Search:hold me down

"Matt Andersen has drawn from the best roots music has to offer over his decades-long career: down and dirty blues, heart-wrenching soul, life-affirming gospel, and introspective singer-songwriter balladry. These sounds, textures, and influences are laid bare on House to House…” -

The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

A SIDE: "COME INTO MY PARLOUR" - 1969

Genre: Early Reggae/Boss Sound

“COME INTO MY PARLOUR” is a killer Reggay anthem adored by early Reggae fans, on par with the likes of “John Jones” or

“Hold Down” previously released on Harlem Shuffle Records. Extremely popular, it has never been repressed since,

it is impossible to find in good condition and is very much in demand.

With its suggestive lyrics, bold organ, pulsing beat and lovely melody, it is easy to see why “Parlour” is still so much in favour 50 years after its release. Essential!



B SIDE: "CHECK HIM OUT" - 1969

Genre: Early Reggae / Boss sound

It was initially released as the A side of “The Vampire” by the Upsetters on the Upsetter label in 1969 in UK.

"Check Him Out" is a cheerful and infectious Reggay tune with wonderful harmonies from the group.

A marvelous track. Listening closely, it appears to be a musical advertisement giving directions to a record store in Kingston that Perry owned at the time!!!

It has never been repressed on 7” vinyl. It is a very much in demand song and a perfect B side for this killer double sider…

Yellow Vinyl
The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

Featuring Squirrel Flower and Liam O’Neill (SUUNS). Recommended If You Like: Mount Eerie, Low, Richard Swift, the Weather Station, Lomelda, Fleet Foxes, Squirrel Flower, L’Rain. Cedric Noel is a songwriter, bassist, collaborator and producer currently based in Montréal, Québec. The newest longplayer from Tio'tiá:ke/Montreal staple Cedric Noel lands with a stunning sense of surety and self. Hang Time stands as a high water mark for a songwriter who's spent the past decade quietly expanding the borders of his music. Longtime fans will recognize the fluid elements of the album’s open-ended rock formations: reflective strumming, soaring choruses, searing guitar lines, subtle bass grooves; all occasionally dissolving into pools of pure ambience. New listeners will find surprises throughout: threads of folk pop, ambient and sound collage fasten the foundations of this expressive whole. However, what’s most striking on Hang Time is Noel’s newfound sense of voice, both literal and metaphorical. Written primarily in 2017-18 during an intense period of self-reflection, this collection of songs finds Noel wrestling profoundly with his sense of identity, self and place. The album’s material was captured faithfully at The Pines, a beloved downtown Montreal studio whose doors shuttered shortly after amidst the strain of the pandemic. Noel worked closely and patiently with friend and engineer Steve Newton, ensuring the songs had the time and space needed to come fully to fruition. Hang Time features subtle rhythm work from drummer Liam O’Neill (SUUNS) and guest spots from Brigitte Naggar (Common Holly) and Tim Crabtree (Paper Beat Scissors) among others. The album opens in mid-air with ‘Comuu’, a song that implores a becoming-more while hovering triumphantly. Then follows a suite of songs (‘Headspace’, ‘Keep’, ‘Stilling’) that recall the heart-rending power of y2k-era Low, albeit with a more vigorous beat. On ‘Bass Song’, an intimate duet with musician Ella Williams (Squirrel Flower) that explores the depths of interpersonal constriction. At the crux of the album sits ‘Born’, a deceptively pleasant-sounding song that explores the confounding emotionality of adoption before fading into a distended soundfield. Throughout the back half of the album, Noel double’s down on this commitment to his genuine, proud, Black self. The most confrontational track, ‘Allies’ finds him refraining “Are you on my side?” as a trailing guitar solo interweaves a Malcolm X soundbite, eventually engulfing the composition. Glorious lead single ‘Nighttime (Skin)’ traces the artist’s sense of ancestral dissociation through to a triumphant moment of pride in self-acceptance. Throughout Hang Time, Noel finds a way to ask hard questions (both of the listener and himself) in ways that are compassionate, open and honest. The ebb and flow of tension and tenderness that moves within these tracks helps to grow the heart and redefine what Black music can be in 2021.

