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Though allegedly a Texas native, Milton Davis first recorded in Los Angeles in 1967 as a member of The Four Tempos. When that act split, he trekked up the coast in stages, eventually settling in Portland. Here he secured the lead vocal role for local scene heroes, Slickaphonic. Though a full album of their own was taped, another reel of material was cut centred on Milton as a solo artist. Neither set of tracks saw release in their day, but from the latter collection we've pulled a bona fide 1977 disco-soul smasher and a mid tempo flipside with a sheen that belies its depth. First time ever on 7" 45, dinked centre hole with picture sleeve, 500 numbered copies only.

Blue / Black splatter vinyl 2024 Repress

* Unless you have been living under a rock, XXXTENTACION is a name that needs no introduction. A true artist who was tragically slain earlier this year - XXXTENTACION left an indelible mark on culture and music in his all too brief 20 years on this planet. His catalog will go on to live forever, and he left one final piece of music for the world with SKINS. The album comes in at a short, but sweet 10 tracks with songs that delve into XXXTENTACION's deep and complex mind, and soul. With the lead single, BAD! Garnering 52M + streams in under a week, and merch drop that sold out in minutes, it is evident that XXXTENTACION's fanbase is ready for SKINS.

* Classic heavyweight speaker-distressing digital roots `n’ dub business from The Disciples with vocals courtesy of the late great Jamaican singer Creation Stepper aka Willy Stepper, whose voice graced many a 70’s roots reggae classic such as `Kill Nebuchadnezzar’ and `Homeward Bound’.
* Mixed and produced by Russ D in the Disciples studio in 1991 but only getting a release in 2013 on the Disciples Vintage label, which promptly sold out

2024 Repress

Errol and Alex Rita’s Touching Bass are proud to present Soon Come; a landmark compilation celebrating the talents of their now intercontinental musical community and an introduction to the wide-spanning sound and feeling of their growing label. 22 original tracks spread across double 12” vinyl and split between 'day' and 'night' moods, creating exciting connections between music for both the home and the eclectic sounds of their much-loved dancefloor.

Over the past six years, Touching Bass have steadily established themselves as one of London’s most important musical incubators. More than just a club night, concert series, NTS Radio mainstay and a label, Touching Bass has become something of a movement: a community meeting grounds for music lovers and some of the most exciting contemporary music-makers both in the capital and beyond.

The tracklist is a reflection of that, curated by TB’s Errol, Alex Rita and Sammseed over the course of two years. Among the list of contributors are Chicago/New York’s keiyaA, Stones Throw’s DJ Harrison, Ben Hauke, Ego Ella May, recent WARP signee Nala Sinephro, Melo-Zed, Hiatus Kaiyote’s Clever Austin and many more (see below for tracklist). Artwork for the project comes from Alex Rita, combining moments caught at Touching Bass’ own gatherings over the years.

Since launching properly in 2019, Touching Bass has quickly established itself as one of the UK’s most exciting new labels. The young imprint has championed critically respected and refreshingly innovative works with little genre restriction, receiving recognition from both musical and cultural bil. From the electrifying grooves of Danish trio, Athletic Progression, to the modern classical of South London’s CKTRL (featuring Duval Timothy).

Along the way, Errol and Alex have also been tapped up for collaborations/ commissions with some of the world’s most forward-thinking creatives and institutions; from the world-renowned White Cube gallery for Frieze Week 2021 and fashion designers Nicholas Daley and Azura Lovisa to film music supervision for Ronan McKenzie and Joy Yamasungie’s WATA and multi-award winning director, Jenn Nkiru’s (Beyonce, Kamasi Washington, Neneh Cherry) Black To Techno, the experimental documentary which premiered at Frieze Los Angeles and was nominated for ‘Best Short’ at the IDA Awards.

For newcomers, Soon Come acts as a vital introduction to the label’s wide-spanning DNA. For those already acquainted, it’s a glimpse at its exciting future.

Die Wahl-New-Yorkerin Yaeji hat sich in den letzten Jahren als Produzentin, Sängerin und DJ mit ihren introspektiven Dance-Floor-Hymnen eine ganz eigene Nische geschaffen. Nach der Veröffentlichung ihrer Debüt-EPs, sowie den Singles "Raingurl" und "Drink I"m Sippin On" in 2017, war sie auf Charli XCXs 2019er Album "Charli" zu hören, remixte Songs für Dua Lipa oder Robyn, kollaborierte mit dem Seouler-Künstler OHHYUK, verkaufte weltweite Headline-Touren aus und eröffnete ihren eigenen Lifestyle Webstore JI-MART. Ihr Sound und ihre Einflüsse sind dabei so vielschichtig wie ihre Herkunft. Geboren im Jahr 1993 in New York reicht ihr Stammbaum von Seoul über Tokyo bis nach Atlanta - Einflüsse die sich in ihrer Musik in Form von koreanischem Indie-Rock und Electronica, 2000er Hip-Hop, sowie Leftfield Bass und Techno wiederfinden. Mit ihrem 2020er Mixtape "WHAT WE DREW“ schärfte Yaeji noch mal ihre Vision als Musikerin, die kreativ losgelöst von Sprachen Genre-Grenzen zu sprengen vermag - kein Wunder, dass sie daraufhin von Pitchfork 2022 zu einer der "25 Artists Shaping the Future of Music" ernannt wurde. Die nahe Zukunft wird sie ebenfalls prägen. Schließlich erscheint am 7. April nun endlich das Debütalbum "With A Hammer" bei XL Recordings. Entstanden innerhalb von zwei Jahren in New York, Seoul und London kurz nach der Veröffentlichung des Mixtapes und während den Lockdowns ist es eine Ode an die Erforschung ihrer selbst, setzte sie sich doch dabei mit ihren eigenen Emotionen auseinander - besonders mit ihrer eigenen, in ihr brodelnden Wut. Während sie textlich zwischen englisch und koreanisch springt, nutzt sie erstmals auch Live-Instrumente, sei es in Form von einem Ensemble an Musikern oder auch zum ersten Mal sie selbst an der Gitarre. "With A Hammer" beinhaltet darüber hinaus auch Features der Produzenten und engen Verbündeten K Wata und Enayet, sowie Gast-Vocals der Londonerin Loraine James und von Nourished by Time aus Baltimore.

