the artwork being a J card so you can see the vinyl.

To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!