Four years in making, Voyeurs In the Dark is Toronto artist Barzin’s fifth studio album. That the album is more cinematic in its scope and conceptual in feel than his previous studio albums can be attributed to the time he spent over the past several years composing the soundtrack for the independent film, Viewfinder. Voyeurs In the Dark retains that cinematic quality, and at the same time infuses the music with elements taken from Jazz, electronica, rock and pop. Having primarily explored the quiet side pop and folk in his previous four albums, Barzin has expanded his musical palate, broadening his sound towards a more an experimental direction, while still retaining his preoccupation with exploring the internal landscape. The uniformity of sound that characterized the previous albums has been abandoned for the expression of differing aspects of the self that at times hold opposing views and desires. This is best represented in the image chosen for the cover of the album, which depicts three figures in one body. The album seems to be the expression of not one unified self, but the various aspects of the self. Voyeurs In the Dark sees the artist plot a seductive, contemplative route through city haze, shuttling between graceful glimmering interludes, with wonderfully atmospheric songs at every stop. From opener Voyeurs In the Dark’s first guitar strums and the fizz of its drum machine, the record envelopes itself in a glorious shadow, as shown in the slow waltz of I Don’t Want To Sober Up, dancing around its own swirling guitar chords. On Watching, Barzin plunges himself deeper into a wash of cyclic bass, guitar and synth riffs, as the gloom grooves into light. It’s Never Too Late To Lose Your Life has a much more affirming and urgent tone, shade turning into shapes and motion, while To Be Missed In the End builds its own smoke in a cloud of saxophone and sparse guitar notes, closing out a record full to the brim with scatterbrain beauty and eclectic dusk. Voyeurs In the Dark will be released worldwide on Monotreme Records on May 6th on CD and limited edition180 g black vinyl LP with printed inner discobag and digital download card. Press highlights so far: Video premiere and feature interview on Rumore.IT. Airplay on BBC 6Music, Amazing Radio (UK and US), Glastonbury FM, Shoreditch Radio, Indie Music Discovery, Listen to Discover, Norfolk Radio. Press coverage in V13, Skope, Whisperin and Hollerin, Fame Magazine, High Violet, Indie Midlands, Beehive Candy, Music Won’t Save you. Feature confirmed for Wonderland Magazine. PUBLICITY - UK and North America press and radio Cannonball PR. Europe Five Roses Press

Ex-We Are The Physics and current Slime City vocalist Michael M returns with a brand new album of irreverent lo-fi garage punk bangers

Short, fast, pointed anecdotes crammed into just over 30 minutes (so it's eligible for a Scottish Album of the Year Award) for fans of Weezer, Art Brut, Mike Krol, Half Man Half Biscuit, Mclusky, Jay Reatard. Includes download code and videos for each song.A scathing but reflective attack on the internet's Balloon Guy? 10003;The existential crisis of finding out how old the boy from the Sixth Sense is? A Shangri-Las inspired tragedy-pop song about an old crisp packet?Nu Metal, but polite?


Pressed on a totally randomly assigned Eco Colour Vinyl!

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Eighties Collected features original hits like Wham! “Wake Me Up Before You Go-Go”, Duran Duran “Hungry Like A Wolf”, A-HA “The Sun Always Shines On TV”, The Cure “In Between Days”, Pat Benatar “Love Is A Batteflield”, Culture Club “The War Song”, Robert Palmer “Pride”, Frankie Goes To Hollywood “Relax”, Simple Minds “Sanctify Yourself”, ABC “When Smokey Sings”, The Human League “(Keep Feeling) Fascination”, UB40 “If It Happens Again” and many more.

Anfisa Letyago has established herself as one of techno's key players. An intrepid selector with a positive attitude, and an infectious smile, the Napoli based starlet has been making seismic waves within the industry for several years. Her own imprint - N:S:DA has been a home for her own dark-brooding style of techno, but it welcomes a brand new project to kick off 2022, with the first of 3 remix packs featuring a host of very special artists and artwork designed exclusively by Sergio Fermariello.

DJ Rush, a master of hard techno and wicked percussive elements, he's committed himself to the art of rhythm and drums. A Chi-town hero whose music transcends continental boundaries now takes his hand to "Rising Sun". Staunch and unrelenting, the barrage of bass drums keeps momentum at a hauntingly steady pace through the entirety of the track. A true drum-machine wizard who said "It was a pleasure to put my stamp on Anfisa's release. I felt her vibe and wanted to keep the traditional feel to the song but give it that Rush bump".

Adiel has graced the stages of some of the industry's most accredited venues, Panorama Bar, Dekmantel, DC10 and Concrete. She continues to bring her unique take on techno and doesn't disappoint with her kaleidoscopic iteration of "Orizzonte". Renowned for her ability to manipulate crowds with her mind-bending DJ sets and mosaic-like track selection, Adiel twists the original mix into a living techno organism of sorts, evolving and shifting through a deep palette of atmospheric sounds and vocal cuts. "It was a lot of fun to remix 'Orizzonte', it's maybe one of my best remixes and I am really happy about it" - adds Adiel.

