Search:head high

While awaiting the release of Dignity Of Labour, The Ex headed back into the studio in early 1983; this time with a new friend – The Mekons' Jon Langford – helping produce.

Originally released in April 1983 (only a month after Dignity Of Labour), Tumult marks a major evolution in Ex-sound. Opener "Bouquet Of Barbed Wire" emerges snarling out of post-punk atmospherics with Terrie Ex's glacial guitar, Bas Masbeck's loping bass and cascading tom-toms from new recruit Sabien Witteman, while "Fear" and "Survival Of The Fattest" bring to bear the rhythmic core of the band, their signature angular style.

Lyrically, the songs on Tumult cycle through a series of familiar concerns: animal rights, squatters, the working class, punk's penchant for radical chic and the creeping fascism of nationalist sentiments. G.W. Sok's voice is squalling and perfectly wry throughout.

Tumult remains a high-water point of early Ex, serving as both developmental guide and way-station. The next 18 months would see the departure of Bas and Witteman and the arrival of long-serving bassist Luc Klaasen and drummer Kat Bornefeld (whose supple rhythms propel the group to this day). The album stands as one of the most compelling and unique documents of early '80s DIY exploration. If Mark E. Smith had only one favorite Dutch punk band, then it would undoubtedly be The Ex.

This first-time vinyl reissue comes with 28" x 39" full-color poster

2003 gegründet, gehört das Trio zur festen Institution der Extreme Metal Szene. Und immer gilt: so brutal wie möglich; so gnadenlos hart wie nur möglich. Das neue 12 Song Album "Mountain Fleshriders" bietet alles was brutalen Death Metal ausmacht.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.

A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.

Fantastic Negrito's upcoming album and short film "White Jesus Black
Problems" was inspired by a search into his ancestry where he found that
his 7th generation grandmother was a Scottish indentured servant who
entered into a common law marriage with an African American enslaved
man, his 7th generation grandfather, in open defiance of the racist laws of
1750's colonial Virginia
Their love story is a healing testament to standing up against inhumane and
brutal systems with love as your only weapon. Their perseverance is a lesson in
today's polarized society on the virtues of constant struggle in the face of
ignorance, fear, and violence, which is still present in the contemporary
embodiments of white supremacy, bigotry, and hatred. It's important to tell the
story of how those who suffered much greater indignities and violence than we
do in contemporary times were nonetheless able to preserve their humanity
through human connection and the determination to love. If they can do it in
1759, we can do it 2022.

Black Stone Cherry returns with a new live album, 'Live From The Royal Albert Hall..

Y'All!', available via Mascot Records.
Taken from their sold out performance at London's world famous Royal Albert
Hall on September 21st, 2021, this release marks a new milestone for the band,
and serves as a celebration of their 20 year career. Featuring songs from Black
Stone Cherry's entire catalog, 'Live From Royal Albert Hall... Y'All!' has something
for every BSC fan.

Caamp formed when Taylor Meier and Evan Westfall met and bonded
over a shared love of music and a shared love of home, specifically the
inspiration they culled from the Midwest lives they grew up in
The two began writing and performing and quickly grew a rabid fan base. A selftitled 2016 debut album took flight, Evan and Taylor brought a third member and
longtime friend, Matt Vinson, to join on bass just before recording By and By. In
week one of the release of their full- length, By and By on Mom + Pop, Caamp
made multiple chart debuts. By and By entered the Billboard Top 200, was the #1
Heatseeker, #1 on the New Artist Alternative Albums, top 5 vinyl album sales for
the week and entered the Alternative and Emerging Artist charts. Caamp then
scored their first #1 at radio with their single 'Peach Fuzz,' made their late-night
television debut on Jimmy Kimmel Live!, and followed that up with a killer
performance on CBS This Morning Saturday. After a victorious 2019 festival
season playing Firefly, Shaky Knees, Forecastle, Outside Lands, Austin City Limits,
Great Escape and many more, Caamp kicked off a major US headlining tour in
September of 2019 and sold out show after show. In early 2020, Caamp
performed on the Late Show with Stephen Colbert. The performance was filmed
in Caamp's hometown of Columbus, OH during quarantine. The trio later released
their first live EP Live From Newport Music Hall. The five- track recording was
taken from one of their seminal hometown shows in Columbus, OH. The
recording contains live versions of songs off their most recent album, By and By.
Not long after the release of Live From Newport Music Hall, Caamp kept
themselves busy by releasing the singles and companion videos for 'Officer Of
Love' and 'Fall Fall Fall' via their label home, Mom + Pop. The band then
celebrated another victory in 2020 with their single 'By and By' resting snugly in
the Top 5 Most Spun on Sirius XM's Alt Nation. They kicked off 2021 with 'Officer
of Love' hitting #1 at AAA radio for 2 consecutive weeks. In 2022, the band will
release their highly-anticipated album 'Lavender Days' featuring 'Believe

Features all-analogue mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket.

The series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

1957's The Poll Winners was the first of five all-star trio sessions featuring the dazzling interplay of guitarist Barney Kessel, drummer Shelly Manne and bassist Ray Brown. For The Poll Winners, Kessel, Manne, and Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls.

Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

Perhaps the best Soul / Funk LP Athens of the North has ever released and you know we have high standards, not one filler and mostly unreleased tracks – Essential LP

The Up Tights were formed by Henry Bradley in Forrest City, Arkansas in March of 1967 while most of the band members were attending Lincoln High School.They took their name from the Stevie Wonder song "Uptight - Everything's Alright." Playing at school functions, they quickly branched out to playing bigger shows and headlined the 1968 St. Francis County Fair in Forrest City.