NO COVER!

Limited edition double vinyl release of Jezebell’s debut new-Balearic epic, which stylishly weaves the history of eclectic club classics through 16 tracks of downtempo, dub, and acid chug.

Support from Trevor Fung, Luke Una, Justin Robertson, Leo Elstob, Bill Brewster, Danielle Moore, Sean Johnston, Duncan Gray, Nathan Gregory Wilkins, Tech Support, Lebollet …

Following his most commercially and critically successful year to date, Conway the Machine returns with his first full length offering of 2024, “Slant Face Killah.” Long teased as the second half of the chart-topping 2023 album, “WON’T HE DO IT,” fans see Conway the Machine embracing his killer instincts on the mic, and doing so with versatility - rapping over the familiar gritty, dark beats fans remember discovering him on during his come up (Milano Nights, Pt. 1) to more unconventional beats, showcasing his ability to adapt and grow (Raw!). With an impressive feature list including Method Man, Raekwon, Joey Bada$$, Larry June, Key Glock, Jay Worthy & more, and production from heavyweight producers such as The Alchemist, Daringer, Conductor Williams, Cardo, Swizz Beatz & more, The Machine illustrates both his reach in today’s rap game, as well as his ability as a tastemaker. Known for consistently delivering quality music for his die-hard fans, The Machine is back to put his stamp on 2024. 2xLP Vinyl, includes Gatefold Jacket.

Orchestre Tout Puissant Marcel Duchamp’s latest album, “Ventre Unique”, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra’s ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music.

Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet’s simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars.

Ventre Unique is the group’s sixth album and follows their acclaimed 2021 release, “We’re Ok But We’re Lost Anyway”. While their previous work captured the disarray of the world during the pandemic, “Ventre Unique” reflects on shared human experiences, inviting listeners to find common ground through music

In den acht Jahren, seit sich Amyl and The Sniffers in Melbournes brodelnder Musikszene zusammengefunden haben, hat es die Band perfektioniert, Verspieltheit und rohe Wucht zu kombinieren. Mit den zwei bisher erschienenen, einhellig gefeierten Alben (dem selbstbetitelten Debüt von 2019 und "Comfort To Me" von 2021), haben Sängerin Amy Taylor, Gitarrist Declan Mehrtens, Bassist Gus Romer und Drummer Bryce Wilson ihren einzigartigen Stil etabliert. Seit dem Release von "Comfort To Me" haben sich die Perspektiven für die Band in jeder Hinsicht exponentiell erweitert. Größer, klarer, smarter, schärfer, das ist es, was nun auch das dritte Album der Band antreibt. "Cartoon Darkness" hat die Band zusammen mit Nick Launay im 606 Studio der Foo Fighters in Los Angeles aufgenommen, am gleichen Pult, an dem schon Fleetwood Macs "Rumours" und Nirvanas "Nevermind" entstanden. Es ist ein überraschend abwechslungsreiches Album und reicht von klassischem Punk über den strotzenden Glam der Single "U Should Not Be Doing That" bis zur ausgelassenen Balladenhaftigkeit von "Big Dreams". Auf "Cartoon Darkness" geht es um Krieg, die Klimakrise und künstliche Intelligenz, um Politik und das Gefühl, online eine Stimme zu haben, während wir am Ende doch einfach nur das Daten-Biest Big Tech speisen, unseren Gott der Gegenwart. Es geht darum, wie unsere Generation mit Informationen vollgestopft wird, wie wir wirken wie Erwachsene und dabei doch für immer Kinder bleiben, abgeschirmt wie in einem Kokon und dabei all die Ablenkungen verschlingend, die uns nicht einmal Wohlbefinden oder Freude bereiten, sondern einfach nur Taubheit. "Cartoon Darkness" rennt mit dem Kopf durch die Wand ins Unbekannte, in die heranziehende Ahnung einer Zukunft, ein kindliches Dunkel, das sich schrecklich anfühlt, aber noch gar nicht existiert - ein großer rauer Spaß.