Boston 168 leads us deep into an acid laboratory for this reinterpretation of "Gravity", masters of sound design and reformation of classic drum machines like the Roland 909, 808 and 707, the psychedelic and twisting nature of this Italian duo's tracks is unmatched. Currently residing in one of techno's capital party cities - Tbilisi, the pair hold down a residency at the legendary Khidi. "Gravity is the track that inspired us the most with its deep vocal, so we merged this with our cosmic sound" add the duo.

Very few producers have rode the pinnacles of techno as it unfolds through the decades, Chris Liebing is one such figurehead. Revered for his energetic, seize-the-moment style of DJing and music production Liebing is forever finding new ways to innovate within the booth. "Remixing 'Not There' was a huge pleasure, and the production process was very organic. I tried to take it in a little less melodic direction by just hinting it in the break". Says Chris Liebing.

This Germanic trailblazer continues to ignite dancefloors internationally between running his label CLR and juggling family life. Liebing steps up to the plate with his own take on "Not There" to conclude the pack. Instantly drawing your attention with his trademark grit laden kick drums and sweeping dubbed-out vocal shots, along with a hypnotic and body-jolting start to a literal Pandora's box of remix material.

"Someone like Anfisa, with such a high spirit and a smile that lights up any room deserves to have that same representation to her music. Good music will always put a smile on your face" adds DJ Rush.

To celebrate tthe 60 years of the release of the first 7 inch of the greatest rock band of all time, rediscover all the tracks that influenced the sound of the Beatles in a double vinyl. With : Elvis Presley, Gene Vincent, Bill Haley, The Everly Brothers, Little Richard, Chuck Berry, Ray Charles, The Isley Brothers, Peggy Lee...

After a series of self-released vinyl singles, PM Warson emerged in 2021 with the album "True Story", combing elements of vintage R'n'B and Soul with an authenticity and energy that appealed fans and critics alike. Breakout single "(Don't) Hold Me Down" had surfaced initially among soul collectors, before finding a wider audience, first on a Fred Perry editorial, and then on mainstream European radio. Having tipped the album on his Funk & Soul Show, the BBC's Craig Charles also included the single on his popular "Trunk of Funk" compilation series. Not one to wait around, despite the various challenges of the pandemic, Warson returns, just over a year on, with his second offering: "Dig Deep Repeat".

While his debut record waited in line at the pressing plant, he began trying out ideas at a makeshift studio in an industrial storage space in Stoke Newington. As lockdown was lifted enough to bring in his rhythm section, a new set of tunes started to emerge. Despite a growing thirst following his first release, there was little opportunity to play live, with social and travel restrictions remaining in place on-and-off throughout the year. It became clear that his best way through was to make another LP. He expanded the operation, bringing in players, working to an 8-track recorder to forge a new record. Subsequent sessions at Gizzard Recording also produced a direct-to-tape session for Blues Kitchen.

On "Dig Deep Repeat" he further explores his vocabulary, with elements of 60s rock and soul, shades of New Wave, and some cosmic colors beneath the moody blues. It's a direct and focused LP, presenting an artist on the move, two albums deep, with time to make up for.

While Bobby Oroza puts the finishing touches on his next album, he treats us to this killer two-sider to end out 2021 and hold us over until the new record is finished. Bobby's debut album "This Love" made big waves around the world and amassed him a cult following from the US to Japan and everywhere in between. He found big love in the sweet soul scene early, but has since made fans in a myriad of circles and subcultures globally. It has by now become clear that his music is not just one thing, analog soul textured for sure, but also with an array of influences that span far beyond the soul ballad world. It is that inability to really nail down his sound that has become the biggest charm, an esoteric and profound passion permeate the lyrics and vibe of everything about Mr. Oroza. This new 7" shows off two sides of Bobby's song writing, an upbeat number on the "plug" side and a heavy duty ballad on the flip. The A side "The Otherside" is an optimistic tune that Bobby humbly shares his story about the troubles we can create for ourselves and the possibility of having a change of mind that frees us from them. The track is equally encouraging with its sunny energy that carries an important message from Bobby to anyone who is struggling and can't see a way out. The B side "Make Me Believe" is another instant classic for the slowie enthusiasts. A moody, soul bearing, cry for help that comes off with a sweet- ness.

