Suche:hook records

Irlam's infamous upstarts DJ Absolutely Shit are at it again with four more tracks to rattle yer spines and rupture yer spleens.
Utilizing the classic approach of sourcing a sick sample, adding a rugged breakbeat, then tweaking out the buzz for maximum enjoyment, the pair deliver an explosive EP of global hypercoloured mayhem that burns hotter than an oz of 'Ells Angels sputnik.

'Bridge To Your Heart' grabs Sade by the hand, shoves two purple doves down her throat and queue-jumps to the front of Bowlers for an endorphin-rushing hardcore workout full of modern beat engineering and sample manipulation.

Switching approach, 'Bolivia' shuns the dreamy feminism for an altogether more masculine affair - roping in the Wu for an argy-bargy, elbows-out speaker shaker full of hi-definition laser stabs and destructive, land mine subs.

Hitting the accelerator, 'Rocking You Eternally' traverses the jungle boarders in a blacked out Nova, Ab Shit's flair and panache at drum programming and contemporary production chops beautifully on show throughout this big system roller with a carp-hunting vocal hook.

'Gong' closes off proceedings, merging moods inna more seductive flavour. E-soaked pianos and a gentle throb coaxing us to that end-of-night climax that'll have us humming the piano line all the way down the M65 home.

No jokes cru, this is some of the best tackle to emerge outta the DJ Absolutely Shit studio to date. One of two, vinyl-only EPs and ahead of their debut album that follows on C90 tape.

Boing boing boing, boing boing boing, boing boing!!

Patt Todd & The Rankoutsiders die Underground-Rock'n'Roll-Ikonen aus Los Angeles sind in Höchstform mit einem neuen Album zurück. "Keepin' Chaos At Bay" ist ein genreübergreifenden Album von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks.

Jahrzehntelang hat Pat Todd die dunklen Ecken und hinteren Regale der Americana Thrift Stores durchforstet und einen außergewöhnlichen Sound daraus entwickelt. Das neue Album destilliert alles, was er im Laufe seiner Karriere darüber gelernt hat, in einer genreübergreifenden Dosis von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks, die mit Hirn und Herz vorgetragen werden. Während diese Erfahrungen schon immer die hymnischen Songs der Rankoutsiders kreiieren, kommen sie auf Keepin' Chaos at Bay in einem der härtesten und zugleich gefühlvollsten Alben von Todds Karriere voll zur Geltung, und niemand, aber auch wirklich niemand, spielt die Songs wie Pat Todd himself.

Shake Down, the debut album from the much-respected London-based Savoy Brown Blues Band was originally released on Decca Records in September 1967 - It was produced by the influential team of Mike Vernon and Gus Dudgeon - This re-issue faithfully replicates the original 1967 Decca UK stereo release and is pressed onto high quality 180g vinyl Led by Kim Simmonds, Savoy Brown were one of the UK's most successful and exportable outfits. Shake Down is viewed as one of the strongest and most respectful captures of the US blues they worshipped, bringing songs by Albert King, Willie Dixon and John Lee Hooker to eager UK purists. Recorded in West Hampstead rather than Chicago, the 11 covers showcased the remarkably tight playing of the band, which had formed in Battersea two years earlier. Savoy Brown on this recording comprised Trinidad born Brice Portius on vocals (his only album with the group), Simmonds and Martin Stone trading blues licks on their guitars, underpinned by the rhythm section of Ray Chappell on bass and Leo Mannings on drums. US critic Dave Marsh was to say that Shake Down was "as sympathetic a rendering of the blues as any English group has managed to lay down."

Shake Down by Savoy Brown Blues Band, released 26 April 2024, includes the following tracks: "Black Night", "Rock Me Baby", "Oh! Pretty Woman", "The Doormouse" and more.

This version of Shake Down comes as a 1xLP.

Party Pest features ex-The Reprobettes members Jemma Jives (drums & vox) and Sally Balhorn (guitar & vox) alongside bass player Julia Watt (Moody Beaches, La Bastard, Hot Wings) and Kate Alexander on synth (Ute Root, The Hot Blood). Unpredictable and chaotic, Party Pest is influenced by artists such as The Slits, ESG, Kleenex, The Cure and The B52's. On Uninvited, Party Pest channel post-punk irreverence, blending discordant melodies, jangly guitar hooks, wild primal drumbeats, big bold bass grooves and synthesised sonic mayhem into a celebration of life as they know it. Anything can and does happen when Party Pest play so strap in for a wild ride whether you're invited or not. When the glitter settles, the Ajax's been snorted and your Mum's been pashed, wipe the love dust from your eyes and check your bathtub.

