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Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

Einige nannten Studio, das Projekt der schwedischen Musiker Dan Lissvik und Rasmus Hägg, "das fehlende Glied zwischen The Cure und Lindstrom", Pitchfork hörte Durutti Column und Can, als das Duo sich als Teil einer sich locker entwickelnden Szene entfaltete - zunächst neben dem Label Service (Jens Lekman, The Whitest Boy Alive) und später Sincerely Yours (The Tough Alliance, jj) - und den Boom der 2010er Jahre an der Schnittstelle von elektronischer und psychedelischer Musik, angeführt von Indie-Größen wie Caribou, Four Tet und Darkside, vorwegnahm. "West Coast, ihr bahnbrechendes Debüt aus dem Jahr 2006, fängt eine ferne Romantik der Balearen ein, die auf Krautrock, Disco, Dub und Afrobeat trifft, mit Pop-Lyrik aus dem New Wave, modernisiert von zwei Göteborger Kunsthochschulabsolventen. Sie zitieren DJ Screw, J Dilla und Joy Division sowie fühe 80s Live-DJ-Sets von Beppe Loda, DJ Mozart und Baldelli. Damals auf Vinyl gepresst in limitierter Auflage über ihr eigenes Information-Label und bis heute auf den meisten Streaming-Diensten nicht zu finden. Im Nachglühen des Albums im Jahr 2007 verschwanden Studio hinter einem Berg von Remix-Anfragen (darunter ein Remix für Kylie Minogue, der veröffentlicht wurde) und der Bürokratie des Labels. Eine erweiterte Version des Albums erschien unter dem Titel "Yearbook 1" auf CD und erreichte Platz 23 der Pitchfork-Jahresliste der Top-Alben des Jahres 2007. "West Coast" landete schließlich auf Platz 57 auf der "Best Albums of the Decade"-Liste von FACT Magazine.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

Maai proudly presents a split EP featuring two distinguished Barcelona based talents. On the A side, the Peruvian trio of JJ Beteta, Alonso Bauer and Stefan Cukic delivers a dynamic array of tracks. "Layers" kicks off with an energetic blend of dusty breaks, setting the vibe for the EP. Following this, "Go The Data" takes over with its driving acid bassline, strong rhythm, for a dark and hypnotic vibe. The trio wraps up their side with "Wonky Afthermath," a subtle yet funky combination of deep, groovy elements and breaks that keeps the energy flowing.

On the B side, Canarian artist Javier Carballo, performing under his Look Perry alias, offers a captivating contrast. "I Can't Love U" introduces a track enriched with otherworldly pads and synths, creating an immersive sonic environment. The EP concludes with "Stone Pilots", which takes listeners on a smooth journey through intricate breaks, providing a perfect counterpoint to the A side’s energetic flair. This split EP showcases a rich tapestry of local talent and diverse electronic sounds.

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.

Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.

After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.

The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

Sun Araw"s tenth studio album, Lifetime, continues to investigate space as a motionless field against which many motions are observed! Stasis: wheels within and wheels without! "Dripping Magnetizations! Arcs of Slowing Rotations!" Two LPs at 45 RPM. Mixed by Cameron Stallones & Jake Viator, Mastered by JJ Golden. Please enjoy this adventure in sound.

Frederik Valentin is a Danish musician, writer and producer. He has been active since the early 2000’s, playing a key role in the Danish rock, electronic and pop scenes. Having collaborated with landmark labels like Posh Isolation and produced each of Yung Lean’s “Jonatan Leandoer96” projects, Valentin has reinvented himself over and over again. ROCK N ROLL WILL NEVER DIE is his latest solo LP, a collection of rock-inflected dance music that calls to mind the scandi alt-pop of the Tough Alliance and JJ.