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation. Nightports w/ Tom Herbert is the third in a series of albums from musician-producers Adam Martin and Mark Slater to be released on The Leaf Label, following 2018's Nightports w/ Matthew Bourne and 2020's Nightports w/ Betamax. Tom Herbert made his name as the bass player in Mercury Music Prize-nominated bands Polar Bear and The Invisible, and has become an in-demand collaborator and session musician, including work with Adele, Lana Del Rey and most recently The Smile. Having honed his craft holding the low-end down in some of the most forward-thinking British groups of recent times, and also appearing on some the biggest tracks of the last twenty years, Nightports w/ Tom Herbert brings Herbert's command of the double bass into the spotlight.

Following 2019’s critically-acclaimed sophomore album, I Spent the Winter Writing Songs About Getting Better, Proper. is making their return with The Great American Novel. “The Great American Novel is a concept album about how Black genius, specifically my own, goes ignored, relentlessly contested, or just gets completely snuffed out before it can flourish,” vocalist Erik Garlington said. “This record is a concept album that’s meant to read like a book; every song is a chapter following the protagonist through their 20s. Imagine a queer, Black Holden Caufield-type coming up in the 2010s.” The result is an album that is both lyrically and musically heavy, the former something fans have come to expect from Garlington’s unflinchingly honest lyrical content, but the latter something that’ll be refreshingly new. Channeling the heavier music he listened to during his adolescence — from post-hardcore outfit At the Drive-In to progressive metal band System of a Down — Garlington and the rest of Proper. — bassist Natasha Johnson and drummer Elijah Watson — push themselves in ways they haven’t before, culminating in an ambitious project that showcases the new sonic territory the band is heading in. Recorded by Bartees Strange in early 2021 and mixed/mastered by Brian DiMeglio, TGAN is made up of 14 songs, with three of them to be singles dropped throughout the course of the album’s release

There is a tendency within modern electronica to pigeonhole and categorise, to package music into easily digestible formulae. In direct revolt comes Dutch artist Satori and his new album Dreamin’ Colours, released globally April 22nd, 2022, on renowned imprint Crosstown Rebels. Recorded at the esteemed Sonic Vista Studios in Ibiza, the nine-track LP has been greatly anticipated off the back of its proceeding’s singles: Yellow Blue Bus ft. Laska, Lalai ft. Ariana Vafadari and most recently Gin Song.

An ethereal, swirling body of work, Dreamin’ Colours is rich in texture, colour and imagination. Satori stretches himself out through languorous, mystical explorations of both the digital and the analogue elements of music, the result a beautifully conspired collection of world music, steeped in electronic and Balkan roots, and straddling a multitude of genres from blues and indie electronic to opera, folk and beyond.

Colourful Dream begins proceedings, taking the form of a gently-building opener. From the pluck of a guitar string to hypnotic flute-like elements, we soon arrive at the enchanting world of Lalai ft. Ariana Vafadari. Recorded in a four-hundred-year-old water well, it showcases the transcendent sound with which Satori has become best known, meandering through rustling hats and tribal-like drum patterns whilst the dulcet tones of Ariana shimmer softly throughout.

Tuti ft. Kalima takes on a harder edge, with gritty drum patterns opening into melancholic chords early on. Kalima’s vocals add an emotive touch to the piece, paving the way for Moj Dilbere: a euphoric cut that feels tribal and reflective in one.

We land at a similarly ethereal soundscape on The Gin Song ft. Mybaby, as star-like synths pulse alongside punchy percussion before Yellow Blue Bus ft. Laska takes its place. It begins with real-life ambience, made up of sounds recorded live in Ibiza as a bus passes and birds chirp merrily in the background. This swiftly gives way to a guitar-flecked bassline, opening neatly into the vocal offerings of both Satori and Laska.

Troublemaker ft. El Mundo retains an inherent melodic quality, progressing through poignant strings and whispering kick-hat combos. Powerful and poignant, the mesmeric sounds of Ora Dea and Moshe meander subtly into Lonely Boy (Redux) ft. Hugo Oak. The closing saga brings things to a wonderfully subdued finish, rounding off the album on a wholeheartedly calming note.

Although raised in the Netherlands, where commercial electronic music is of course king, on Dreamin’ Colours it is undeniably Satori’s Balkan heritage that layers his production with dreamy, ethereal, Eastern European influences. The album’s overriding voice lies in his exultant celebration of Eastern European music, weaving vibrant threads of its earthy, melodic, rhythmic sounds into his thick musical tapestry. Written during the pandemic and driven by the ache of separated love, the album is, Satori says, his most personal yet.