Back On Black Records are set to reissue the D.R.I. "Greatest Hits" album, originally released in 2001. D.R.I.'s music has combined elements of punk rock, thrash metal, speed metal and heavy metal, while their early material has been described as hardcore punk. They are often cited as one of the key bands that helped create the crossover thrash genre, along with S.O.D., Suicidal Tendencies and Corrosion Of Conformity.

DIY scene in San Jose, CA. Saoirse, Thomas, Chris and Jeremy are four best friends that spent their formative years together in a house called Hotbox. They are in­uenced by 90s power pop, jangly UK twee, Lorena's Taqueria, Ono Hawaiian BBQ, South Bay hardcore, 4th street bowl, skramz, road trips, J Mascis, and the feeling of sitting in a dirty backyard with your homies on a beautiful day. Star 99 makes music for their friends. “The 26-minute LP whips by and feels like a trip back to the indie-punk era of bands like Lemuria and Swearin’, with great hooks and a scrappy, lo-‑ aesthetic

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

Hit La Rosa are the heirs of the psychedelic cumbia of Los Mirlos and Los Destellos. The band explores the many facets of Peruvian cumbia music, infusing it with pop music, folklore, jazz and dancehall to produce its distinctive grooves and hooks. “Ceres Entrópicos” it’s a collage of the landscapes and rhythms of Peru, product of sound exploration and free composition. This special edition of the original album has some remarkable additions like ‘El Pongo’, their single with the legendary amazonian group Los Mirlos and the remixes of the outstanding Latin producers El Remolón (Ar) and Ballcap (Mx). The band's precise-yet-dreamlike music and punk sensibility all come together to make music that explores life's shadowy sides. They are one of the Peruvian bands with the biggest international growth and one of the few with a Tiny Desk Session. The band is inspired by the sound of Peruvian Cumbia roots and also explores the folklore of other cultures around the world. Their experimentation is wrapped with a contemporary sound and psychedelic vibe that blends into a particular and unique harmony. The band hit Lima's underground scene in 2014 and released their first studio album in 2017 called "Hit La Rosa y Su Gran Unidad Tropical". In 2021 they released “Ceres Entrópicos”, their secondstudio album (digital only). From the beginning until now they have been part of the biggest festivals in Peru, the rest of Latin America, USA and Europe. “Ceres Entrópicos” it’s a collage of the landscapes and rhythms of Peru, product of sound exploration and free composition. First time vinyl edition

Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time.

AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks."

The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences.

This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

NIGHT MIASMA with members from East German Postpunk-band L'APPEL DU VIDE plays a seldom heard mix of Dark Punk with a very melodic edge reminescent of early LA-Punkbands like Adolescents, 45 Grave or T.S.O.L.. Deep and harmonic vocals borrowed from old british or belgian Postpunkbands and a creepy Coldwave-organ build up a melancholic atmosphere. But the four songs never drift into depressing territory. Melodic guitar hooks and up-tempo drums create a positve despair.

High Roller Records, ULTIMATE EDITION, 3rd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, lyric insert, poster, black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels...

High Roller Records, ULTIMATE EDITION, 3rd pressing, red/ silver bi-color vinyl, ltd 250, 425gsm heavy cardboard cover, lyric insert, poster, red vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels...

PHANTOM OF THE AFTERS is the 3rd album from Irish rapper Kojaque, out on his very own Soft Boy Records. With landmark projects Deli Daydreams and Town’s Dead, that saw him 2x nominated for Choice Music Prize, receive support from Radio 1, 1xtra, 6Music, support Loyle Carner & Lana Del Rey and headline festivals across Ireland, Kojaque changed the rap landscape (and Irish culture) for good. Collaborations on his latest project include Biig Piig, Wiki, Charlotte Dos Santos and Gotts Street Park. The album traces blurred outlines of childhood trauma, depression, grief and love, interweaving the physical and emotional journey of central character Jackie Dandelion with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. Kojaque has created a cinematic-universe that is bigger in scope but also more tender and intimate in approach than ever before. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the album’s iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

With songs that are cocksure and contemplative, brutally honest but also refreshingly myth-making, PHANTOM OF THE AFTERS marks a new era from Kojaque: one of his generation’s most unique talents. In suitably audio-visual style, the album traces blurred outlines of childhood trauma, depression, grief and love. It interweaves the journey of central character Jackie Dandelion from Dublin to London with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