The Up Tights first recorded for Action Records in Memphis as Noble and the Up Tights. The 45 featured an original song by singer, Izear "Ike" Noble Jr. titled "Don't Worry About It."

Henry Bradley was drafted into Vietnam in 1968. He served in the 1st Squadron, 11th Armored Cavalry Regiment. While he was away, the Up Tights continued with Henry's brother, Arthur, taking over all the guitar duties. The band also hired a manager named John Mitchell. In 1968, the band met Joe Lee, who owned Variety recording studio in Jonesboro, Arkansas.

For the band's first recordings at Variety, Lee chose two originals by Noble titled "Look a Little Higher" and an updated version of "Just a Dream" which Lee released on his Alley Records label in 1968. Lee continued to record the band over the next several months. He liked to experiment in the studio and produced many versions of the group's original songs, adjusting the mix and adding elements to each unique take.

For the group's second Alley release, they appeared simply as Ike Noble on the record label. Lee brought in a local songwriter named Charles "Jamie" Holmes, who had previously written for Alley records and Joe Keene's studio in Kennett, Missouri

The resulting 45 from this collaboration was "It's Bad" backed with "That's What I Get," two Holmes originals. Another Holmes original was unreleased at the time, but available here titled "There's Gonna Be a Better Day Coming." Stax Records was interested in signing the group and wanted to re-cut "It's Bad" at their studio, but ultimately the label passed since they generally had a policy of working with Memphis based groups.

As the band grew in popularity, they began appearing with and competing with Memphis legends, the Bar-Kays. The group's biggest show in Arkansas was an opening slot at Barton Coliseum, one of the largest venues in the state, in Little Rock in mid-1969. As a result, the band was offered a spot on George Klein's "Talent Party" television show on WHBQ in Memphis in July of 1969..... Further Sleeve notes on back of the LP

“I’m closing a chapter in my life,” Barbie Bertisch says to me from a park bench in Greenpoint, “I spent the last four years working towards gaining confidence around my ideas and my creative perspective. This feels like a culmination of that process” The “this,” in question is Bertisch’s debut record Prelude, a collection of eleven songs that chronicle 5 years of Bertisch’s life. The legendary musician Anna Domino describes the record best: “Prelude is a record of layers and depths. The melting phases and soaring distances.”


Raised in Buenos Aires and Miami, Bertisch has called New York home for most of her adult life. When she started piecing together Prelude, she was in her Brooklyn kitchen. It was early quarantine. Stuck at home instead of DJing at clubs, she found the space to parse through the archives. What she previously considered unworthy of attention in the era of distractions, finally made sense as a whole once all the noise was turned down. Compiling a list of songs in various states of completion, Bertisch dreamed up an album, a chronicle in growth and healing frustrations of the past, an honest account of someone trying to find her own voice. That in and of itself was a journey. It took years for Bertisch to accept that she was an artist. “I felt like I was surrounded by men who ruled every space. I constantly felt like I had to ask permission to enter, always around bands but never the girl in the band” she says.


Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in “After The Storm”. Bertisch also focuses on rhythm, bass guitar being her main instrument, and no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person.“Is This What You Wanted?” is fiery, a pointed provocation to domineering figures from her past. It’s full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. “28,” the record’s opening track is more peaceful. It’s all languid keyboard arpeggios with the occasional flourish of a cascading synth effect.


Since most of the songs already existed in some form or another, Bertisch’s job on Prelude was to refine and reimagine music that had previously been private. She spent time rearranging, rewriting, adding elements newly available to her, such as the saxophone, and pushing the limits of the rough mixes to mold the universe she envisioned. Along the way, Bertisch grew more excited about her abilities as a musician. The resulting record is one that is inherently confident.


Prelude is also a homespun release. It’s coming out on Bertisch’s own label, Love Injection Records, which she runs with her partner Paul Raffaele. The two also DJ and make zines under the name, which started in 2015. Love Injection is a love letter to New York. Prelude is a word of encouragement to those struggling with self-actualization. The record was mixed by Justin Van Der Volgen and mastered by Walter Coelho. Love Injection Records holds the remix tradition in high regard, and they’ve enlisted reworks by some of Barbie’s favorite producers. It’s all a labor of love for Bertisch. Prelude is her: Barbie the musician.
©℗ Love Injection Records 2022

He may not have known it before, but Toronto-born, New York-based
guitarist Matthew Stevens, prized for his forceful, distinctive electric
sound was an ideal candidate to make an album fully devoted to solo
acoustic guitar: the intimate, unadorned, straightforwardly titled
'Pittsburgh'
September 2020, Stevens was hunkering down in his wife's family's hometown of
Pittsburgh, while navigating his way through the crisis. He had with him a vintage
Martin 00-17, a small- body mahogany guitar. Practicing daily on the Martin, he
began generating a series of short song "starts" - ideas and sketches he thought
might lead somewhere. Then one rainy Pittsburgh day, Stevens' bike slid out from
under him and he broke his right elbow. Rather than getting derailed musically, he
became immersed in a creative process that led straight to 'Pittsburgh': a
document of those short song "starts" from the notebook, now hatched as
completed compositions. "Playing this music became a big part of my rehab,"
Stevens recalls.
As the album took shape, it became clear to Stevens that he was headed in the
direction of a wholly unaccompanied recital, with no overdubs or sound layering
of any kind. Just him and this special Martin, two Neumann U89 mics and enough
peace of mind across two separate sessions to make 'Pittsburgh' the triumph that
it is.
In addition to his extensive high-profile work with Esperanza Spalding (serving as
co- producer on 'Exposure' and '12 Little Spells'), Stevens is also a member,
songwriter and co-producer of Terri Lyne Carrington's GRAMMY-nominated Social
Science band. He has made vital contributions to groups led by Dave Douglas,
Linda May Han Oh, Christian Scott aTunde Adjuah, Ben Williams and more. With
tenor saxophonist Walter Smith III he co-leads the In Common collective. Stevens
has also amassed many credits beyond the jazz world, collaborating on
forthcoming releases by Anna B Savage, Jamila Woods, Tyler Armes
(Murdagang) and Berlin-based electronic artist Robag Wruhme.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Numbers was the first reference in the Narco catalogue (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 - in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.


