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Powered by the massive hit single “No Diggity,” (which sam- ples Bill Withers’ “Grandma’s Hand”) featuring Dr. Dre and Queen Pen, Another Level is arguably the best album created by Teddy Riley, the leader of Blackstreet. Riley is a very influ- ential producer, known for inventing a whole new sound, a combination of soul harmonies, rap breaks and hip-hop beats called new jack swing.

Another Level is the second album by the American R&B group. Released in 1996, it reached #3 on the Billboard 200 albums chart, and #1 on the Top R&B Albums chart for five weeks and has sold over 4 million copies. This was the first album with new members Eric Williams and Mark Middleton. They joined the group after replacing departed members Dave Hollister and Levi Little.

Another Level is available on black vinyl and includes a 4-page booklet.

Club music culture necessarily shifted gears in many ways during and after the course of the pandemic. Older participants found their way into other interests and younger participants took new reigns to orient spaces they felt good inside of. The agenda for the music, and the cultural industry surrounding it at large, took a more frivolous and “fun” turn. Clubs needed to recoup lost money, people needed more refreshing catharsis for their nightlife escape, and in some pockets scattered around the globe a newer and younger cadre of producers/promoters/DJ’s pulled optical cues from a scattering of “darker” influences to give an alternate aesthetic to the aforementioned “vibes” culture. In the midst of this, a large polarization of conceptual energy shifted within the compositional and utilitarian machinations of the club music culture leaving behind the brooding and cerebral placeholders for different kind of enjoyable hedonism. Terrestrial Paradise’ “Artificial Hell” harkens to another prescient time before that shift occurred. “Artificial Hell’ might just be an illustration of what all of this fun escapism encapsulates.

Terrestrial Paradise is the latest moniker from Montreal come Los Angeles based producer Jaclyn Kendal. Having developed and cemented her sonic positionality with releases on North American labels like Ascetic House and Summer isle over the years, as well as a series of monolithic live sets, Bank is pleased to announce Kendal’s Terrestrial Paradise first full length album “Artificial Hell”. Over the course of nine recordings, “Artificial Hell” gives a master class in pressurized industrial techno of the slower variety. Fitting with the legacy of Bank’s output since it’s inception, Terrestrial Paradise’s aesthetic sensibilities sit within the canon of a certain tinge of club music imbued with a sense of natural grit, sans pretense.

“Artificial Hell” nods to artists like Scorn, Regis, and 400 PPM while maintaining it’s own territory in the landscape of cerebral and brooding rhythmic techno. Ominous, mechanistic drones sit above succinctly exacted percussion composition and sound design. Throughout “Artificial Hell”, Kendal shows her proficiency with the push and pull of building and releasing tension. On tracks like “Salvation” and “Relativity” she melds her synth wash wallscapes with driving percussion, serving as both a hint and counterpoint to the the entirety of the latter part of the album taking on spartan ambient compositions as a way to keep the listener in a subdued stasis. This album is a statement piece from a long time participant in the North American underground music sectors. It reminds the listener through perilous, considered rhythms and darker drone impositions to cement themselves back into a place where not
everything is always a good time.

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

First full length since 2020. Produced by Dan Luscombe (The Drones, Amyl and the Sniffers). Mixed by Josh Block (White Denim, Leon Bridges). Guest vocalist Carla Geneve. Within the first few seconds of the opening song on Australian troubadour Peter Bibby’s latest album, we get an unvarnished look at the man behind the music as he observes the late-night scene of a local watering hole with increasingly bleary eyes:“No one seems to want to talk to me / ‘cuz I’m the arsehole, probably.” Indeed, that lovable ambivalence is at the heart of Drama King, Bibby’s fourth studio album for Spinning Top Records. The project was produced by first-time collaborator Dan Luscombe (The Drones, Amyl and the Sniffers) and mixed by White Denim’s Josh Block a frequent collaborator with Leon Bridges. An artist who has been celebrated as inherently working-class and wholeheartedly independent, Bibby comes by this caution honestly, having cut his teeth in the rough-and-tumble underground rock scene centered around Perth’s Hyde Park Hotel in Western Australia. Bibby’s affable personality has gotten him plenty of mileage as a live act. He’s toured the U.S. with Pond and performed at the infamous open mic night at Pappy and Harriet’s in the California desert. He’s also taken the stage at international festivals such as Laneway, Falls, All Points East, South by Southwest and South Africa’s Rocking the Daisies while notching his fair share of rowdy headlining shows

Any reasonably knowledgeable fan of post-punk will likely recognise the name of Una Baines. A founder of both The Fall and Blue Orchids, Una's influence in the development of both bands is a matter of historical fact . . . so much so that people scarcely realise how few recordings she's actually made - a solitary 7" with The Fall, one LP and a few singles by Blue Orchids, and that's it, barring her most recent recording, The Fates' obscure album "Furia", released nearly forty years ago on a tiny label until its rediscovery a few years back on the Finders Keepers label. Una's spent much of the last four decades working in community organising, raising a family, and functioning as a symbolic godmother to many Mancunian artists and musicians who cite her as an aspiration and mentor. Her band Poppycock has undergone several line-up changes between their sporadic - almost exclusively local - live appearances. Una was never shy in describing her personal ideals and artistic expression in terms of feminism - even if the term was occasionally derided by some female punk artists. "Magic Mothers" displays a consistency of vision rare traceable back to interviews she did during The Fall. Hearing it, we're reminded of the emotional fierceness set against pop arrangements from acts like Look Blue Go Purple and Dead Famous People, or the spare pop jazziness found in songs by Marine Girls, Tracey Thorn's pre-fame combo. The arrival of "Magic Mothers" will come as a surprise to many. Though recorded in fits and starts over the last fifteen years, it's a cohesive statement with an expansive cast of friends and allies, including Blue Orchids' Howard Jones and The Fall / House Of All's Simon Wolstencroft, plus many others. The original keyboardist for both The Fall and Blue Orchids, Una Baines returns with her brilliant musical partners for her first album in 39 years