"The debut album of Berlin’s favourite two-thirds Welsh, one-third Danish instrumental psych-disco trio, out Aug 30th. Imagine Jaki, JJ and Jarre*** locked in a room together, with a memo from John Carpenter that reads “Goblin + Swans = ?”. Something like that. Raw drums, bass, vintage organs and synths are utilised to brutal effect via 7 epic songs that deliver disco disquietude, krautrock, oscillating horror soundtracks and beyond.

Or, as the band themselves insist: ""the Nicki Minaj of dungeon synth"".

The band name is the Greek classifying nomenclature for man: aka The Talking Animal. As promulgated by Anthony Burgess.

Zammit A.D. – drums, organs, synths. TNT Taylor – 4-string electric bass. Fred Alert – Moog, Dominion, percussion

featuring guest vocals from Gemma Ray. Recorded and mixed by Ingo Krauss (Swans, Einsturzende Neubauten) at Candy Bomber, Berlin. Produced by Zoon Phonanta

The band has had a difficult birth. They got together, did two shows (one with Gruff Rhys), then pandemic struck, leaving them far apart. They got back together, then Fred broke his back in an accident. When they finally reconvened, they recorded, then their other musical projects took over (eg Jon Spencer & The Hitmakers, The Third Sound). The album and live plans were then delayed by more broken limbs. Now fully healed they are poised to heal you back in gratitude, at their soon to be announced in-person performances.

*** Liebzeit (Can), Burnell (Stranglers), Jean-Michel"

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

Das Debütalbum der Youthsayers, einem Südlondoner Community-Projekt, gegründet von zwei Mitgliedern der legendären Afro-Reggae-Band Soothsayers. Zu den aktuellen YS-Mitgliedern gehört u.a. auch der von Brownswood gesignte Oreglo. Die LP enthält acht einzigartige Interpretatione klassischer und neuer Dub- und Afro-Jazz-Tracks, darunter Coverversionen von Theon Cross, Fela Kuti, Cedric IM Brooks, The Fontanelles und Soothsayers.

B-side features “Torii Gates” on vinyl for the first time ever due to fan demand.

Acclaimed by outlets like Aquarium Drunkard and NPR, who praised his, “Cosmic country with a gentle sweetness, reminiscent of Beachwood Sparks and Silver Jews at their twangiest.”

His rhythm section is drummer Dana Buoy (Akron/Family) and bassist Alex Chapman and enlists pedal steel player Connor Gallaher (Anna St. Louis, Lana Del Rey) to flesh out the songs.

2024 festival plays at Treefort, Kilkenny Roots, Otis Mountain Get Down, and west coast summer tour.

Publicity campaign by Riot Act Media

Recent touring with William Tyler, Fruit Bats, and more.

RIYL: JJ Cale, Mapache, William Tyler, Steve Gunn, Rose City Band, Amen Dunes, Jake Xerxes Fussell, SUSS, North Americans, Chuck Johnson

Deluxe 180g vinyl. Art Edition LP includes set of six 12”x12” art cards.



The follow-up to Kee Avil's acclaimed 2022 debut Crease: "A stunning debut" (The Quietus); "A whiplash style of uninhibited exploration" (The Wire); "Kee Avil's debut is a force" (Foxy Digitalis); "A work of Frankensteinian wonder" (Electronic Sound); "A tightly coiled, finely wrought vision of avant-pop" (Exclaim); "A debut of fiendish creativity" (Bandcamp Album Of The Day / Albums Of The Year) Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk… and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements - guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months - a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. - jj skolnik

2025 Repress

Broc Recordz is thrilled to announce the imminent release of our latest album, Cosmos Giants!

This cosmic fusion is the result of an epic collaboration between maestro Janko Nilovic, JJ Whitefield of the Poets of Rhythm, and Igor Zhukovsky of the Soul Surfers. Together, they've crafted a musical universe where genre boundaries blur, giving way to a transcendent sonic experience.

Immerse yourself in a musical journey where funk, psyche, and soul intertwine to create something truly magical!