The record drops alongside one of its more brooding moments, ‘WHAT IF?’: a soulful ode to anxiety, and the crippling impact of fear in moving forward in life or your relationships. “I’ve been obsessed with Charlotte Dos Santos ever since I heard her project Cleo,” Kojaque comments. “She’s just got such a distinct voice and sound. I sent the track over hoping she’d be into it and she sent me back a near perfect hook.” A fully independent artist, Kojaque has brought a stellar lineup of guests together on his latest work: from Biig Piig, Charlotte Dos Santos and NY rapper Wiki (who featured on ‘JOHNNY MCENROE’) to Gotts Street Park (‘BAMBI’) plus production credits such as Calvin Valentine (Ryan Beaty), Tony Seltzer (Eartheater, Freddie Gibbs) and Karma Kid (Hak Baker, Shygirl).

PHANTOM OF THE AFTERS will see Kojaque continue to blaze a trail around the world. He first came to prominence with the genre-bending concept record Deli Daydreams: it became the first mixtape to ever be nominated for the Choice Music Prize, and demonstrated his prowess not only as a polymathic artist, but DIY label-head (co-founding Soft Boy Records, which was subject to a Boiler Room documentary) and visual artist (Kojaque has received a prestigious Royal Hibernian Academy Award for his film-making). Even as the rest of the world sat up and paid Irish Art some long-overdue attention, Kojaque’s creative output has remained thrillingly uncompromising. Tour-de-force debut album Town’s Dead examined everything from gentrification, masculinity and mental health to a gnarly love-triangle unfolding on New Year’s Eve, held together by a multi-hyphenate attitude. Once again nominated for the Choice Prize, Kojaque played a sold-out UK & European headline tour around the restrictive local lockdowns, with the album landing additional support across the likes of Radio 1, 1xtra, 6Music, plus shows with Lana Del Rey and Loyle Carner (who also sampled Kojaque on hugo). With his landmark projects to date, Kojaque changed the rap landscape (and Irish culture) for good. On PHANTOM OF THE AFTERS, you sense he’s just getting started.

Hailing from Detroit, Shadow Show is an uncompromising power trio that combines elements of 60’s garage-psychedelia into a 21st century modern pop-art incarnation. Sleek and spellbinding, the music sweeps you up into frenetic grooves and dazzling harmonies. Their music pushes the boundaries of what can be, yet remains deeply rooted in the raw, untouchable Detroit sound. Three years ago, Shadow Show released their debut album, “Silhouettes,” in the US (Burger Records) and UK (Stolen Body Records). Since then, they have dedicated themselves to writing, arranging, and producing their epic masterpiece, “Fantasy Now!”, while occasionally taking breaks for full length US, UK, and EU tours, as well as obtaining support dates with bands like Automatic, Death Valley Girls, The Nude Party, and the 5.6.7.8’s, to name a few. “Fantasy Now”’ is a huge step forward from their debut LP, reaching a more ambitious Sgt. Peppery psychedelic vision that includes swirling pop melodies, fuzz guitar hooks, flutes, tympani, backwards surprise twists, and a magical medieval acapella interlude. Shindig Magazine says Shadow Show "transport the listener down a spiral into the mind's eye.” Allmusic praises their "kaleidoscopic explosion of tremolo guitars and mod pop vocal harmonies.” The band has recently completed a USA tour, and full USA and European dates are being booked for Spring 2024. Shadow Show’s transcendental triumph, “Fantasy Now!” was written, recorded, and produced by Shadow Show in Detroit, MI, with the exception of “Aunt Maizy,” recorded live in London, UK. Mastered by Warren Defever (Third Man Records, His Name Is Alive). The album will be released worldwide February 16, 2024 on Little Cloud Records (US), Stolen Body Records (UK), and Water Room Records (JPN).