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

* BCee returns to Spearhead Records with ‘These Are The Days’.
* These Are The Days see’s BCee collaborate with 13 different vocalists showcasing some of the finest and freshest the scene has to offer.
* Over the past 23 years, BCee has achieved over 100M streams, headlined the biggest clubs in the world such as Fabric, and through his label Spearhead Records has nurtured and presented a myriad of new talents to the world who’ve gone on to become some of the biggest names in this game: Hybrid Minds and Netsky to name a few. His music has garnered support from industry heavyweights like DJ Marky, Sub Focus, London Elektricity, Camo & Krooked, and Fred V.

Expected late October/early November

Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45RPM for maximum fidelity.

Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.

Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”

This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.

Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.

The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.

The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”

In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.

With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.

Saxophonist and musical omnivore Benjamin Herman has been one of Holland’s most productive musicians of his generation for over three decades. Aside from thousands of gigs, Benjamin has released over 50 albums as a solo artist and as frontman of his groove-orientated ensemble New Cool Collective. His wonderfully diverse musical output includes straight-ahead jazz, Gypsy jazz, punk jazz, film scores, Afrobeat, Latin music and postmodern interpretations of pieces by Dutch composer Misha Mengelberg, as well as collaborations with vocalists, poets, pop stars, hip-hop artists, and instrumentalists from all over the world. The common thread is his quest for a recognizable, personal sound on the alto saxophone. As usual, his latest album finds him exploring new territory.

With his Bughouse project, he fulfills his long-standing desire to blend his old loves of punk and jazz. The latest Bughouse album, "Bughouse: The ERUS / ARC Sessions”, displays the versatility of Benjamin Herman's Bughouse, covering a wide range of styles from jazz-punk to noise, free jazz, and beyond.

A new SOS, from 024... Nijmegen Tekno crew !
A side from Wazig opening with a Breakbeat minimal killer threartening to fall 4/4... and doin' it !
Then will come his second tune, a Pumpin Mental Acid run !

Frixion side kicks harder, louder, kicker... Pityless swing in a Hardfloor ambiance. Heavy stuff !

This is a colored vinyl ! Red&Black transparent !

Uncomon tribe sound, quiet melodious, with Kputsh... you might have heard some violin/tekno is some parties ? here it is on Vinyl !!! that's something...

The whole EP brings loads of percussives ideas and fresh spirit... the whole thing is quiet sweet, and not crazy-hardcore style....

With a last track electro Punk ! A Fuck Keta anthem ^^ that all Ketakore guys will love... if they understand French language ^^

Already receiving strong support with plays by the likes of Deb Grant and Mary Anne Hobbs, Lara Jones' Divided EP is both playful and provocative, turning dance floor sounds into protest songs. Addressing subjects that affect us all – the highly polarised state of our politics as well as our conflicted inner and outer selves – Lara has created a sonic space that embraces this duality and gives voice to her own insecurities and anger at the state we find ourselves in, but also a desire for change, for a world that’s a little less divided. Composed, produced and mixed in her small London flat, Lara returns with her most dance floor-driven EP to date, with high energy pulsating electronics and jazz harmonies that weave into electronic grime and a web of arpeggiated synths, basses and glitchy beats. Divided sees Lara find her voice, bringing a punk angst with Jones’ lyrics and vocals, complimented by her signature electronics as she experiments with her voice more than ever. Listen to selected tracks here. EP comes with full sleeve notes by Mike Flynn editor of Jazzwise Magazine

All My Heroes Are Cornballs is the third studio album by renowned Baltimore rapper JPEGMafia, released on September 13, 2019, follow-up to the album that really launched his career, Veteran (2018). JPEGMAFIA handled the production, mixing and mastering in his home studio. The album features guest appearances from Abdu Ali, Helena Deland and Buzzy Lee, as well as additional vocals by Refined Sugar, Vegyn and Young Emoji. All My Heroes are cornballs is an avant-garde, experimental hip hop, and punk rap album, and draws influences from experimental pop, glitch hop, ambient, noise and industrial music. It has a smoother and more melodic sound than its predecessor, employing uncommon song structures, extensive sampling, and a variety of vocal techniques such as rapping, screaming and singing. Thematically, the album is personal, introspective, and presented in a stream of consciousness form, touching on the Internet culture, prejudice, political issues and JPEGMafia's newfound fame.

Nearly a decade after the release of his breakthrough debut album 'Sunday', Swedish producer HNNY (aka Johan Cederberg) returns with the album Light Shines Through, released independently via HNNY's own imprint.

For his first album in almost a decade, HNNY has returned to the electronic soundscapes that inspired his earliest releases. It's made for the quiet, brain-tingling moments of solitude at home and contains a consistent thread throughout, not just in the ambient sounds used, but also more conceptually with what the songs evoke and what they are about: the album lands at a particularly pivotal moment of HNNY's life after the birth of his two daughters which have given him a new perspective on life.

HNNY's melodies are a gentle alternative to the more complicated corners of dance music. Debuting on Studio Barnhus in 2011, HNNY aka Johan Cederberg quickly became one of house music's most talked about artists with a signature sample driven style. He has won a Swedish Grammy in the electronic music category, toured the world globally and created a following both in and outside of the dance music community for his bittersweet strain of dance music.
Shortly after the release of his critically acclaimed debut album Sunday, the producer stopped touring solely focusing on production. Since then, HNNY has racked up hundreds of millions of streams, released a number of singles and EPs on the likes of Let's Play House, Puss and Omena and he is now finally ready to return to the LP format for the first time in nearly a decade with the album Light Shines Through.