"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned".
Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

"Raicevic is clearly still in the early learning-curve stages," which it a key LP to understand Nik's evolution and setting the path for more evolved works to follow.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."


Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

Side A / Double A / You Feel Alright?

Double A returns for a sample heavy b-boy breaks workout with “You Feel Alright?”. This one’s a nod to his roots in late 80’s hip-hop; an à la Prince Paul cut and paste homage to a time when hip-hop was still for the dancers. There’s also a sneaky “whaddup?” to his fellow oldschool D&B heads in the breakdown. The main sample is 1970s
Afro-funk gold; horns, horns, and more horns. Bangin’ drums and a rolling baseline tie it all together for the dance floor.

Side AA / The Gaff / High Life

Party rocker, turntablist, edit maestro, all-round good dude, and Canadian National Treasure, The Gaff smashes a heavy afro-funk edit with a b-boy feel on this one. Knockin’ drums, syncopated percussion, and a house(ish) tempo make this one a guaranteed floor filler. A smattering of male vocals is the icing on the cake here too. Dj-friendly intro and outro for your mixing pleasure. A must for your crates.

Following the sublime smash debut "X17", LA-based label Elbow Grease head conductor Dave Aju continues on his righteous piece-by-piece journey toward a multi-genre multiverse, where deep musical roots come together in kaleidoscopic expression, and unfakeable funk reigns supreme.

"Spacio Tempo" picks up where we last left off, though with a notable drop in bpm as the title implies, with a rolling 4/4 textural tapestry that combines pulsating layers of soulful synth work, effervescent live percussion, and heavenly strings into a dense yet open-as-the-night-sky extended gem yet again. Just as the machine patterns of near-equator rhythms bubble over and begin to lock into a hypnotic groove, a bold left turn into a dank latin jazz noir vibraphone solo and SH-101 duet tango ensues, before landing us safely back at home base - right on time, at its own spacial pace.

As per the Elbow Grease release recipe so far, the B1 cut offers DJs a more driving flex, this time in the form of the "Acido Tempo Mix": a raw 303-driven take on the original which will undoubtedly stomp its way fiercely thru many bass bins in sweaty basements and warehouses worldwide. Finally the B2 blessing "Domingo Dub" closes things out, removing all but the highest vibes as an ambient drifting and uplifting take on the main theme, where the faintest of vocal tones, space echoes, and light percussive touches leave us elated in a West Coast, with subtle splashes from the D, sunset dream. Another solid single turned three-tracker sure-shot from EG.

Windwaker examine the aftershocks of love and the changes made in its wake over a soundtrack tilt-a-whirling from moments of insane heaviness to heavenly release. Bubbling up out of Wagga Wagga, New South Wales, the Australian quartet—Will King vocals, Jesse Crofts guitar, Indey Salvestro [bass], and Chris Lalic [drums, programming]—first landed in 2017. They built a growing fan base with independent EPs such as Fade [2017] and Empire[2019]. The latter boasted “Colourless” and “My Empire,” which each cracked 850K Spotify streams. In between selling out headline tours, they joined Beartooth on the road, while I Prevail tapped them for an upcoming 2022 run across Australia with Motionless In White. Along the way, they inked a deal with Fearless Records and wrote, produced, and engineered their full-length debut Love Language by themselves over the course of 2021. After amassing millions of streams independently and building buzz around the world, the band deliver an unpredictable and undeniable exploration of love across twelve tracks. Campaign highlights include support from Upset, DSCVRD, Rock Sound, Kerrang! and more.

Lazarus Recordings makes its long awaited return with the head honchos new EP, DJ Deluxe – Alive By Default. This EP is full of his fast paced breakbeat goodness that has become synonymous with DJ Deluxe’s production style. He takes that ‘93/’94 breakbeat hardcore sound, adds some 1998/1999 breakbeat style and then amps it up with modern production techniques. You will find all that made the early breakbeat hardcore sound so good but all the dials have been turned up to 12! The only thing that can top Deluxe’s insanity is that of DJ Beeno, and here he really lets lose and unleashes his love of fast paced techno for his remix of Get On Your Knees. This EP isn’t just one thing, it's not old skool, it's not new skool, but it is both and so much more.
Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Fuchs is a band that never was. It vanished as quickly as it appeared in the picture, much like the animal that can be seen on this album and after whom it was named. In 2005, Kante singer and guitarist Peter Thiessen travelled to Weilheim to visit Markus and Micha Acher in their studio, where they were joined, among others, by Notwist-affiliated musicians like Cico Beck, Robert Klinger, Carl Oesterhelt and Stefan Schreiber. Spirits were high, but schedules were full: after a week of improvised sessions, everyone went their own way. The recordings gathered dust until Markus Acher found them again in 2021 while cleaning out his studio. After carefully re-evaluating the rough mixes, the musicians decided to finally release them. The resulting album comprises six tracks that musically draw on jazz, aesthetically lean on dub techniques and ideologically pick up on krautrock: there’s no solos to be heard on this record, just a few equally skilled and open-minded musicians listening to each other carefully, providing each other with space in which to unfold. »Fuchs« is a document of egos dissolving in a collective spirit.