Both Tymon Dogg and Richard Dudanski had musical roots playing in The 101'ers with future Clash singer/guitarist Joe Strummer. All three shared a deep love for southern Spain, due perhaps to the influence of the Romero sisters, Paloma (later "Palmolive" of The Slits) and the artist Esperanza, who were among the first Spanish punk refugees in London. Tymon's career began with beguiling interactions with Apple Records, The Moody Blues and future Led Zeppelin members John Paul Jones and Jimmy Page before he discovered his true musical self as a punk / folk experimentalist, opening shows for the likes of The Slits, Raincoats and Pop Group and becoming the longest-running musical foil in Strummer's career, continuing into The Clash and Mescaleros. Similarly, Richard played in Basement 5, Public Image Ltd, The Raincoats and others before following Esperanza back to Granada...which subsequently became second home to Tymon and Joe. Spain is not without its own punk heroes, and chief among them was Granada's Antonio Arias, another pal of Joe's and leader of Spain's musical heroes, Lagartija Nick, which also included Dacoits members Juan Codorniu and JJ Machuca. Antonio sings the albums two Spanish-language songs. while Tymon sings the other nine...and there's an instrumental, "Mongols", which the band considered too epic as a stand-alone instrumental to mess with! Tymon sings three songs from his past: "The Wheel Of Life And Death" has been heard before as a live bonus track on the expanded reissue of "Battle Of Wills", "Conscience Money" was heard in a very different version on the impossible-to-find "Made Of Light" album, and an embryonic take of "Something To Prove" turned up the even rarer 1989 solo album, "Relentless". If you imagine the playful elasticity of "Sandinista!" recast into a more straightforward record, with Tymon taking the lead on something more than that album's "Lose This Skin", you're halfway there. Guests include Killing Joke bassist / famed producer Youth and Dr Robert from The Blow Monkeys

Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk—and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months—a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. — jj skolnik.

Featuring GEORGE JJ FLORES on vocals, this follow-up to "DO'S AND DON'TS" is a hard, yet tender, West Coast style funk slapper. Another major boogie groove likely to set floors ablaze from LA to Paris, Tokyo to Chicago, and Berlin to Brazil. Vocal and instrumental mixes.

Necrot continue their ascent to the forefront of American aural extremity, pushing the boundaries of style and continuing to recast metal in their image. Founded by bassist, vocalist and principal songwriter Luca Indrio and drummer Chad Gailey in 2011 – guitarist Sonny Reinhardt joined the next year – the Oakland, California, trio offer Lifeless Birth (in continued collaboration with Tankcrimes) as a culmination of their to-date efforts to encapsulate and push forward the deathly stylings of 2020’s Mortal and their 2017 debut, Blood Offerings. It’s not about giving up a ferocity that’s helped make them a household name among the converted. Instead, Necrot use that same, by-now-characteristic intensity as the backdrop for an expanded songwriting palette. They’ve always been a band who stood out. The maturity they show on Lifeless Birth confirms that’s been the plan all along. It is a vision of what metal can be and do in 2024, tearing down old barriers and keeping those traditional elements that make it stronger. Recorded with Grammy-winning producer Greg Wilkinson (who has helmed all three Necrot albums) and mastered by Brad Boatright at Audiosiege, Lifeless Birth pivots fluidly between technical intricacy, progressive poise and all-out brutality. Scouring lead work will have thrash heads nodding knowingly, and an overarching groove reaches out across the metal microgenres with a righteous call to worship. Its songs are memorable and varied, unpretentious but able to rear up with statelier violence. At the same time, “Drill the Skull,” “Cut the Cord,” “The Curse” and others prove that just because a song is beating you into the ground doesn’t mean it can’t also be forward-thinking. Or catchy. After having their Mortal tour plans scuttled owing to the covid pandemic, family health issues that led Luca, who became a US citizen in 2016 and currently lives in Mexico, to return to Italy for a time canceled what would have been their first tour post-plague. Still, despite this and Chad suffering a broken back, requiring multiple surgeries and intense physical therapy to be able to drum again, period, Luca being struck with Bell’s Palsy the night before he was originally due to fly to the studio to record, and Sonny requiring multiple surgeries on his hands in the months since they finished, Necrot charge forward with material distinguished in its real-world point of view and willingness to look beyond extreme metal tropes in lyrics, the melodies of its guitar solos, and unbridled audience engagement. For a collection of songs that feel so much written for the stage, it should be no surprise tours early in 2024 and summer festivals are to be announced. Mortal (2020, Tankcrimes) was #2 on Billboard's Top New Artist chart, #30 on the Top Current Albums chart, #4 on the Current Hard Music, and #10 on the Heatseeker Albums chart for week of release. Necrot have toured in North America, Europe, Australia and Japan, and shared the stage with Cannibal Corpse, Immolation, The Black Dahlia Murder, Suffocation, Morbid Angel, and hundreds of others. Expect no letup as Lifeless Birth brings Necrot all the more to their own place among metal’s superlatively aggressive proliferators. – JJ Koczan