Next up on Feral Child, sees not only a second ever release from New Zealand based VOR-STELLEN but a teaming up with one of label head dom’s favourite ever labels, the mighty Flying Nun. Despite some patchy European distribution the first VS release “Parallelograms”, was a constant player at FC HQ; 4 superb tracks of super laid back, kraut flavoured slow burners, (lead track “Voyager” especially, comes hugely recommended with its accompanying film clip), so when the band OK’d a second release for Feral Child, we were stoked. Vor-stellen is the experimental project of Brendan Moran, which blends fixated guitars and drums with ad-hoc electronic layers producing perforated waves of sustain which echoes off the fourth wall. Brendan has released work previously as part of avoid!avoid (their album “Particle and Wave” was released by Flying Nun in 2016) and The Subliminals, of which Flying Nun re-released -in 2021- a vinyl edition of their highly acclaimed album “United State”. With Vor-stellen he picks up where those other projects have left off as a foray into 'kraut' inspired compositions “which seek to transform pre-determined ideas of music into open-ended sound objects, untethered from any sense of conventional outcomes”. On this, second VS record, he teams up with his Subliminal buddies once again to continue on an exploration, “folding the weird and the eerie into a dark ecology of long-sound via indefatigable environments of modulation and improvisation, creating sonic counterpoints that hinge on a reanimation of musical gestures”. The record features two side long slow builders and are released in a beautiful Brendan Moran designed sleeve.

Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.

The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.

The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.

For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.

You had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.

Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.

But where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.

Perhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital and creativity that is now being recognised more broadly for the first time.

DJ Support: Alix Perez, Hybrid Minds, DJ Marky, DJ Krust, Doc Scott, Pola & Bryson, AC Slater, Imanu, Hamdi and more.

1985 Music presents the first edition of 'Fragment' their new various artist series. Featuring familiar faces from the imprint and special guests, this album combines the 1985 Music sound in all forms.

Featuring tracks from label head honcho Alix Perez with the strictly soulful 'Bloomsbury', while New Zealand producer/DJ Headland reworks 'Trust' the anthem from EPROM. Joining the fold GLM, Eijer and Satl make their debut on the imprint while regular artists Visages, Drone, Bredren and Ebb continue to deliver the goods.

Radio support: Charlie Tee BBC Radio 1, Fred V Kiss FM, Mary Anne Hobbes BBC 6 Music, 1985 Music RinseFM show (monthly).

Red Laser gets on a kinky tip, where poppers are currency and salacious activities mandatory as label chief Il Bosco grabs us by the nethers and heads for 'The Darkroom EP'.

Inspired by amyl-soaked tales of Euro basement sex club debauchery, and steadily edging its way to a never-ending climax, the EP is a highly charged exercise in x-rated synth-jizz and erotic Manctalo that'll have you quickly believing you're surrounded by massive pulsating dicks on a cocktail of GHB and Mkat.
Maintaining a persistent throb throughout, the EP has us reaching blindly through clouds of pink saturated club smoke, unsure of what our sweat-soaked hands will grasp on to.

Two remixes alongside three originals. Fabrizio Mammarella has the blood rushing to our head quicker than a whiff of Rush Black Label* on his mix of 'Notio Botherdini'. Adding extra acid for a trippier sexperience and urging willing participants to "close your eyes" as he achieves maximum thrust.

Meanwhile local Stretford poppers enthusiast** Bob Swans also has a fumble in the shadows, remixing 'Dark Room' with late late late on in the session in mind - a time of carnal lucidity and primal urges that'd make even Michael Barrymore's peculiar desires look vanilla. It's a sparse and special redux, fluffing us with that latexy bassline and never-ended sfx trails until we're quite literally cumming in your ears.
Apologies, that probably was a bit graphic.

*Poppers brand highly endorsed by Red Laser contributor Count Van Delicious

**Red Laser only hypothesizes to said producer’s poppers usage.

REMASTERED AND REISSUED!!! GIRL TALK’s (aka GREGG GILLIS) third album on Illegal Art! Night Ripper is focused less on beat-fuckery and more on bringing heat to the party than previous outings. Hip hop hits, soft rock radio standards, party classics, grunge masterpieces, R&B singles, glossy club-shakers and rock anthems are all layered and placed together into one nonstop celebration of pop and excess. Night Ripper was awarded “Best New Music” by Pitchfork, and has made many proclaim Girl Talk the next Danger Mouse. “One endlessly entertaining mega mash-up”—Rolling Stone.

"Cerulean Blue vinyl limited to 700 units! On her second full-length record as Waxahatchee, former P.S. Eliot singer Katie Crutchfield’s compelling hyper-personal poetry is continuously crushing. Cerulean Salt follows American Weekend -- a collection of minimal acoustic-guitar pop written and recorded in a week at her family’s Birmingham home. On this new record, Crutchfield’s songs continue to be marked by her sharp, hooky songwriting; her striking voice and lyrics that simultaneously seem hyper-personal yet relentlessly relatable, teetering between endearingly nostalgic and depressingly dark. But whereas before the thematic focus of her songcraft was on break ups and passive-aggressive crushing, this record reflects on her family and Alabama upbringing. Whereas American Weekend was mostly just Crutchfield and her guitar, Cerulean Salt is occasionally amped up, with a full band and higher-fi production.

