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Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

Armed with a discography that includes hits for the likes of Nas (“Ether”), Big L (“Ebonics”), Jim Jones (“Pop Champagne” f/ Juelz Santana), Snoop Dogg, 50 Cent, Fat Joe, Lil Wayne, Killer Mike, Papoose, Method Man, Ja Rule and more, the Harlem-based, iconic producer returns with his most coveted compilation album to date with, One Twenty Seven.

Named after Harlem’s 127th street that raised the gifted beatsmith/recording artist, the 12 track LP boasts a soundscape that ranges from 808 heavy club bangers, head nodding boom-bap and menacing underground joints, equipped with a star-studded line-up of guest appearances that include Diddy, Kid Capri, Mobb Deep, Raekwon, Busta Rhymes, Rockness Monsta, Kool G Rap, Sauce Money, T-Pain, Jadakiss and more!

Short Bio: It only takes a few seconds exposure to the rolling riffs of opening track “Tom Cruise Control” to be reminded that this is Gozu’s world, we’re just living in it. Given that it has been five years since the Boston quartet dropped the monstrous Equilibrium, returning with Remedy is one hell of a way to make sure that everyone - whether previously familiar with them or otherwise - realizes that they are perhaps the most badass of American rock bands, for they have taken everything to the next level. “There is a certain maturity mixed with a childlike enthusiasm to play music, and we all are better players now than on Equilibrium,” says vocalist/guitarist Marc Gaffney. “We have all really tried to look at what we enjoy but more what we do not enjoy. Playing music is a gift and when it becomes A Nightmare On Elm St Part 37.3, you are done.” The result is nine tracks of their signature combination of fuzzy 70s inspired riffs, rich, catchy, grunge-esque vocal melodies and a touch of old school trippy psychedelia written and played with the utmost passion and enthusiasm, eclipsing everything else in their catalog. “The band wanted a very heavy groove-oriented album with singalong choruses. We also wanted sonically to hit you in the chest, like a three-combination, left-right-left, like Micky Ward. Harmonies and melodies were something we really looked at and wanted to shine, and thick guitar tones, driving bass and drums were under the microscope.”

FOR FANS OF: BLACK SABBATH, RAINBOW, DIO, AEROSMITH.
Ozzy Osbourne ist einer der bekanntesten und beliebtesten Musiker der Rock-Welt und einer der Gründer des Heavy Metal. Aufgenommen 1983 für KSAN-FM, beinhaltet diese strikt limitierte 10" Picture Schallplatte Hits wie Crazy Train, Steal Away und den Black Sabbath-Klassiker Paranoid.

First LP from Donna Candy, the bass-vocal-drums trio trawled from the sub genres of experimental rock and busy pushing to the front of heavy music. Nu metal bass riffs, switch-pitched fuzz vocals and big, splashy drums layer over unsettling narratives and extreme loops to bring a bit of the pit to the dancefloor.

Begun as an off the cuff party band with the idea of finding a live sound that would fit between 4am trance sets, the trio soon found themselves addicted to the euphoric sludge they created. Swapping their usual guitar for a bass, JS Donny drives Donna Candy with simple riffs, split half clean and half shredded with Boris / Sunn O))) like distortion. Head-banging the whole way, they’ll switch speed or stop suddenly, bending and drawing out notes to ratchet things up for release. Nadja's vocals tear through the top layer - heavily processed and warped with weird imagery. Together there’s a feeling of what it might be like to see Sightings slowed by codeine but with Elvin Brandi on the mic.

Always set up facing each other, off stage and surrounded by the audience, Donna Candy encourage catharsis - reciprocally transforming energy between themselves and the crowd. They build a queer euphoria that pulls apart metal’s narrow dichotomy of nihilistic machismo vs. hyperfemininity, and begins to make the visceral faux-hybridity of nineties nu metal feel possible this time around. ‘Blooming’ brings us six offerings from the band on a four way split release that speaks for itself - once on board with the DC energy you’ll want to be a part of it.