400 copies purple wax! Fold Out Poster, remastered & remixed by Eroc Welcome to the definitive Vortex. The LP you're holding has been on a journey, and no, not just shipping. Mouth's second after 2009's Rhizome, Vortex was mostly recorded in 2011 and 2012 over five sessions in a small space where the band rehearsed. Material was pieced together intermittently over a period of 11 months with Chris Koller handling guitar, keys and bass and Nick Mavridis on drums. That's where it started. Two construction projects: the studio and a recording that would help define the course of the band in classic and melodic progressive rock, happening almost simultaneously in a creative meta-narrative that could easily stand as analog for the depth of pieces like "Into the Light" or the sprawling "Vortex" itself, which opens the record (new and old editions) in an encompassing display of impulse and fluidity Through experiments in atmosphere like "March of the Cyclopes" and toward the finish of "Epilogue," Mouth married sounds that in other contexts would come up disparate, like finding a hidden magnetism between two north poles. Most of the Vortex songs were created on the spot in the studio.There would be no way to know it at the time, but this process would result in a collection of songs with a broad range, within as well as between the component tracks. "Parade" taps Sly Stone on the shoulder and asks if he wants to party (he does), while the penultimate "Soon After_" resonates with its smoky, mellow-jazz vibe. "Vortex" itself happens over six movements and was put together across different sessions, while "Epilogue" happened in a day. Dissatisfaction with the original mix - and when an album has as much put into its arrangements as Vortex, that balance matters - would lead Mouth to offer Out of the Vortex in 2020 as a collection of alternate versions of pieces like "Mountain" and "Parade," as well as the unreleased "Ready" and "Homagotago's Paddle Boat Trip," the latter an apparent successor to a cut from Floating. But sometimes a thing nestles itself into the back of your head and just won't leave, and Mouth's pursuit of a finished Vortex would lead them into the studio again. Koller handled the remix himself in Oct. 2023, and in addition to helming the new master, krautrock legend Eroc (who drummed in Grobschnitt) brought a gong to mark the beginning of "March of the Cyclopes." Like a lot of the finer touches on this Vortex, be it a hashed-out stretch in the title-track built on a drum/bass jam or just pulling the vocals and Hammond down a bit in "Epilogue," the result is a stylistic flourishing that was there all along throughout the journey and now can finally shine as the band intended. - JJ Koczan / Dec. 2023

Limited to 300 Hand-Numbered Copies Pressed on White, Black and Red Splatter Vinyl OT The Real & araabMUZIKís new collaborative album Zombie is now available as a limited edition vinyl release. The 12-track project, released through Black Soprano Family records, was executive produced by Benny The Butcher and features appearances by several Black Soprano Family members. The BSF boss has been a fan of the Philadelphia based rapper since they met while recording “Coke & Guns” (off the album Broken Glass) and when he had the chance to put together a full project with OT and the MVP of the MPC, Benny seized the opportunity, bringing both OT and araabMIUZIK out to the BSF studio in Buffalo to record what would ultimately become “The Crown,” the first single off of Zombie featuring Benny The Butcher & ElCamino. The guest appearances on Zombie were carefully curated, purposefully tapping artists that hadn’t yet collaborated with OT (outside of Benny) and araabMUZIK in order to deliver something new to fans, including 38 Spesh, Conway The Machine, ElCamino, Rome Streetz, LIHTZ and Amir Ali.