From holding down an eighteen-month residency at Heart, Ibiza to having nearly four-hundred-thousand listeners on Spotify each month, Satori is a truly worldwide artist in today’s electronic music scene. Having been championed by Damian Lazarus early on in his career, he has emerged as a must-see live act for fans from all corners of the globe. November 2021 marked the start of his USA tour, where his Maktub concept adorned some of the country’s most iconic clubbing institutions, whilst his discography speaks for itself, with a plethora of acclaimed releases on labels including Crosstown Rebels, Sol Selectas and DGTL Records to name a few. As Dreamin’ Colours introduces him to an ever-growing audience, Satori remains one of the most exhilarating, untamed and truly authentic forces in music.

Dengue Fever on Vinyl! This Deluxe Reissue contains 5 bonus tracks not
availble on the original release / w download
Fronted by amazing vocalist Chhom Nimol, Dengue Fever has surprisingly
universal appeal - Chhom herself is already quite accustomed to seizing the
hearts of listeners (including the King and Queen of Cambodia), as she comes
from a family best considered as a Cambodia pop music dynasty– not unlike a
Cambodian version of the Jacksons. The rest of the band is no flake-fest either,
consisting of Zac Holtzman (Dieselhed) and his brother Ethan on Farfisa organ,
Senon Williams (Radar Brothers), David Ralicke (Beck) and seasoned drummer/
engineer Paul Smith. Their covers stay remarkably true to the crazy party music
spirit of the '60s- and '70s-era originals. But there are also original songs, some of
which veer off into the darkened corridors of lost love and ghostly noir
romanticism, dissolving sometimes into spaces of genuine bleakness and
tragedy — all in the Khmer tongue. Far from mere novelty or cheap Orientophile
thrill, Dengue Fever keeps listeners on their toes, dancing to their way-out tones.
The Deluxe Reissue contains 5 bonus tracks not availble on the original release.

"We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story.

“The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impressionistic meaning’s been encoded in and we’re lucky to be given the space to play that most poetic and boundless of all mental games: narrativization.

There are no wrong answers, but Rupert offers some clues either way. If there’s any cipher here it’s “something like a meditation on the concept of ‘depth’––in all its connotative forms.” Think below the surface, (the) underground, yawning oceans, being ‘down in the dirt’, soil, roots, rootlessness, pulling at the dregs, collapse, profundity, stable and unstable horizons, distance, perspective, intuition, not to mention relative opposites: to be shallow, to be above, to be beyond.

It’s got me thinking of Bresson’s “Bring things together that have as yet never been brought together and did not seem predisposed to be so.” His: “Dig deep where you are. Don't slip off elsewhere.” Rupert has realized these—two favourite goals of mine!—here.

This is music that catches you at your own periphery, gives pause, has you offering a little “huh” to, asking “I wonder why” to. Again, it’s got me musing on another mindworm, this time from New York publisher and multi-sensory reading room Dispersed Holdings: “Feeling-making-knowing feedback loop; cartography of feeling; water as text, read to know the land beneath and around it, and body as reader.”

Is it ok to offer up these other contexts out of context? I think so, because Zibaldone IV articulates a similarly swirly tone. Like, we’ve got Rebecca Solnit talking through Kropotkin’s “Mutual Aid” and later calling out to Michael Ruppert a ways away, and “Easy Rider” is playing in the wings. We’ve got Susan Sontag magically contextualizing Mariah Carey with poet Thylias Moss triangulating in order to sketch out (Rupert again) “something a little more interesting than wilful eclecticism or that laboured and patronising kind of pop-savvy.”

Are we following? Whether yes or no Vanessa Bedoret follows on with a performance of a performance of Moss’s 'Water Road’: to be once or twice removed, via strange transitions, purposeful confusions, and, suddenly, seagulls. We’re on a boat with Ingeborg Bachmann—and how I wish I could actually be! But maybe thanks to this music I can as literature, films, friends, lethargy, coincidences, little mental links, eternal wormholes, lingering notions come together to imagine something better."