At times, Cerulean Salt creeps closer to the sound of PS Eliot: moody, 90s-inspired rock backed by Keith Spencer and Swearin’ guitarist Kyle Gilbride on drums and bass. The full band means fleshed-out fuzzy lead guitars on “Coast to Coast”, its poppy hook almost masking its dark lyrics. Big distorted guitars and deep steady drums mark songs like “Misery over Dispute” and “Waiting”.

There’s plenty of American Weekend‘s introspection and minimalism to be found, though. “Blue Pt. II” is stripped down, Crutchfield and her sister Alison singing in harmony with deadpan vox. She’s still an open booking, musing on self-doubt versus self-reliance, transience versus permanence. “Peace and Quiet” ebbs and flows from moody, minimal verses to a sing-song chorus. “Swan Dive” tackles nostalgia, transience, indifference, regret — over the a minimal strum of an electric-guitar, the picking at a chirpy riff and the double-time tapping of a muted drum. The album closes with a haunting acoustic-guitar reflection on “You’re Damaged,” possibly the best Waxahatchee song to date."

After working within various collectives, rapper Davodka is celebrating his ten-year solo career with the album "Heritage." With a myriad of concerts in France and Europe, 6 solo albums, and features with the entire French independent rap scene (Demi Portion, Melan, Dooz Kawa, 3ème Œil, Swift Guad...), Davodka is known for his incisive words and the speed of his flow, making him one of the leading lyricists.

This new album is the heritage of the past ten years, where the artist takes a step back and captures the universe in which he has evolved, paying homage to it through music. The rapper's lyrics have never been more personal. He addresses rarely discussed topics in rap, such as his depression in the track "Arc en ciel," his relationship with his autistic child in "Enfant bulle," and his awareness of the difficulty in having completely selfless relationships as an artist in "On naît seul, on meurt seul."

"Heritage" attests to Davodka's undeniable place in conscious rap, notably with the track "Avec des mots," where he shares the mic with Sinik, an emblematic artist of the golden age of French rap. Although Sinik, a French artist with countless certifications, had announced the end of his career two years earlier, he makes an exception for Davodka and records a powerful track in homage to all those who come from the bottom.

Davodka, true to himself and his audience, primarily raps over boom bap and trap beats; however, he ventures into unknown territories, notably in "On naît seul, on meurt seul," where he adopts a ragga flow, and "Feuille froissée," with its auto-tuned chorus. He also takes the time to pay homage to the beginning of his career, when he was part of the MSD collective, by reprising a verse written at the time in the track "Les minots dorment – Remix."

Join him on October 25, 2024, to discover "Heritage," Davodka's 7th album. He will be touring throughout France, Switzerland, and Belgium, and in Paris at the Cabaret Sauvage on December 5, 2024, for the release party.

Anna McClellan's childhood summers were spent in front of the TV, cementing a love of narrative that would later reveal itself through songwriting. By seventeen, Anna was performing original songs in her hometown of Omaha, Nebraska. Her debut album, Fire Flames, garnered attention and earned her an opening slot on a Frankie Cosmos tour, setting the stage for her subsequently adored albums, 2018's Yes and No and / saw first light, released in late 2020. Now, with her forthcoming fourth album Electric Bouquet, out October 25, 2024 via Father/Daughter Records, McClellan crafts a musical journey that unfolds like one of her cherished television series. Each track is an episode, chronicling the past four years of her life - navigating a career change, a cross-country move, and relationships gone sour. Electric Bouquet is a narrative tour de force showcasing McClellan's remarkable ability to transform life's myriad of messy experiences into captivating musical stories. While writing the album, Anna attended trade school, apprenticing to become an electrician to escape the service industry grind and secure a foundational career alongside music. Eager to break free from Omaha, she decided to take her newfound electrical skills to pursue a career in the film industry in Los Angeles, CA where she's now based. Recorded in multiple sessions in Baltimore, MD and Omaha and co-produced with long-time collaborator Ryan McKeever and Another Recording Company Studios engineer Adam Roberts, Electric Bouquet shifts seamlessly between piano-driven melodies and guitar-anchored anthems, each song a miniature universe slowly opening unto itself.

In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog’s fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band’s favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London’s Southbank Center knowing that Herzog would have never approved a new score.

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Mouse On Mars – London Queen Elizabeth Hall soundtracking Werner Herzog.
By Mike Diver, 24.04.2009

Filmed in 1971, Fata Morgana is perhaps not one of Herzog’s best-known works (think Grizzly Man, Rescue Dawn, et cetera…), but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile.

The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place – in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle.

The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player (quite possibly a flugelhorn. Look it up if you don’t believe me) for the final section of the film.

Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot – causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed. Clever stuff.

Ranging from sinister to surreal to humorous, all the moods portrayed in Fata Morgana were successfully matched by Mouse on Mars’ live rescore – no mean feat. The duo also went above and beyond the call of duty with their own soundtrack, adding a fascinating personal signature to an already unique film.