Andreas Dorau wird am 19. Januar 2024 zum ersten Mal sechzig. Anlässlich dessen legt er sein neues Album "Im Gebüsch" vor. Darin lauern 13 Stücke, auf denen Kaleidoskop-artig verschiedene Pop-Realitäten aufblitzen, erstmals auch auf Englisch: "Touristen-Englisch", wie es Dorau selbst bezeichnet, die Platte als eine Sightseeing-Tour des Pop. Dabei begibt sich Dorau auf einen Streifzug durch diverse Spielarten elektronischer Musik, wobei eine fröhliche Traurigkeit seine treue Begleitung ist. Außerdem wurden für dieses Album u. a. Gäste wie die Musikerinnen Güner Künier und JJ Weihl (Discovery Zone, Fenster) sowie Brezel Göring (Stereo Total) rekrutiert. "Im Gebüsch" ist modern, retro und postmodern gleichzeitig. Das kann nur einer, das kann nur Andreas Dorau!

Andreas Dorau wird am 19. Januar 2024 zum ersten Mal sechzig. Anlässlich dessen legt er sein neues Album "Im Gebüsch" vor. Darin lauern 13 Stücke, auf denen Kaleidoskop-artig verschiedene Pop-Realitäten aufblitzen, erstmals auch auf Englisch: "Touristen-Englisch", wie es Dorau selbst bezeichnet, die Platte als eine Sightseeing-Tour des Pop. Dabei begibt sich Dorau auf einen Streifzug durch diverse Spielarten elektronischer Musik, wobei eine fröhliche Traurigkeit seine treue Begleitung ist. Außerdem wurden für dieses Album u. a. Gäste wie die Musikerinnen Güner Künier und JJ Weihl (Discovery Zone, Fenster) sowie Brezel Göring (Stereo Total) rekrutiert. "Im Gebüsch" ist modern, retro und postmodern gleichzeitig. Das kann nur einer, das kann nur Andreas Dorau!

Gianni Brezzo (213k Monthly Listeners on Spotify), the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quicklya followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa,” along with the groovy baroque-jazz of LP “Soundscapes Vol. 1 – Music for Harlequins.” Gianni’s tracks have consistently placed on Editorial Playlists including Spotify’s “State Of Jazz” (908k Likes), “Lounge Jazz” (75k Likes) “Jazz-Funk” (316k Likes) and more, and most recently was synced in an episode of Gossip Girl for HBO US. Gianni Brezzo’s new project, “Filigrani” is a testament to the continued sonic growth and experimentation that pushes the music to new heights. The tracks, meticulously crafted, were born live in the studio, capturing the raw energy and creativity of Brezzo's jazz-driven genius. "Filigrani" introduces a unique fusion, seamlessly blending jazz progressions with touches of ambient electronics. Brezzo weaves a tapestry of sound, inviting listeners into a world where guitar melodies intertwine with subtle drum beats, dreamy harps, and the enchanting whispers of saxophones and flutes. The result? A groovedriven masterpiece that expands the boundaries of sonic artistry. The single and LP artworks by the esteemed Jason Jagel (MF DOOM, Madlib, JJ Whitefield) provide the perfect accompaniment to Gianni’s ever shifting grooves. The albums lead single is eponymous “Filigrani” due out Wednesday, November 22nd with LP pre-order announcement the following Friday, December 1st. This is to capitalize both on Gianni’s upcoming festival appearance at Linecheck in Milan on November 22nd and Bandcamp Friday on December 1st. With a guitar + drum progression that will have you swaying along, the track ebbs and flows as if your ears are gently skiing down fresh sonic powder. Recorded live in studio, the tracks lush horns and tranquil synth pads slide to and fro, combining the best of Khruangbin-style acoustics w/ Gianni’s unparalleled creativity. 2nd single is the lush, late-night vibes of “Milan Nights” out December 13th. Perfect for cozy evenings around the fire and slow dances with that special someone, the tracks harp, guitar, saxophone and slow, yet light and driving drums are a perfect groove to fall into the holiday vibe with. All you need is snow. Focus track is the effortlessly smooth, soulful jazz-funk piece, “Dreams of Sudden Clarity.” Certified 100% fresh, it’s a perfect way to kick off the year. The progression gives you a euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find. Promotion will be handled via the label and artist profiles, along with further promotion by external agencies within Italy where Gianni has upcoming live events.