Thiessen and the Acher brothers met in the 1990s and bonded not only over their shared background in hardcore music and the DIY ethos in which it was rooted, but also over their love for jazz. »If you look at those two things combined, you will eventually become convinced that you don’t have to be formally trained to make music that at least resembles jazz«, says Thiessen today. He invited Micha Acher to join his band Kante on flügelhorn in 2004 for a tour that saw the expanded group play unusual encores after the official concert was over. »Micha had taught us some dixie pieces, so night after night we would play a freestyle dixieland ska set in front of the remaining audience!« Naturally, the Acher brothers didn’t have to ask twice when they invited him for a visit in Weilheim to further explore their mutual interests in a studio setting. »I got on my way immediately and took two or three loose ideas, a tape echo and a guitar on whose headplate you could create fantastic sounds with me«, says Thiessen.

Between immersing themselves in books by the photographer Leonore Mau, cooking together and drinking the occasional fruit schnapps, the trio went into the studio. Says Thiessen, »Micha brought his flügelhorn and some wonderful ideas with him, Markus an Indian harmonium and a plan, Carl Oesterhelt came with a glockenspiel and a Chinese zither and a bunch of amazing jazz musicians joined in, too.« He considers the resulting recording sessions to be a kind of attempt at musically translating their conversations during those days. They discussed different approaches to jazz, whether sampling and musical miscitations can unlock ecstatic potentials and the possible parallels between syncretistic religions and pop music. »There’s traces of glossolalia, it's like a blurry séance«, adds Thiessen in regard to the sessions.

It is especially this spirit that managed to live on even though the recordings themselves were abandoned. »What we all liked most when listening back to the recordings is probably their marginal and fragmentary character, the empty spaces—the moments in which the virtuoso solo never comes, in which the centre remains empty.« The six pieces on »Fuchs« are chock-full of exactly these moments. When at one instant, the players seem to disperse and improvise freely, they always meet again on common ground a short time later, continuing on their way together. There are no conventions or even previous agreements that guide them, just a shared will to explore a vast range of curious sounds and unusual rhythms together as a truly unified constellation of very different musicians. Fuchs is a band that never was. Its ideas still reverberate vividly even 17 years later.

Landscape Tantrums Lost for two decades, the recent rediscovery of Landscape Tantrums the first attempt at recording the music that would become The Mars Volta’s De-Loused In The Comatorium revealed an important and hitherto missing chapter in the group’s evolution. Selfrecorded by Omar (assisted by Jon DeBaun) at Burbank’s Mad Dog Studios within a head spinning four days, Landscape Tantrums captures De-Loused in somewhat embryonic form, though much of what would make The Mars Volta’s debut album such an electrifying, sublime experience was already in place: the fearless invention, the fusion of futurist rock elements and traditions from outside of the rock orthodoxy, the sense of virtuosity working in service of emotional effect. From a distance, The Mars Volta must have seemed as if they were on a high when they walked into the studio to record what they expected to be their debut album (“I didn’t think of it as demos or a dry run,” Omar says). The group had recently played the Coachella festival to rave reviews, a vindication of the quixotic risk Omar and Cedric had taken, quitting At The Drive In to lead such an uncompromising musical proposition.






Their debut EP, Tremulant, had similarly signalled their singular vision, and been rewarded with similarly positive feedback. But the truth was that The Mars Volta entered Mad Dog in tatters, scarcely believing anything other than failure lay within their reach. They’d recently lost their bassist, Eva Gardner, and parted ways with keyboard play Ikey Owens. Tensions were brewing with drummer Jon Theodore, too himself a replacement for founding drummer Blake Fleming Omar questioning Theodore’s commitment to the group. And sound manipulator Jeremy Michael Ward’s drug problem had gotten so far out of hand that he’d been sent to rehab, and wouldn’t return until two days into the Landscape Tantrums. The pressure upon Omar was intense, and it began to manifest in the form of physical and emotional breakdowns. His art was his life, but now he began to wonder if it was actually going to kill him. Under such heavy manners, miracles occurred at Mad Dog. Surely that’s the only way to describe the music contained on Landscape Tantrums, as Omar fashioned early versions of Inertiatic ESP, Drunkship Of Lanterns and Eriatarka that rivalled the Rick Rubin produced versions that ended up on De- Loused for intensity, precision and immediacy, as Cedric delivered a powerfully intimate reading of Televators, and as a bare bones version of the group sketched out the peaks of what would become their debut masterpiece in barely half a week, on a shoestring, and believing they wouldn’t last long enough to see it hit the shelves. Listening to Landscape Tantrums now, with the benefit of hindsight and the knowledge of what these songs will become, one notices Cedric has yet to fully find the voice that will lend The Mars Volta their devastating authority, that Eriatarka will evolve even further under Rick Rubin’s watch, and that the lyrics to De-Loused’s climactic chapter, Take The Veil Cerpin Taxt, have yet to be penned. But one also notices how lithe the group sound here, how hungry, and one appreciates the raw edge that Rubin would later polish to a venomous sharpness. More than mere historical curiosity, Landscape Tantrums is an essential text for the dedicated Mars Volta aficionado, and a breathtaking album in its own right.