Repress! Now-Again Records is completing the trilogy started with "Forge Your Own Chains" and followed by "Tickets for Doomsday" with "Pale Shades Of Grey" - another batch of rare, largely uncompiled - and sometimes barely heard - heavy psych-rock. Pounding drums, scathing fuzz guitar and morose, contemplative lyrics will bring you up on a downer. "Pale Shades Of Grey," as the title hints, is and perhaps the most contemplative of the series, heavy on ruminations of dark themes of love, death, pain and triumph, as performed by high school and college bands, Brasilian intellectuals, Nigerian rockers and even an Irish pub band from Michigan. A unique and compelling listen, and surely a worthy companion for these times.

All-woman garage rock band from Phoenix return to pour another down one’s throat. Continuing to tour relentlessly around the world. Produced by Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx). The Darts can’t stop, won’t stop! Hot on the heels on last year’s groundbreaking album Snake Oil, The Darts have returned guns blazing with a brand-new album, Boomerang! While on a break from their intense international touring schedule, the band stopped at
Station House Studio in Los Angeles to work with producer Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx) with the mission of capturing the band’s raw rock spirit. From the opening chords of “Hang Around,” listeners are launched into an explosive garage party, with the Farfisa organ bringing a carnival and snarky gang vocals adding to the fray. The band doesn’t let up from there. With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitars, and Mary Rose Gonzales on drums, the tight lineup fuels the album’s themes of resilience and empowerment. Each track on Boomerang packs a punch, drawing the listener into a world of infectious hooks and soaring riffs. “Boomerang is a reference to the fact that, right after we released Snake Oil, we turned right around and went back into the studio to do a whole new full-length album! I can’t stop writing songs! But ‘boomerang’ also refers to a lyric on the album that describes toxic people and things that keep coming back into your life despite your repeated attempts to fling them as far away as possible. This album is my manifesto about finding strength the kind of strength it takes to do what you personally need to do to be peaceful and healthy. For me it meant cutting a lot of stuff out of my life, and that was really hard, but it also meant adding a lot of amazing stuff I never thought I’d see. I’m in a better place than I’ve ever been, and I think you can feel that power in this record.” – Nicole Laurenne

Jacken Elswyth is a London-based folk musician, banjo player, and instrument builder. At Fargrounds is her third solo album, her first for the Wrong Speed label and the latest in a rich catalogue that repositions the spectral, vulnerable sound of the banjo away from its familiar role as signifier of the past and onto lands brave, new and unexplored. “The living wood is imbued with qualities that require engagement and understanding. Working with cherry, oak or walnut involves naming it an equal partner. The parallel, synchronous transformations of wood into instrument, of growing tree into resonating sound, musical tradition into musical flourishing, lie at the heart of Jacken Elswyth’s practices both as an instrument builder and as a creative musician. One might consider her primarily as a worker in wood, but whose craft and fields of expression are absorbed by those transitional and interim processes that manifest change. The traditional tunes included here have been cultivated and maintained by generations of players and collectors, pruned, grafted, and shaped over time. However, in this setting, their long-established forms seem to morph and shift. They audibly accrue unique qualities, blossoming and swelling into new modes of being, bright-stepping arrangements unfolding with a liveliness hinting at practices of ritual and community. Meanwhile, other pieces, creative cornerstones of this collection, appear fluid, partially formed. They suggest not the cultivation of new growth from established stock, but instead the actions of something on the verge of taking form. Working with raw elements of melodic and tonal abstraction, they illuminate the process of emergence and evolution. In this context, the title At Fargrounds is telling. It suggests a point set at some distance from any centre of human concerns, a liminal space in which the cultivated world encounters the world of other living things in their living state. Here, the innate strangeness of the maintained environment–vast lawns, sculpted hedges, vacant playing fields–encounters sprawling vistas of driftwood, dense thickets of brambles, stony hillsides. Across a full century-and-a-quarter, long-standing rural and pastoral musical traditions, at some distance from their origins, have been preserved, nurtured and re-shaped under the folk revival. Placed here, these artefacts now sit in alignment with unvarnished documents featuring the raw elements of sound-making. Their working-together is achieved through a universally-applied interest in musical growth and development. The juxtaposition and combination of these elements gives evidence of new, emerging approaches to community and social music: familiar, known, yet charged with an alien vitality”–CWK Joynes. “...she knows how to knit atmospheres, and does so to especially powerful effect during Scene 4b’s three minutes of stunning bowed banjo, yearning with longing and dread, while showing off her talent, curiosity and range”–Jude Rogers review of Six Static Scenes (Guardian Folk Album Of The Month July 2022) "Jacken is an emotive player with high technical ability. Further, she builds banjos and other instruments, and that intimate knowledge of the bones and fibres holding everything together means that her playing has very few cracks" - Foxy Digitalis

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

Produced by the Rza and featuring Ol’ Dirty, U-God, Inspectah Deck, Cappadonna, and many more. This album is reissued on vinyl for the first time since its initial release in 2002.

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!