Text by Natalia Panzer

In the vast musical archive that is Roman Flügel’s discography, Ro70 holds a special place. Written, performed and produced between January and July 1995, it is his debut album as a full-fledged solo artist. Enquired and inspired by a certain David Moufang from Heidelberg, who used to share a classroom with Jörn Elling Wuttke at the SAE Institute and revealed himself to be an Acid Jesus fan and also of the Roman IV 12“ project, it seemed like a good fit for his (and Jonas Grossmann’s) Source Records label.
In the days before file sharing that meant going back and forth with various DATs in his mom’s Volkswagen Polo Fox for actual listening sessions between Darmstadt and Heidelberg. The time was as special and idiosyncratic one as was the sound of Source Records and of course Ro 70 itself. While the rave-olution was ready to eat its kids with the commercial outlook of former underground phenomena looked bright and the scene’s prophecy seemed grim, enterprises like Source and artist like Roman Flügel were defying any competition out of those corners with their own means.
Listening back to the ten tracks of Ro 70, it proves them, their taste and artistic vision right. Probably still being put into the ambient, downtempo, electronica or chill out sections of most record shops, this music could have been made, relished and cherished anytime between 1995 and now. Made in Roman’s home studio in his parent’s house or in the Klangfabrik studio in Egelsbach, this was made for before or after the rave – or for people who din’t want to have to do anything with it at all. His signature is all over it. Well balanced soundscapes with an almost uncanny presence and clarity. Bittersweet symphonies that doesn’t seem to be in an inferior position to modern classical or electronic studies.
It is also a very personal testament to a time in the artists’s life that was ready to get caught in the maelstrom of the oscillating techno city called Frankfurt am Main and its halcyon days between the Delirium record shop, Sven Väth’s marathon sets, the early days of the label triumvirate Playhouse, Klang & Ongaku. In a musical journal without lyrics, those memories will have to stay pantomimic and private. All for the better, that we can at least still listen to them.

Song Education brings together some of the pivotal songs from these series, showcasing great music from the Sixties until the Nineties resurrecting through trending series like La Casa De Papel, American Horror Story, Sex Education and Breaking Bad. And what’s a better way to rediscover old gems than by listening to them on a classic vinyl record

BLACK DIAMOND HEAVIES is a punk-ass blues duo from the South
featuring John Wesley Myers a.k.a JAMES LEG (vocals/ keys), and VAN CAMPBELL (drums/ vocals). 'All To Hell -

Their Baddest and Greasiest' includes 3 tracks released on vinyl for the first time and 2 previously unreleased live tracks featuring founding member Mark 'Porkchop' Holder (guitar/ vocals). All the material on this release has been remastered. 'Their attack of drums and keyboards is a mean, f*cked up, gospel punky hybrid and rocks with ragged, soulful passion.' ' ROCK SOUND. Pressed on Clear Orange Color Vinyl.

A guitarist, a composer, a sought-after musical enabler and sideman? Of course, he's all of those things and more, but none of those descriptions really do the seven-time Juno Award-winning musician justice.

Like all of Steve's albums, 'Gone, Long Gone' features brilliant instrumental performances from some of the finest players in roots music. Jeremy Holmes holds everything together on bass with drumming split between Gary Craig and Jay Bellerose (both drummers play together on 'Six Skeletons'), while Kevin McKendree and Chris Gestrin laid down the piano, organ and other keyboards.
Keri Latimer joins in on vocals on two songs, and Steve's old 'Birds of Chicago' band- mate, Allison Russell joined in to sing on a few as did Steve's daughter Casey Dawson. John Prine alumnus Fats Kaplin also dropped in to add some sweet fiddle and mandolin.
'Gone, Long Gone' is just the first of three new albums that Steve created during the lockdown. The next two will come to light over three month intervals throughout 2022. Be on the lookout for a moody, psychedelic pedal steel excursion coming up next!

As a lifelong soul boy - poet, actor, presenter Craig Charles has been adding to his trunk of funk music since his youth, and now after almost 20 years hosting his world renowned BBC6 Music and Radio 2 shows, DJing at clubs and festivals around the globe his reputation as an ambassador for all things soulful & funky is indisputable. Craig was overwhelmed with the success of Volume 1 which hit the Official UK Album charts; "It's been a whole year (and what a weird year) since I unleashed Volume 1 on a music starved world. It clearly hit home with a funk hungry public as it got into the UK charts, nestled between film soundtracks and pop compilations, so I'd like to thank everyone for supporting - especially those who grabbed the double vinyl album - that was an instant sell out!" Volume 2 contains all the trademark features his fans have come to love -kicking off with The Allergies - and their 100% exclusive Trunk Of Funk remix of their bombastic Move On Baby.

The latest release from this iconic country catalog brings together 40 of Hank’s greatest gospel songs from the Mother’s Best recordings.

From the GRAMMY award-winning team, this collection is produced by Cheryl Pawelski with restoration by Michael Graves and new liner notes by Colin Escott.