Wieder lieferbar ist ein Klassiker des Dub-Reggae, von Kevin Metcalfe re-mastered und auf dem VP Records Sublabel 17 North Parade wiederveröffentlicht. Im Original erschien der Longplayer erstmalig 1977 auf Joe Gibbs' Record Globe Label und wurde mit seiner Studioband The Professionals eingespielt. Laut Originalcover waren das George "Fully" Fulwood, Carlton "Santa" Davis, Tony Chin, Richard "Dirty Harry" Hall, Tommy McCook, Bobby Ellis und Leroy "Horsemouth" Wallace. Am Mischpult saß Errol Thompson. Hier finden sich 12 exzellente Dubversionen von Riddims aus der Treasure Isle und Studio One Rocksteady-Ära, und zu "Hypocrites" von Bob Marley & The Wailers sowie zu"Uptown Top Ranking" von Althea & Donna!

Head of the Lo-Fi movement with the SP-404
-In 2006 he dropped the first SP404 kung fu inspired beat tape under the alias 5 ELEMENT NINJA Beatjitzu vol 1. Since then he has garnered a cult following of SP404 kung fu inspired producers and sparked a genre. He is the forefather of said style and has numerous beat tapes under various aliases such as 5 Element Ninja, Lords of da LO FI, GODZ of WuTang, MAZINGA Z, JIM KELLY and of course Bruce Li. -He has worked with Killarmy featuring Cappadonna of the WU TANG CLAN and others. He has complete production credit on albums with LONE NINJA, Recognize Ali and Verbal Kent(Dueling Experts) and lastly CLEVER 1 of DA BUZE BRUVAZ. -Also he has appeared on albums with credits alongside Hop hop royalty RZA, True Master, 4th Disciple and legendary PETE ROCK. Lord Beatjitzu presents 420, a densely packed album that captures the same sense of euphoria and paranoia one can gain from an extensive and smoky 4/20 celebration. He has crafted a soundtrack with loops upon loops of smoked-out loops. Sort of like the smoke rings that used to emanate from Cheech and Chong having one of their notorious sessions. Adding on to his varied discography, this fits more in line with the varied sample chops of his celebrated Mazinga moniker. Intricately woven to provide the perfect soundtrack for 4/20 and any other day or night that you have a moment to kick back and enter another zone. Lord Beatjitzu is a beatmaker originally from Mexico City D.F. who stays studying and constantly honing his craft. Extremely reclusive and low key, he is known strictly through sparse collaborations and various beat tapes which he has put out starting in 2006. He has put out over 100 beat tapes and collaborations under an innumerable amount of known and unknown aliases.

Ghost Producer aka Badawi (aka Raz Mesinai aka Bilal ibn Yakub al-Badawi) is a prolific producer and artist who has been on the forefront of underground experimental jazz and electronic music scenes around the world for over thirty years, with a catalog of albums on labels as ROIR, Asphodel and Tzadik under various monikers dating back to the late 1980s.

Ghost Producer released his first albums starting in the late 80’s under the monikers Psy Co. and Ruff Riddim Productions, selling his cassette tapes in NYC. He produced, on average, at least one album per week since 1988 until today. One of the twenty or so monikers was Badawi, later being signed to ROIR Records and releasing the seminal experimental dub, punk albums »Bedouin Sound Clash« and later »The Heretic of Ether« on Asphodel. Spending time as a child between Occupied Jerusalem, the West Bank (Balata) and New York City (Rock Steady Park) during the height of the B-Boy era in the 70s and 80s informed Ghost Producer’s singular sound of heavy driving Sufi rhythms, sonic experiments, percussion, piano playing and sound design which has connected him to a wide variety of artists ranging from Maryanne Amacher to John Zorn, to added elements of darkness to music by such artists as Hanz Zimmer (Black Hawk Down) and rappers Danny Brown (Pneumonia) and Skepta and Double D (Don) among many others.

At age 14, Ghost Producer was discovered by visionary jazz and rock musician, Juma Sultan (Jimi Hendrix) whom later trusted Ghost Producer with producing the archive of over 2000 hours from recordings from »Studio We« and the Free Jazz Loft Movement in NYC in the 60s and 70s. As a composer, he has worked with Kronos Quartet and has had premiers at Carnegie Hall (Cross Fader, The Echo of Decay) and Lincoln Center (String Quartet For Four Turntables). In addition, Ghost Producer has released several albums on John Zorn’s Tzadik label, where he explored producing to the books of Franz Kafka (Before The Law, Resurrections for Goat Skin, Cyborg Acoustics)

As a composer for film, he coined the term »score design» to describe his work in conceiving and producing scores for films with particularly demanding needs, working on such films as A Late Quartet (director Yaron Zilberman composer: Angelo Badalamenti), The Fountain, Black Swan and The Wrestler (Darren Aronofsky/Clint Mansel), Black Hawk Down (Ridley Scott/Hans Zimmer) and many more. In 2014, he was awarded as a fellow in the Sundance Composers Lab.