[a] a1. Roulette Dares (The Haunt Of) [Unfinished Original Recordings Of De-Loused In The Comatorium]

Label favourites Balearic Ensemble return to the fore following last summer's spectacular 'Cachonda' EP, this time with a 12" treasury of wonderful, eclectic dancing music of the highest balearic order. They're joined by Das Komplex, notable for recent excursions on DJ Harvey's Mercury Rising, to round out their five-track excursion for the label: this is the Mediterráneo EP.

Opener 'Pitiusas First' sets the tone with dizzy, downbeat percussions as a bass guitar skates and glissades underfoot; soaring, starry-eyed synth work and Latin organ stabs in concerto. This homage to the islands and islets of Ibiza comes with a note of melancholy, or nostalgia: waking up to find that your best years might have evaded you - and celebrating the fact. It's a maturing of the Residentes sound in a way we haven't heard before; a gorgeous moonlight serenade, the last tango on Formentera, and a tip for orange-tinted sunsets all summer long.

Second track 'Almendros y Drones' takes us deeper into the throes of that distinctive Mediterranean sound with dizzying arpeggios and analogue bass over teetering hihats and fizzing synths; it's an eruptive, volcanic beast of a track that will take liberties with your dancefloor. Over-the-top filter action and driving piano perforations, crashing snares and resonant howls, Almendros, Drones.

The third offering is 'Mojada', taking cues from classic deep house with its deep-set bassline and modular squeaks. It's a slow burner, an aquaplane on Eivissa, cueing 303 squelches and 90s drum machine riffing before its eventual, explosive peak.

After Mojada we enter the chugging, gritty realm of Das Komplex's remixes. He refashions the heady throes of 'Mojada' into a driving, churning unit; percussions, distorted into infinity; basslines bent and buckled into submission; slabs of piano lathered with space echo delay. Wonky late-nite dancing music at its very best.

Extra treat: Das Komplex also left us his 'Pineapple Bonus Mix' of Mojada, which is a more sunset-suited affair altogether. This special mix lasers in on that exuberant piano part, then plays with percussions and dynamics to create a full-on dub version of the original track.

Fresno is the highly anticipated 6th studio album by Joyce Manor
Produced by Rob Schnapf, this 9 song album is an honest, hard-hitting, post-emo,
power pop masterpiece packed with the elevated writing and earnest delivery
Joyce Manor is loved for.Joyce Manor is a band from Torrance, CA consisting of
Barry Johnson (vocals/ guitar), Chase Knobbe (guitar), Matt Ebert (bass), Neil
Hennessy (new drummer, from The Lawrence Arms). Johnson and Knobbe
started the band in 2008 in the Disneyland parking lot, named after an apartment
complex that Johnson would walk past every day. Joyce Manor made their debut
as an acoustic two-piece. Quickly they learned that playing loud was much more
fun and invited friends to join the lineup. The band has released five studio
albums; Joyce Manor (2011), Of All Things I Will Soon Grow Tired (2012), Never
Hungover Again (2014), Cody (2016), and Million Dollars to Kill Me (2018).
Joyce Manor has toured extensively and their live show has been the driver
behind the band's success. They have made festival appearances at FYF Fest,
Coachella, Riot Fest and since the release of their last studio album in 2018, the
band has headlined NYC Central Park SummerStage, sold out two nights at the
Palladium in LA, and sold out two matinee show at LA's historic Union Station.

Homemade ambient synth songs that will lead you to a state between deep relaxation and pleasant chemical high. Subtle, sincere, but also strange, Leoni Leoni's music has a powerful attraction and a unique bewitching force. The synthesizers sizzle, the drum machine moves forward sometimes throbbing. Upon it, the Bernese musician and producer sings about life, about love, in their banality and magnificence. With 4 homemade cassettes released since 2019, Leoni Leoni has established herself as a major figure of the Swiss underground. With dozens of concerts across Switzerland and France, she distills to perfection her music in the weirdest places, the craziest parties. A bit of magic, the scent of drugs, the caress of a summer white night... let yourself be carried away.

HIGHLIGHTS! Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad, traveling to Peru in 1971. This extremely scarce LP was recorded for MAG in Lima and comprises mostly Cuban songs -like the outstanding Vicente Rojas' original 'Mi Son Combinado'- and also a rare cover of Jorge Ben's 'Domingas'. Quite an invisible record even for hardcore collectors, and almost impossible to find in any condition, "De Habana a Lima" is now reissued for the first time. More: In 1956, the percussionist and composer from Guantanamo, Elio Revé, founded the orchestra popularly known as La Revé, which in the space of a few years became the Cuban music group par excellence for foreign audiences. Elio, dubbed the father of changüí for his seminal work on this genre, is also considered one of the forerunners of salsa music and his orchestra included musicians of the stature of vocalist Ibrahim Ferrer; pianists Chucho Valdés, César Pedroso and Juan Carlos Alfonso; and bass guitarist Juan Formell, who left the group in 1969 to form Los Van Van. Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad in the seventies, traveling to countries such as Spain, Belgium and the People's Republic of Angola, and these journeys are well documented on the internet. However, little is known about their trip to Peru in 1971_ The local record label MAG quickly signed the Cuban groups that arrived in the Peruvian capital and that the head of the label, Manuel Guerrero, agreed to record. The La Revé LP was followed by a Los Compadres album the following year. "De Habana a Lima..." comprises a dozen songs labeled changüis, mostly written by Cuban composers, the exception being the closing track: 'Domingas', an original song by Brazilian artist Jorge Ben. In contrast, the album opens with the distinctly Cuban song 'Guajira guantanamera'.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE, DONE IN COOPERATION WITH THE FAMILY OF BOBBY COLE !!!