A new 2023 pressing of LOWRIDERS's comeback album Refractions comes in merged bone-magenta coloured vinyl! EU festival dates in 2023 announced! The progenitors of Swedish desert-rock return with their astonishing new record of fuzz-heavy stoner rock bliss! The new album from the progenitors of the Swedish desert rock scene, Lowrider's previous album is a milestone in the global stoner rock underground, soundalikes to Kyuss or Fu Man-Chu, Lowrider manage to add impressive songwriting qualities to their works. Before Monolord, Graveyard, Greenleaf, and Truckfighters, one band stood at the dawn of Sweden's Kyuss-inspired desert rock movement. With their groundbreaking debut EP and seminal "Ode to Io" album, LOWRIDER spawned thousands of imitators. Now, at long last, the progenitors return with blistering new album "Refractions," delivering on their mythic status as founders of a worldwide phenomenon. 'Lowrider's 'Ode to Io' is an absolute landmark. It is essential. Quite possibly the best desert-style rock record not to come from the actual Californian desert.' _ JJ Koczan / The Obelisk 'Thunderous riff-rides like 'Caravan' and 'Saguaro' cannot be denied, and quite honestly leave a much more lasting impression than most anything issued by the likes of Nebula and even Fu Manchu.' _ Ed Rivadavia / All Music Guide 'Ode to Io is desert-rock in its purest and heaviest form. Almost the whole album is indeed explosive, fuzzy and straight to the point... the best definition of stoner-rock you could get.' _ Nuno / Sputnik Music Lowrider paved the way for a whole generation of European fuzz rockers... there was Kyuss in the US, and there was Lowrider here.' _ Beeho / The Heavy Chronicles

BACK BY POPULAR DEMAND

Here is the much anticipated volume 4 of the HOT SAUCE compilation LPs dedicated to the Trojan related UK labels between 1965 and 1975.

HOT SAUCE VOLUME 4 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”)
tracks including rare songs, overlooked gems, hidden treasures and a couple of hits.

The record labels showcased on this fourth volume are Amalgamated, Big Shot, Duke, Explosion, Grape, High Note , JJ Records, Treasure Isle and Trojan.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity. These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.
The HOT SAUCE series is a musical journey across Trojan and its labels highlighting early Jamaican Reggae’s many diverse musical genres and outstanding artists.

Since the early 70s “Tighten Up” series, no compilations have really explored these labels in depth on vinyl.

Following on from the Primal Scream frontman’s brilliantly-received previous release for Ace, ‘Sunday Mornin’ Comin’ Down’ (accolades included being short-listed for Rough Trade’s compilation of the year), Bobby Gillespie brings us another slice of the music that soundtracks his life. And in this case, it’s his touring life. Drawing on the experience of ‘the way that the noise and clamour of the road can tire you out, wear you down and frazzle your nerves to shattered fragments of jangled exhaustion’, these are the records Bobby turns to for solace, for comfort, for empathy and for resourcefulness.