Uriah Heep gehören zu den erfolgreichsten und ältesten Rock Bands weltweit. Gemeinsam mit Black Sabbath, Deep Purple und Led Zeppelin zählen Uriah
Heep zu den Gründern der Rock-Szene. Mit über 40 Millionen verkauften Tonträgern sind Uriah Heep auch heute noch erfolgreich. Die LP "History of
Uriah Heep" enthält Klassiker und Alltime-Live-Hits aus den Jahren 1978 bis 1985, gepresst in transparentem Vinyl.

Something About Livingis an album of live recordings by experimental jazz composer/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman's time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour's North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman's ever-transforming live set.

Something About Livingis the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman's work on projects like his multi-media installationUnseen Forcesand his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.

"At the time The Smile asked whether I'd like to open for them on their first tour, I felt like I'd already been preparing without really knowing it," says Stillman. "I'd been doing this music constantly, but always for a hypothetical audience" During the pandemic, Stillman's solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring "the lab" onto the stage.

What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. "The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I'd done alone for so longactually being witnessed, and it was completely overwhelming!" On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. "It's a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I'd never fully appreciated."

Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. "An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they'd find their way to something structured, and then back out again into the unknown. It was so thrilling to witness".

ThoughSomething About Livingcompiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between 'chaos and control' that characterizes his live set. Among the compositions featured are some from previous album releases ("Time of Waves", "What I Owe", "What Does it Mean to Be American") as well as some new compositions ("The Dream of Waking", "Renaissance 2.0," and the title track, "Something About Living").

The album/track title "Something About Living" is a reference to a line from Stillman's favorite film,My Dinner With André: "André Gregory is explaining the value of life experiences that, as he says, are'to do with living'.That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that's reflected in this music."

[a] 01: Time of Waves (Live in Miami FL) [Live]
[b] 02: What Does It Mean to Be American (Live in Forest Hills NY) [Live]
[c] 03: The Dream of Waking (Live in St Augustine FL) [Live]
[d] 04: Something About Living (Live in Richmond VA) [Live]
[e] 05: What I Owe (Live in Chesterfield MO) [Live]
[f] 06: Renaissance 2.0 (Live in Chesterfield MO) [Live]

"After her first album ""On n'enferme pas les oiseaux"" certified Gold in France and internationally, a Victoire de la musique, a second place at Eurovision 2021 with her song ""Voilà"", certified Platinum in France and internationally, Barbara Pravi is back with ""La Pieva"", a new album full of passion and emotions which will be released on September 6, 2024. ""La Pieva"" means ""the singer"" in Serbian. For this album, Barbara is inspired by her ancestor, the widow Milovanovic. A gypsy girl who lived in the mountains of Serbia and went from village to village to sing for the villagers. Barbara comes from her family and like La Pieva before her, she tells stories. Life, death, family, the world around us. Love too, friendship, humanity.
Reviews in Times, Guardian, Standard, Le Petit Journal, The Line Of Best Fit"

The genesis of the film lay with actress Winona Ryder, who wished to make amends with director Francis Ford Coppola after her late withdrawal from The Godfather Part III. She brought him a script written by James V. Hart, which provided an adaptation of the famous 1897 novel Dracula by Irish author Bram Stoker. Coppola decided that he wanted a composer with classical eastern European sensibilities. After listening to a few pieces from fellow Pole Wojciech Kilar, Coppola was convinced that he had found his man. He called him and offered the assignment, which Kilar gladly accepted as he was very impressed with Coppola’s cinematic success. For his soundscape, Kilar chose to utilize traditional leitmotifs. Besides it features “Love Song For A Vampire” by Annie Lennox (Eurythmics).

Available as a limited edition of 2000 individually numbered copies on translucent red vinyl.

On Still + Bright, her highly-anticipated follow up to, Wary + Strange, Amythyst Kiah shares a dozen songs that mark an evolution in her sound. Kiah says, “With this album, I’ve always been incredibly interested in stories and philosophy. Lots of the songs are inspired by the cosmos, space, meditation, and mindfulness. It’s a way to piece out what it means to be a human being in the modern world. It’s the general idea that we should all have the freedom to decide what path we want to choose.” Still + Bright is produced by Butch Walker (Fall Out Boy, Green Day, Weezer) and features special guests including SG Goodman, Avi Kaplan, and Billy Strings. All of the songs were brought to life by Kiah and co-writers, including Sean McConnell, Avi Kaplan, Sadler Vaden, and Tim Armstrong, among others. Still + Bright is set for release on October 25, 2024. “Years in the making, Still + Bright explores what it means to be a human being in the modern world. Songwriting is my way to marry big, overarching philosophical ideas and questions into a musical, more organized arrangement. Inspired by the cosmos, space, meditation, and mindfulness – this record directly challenges religious and political dogma, stating that we should all have the freedom to decide what path we want to choose.” Recently Kiah featured in Salon talking about her love of country and bluegrass music and was included in a New York Times T Magazine spotlight and documentary: The Next Generation of Black Folk Singers. Her episode of PBS’ The Express Way with Dulé Hill aired nationally on April 30, Kiah is featured in Episode 2: “Appalachia”. She recently appeared on a panel at the Television Critics Association Press Conference which was attended by over 200 television critics around the globe. This June she will be on the road opening for Iron & Wine.