If you lived in New York during the 1950s through the 1990s and liked jazz, you knew about Bobby Cole. He played piano, sang, composed, arranged and, in 1967, released an album of original compositions titled "A Point of View" (Concentric Records). He had fans but avoided becoming mainstream. He stayed contemporary without becoming current. Jazz, folk, rock, modern dance scores…he wrote and performed them all. He smoked too much, drugged too much, drank too much. He was also cerebral, curious, a prodigious reader of poetry, philosophy, theology, and an uncommonly intelligent and literate lyricist.

On a December night in 1996, he had a heart attack while walking to work. An ambulance brought him to New York Hospital where, a few hours later, he died. Bobby Cole performed throughout Manhattan for forty years, but he spent most of the 1960s headlining at Jilly's, the midtown bistro owned by Frank Sinatra and his friend Jilly Rizzo. Sinatra called Bobby "my favorite saloon singer."

Bobby Cole caught the attention of Judy Garland, who visited Jilly's one night in 1964. She was hosting a weekly television show, and in the midst of a feud with her special materials arranger, Mel Torme. Three weeks later, Mel was out, and Bobby was in. He performed on Judy's show with his Trio. Bobby was scarcely 30 years old and it was his first time on television, but he was unruffled, sophisticated, and so damn cool. After Judy's show ended, Bobby occasionally arranged and conducted for her until she died.

Today, Jilly's is called the Russian Samovar and the piano is in the same spot. My husband and I ate there a few years ago. As we enjoyed our meal, I talked about Jilly's in the Sinatra era. Jilly had an apartment on the upper floor. I pointed up to the apartment and the balcony, where Jilly and Frank would sometimes drop water-balloons on unsuspecting pedestrians below. Another story described Jilly's as "tough, and you had to be tough to work there. Bobby Cole was tough. Frank and Jilly used to throw firecrackers at him to see if they could rattle him, but nothing rattled Bobby Cole. He ignored them and kept on playing." In the 1980s, Bobby headlined at a club called the Café Versailles. His daughter sometimes visited with her friends. She recalled that when she and her father would exit the club after work, a panhandler would be waiting for him. Bobby, who fought his own losing battle with the bottle, would slip the guy twenty dollars and wryly admonish him, "Be sure not to spend it on food." The night my husband and I visited the Russian Samovar there was a guy playing piano there, very young, and trying hard. I talked to him a little bit between his numbers about Bobby and the history of Jilly's and he was sweet, but I could tell he didn't care. I felt like one of those old people who bore young people to death with stories about things that happened before they were born – which, let's face it, is what I was. Nonetheless, when we were ready to leave, I put twenty dollars in his tip jar and said, "This is with compliments from Bobby Cole." After we left my husband said I should have added, "Be sure not to spend it on food."

Marie Hegeman (December 2021)

Benefits are an issues-based music collective from Teesside in the
North East of England. They write songs about the urgencies that
concern them, and they play them loud.

Forming in 2019 and consisting of Kingsley Hall on vocals, Robbie
Major and Hugh Major on synths and noise, and Jonny Snowball
on drums, they quickly evolved from a standard shouty punk rock
outfit into a minimalist, overtly political band that merges noise,
hip-hop and industrial rock, creating an effect that feels urgent,
darkly hilarious and unsettling all at once.

Thus far, Benefits have been completely DIY yet, via a succession
of digital singles and accompanying videos through 2021, they
built a following that enabled them to complete a sold-out headline
UK tour in March 2022. They also gained fans in high places,
including Sleaford Mods, Black Francis, Garbage and Elijah Wood
and Steve Albini.

James and Ryan of Yard Act were also instant admirers and that’s
where their label Zen F.C. comes in. Using their ill-gotten major
label gains Zen F.C. are pressing Benefit’s single ‘Flag’ (backed
with ‘Empire’) on vinyl.

On working with Yard Act, Kingsley comments: “I think Benefits
come at some of the same subject matter that they talk about but
from a slightly different angle (and by ‘slightly different’ I really
mean ‘more frequent swearing’, though we've never said the C
word in a song unlike...ahem). We appreciate every bit of help
we’ve had off them, we just wish we could somehow repay that
kindness (not monetarily mind, we're totally skint).”

Yard Act’s James Smith says of the release: “Lots of bands are
saying all this stuff so what makes Benefits so special? Why do I
need to be told what I already know over and over again by a
shouty man from Teesside? Well, because no one else is saying it
with such physicality they sound like their voice box is about to
leap from their throat and eat your eyeballs. With that little bit of
influence we’ve garnered and the small fortune of money we now
have kicking about, I’m so glad we can play a part in spreading the
word on Benefits, because I think they’re well on their way to a
classic debut album, and I’m going to fucking love being able to
brag about how important I was in making it all happen.”