Includes the classics “I Saw The Light”, “Farther Along”, “I’ll Have A New Life” & “When The Saints Go Marching in”

Alex Cameron has always been a great storyteller,
finding his ways into the depths of the places where not
many others are looking, and ‘Oxy Music’ continues on
that trajectory. It’s filled with stories of people who fall
outside the system and exist in the grey areas of life.
 And much like 2017’s ‘Forced Witness’, ‘Oxy Music’ is a
work of fiction. In its design - its music, lyrics and
tracklist - lies the journey a person can take, if the
circumstances present themselves - down the road of
heavy drug and alcohol abuse. Initially inspired by Nico
Walker’s ‘Cherry’, Cameron was spurred into yet another
commentary on American Life, this time about the opioid
crisis that has taken over the country.
 Alex says about ‘Oxy Music’: “The album is a story, a
work of fiction, mostly from the perspective of a man.
Starved of meaningful purpose, confused about the state
of the world, and in dire need of a reason to live - a
person can, and according to the latest statistics,
increasingly will, turn to opioids. This is one of those
people.”
 While ‘Oxy Music’ could be dark, it’s instead brighter and
more buoyant than much of Cameron’s previous work, a
shift in mood first seen across 2019’s ‘Miami Memory’.
It’s told from a place of optimism and through the lens of
Cameron, in the way that only he can tell it.
 Co-mixed by Mount Kimbie’s Kai Campos.
 Past collaborators include Angel Olsen, Brandon
Flowers (The Killers), Jason Williamson (Sleaford
Mods), Kirin J Callinan and Roan Yellowthorn.

40 minutes of superb Jazz-Beats by one of Hamburgs nicest and kindest beat producers out there. This is some art-stuff with a beautiful Gatefold Cover designed by Robert Winter and Jeremias Diekmann.

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music. The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it. RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out. This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Now on album number seven , Metronomy has continued where many of their 2000s ‘cool’ band peers have dropped off along the way. Small World is a return to simple pleasures, nature, an embracing in part of more pared down, songwriterly sonics (some moments wouldn’t sound amiss on a Wilco release), all while asking broader existential questions: which feels at least somewhat rooted in the period of time during which it was made – 2020. For all that Mount seems to think he has made a comparatively sombre record, much of Small World still pulses with the zesty, tongue-in-cheek joie de vivre you’d expect of a Metronomy record.
So sure, things are different now Joe Mount is getting older and what’s on his mind is changing, but that doesn’t mark a change in quality for Metronomy. An immaculate set of tracks, Joe Mount’s ability as a songwriter and arranger shines through on Small World, evergreen. Metronomy might be growing up, but they’re not afraid to still have fun with it all. Through the tumultuous ebb and flow of the years, Metronomy continues to endure and make great pop music – and, really, that’s all that we could ask for.

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out.

This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

There seems to be something in the water down in Hastings as a veritable hive of electronic music artists have been busy making beats in ever growing numbers down there - including Kim Cosmik.

Kim's debut on 20/20 Vision is an impressive and highly original mix of techno, electro, broken beats and industrial sounds, destined to destroy the long-anticipated dance floor revival. Although overall the record is abrasive, hard-hitting and takes no prisoners - beneath the surface, in tracks like 'Drifting' we also find nuances of emotional musicality that shed vast streams of light on the proceedings. The record does indeed kick off with intent though with 'Night Flight' - a blistering techno workout that would resonate magnificently in the mighty Berghain hall. There's no holding back the menacing bass line, fortified tough jacking groove on this one as strong synth lines and strings embellish and complete the soundscape.Over to 'Ore' which cranks up the gears into an industrial techno slammer packed with abstract outer-planet sound design finished off with pounding overdriven drums programmed with military precision.

On the flip side is a gem called 'Nocturnal'- this is the cut that first really caught our attention at 20/20 Vision, with it's merciless industrial dubstep kick drums and brutal precision. It's a simple, stripped back workout held in place beautifully by a discordant string - there's just no escaping this fierce ruling diva. Not for the faint-hearted but those who dare will be rewarded.

Kim's final track 'Drifting' is the jewel in the crown that provides the light after the storm. It's a blissful, cosmic, jazz fused musical tapestry driven by break beats, while compassionate strings infused with Kim's own vocal harmonies and subtle piano motifs glisten and glide over the track adding soothing layers of harmonious quality. Drifting is the perfect close to a truly stunning debut EP.

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

Dublin's garage connoisseur Prozak shares with us five clean-cut steppers on Holy Spirit EP; pairing UKG with ambience and breaks with jubilant club sound palettes.