In 2015, Ghost Producer formed the Underground Producers Alliance, a unique program for developing producers, performers and composers, with co-founders Scotty Hard (Wu Tang Clan, Medeski Martin and Wood, De La Soul), HPrizm aka High Priest (Anti Pop Consortium), Honeychild Coleman (the 1865, The Slits) and Prince Paul (Jungle Brothers, De La Soul), where Ghost Producer produces entire albums with student participation in his master course.

This album, »The Book of Jinn«, is one of many productions done within the course, featuring players/mentors Juma Sultan (percussion), Chandenie (voice) and Shahzad Ismaily (electric bass), with additional student participation from Adam Culbert and Jonah Sollins (aka Goodnight 1500) on synths and percussion as well, then all remixed and rearranged by Badawi into what you hear here, The Book of Jinn.

The third full-length from Olivia Jean, Raving Ghost, is an album populated by mysterious characters in various states of danger: cursed lovers, doomed souls, women deliriously haunted by unseen forces. Over the course of its 12 spellbinding tracks, the Detroit-born singer/songwriter/multi-instrumentalist amplifies that drama with her wildly melodic take on garage-rock, handling each riff with the power and precision she’s previously shown as a member of the Black Belles (and as an in-demand session/touring musician who’s played with legends like Wanda Jackson). A stunning evolution of the retro-surf sound of her past solo work, Raving Ghost ultimately makes for the most magnificently heavy and mesmerizing output yet from an endlessly fascinating artist.

This is a new pressing on 180g Transparent clear vinyl. 500 copies only. We ThRee announce the reissue of the "Odyshape" the second album by The Raincoats originally released on Rough Trade Records in 1981.Re-mastered from original masters. Heavyweight 180-gram vinyl.

"It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression…or the typical female as sex symbol avec irony or sensationalism". (Kim Gordon, Sonic Youth,1993). //

"We just really loved what The Raincoats were doing - they were a really exciting band. I think the thing that was good about The Raincoats simply was that the tradition that they were playing in was their own and so they had an original voice. You couldn’t ignore them - they were undeniably fascinating - the interplay between the two voices and the sound of the group was something original and that was what was exciting about them." (Geoff Travis, Rough Trade Records, February 2009)

In the Detmold area (Westphalia, Germany), there wasn‘t much going on for metal fans in the first half of the eighties. Fortunately, the members of two bands met in 1982 in a chip shop and recognized their common preference for hard music by their long hair, leather jackets and moustaches, which were good manners at that time. In this moment SACRAFICE were born, who subsequently became local heroes - of course influenced by the NWOBHM that was just spilling over into Germany, but also by the usual suspects like Black Sabbath, Deep Purple, Rainbow or Kiss, as well as Judas Priest and the early Accept.

Two unusual choices were made at once: In the spirit of Def Leppard or Led Zeppelin, the band name was deliberately changed - i.e. NOT Sacrifice, but Sacrafice. And they decided not to make the typical demo tape, but a 12“ EP on their own. This one is called „The First Experience WIth The Unknown“ and can be bought here and now on Discogs for 120 Euro and more used.... But already the book „Heavy Metal Made In Germany“, which was published in the nineties via Iron Pages, lists the record as „Top German Metal Rarity“.
No wonder, because the quite aggressive heavy rock and metal knows how to please even today - or maybe especially today - and reminds us of the upbeat mood of the German metal scene in the first
half of the eighties. This is also true for the three live tracks, which have been elaborately restored in days of work.

Another house number are the tracks of the follow-up band TranQuilL
(that‘s right, that‘s the correct spelling). The mostly overlong songs can be classified as heavy prog. Due to various circumstances these pearls remained (as good as) unreleased. Again, a lot of time and work was invested in restoring and mastering these private studio recordings (there are six long TranQuill songs on the CD version, while there was only room for two tracks on the LP, without losing sound quality).
As always, the printed inlay contains liner notes (actual interview with a former band member). Photos and other illustrations.
The CD version of the Golden Core re-release has already received very good reviews in Rock Hard and Good Times, among others!