Out of the primordial chaos of pandemic and two years since their last full-length outing SUPERSAN, those sassy purveyors of World Dance of the highest calibre return with a bang. Duo's 3rd studio album soon to be released by Boom Selectah Records promises to turn heads and perk ears of the aficionados of Afro House but also has a potential to spill out from the niche and conquer the hearts of wider audiences.The album titled 'Little Dakar' is' the labour of love of two long time collaborators from Greece, Kostas and Valantis. This time their quest for musical purity and honesty is enriched and enhanced by stirring alliances. Scattered inside the audio-tapestry of this exotic wax flower you will find the vocals from 'the voice of Senegal' Jefree, and enchanting strumming from the fret of George Koltsiou. While rich traditions of Senegali music are particularly evident (and reflected in the album title), 'Little Dakar' goes far and beyond the sounds of a steamy Dakar Disco dancefloor. Finely tuned ear is in for a treat and could easily travel the distances between Senegal, Angola, Ghana, Uganda and Mali to name but a few. But you don't have to be an expert to fall in love with this album. The multidimensional colours of African musical heritage are easily accessible to a novice too as the references to better known House and Funk traditions could be heard loud and clear throughout the record.

Rock'n'Roll hits adapted and sung in Italiano to seduce an exotic and difficult music market. A tradition that saw many stars (Mick Jagger, Françoise Hardy...) test their pronounciation skills with swinging (but always very fun) results. Now its The Courettes' turn, to translate two of their newest songs for a special limited single 7'', released in time for their southern Europe tour and the Record Store Day 2022. Anzi, LE FAVOLOSE COURETTES, volevamo dire “the real deal” (Vive Le Rock, UK) “the real sound of now busting through your door” (Rolling Stone, USA)! “the world’s greatest two person rock n’ roll ensemble” (The Next Big Thing, UK) “Your new favourite band once you ve heard them!” (Louder Than War, UK) The Courettes. “A force to be reckoned with. Matching the garage rock ferocity of The Sonics to prime early 60s girl group, the band’s output is utterly feral in the most addictive possible way. Reminiscent of The Ronettes given a Ramones style overhaul, their evil charms arrive covered in blood-soaked glamour. Twanging guitar and raucous percussion, a wild head-long charge into the unknown.” (The Clash Magazine, UK) The Courettes is an explosive rock duo from Denmark and Brazil who found the perfect blend between garage rock, 60s Girl Group, Wall of Sound, surf music and doo wop. Like The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber. Praised by the biggest music magazines around the world, in 2020 the band signed with legendary British label Damaged Goods, putting them on the same roster as top international rock icons like Buzzcocks, Manic Street Preaches, Atari Teenage Riot, New Bomb Turks, Amyl and the Sniffers, Billy Childish, Captain Sensible and many others. Their last and third album, “Back in Mono” was released in the Fall 2021 and is a truly milestone in the career. The album brings the band in top form, showing great songwriting skills and with broader nuances, influences and sound qualities to their garage rock recipe. Their last singles, “Want You! Like a Cigarette”, “Hop The Twig” and “R.I.N.G.O.” all got airplay at BBC 6 Radio in England and radio stations in Europe and the USA. “Back in Mono” got top reviews in the main music magazines like Mojo, Classic Rock and Shindig and was featured in countless Best Albums of 2021 lists: “Exuberant third release, a giddying rush of noise” (MOJO, UK) 4 out of 5 stars “Seems like the best record you’ve ever heard. A rock n’ roll sacrament from your new favourite band.” (Classic Rock Magazine, UK) 9 out 10 stars “Sensational good album!” (Ox Magazine, Germany) 9 out of 10 stars “Just keeps getting better and better” (Shindig!, UK) 4 out of 5 stars “Fantastic album” (Louder Than War, UK) 4,5 out of 5 stars “A complete riot” (The Arts Desk, UK) 4 out of 5 stars “14 new original tracks–all killer” (Add to want list, UK) “The whole album is one long highlight” (UK Rock n’ Roll) “Exciting combination of Wall of Sound and Fuzz” (El Periodico, Spain) 4 out of 5 “A collection of perfect songs, full-blown instant classic” (Triste Sunset, Italy)

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Following a 15-year hiatus from publishing, Neapolitan techno's founding imprint - Conform Records - made an emphatic resurgence in 2020 to resume its intrinsic role in the progression of electronic music, ensuring that the genres' virtuous roots and formative values remained instilled within its future. Having re-released its entire back-catalogue in digital format from its original DAT distribution in the 90s, label head Gaetano Parisio now shifts his focus to the modern audience, with contemporary records that serve to marry these two golden eras of dance music.

Showcasing his immense theoretical knowledge and authenticity, earned through decades of experience in the industry, Parisio's latest project - his 6 part "Fragments 2930" EP - honours the meditative euphoria of Conform's early releases. Militant and driving in their effect, each cut presents its own melodious theme; running parallel to the strong percussive undercurrent of high impact techno that can be heard across the extended player. "Fragments 2930" was initially conceived as a single sound block and later fragmented into these 6 single units. As represented in its title, "Fragments 2930" also includes the catalogue numbers 29 and 30, with the double vinyl characteristic of a 2-release miniseries.

Available to purchase on vinyl from May 27th and across digital platforms on June 10th, Gaetano's latest release is further proof that the label's discography now only grows to hold more future classics.