“Friends, they are my ticket out of this place I am in… feels like nothing more than a dirt bike vacation stop between Phoenix and San Diego.” Dirt Bike Vacation—for Worried Songs Records—explores the sonic world of the late amateur guitar player, Charles ‘Poppy Bob’ Walker, through a captivating set of instrumental songs made in the mid-1980s. Recorded on a single-track, Marantz field recorder, the project is a transportive document of Walker’s days spent as a meatpacking employee in Yuma, Arizona and the dailiness of that existence: driving to work, sitting in his backyard, walking around drunkenly, unwinding on the couch with a friend. These sketches, showing an experimental tendency, are surprisingly ahead of their time; some exhibit ad hoc tape delay (“Granite Bluffs,” “Goodbye YMCA”), while others make use of primitive overdubbing (“Continuation to Moon Doctor”). Not dissimilar to works such as Bruce Langhorne’s The Hired Hand soundtrack, Walker’s guitar playing is melodic, texturally rich and beautifully sober. On a musical tour from Nashville to Los Angeles, musician-archivist, Cameron Knowler, uncovered these songs from a series of dusty cassette tapes housed at a branch of the Yuma County Library. Originally tipped off by cryptic metadata entries found through an online finding aid, Knowler requested a sound sample and was immediately drawn in by their eerie, yet hopeful nature: “I didn’t care what they sounded like at first, but once I heard just a few seconds, I had to find out everything I could about Charles, who he was, and if he was still alive.” As it turns out, the two had miraculously crossed paths over 20 years prior when Cameron was a young boy accompanying his mother, a gem trader, on a biyearly sojourn to Quartzsite, a town 80 miles north of Yuma: “Charles, sitting down and smoking in a recliner, withdrawn, held what I now understand to be a mid-1990s Martin D-28 guitar. Unlike other old-timers, his instrument was sharply tuned and had a nice sound, even to my young and uncalibrated ears. Though his left hand showed signs of highly developed arthritis, his musical ideas were animated by a palpably deep understanding of fretboard anatomy, arrangement and harmony.” Sorting through the index cards associated with these tapes, Knowler was able to gain a detailed sense of most recording’s provenance, whereabouts and time: Walker’s Datsun pickup truck chugging along boiling hot Interstate 80, the Marine Corps Air Station parking lot, the Eastern Wetlands on the banks of the Colorado River, a fishing trip to Martinez Lake. Trying to reduce the amount of his own subjectivities coloring the work, Cameron constructed titles and track sequences by borrowing information gleaned from Charles’ handwritten notes: “I tried to organize everything by time of day, giving the listener the sense of how a Yuma day might sound and feel like, and each song title—even the record itself—is borrowed from his own words.” This proved no small task, as many notecards had to be deciphered and then coupled with their native tapes which needed extensive restoration treatments. The result is a project very much out of the blue, and one that is intensely personal to Knowler, having grown up in the same town under similar circumstances. “It feels like a part of my own journey as a guitarist reckoning with the defining marks of a gothic border town,” he remarks. “At the time I would’ve met Walker, I didn’t have much outside influence, but he has been in there all the while.” In their current form, the tracks combine to create a sonic journey that boldly contributes to the traditions of acoustic guitar soli, archival digs and field recordings all the same; most importantly, it is a creative document which shows a day-in-the-life of a man grappling with the human experience under a ubiquitous Yuma sun.

Latin funk at its finest. A kingpin player of Miami’s Cuban music scene, Ray Fernandez, brought together his ‘court’ for this sensational Afro-Cuban funk triumph. Largely a family affair, the album features his wife, two sons and a range of other talented musicians including Rickey Washington on saxophone, father of the contemporary jazz maestro Kamasi Washington. Originally released in 1973 on Manuel J. Mato’s iconic and collectible Sound Triangle Records, Ray & His Court is a dose of Miami heat fuelled by a Cuban fire, taking in salsa, soul, funk, calypso and Afro-Cuban rhythms.

A kaleidoscopic album that draws influence from a range of different genres and scenes blended together in true Ray Fernandez style. Side A, showcases an array of traditional Latin workouts including the addictive enticing opener 'La Señorita Lola' and the pulsating 'Lo Sabia' with its punchy horns and Ray’s wonderful, quirky bubbling organ groove. The tantalising ‘Venimos Acabando’ and bouncing organ stabs of ‘El Alacran’ are two further tickets to get a dancefloor vibing.

The B-side then steps things up, slipping a hit of heavy-weight Miami funk into the mix. Take the DJ favourite ‘Cookie Crumbs’ with its fiery bassline, tripped-out voiceovers and breakbeat drums. Or the amazing, memorable and truly unique funk instrumental ‘Soul Freedom’ with some mighty fine bass clarinet work courtesy of Gary Gottfried. Also featured is a seductive organ-led Cuban funk rework of Bobby Hebb's 'Sunny' (are there any bad versions of this song?), with a sumptuous female vocal that combine to serve up a seductive take us this much-loved classic.

'Ray And His Court' is a brilliant blend of Afro-Cuban gems and Miami funk heat from an influential group on Miami’s Latin music scene. A majestic and magnetic classic where every track is a surefire winner.