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und
Picture Disc.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und Picture Disc.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und
Picture Disc.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und
Picture Disc.

The Beths debut EP – new pressing on on Light Blue Vinyl

The Beths' Warm Blood is a strong contender for the catchiest record you've never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands' careers.

Listeners for whom the tag 'New Zealand indie rock' brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood's five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstatic crescendos that channel The Zombies' Odessey and Oracle.

With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like leadoff track and first single 'Whatever,' the ridiculously addictive standout 'Idea/Intent,' and 'Rush Hour 3,' a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song. 

Soul Jazz Records’ new 20th anniversary one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023 of Soul Jazz Records’ New York Noise: Dance Music from The New York Underground 1978-82.
‘New York Noise is a comprehensive look at the post-punk and no wave era, a short period in time whose influence is still immeasurable and sensed today.’ The Guardian
‘One of the most satisfying archival collections, Soul Jazz’s compilation New York Noise 1978-1982, gathers far-reaching tracks from such diverse acts as Liquid Liquid, Material, and Glenn Branca.’ Pitchfork
This new 2023 edition features classic New York post-punk, punk funk, synth wave and no wave tracks from Arthur Russell/Dinosaur L, James White and the Contortions, The Theoretical Girls, Mars, Konk, Material, Bush Tetras, Lizzy Mercier Descloux alongside rare tracks by the likes of Alan Vega (Suicide), Chain Gang and Implog.
‘New York Noise’ sums up the point in time and space where dance music and punk rock first met as New York’s No Wave artists such as Glenn Branca, James White alongside new york dance music’s experimental pioneers such as Arthur Russell (Dinosaur l), Bill Laswell (Material), and Konk created new musical art forms out of this union.
‘Compilations like this are necessary because they document bygone fragments of time and keep them alive for younger generations. Compilations like
this are dangerous because they tend to fall in the hands
of young bands who spend more time looking behind
than ahead.’ All Music

Swing Family's Music Force is dramatic mid-80s synth-funk. From the maverick mind of Sauveur Mallia, it's a thrilling and uniquely brilliant album from start to finish. It's undoubtedly known and revered for its unbelievable standout track, "Mission Africa". Those that know, know. And if you don't know, get to know. It's the reason this record has been hugely sought-after for the best part of two decades. Originally released on Tele Music in France in 1985 but now tear-inducingly rare, this is the definition of "a welcome reissue."

Swing Family is basically a supergroup of French Funk royalty. Led by French disco lord and Arpadys maestro Sauveur Mallia, they were augmented by trombonist Alex Perdigon from legendary French funk rock collective Godchild, trumpeter Kako Bessot from funky fusion group Synthesis and saxophonist Pierre Holassian, a member of Giant, Janko Nilovic's French jazz orchestra. So, about as heavyweight as it gets for funky French goodness. Mallia handles, of course, bass duties throughout, as well as utilising his arsenal of synths including his E-mu, Yamaha Dx7, Roland MSQ 700, Mini Moog and Oberheimm.

The maximalist disco fusion of "Exorcistor" is perhaps a bit too 80s French cheese for most tastes, so either linger on its singular style or head straight to the soundtracky typo-funk of "Greewich Boulevard". A deep, swaggering powerhouse, it comes on like mid-80s Chic jamming on the set of Beverly Hills Cop with Kashif. Yes, *that* good. It's followed by the vital "Music Force", a synthy, sleazy instrumental full of sax and flute and those 80s drum fills. Just the right side of acceptable.

OR! You can even choose to forget all the rest and just stick "Mission Africa" straight on. A rumbling, strutting, afro-cosmic low-profile banger. The slick drums hit hard, the synth strings warm things up, overlapping horns add swagger whilst electric guitar flourishes and a chanted refrain sit in the mix quite perfectly. A track that's almost impossible to describe and do justice to. You just need to hear it. Preferably as you saunter into your favourite after-hours club, after spotting all your friends at once, as you cut a swathe to the bubbling dance floor. A track quite like no other, it makes you sit up within its first bars and, to us at least, sound like something you'd have heard on a Print Thomas mix from the mid 00s. Basically, it's cosmo-galactic.