The killer record opens out with triumphant, easygoing garage on "1996". Meanwhile the title track is a raucous beast, explosive breaks and frenetic vocals that tear through the dubwise breakdown.

"Want Ur Luv" is full of romantic energy and cascading melodies; diva vocals float over classic two-step in blissed-out fashion on "Hold Me Down". Lighthearted glimmering ear candy continues on "Higher"; a high-energy rave roller with a retro feel.

In the years between 2018’s BAMBI and LP3, Minneapolis’ Hippo Campus -- made up of vocalist/guitarists Jake Luppen and Nathan Stocker, drummer Whistler Allen, bassist Zach Sutton, and trumpeter DeCarlo Jackson -- has grown up and into itself. Although the five-piece has been friends since middle school and put out a number of studio releases since its inception, it’s the new record, LP3, that’s the most honest portrait of who Hippo Campus is. It’s also a study in the nuances of growing up -- coming to terms with mortality, the confusing journey of sexuality, bottoming out, seeing decisions from the night before in the harsh morning light; finding your identity as a person and as an artist -- how that can be a collision of elation and shame, painful and joyful all at once. LP3 marks a sort of ego death -- and ultimately feeling okay with that. So much of LP3 was written in the chasm between grappling with the value of your own art and the larger, chaotic context of the world. It traverses the end of relationships, of careers, and the chance of meeting yourself as a brand new person. If you take the signifier of “musician” away, what does it mean? And how do you expand your identity outside of work? Here, it’s something the band works through. And, in the end, it happens with the same ride-or-die crew at your back to hold you down -- or up -- the entire time. Over the last few years, the Hippo universe has expanded outward. Luppen and Stocker both put out solo records as Lupin and Brotherkenzie respectively, and the two also teamed up with Caleb Hinz to put out the debut Baby Boys record while DeCarlo Jackson founded, and collaborated with multiple bands around the Twin Cities, including DNM, Arlo, and FPA. Navigating solo projects and new dynamics and the spotlight alone is humbling, bringing up new insecurities and defense mechanisms. It was challenging in its own way to branch outside of Hippo -- and it made the eventual return to the project feel like coming home. “With LP3, Hippo felt like a very safe space to express those things because you have your best friends around you, rallying behind you,” Luppen says. “And each person could chime in with their own experience. I felt like it was a very safe space to be earnest.” Here, Hippo Campus killed what they knew and started again.

In the years between 2018’s BAMBI and LP3, Minneapolis’ Hippo Campus -- made up of vocalist/guitarists Jake Luppen and Nathan Stocker, drummer Whistler Allen, bassist Zach Sutton, and trumpeter DeCarlo Jackson -- has grown up and into itself. Although the five-piece has been friends since middle school and put out a number of studio releases since its inception, it’s the new record, LP3, that’s the most honest portrait of who Hippo Campus is. It’s also a study in the nuances of growing up -- coming to terms with mortality, the confusing journey of sexuality, bottoming out, seeing decisions from the night before in the harsh morning light; finding your identity as a person and as an artist -- how that can be a collision of elation and shame, painful and joyful all at once. LP3 marks a sort of ego death -- and ultimately feeling okay with that. So much of LP3 was written in the chasm between grappling with the value of your own art and the larger, chaotic context of the world. It traverses the end of relationships, of careers, and the chance of meeting yourself as a brand new person. If you take the signifier of “musician” away, what does it mean? And how do you expand your identity outside of work? Here, it’s something the band works through. And, in the end, it happens with the same ride-or-die crew at your back to hold you down -- or up -- the entire time. Over the last few years, the Hippo universe has expanded outward. Luppen and Stocker both put out solo records as Lupin and Brotherkenzie respectively, and the two also teamed up with Caleb Hinz to put out the debut Baby Boys record while DeCarlo Jackson founded, and collaborated with multiple bands around the Twin Cities, including DNM, Arlo, and FPA. Navigating solo projects and new dynamics and the spotlight alone is humbling, bringing up new insecurities and defense mechanisms. It was challenging in its own way to branch outside of Hippo -- and it made the eventual return to the project feel like coming home. “With LP3, Hippo felt like a very safe space to express those things because you have your best friends around you, rallying behind you,” Luppen says. “And each person could chime in with their own experience. I felt like it was a very safe space to be earnest.” Here, Hippo Campus killed what they knew and started again.

The Redskins debut album ‘Neither Washington Nor Moscow’ recently turned 35 and now is remastered for the first time for deluxe reissues on London Records : 180 G LP Gatefold & 4 CD Boxset.