New West Records is proud to release Can’t Steal My Fire: The Songs of David Olney. This album features new versions of David Olney songs recorded by Lucinda Williams, Steve Earle, Willis Alan Ramsey, Jimmie Dale Gilmore, Mary Gauthier, Jim Lauderdale, and Buddy Miller among others. The tracklist is also highlighted by a never-before released live recording by Townes Van Zandt. Originally from Rhode Island, Olney moved to Nashville in the early 70s and fell in with a group of songwriters including Townes Van Zandt, John Hiatt, Steve Earle, Guy Clark, and Rodney Crowell. With his rock band David Olney and the X-Rays he toured tirelessly. He went on to release a string of brilliant albums and his songs were recorded by Emmylou Harris, Steve Earle, Del McCoury, Linda Ronstadt, and many others. But the bright lights of stardom never shone on David, and he died the way he lived: onstage in a club, far from home, singing a song. This album gathers some of David’s friends and colleagues to pay tribute to his unique vision. Many of these artists are legends in their own right; all are here because of their deep admiration and respect for the man and his songs.

Dar Embarks, the hardware-based collaboration of Chicagoans Dan Jugle and Ken Zawacki, share four precious recordings of bouncing, highly-acidic machine funk and industrial ambiance. This is a posthumous release for Dan Jugle, who departed in 2018.

Dan was a multi-instrumentalist and a pillar of Chicago's techno scene who left an indelible mark on it with his distinctive sound. His infatuation with electronic music began in the mid-90s when he found his way to Midwest raves as soon as he was old enough to drive to them. He began working with analog gear to create his own expression of the music he heard there. Jugle, Zawacki, and Mike Broers started experimenting with a thrifted Roland TR-707, figuring out the controls through trial and error. They performed together as Ghost Arcade in the early 2000s.

Years later, Jugle and Zawacki reunited creatively, forming Dar Embarks and building the foundation for their project. Jugle gained a reputation for crafting washed-out, saturated club tracks as Juzer, a project formed with Beau Wanzer. Dar Embarks' debut EP Fleer (released on CLEAR USA) and Juzer's Horseplay (on Anthony Parasole's label The Corner) were both released in 2014, both elevated by Dan Jugle's live-action knob-twisting and button-pushing composition inspired by sci-fi and comic books. Despite his early passing, Jugle's legacy lives on through his work and his passion for Midwest techno that his friends and fans still remember and carry.

Lovingly wrapped up and presented to Acid Camp by Ken, these heaters are finally set free to move asses and minds.

In what feels almost like an annual autumn tradition now, we’re mighty excited to announce the next release on our label, “Candor“ by Hett.

Working with friends has an especially rewarding quality which is why we’re particularly happy for Hett to join the AWK label family. Having known about his excellent production skills for a while, we were quite eager to unearth this hidden gem. It took a moment to put together but everyone’s patience paid off and we can proudly present you this beautiful 5 track record.

The Wearside raised and Berlin based artist provides the perfect formula for a club ready yet emotively aware package, making it hard to believe that this is only his debut EP. A work of music that embodies the refreshing candor of a forward thinking attitude whilst also giving a respectful nod to the past.

AWK 006, “Candor“ by Hett will be out on October 24th 2024. We hope you enjoy it as much as we do!

2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Die Band, welche Alternative Country zum Durchbruch verhalf, ist zurück! 1983 begann Lone Justice in den Clubs von Los Angeles zu spielen und machte sich schnell einen Namen. 1984 bereits wurde man von Geffen Records unter Vertrag genommen, 1985 erschien das selbstbetitelte Debütalbum, mittlerweile ein Klassiker der Rockgeschichte mit geradezu ikonischem Cover. Die LA Times kürte es zum "Album des Jahres". Sie spielten Konzerte mit U2, Tom Petty & The Heartbreakers und Willie Nelson. Doch bereits nach dem zweiten Album löste sich die Band früh in 1987 auf, Sängerin Maria McKee und auch die Instrumentalisten begannen ihre Solokarrieren. Nun hat die Band 38 Jahre später ein neues, drittes Album fertiggestellt, mit zum größten Teil inspirierten Interpretationen von Fremdmaterial und Tradtionals, auf dem alle ursprünglichen Mitglieder des Debütalbums noch zu hören sind: Maria McKee, Ryan Hedgecock, Marvin Etzioni und auch der mittlerweile verstorbene Don Heffington. Zu den zusätzlichen Gästen gehören die Streicherarrangeurin Tammy Rogers, der Multihornist David Ralicke, Greg Leisz an der Steel-Gitarre und Benmont Tench am Klavier. Das Eröffnungsstück "You Possess Me" stellt Sängerin McKee in den Mittelpunkt, nur unterstützt von einem Streicher- und Mandolinenquartett. "Rattlesnake Mama" war einst ein dröhnendes elektrisches Stück in ihrem Live-Set von 1983 - diese Version ist jedoch rein akustisch mit Hedgecock an Harp und Tammy Rogers an der Fiddle. Später kreischen sie durch eine juvenile, atemberaubende Coverversion von 'Teenage Kicks' (der 1978er Single von The Undertones). Die Energie hält mit spürbarer Begeisterung für die Musik an und lässt Viva Lone Justice zu einem unerwarteten, inspirierenden Comeback werden. Lass den zweiten Frühling von Lone Justice auch dein Herz berühren, auch deine Scheune mit Folk, Rock, Country & Americana abbrennen.