The B Side opens with "Musical Stars", an oh-so-80s funk-lite track which, at times, sounds like something Daft Punk may have left on the cutting room floor during their Discovery sessions. Another unimpeachable favourite of ours is the druggy brilliance of "Gentleman & Musician". You can almost hear the white powder through the speakers, as soaring, acidy synths, slick, heavy beats and the irresistible interplay of the primo horn players create a real sleazy wonder. "Film Action" follows, a galloping horn-heavy synth romp with moments of extreme bass breakdown brilliance before the drama-synths of "Episode Double" take things up another notch as it oscillates between gorgeous funky horns and urgent bleepy magic. Super tense, super funky and super stylish. Just ace. The elctro-tinged horn workout "Fatal Lady" closes things out majestically.

The audio for Music Force has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve - complete with perky Liberty Belle - has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Erstes Soloalbum des Queenryche Sängers Todd La Torre. Die durch die Pandemie verschobene Queenryche Tour bot Todd La Torre die Gelegenheit,das lang geplante Soloalbum zu verwirklichen. Todd tat sich mit seinem langjährigen Freund Craig Blackwell zusammen. Wie bei Queensrÿche's The Verdict spielte La Torre Schlagzeug und übernahm die Vocals, Blackwell spielte Gitarre, Bass und Keyboards. La Torre und Blackwell produzierten das Album selbst, zogen jedoch Queensrÿche- Produzent Zeuss hinzu. Gastauftritte von Jordan Ziff (Age Of Evil, Metalhead, Ratt) und Al Nunn. Insgesamt zeigt sich der Solo-Output vielseitig, ohne die progressive Basis von Queensryche zu vernachlässigen. Die Grundlagen sind allerdings mehr im klassischen Metal verortet und werden mit verschiedenen Einflüssen kombiniert. . Der Opener "Dogmata" oder "Vanguards Of The Dawn Wall" kommen mit mächtig Speed um die Ecke und mixen Heavy mit Speed und Thrash. "Pretender" erhält einen leichten epischen Touch und La Torre bewegt sich stimmlich in überraschende Höhen. Metallisch klassisch wird es mit "Hellbound And Down", dem starken "Vexed" und "Rejoice In The Suffering". Der progressive Part kommt bei "Darkened Majesty", "Apology" oder "Critical Cynic" zum Tragen. Die Balladenfreunde hören in "Crossroad To Insanity" rein.Zum Schluss gibt es mächtig dunkle Töne zu entdecken - "One By One . Craig Blackwells Gitarrenspiel setzt den Gesang von La Torre musikalisch perfekt in Szene. Todd findet sogar Vocals, die noch nie zuvor von ihm gehört wurden, wie auf dem Titeltrack und dem bestechenden "Vanguards of the Dawn Wall" zu hören ist. 2021 nur in den USA veröffentlicht, macht ROAR dieses Juwel nun endlich auch in Europa erhältlich, zusätzlich in 2 luxuriösen Vinyl Versionen. "Rejoice The Sufffering"ist ein herausragendes Opus von einem spät berufenen Sänger, der völlig losgelöst beweist, wie man eine wuchtig-moderne und vitale Metal Scheibe schreibt, arrangiert und produziert Für alle Queensryche Fans und Liebhaber des klassischen Metal.

Mit ihrem unverwechselbaren Sound ignorieren As Everything Unfolds traditionelle Grenzen und schaffen durch die Kombination zahlreicher Genres alternativer Musik ein einzigartiges Hörerlebnis. Mit über 20 Millionen Streams für ihr Debütalbum, "Within Each Lies The Other", bleibt ihre Kunst nicht unbemerkt. Die Band wurde für einen Heavy Music Award nominiert, trat auf großen europäischen Festivals wie dem Download, Graspop, Rock For People oder Full Force auf und tourte mit Bands wie Enter Shikari, Wargasm, Holding Absence, Being As An Ocean und vielen anderen. Mit der
Veröffentlichung ihres neuen Albums und vielen weiteren Touren und Festivals in der Pipeline, verspricht 2023 ein großes Jahr für As Everything Unfolds zu werden.

"The new album 'Ultraviolet' is an open work on the thoughts and feelings surrounding us at the time," erzählt Sängerin Charlie Rolfe. "The anger, the frustration, the progress, everything on show, nothing to hide. Darkroom practice is something that has been a large part of my creative path, finding links between the emotion in music, putting everything on display for all to listen and exposing a colour photograph, putting it on display for all to see. Only when you are exposed to Ultraviolet light can you see life in full colour."