With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgone has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country & a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously. The release features lead vocal contributions from Orgone's ever expanding extended family of some the finest soulful singers on the West Coast - Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album.The tough, punchy, & hard hitting production highlights a body of work both "head banging"-ly satisfying and eminently groovy. Opener "Working for Love" rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector's call to loving arms & irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty hammond organ percolating through timely songs of protest, brotherhood, unity, reverence & loss. Instrumentals "Samson" and "Crusader" round out the record, highlighting the trademark Orgone sound; instantly classic & dusty, at times chunky, at times sprawling; always on point. Lost Knights is ultimately a fun record- an expansion of a profound part of the band's DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, & the muscular power of a metallic crimson `68 Chevy Camaro. With racing stripes...

With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgone has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country & a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously. The release features lead vocal contributions from Orgone's ever expanding extended family of some the finest soulful singers on the West Coast - Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album.The tough, punchy, & hard hitting production highlights a body of work both "head banging"-ly satisfying and eminently groovy. Opener "Working for Love" rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector's call to loving arms & irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty hammond organ percolating through timely songs of protest, brotherhood, unity, reverence & loss. Instrumentals "Samson" and "Crusader" round out the record, highlighting the trademark Orgone sound; instantly classic & dusty, at times chunky, at times sprawling; always on point. Lost Knights is ultimately a fun record- an expansion of a profound part of the band's DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, & the muscular power of a metallic crimson `68 Chevy Camaro. With racing stripes...

Before Dan Klein's unfortunate passing, The Frightnrs agreed to keep a promise he asked of them - continue making music together. Part of that promise has been made manifest here... Daptone Records is proud to present ALWAYS - the raw, soulful new long player from The Frightnrs.

The road to Always began with a period of intense songwriting back when The Frightnrs and producer Victor Axelrod (Ticklah) were working on the group's debut, rocksteady masterpiece, Nothing More to Say. In addition to the scorchers heard therein, Axelrod and The Frightnrs agreed many of the recordings were too sweet to tamper with in order to fit the rocksteady mold. Some were created at their headquarters in Queens with Dan on the mic, some were elaborations on older ideas, others were brand new creations made at the finish line.

Thanks to the vocal stems they had captured in this golden period, Dan Klein's other-worldly voice lived on, giving The Frightnrs all the raw material they needed for an entire album's worth of new, original music. So with that, The Frightnrs and Axelrod returned to the studio and painstakingly conceptualized, tracked, re-tracked and mixed them into a complete album with their beloved friend singing lead. The fruits of this arduous process lay bare the undying love and respect between musical brothers.

The last song written for this album, "Why Does it Feel Like a Curse", married two song concepts with one of Dan's original vocal performances - creating a beautiful, flawless composition that not only serves as a highlight reel of their editing skills and songwriting prowess, but also as a kind of metaphor for The Frightnrs jour ney. The per fect ending f or ALWAYS.

 Ty Segall meets a new non-rock challenge head-on; soundtrack music for
Matt Yoka’s compelling documentary film ‘Whirlybird’. A variety of synth
sounds, electric keyboards, drums, percussion and saxophone (and yeah, a
few guitars) form a shifting impressionist counterpart, instrumental music that
dialogues with and serves to frame the film’s compulsive themes and
images.
 Released to great acclaim in Summer 2021, ‘Whirlybird’ tells the story of
Zoey Tur and Marika Gerrard, former partners and founders of the Los
Angeles News Service, and deftly tracks their extraordinary and oftenreckless pursuit of breaking news throughout the 80s and 90s - a time in
which they pioneered the use of a helicopter to report on Los Angeles at its
most chaotic, capturing historical moments like the 1992 riots and the OJ
Simpson slow speed pursuit.
 Through striking interviews and one-of-a-kind archival footage, Yoka’s
documentary expertly tells the story of Zoey and Marika’s unravelling
marriage as they singlehandedly changed broadcast news forever. These
two arcs intertwine to create an electric view of the encroaching intensities of
that era, when the 24-hour news cycle first rose to dominate our national
consciousness.
 Ty Segall has previously scored scenes and interstitial bits for film and video
things here and there - but this is his first full-on feature film score, a work
done in collaboration with the director, whose friendship and creative
partnership with Ty has grown over a decade-plus of music videos and other
projects. Working off notes and feels from Matt and responding to the images
and story on screen, Ty crafted some of his most creative arrangements to
date, using synth, drum machine, Wurlitzer keyboard, guitars, drums and
percussion (plus saxes played by Mikal Cronin, who also cowrote the title
track with Ty) to articulate a multitude of tones running through the film.
 For a shape-shifter like Ty, this apex of tone colour is no mean feat, an
achievement further highlighted by the full set of pieces. Rather than simply
throw a bunch of songs-with-singing at the project, Ty’s score perfectly
epitomizes the film’s ethos, providing an instrumental counterpart that
dialogues with and helps frame the film’s provocative themes and images.
 As both Matt and Ty are natives to the Southern Californian milieu,
particularly the era ‘Whirlybird’ depicts, their collaboration involved a journey
through their past. In realizing the music, they revisited their own Los
Angeles awakenings, adding another personal layer to the deeply felt
meditations and elegies sighted by the remarkable ‘Whirlybird’ - now an
equally thrilling counterpart to be experienced through the original
soundtrack.

Tell All Your Friends is the groundbreaking debut album from Long Island’s Taking Back Sunday. Boasting the hit singles “Cute Without The ‘E’ (Cut From The Team),” “Great Romances of the 20th Century” and “You’re So Last Summer,” the album is highly acclaimed and has influenced artists of all sizes and genres over the last 20 years.