Demon Music are happy to present – Electribe 101 - ‘Electribal Memories’, this stunning half-speed master vinyl edition cut from the original tapes by Barry Grint at Air Studios. Formed when Hamburg-born / London-based, sometimes S’ Express member Billie Ray Martin hooked up with four musician / producers from Birmingham, Electribe 101 instantly hit upon a sound heavily influenced by the de rigueur deep house sounds of Chicago and Detroit but with a distinctive European twist. With Billie Ray up front, with a voice like ice on fire and looking as if she’d stepped forward in time from a circa-1966 Mary Quant catwalk, the band were instantly snapped up by Mercury Records, and taken under the wing of Pet Shop Boys manager Tom Watkins. The band released five singles in the UK, and all featured on their debut album ‘Electribal Memories’ – ‘Tell Me When The Fever Ended’, ‘Talking With Myself’, ‘You’re Walking’, ‘Lipstick On My Lover’ and an incredible cover of Odyssey’s deep soul classic ‘Inside Out’. When the album arrived in 1990, it was an instant hit with critics – immaculately produced, poised, luxurious and soulful, it was difficult to believe it was a debut record at all. After ‘Electribal Memories’, Electribe 101 called it a day. Since then, the album’s reputation has grown in stature and many of its’ singles’ attendant remixes have become sought-after rarities. The cultural earthquake prompted by the late-1980s arrival on these shores of house, acid and rave prompted many a legendary club night and a generation of superstar DJ / producers. While there were a myriad of great club tracks produced in that heady period between 1988-1991, classic albums from the scene were rather more of a rarity. One towering exception was the debut by Electribe 101…

The Stanford Family Band release their debut EP "For Your Listening Pleasure" via Goo Records on 5th April 2024. Fronted by the captivating lead vocals of Elliot Stanford, the EP's six songs captures a vintage pop aura whilst retaining a fresh indie and garage rock edge.

Offering a sound which journeys through bittersweet memories, nostalgia, and the warmth of sunlit days, The Stanford Family Band have started to make a name for their unique sonic approach - drawing inspiration from iconic acts such as The Beach Boys and The Modern Lovers, built around complex four-part harmonies and irresistibly memorable melodic hooks.

Speaking about the EP, Elliot Stanford (lead vocals, piano, guitar and songwriter) said: "When we were first signing with Goo, we really had no idea what we would release or how it would end up looking. We have a lot of songs, old and new, some of which have been floating around for many years. In the end we just really wanted to put out a body of work that really encapsulates everything we are about! We love big dramatic songs and arrangements, but at the same time, a little cheeky country/garage rock beat has always tickled us so we just really wanted to capture everything that we love in one concise record. It’s been an absolute pleasure to work on this with our friend Harry Hayes (Producer) and we are mega proud of how it all came together!"

Having already garnered tastemaker press coverage (Earmilk, Fame Magazine among others), a whole host of radio play (John Kennedy - Radio X, RTE 2XM), The Stanford Family Band have quickly started to gain critical acclaim. This EP showcases the outfit’s uncanny ability as songwriters, creating memorable, charming and beautifully constructed melodic tracks.

Flung is an emerging experimental pop artist with a refreshing sound. Her music has been described as shimmering, unpredictable, and propulsive all at once. “Intrinsic” feels like a warm breeze blowing over you, featuring bouncing drums, bleary samples, and a soaring vocal hook that will stay in your head for days. Flung is generating buzz from Pitchfork, The Alternative, and other outlets and is ready to burst onto the scene with this release.

At just 21 years old Peter Frampton had already played with The Herd and co-formed and left Humble Pie. So he struck out on his own with the appropriately named, “Wind of Change.” Freed from Humble Pie’s narrower focus on hard-rock boogie, Frampton’s debut solo album reveals an artist exploring more dimensional, delicate and nuanced songwriting and guitar playing … Frampton showed his own brand of rocking hard with tunes like “It’s a Plain Shame,” “All I Wanna Be (is by your side)” and even made a Stones song his own with “Jumping Jack Flash,” which became a staple of Frampton’s live shows. But these tunes and even the hook-laden “The Lodger” are balanced with intricate, beautiful tunes like the elegiac “Fig Tree Bay” and the title track “Wind of Change.”

A showcase for Peter Frampton’s growth as a songwriter and guitar player, Frampton’s Camel is named after his touring band, honouring the groove this collective had reached in 1973. Prominently featuring Mick Gallagher’s superlative keyboards, the hard-rocking hooks and catchy melodies here lay the foundation for the superstardom that would come just a couple albums and tours later with Frampton Comes Alive. Camel includes the smash hits “Lines On My Face,” “Don’t Fade Away” and a majestic cover of Stevie Wonder’s “I Believe (When I Fall In Love With You It Will Be Forever).” Camel also introduced the world to the all-time classic rock anthem “Do You Feel Like We Do,” with a songwriting credit to the entire band. This fan favourite has remained a highlight of Frampton’s legendary live performances for decades.