The compilation features an introduction from the man himself, talking us through his personal choices as though he’s sitting cross-legged on the carpet going through records with you in his lounge. Also long-time cohort of the band, Kris Needs has written extensive liner-notes, serving up an intensive track by track insight and analysis.

Titled after and kicking off with the Willie Nelson track of the same name, ‘I Still Can’t Believe You’re Gone’ leads us through a darker and deeper exploration than its predecessor, featuring Nick Cave’s funereal version of ‘By The Time I Get To Phoenix’ and Ry Cooder’s sparse and beautiful reworking of ‘Dark End Of The Street’. And we get there via such greats as Bob Dylan, JJ Cale, Donnie Fritts, Crazy Horse, Lee Hazlewood, Al Green, Thin Lizzy and so many more.

In Bobby’s own words: ‘These songs are soul savers to soothe frayed and battered nerves and to ease and settle the heart. They work on me like medicine every time. I would like to share this wonderful music that has given me strength, joy and inspiration over the years with you the listener, so that you too might get the same feelings of protection and inspiration that I do whenever I listen to these songs. We're all travellers on some kind of road through this life, and we all need respite from time-to-time - the music on this compilation is soul food of the highest order - I hope you enjoy it.’.

Das Problem ist doch im Endeffekt, dass immer irgendwas passiert… Und deshalb heißt Juse Jus neues Album „Das Problem, dass immer irgendwas passiert.“ Die Frage, ob das noch Rap ist oder schon Pop, braucht man sich bei diesem Album nicht stellen. Es ist schnell, es ist düster, es ist kompromisslos. Juse Ju schmettert der Gegenwart mit all ihren Zwängen, Süchten, Normen und Feindseligkeiten Rap entgegen. Das Album erscheint als LP auf minz-grünem 12-inch Vinyl.

In 2019 BC (Before Covid) Discharge frontman Jeff Janiak reached out to longtime friend and musician JP Parsons to assist on a new project. The pair wrote and recorded various ideas before reaching out to Amebix guitarist Stig.C.Miller who joined them in the midst of the global pandemic. The trio utilized this new creative climate of physical restriction and went on to set the foundations for their first album, via file sharing home recordings, which would be arranged and produced by Stig. It was several months later when he would call upon Nausea, Ministry and former Amebix drummer Roy Mayorga to complete the line up. Roy went onto record drums, mix and produce the band's debut album 'LET THEM EAT FAKE'.

In these unprecedented times of global restriction, fear and the everlasting lack of faith in the hierarchy 'False Fed' has cultivated a heavy sound that is drenched in melody, aggression and shrouded in darkness. It is not bound by genre, yet still offers subtle hints to the creators lineage. 

False Fed are:
Jeff (JJ) Janiak - Vocals 
Stig.C.Miller - Guitar 
JP Parsons - Bass Guitar 
Roy Mayorga - Drums 

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

No. is the tenth Soft Riot album by Glasgow-based Canadian synth auteur Jack Duckworth (also known as JJD). With origins from the mid-nineties in the vibrant art-punk/hardcore dominating the West Coast American/ Canadian underground at the time, he has clocked in over twenty five years of musical output in various bands and projects.

No. is the logical follow-up to When Push Comes To Shove, released in November 2019 on the Glasgow UK-based label Possession Records, which saw some critical acclaim in the increasingly diverse synthwave scene — a crystallization of the artist’s signature “SynthLord” sound.

With No. things have been shaken up and pushed into new directions. Many different factors came into play, including the conditions of the pandemic lockdowns and an urge for listening to music favourites from beyond his own scene informed developments on this new record. One key feature of these tracks is that under these conditions they were developed as individual pieces — a contrasting approach from previous albums where tracks were written with an album in mind. An evaluation of all of these individual tracks in the summer of 2022 unveiled a common pattern going through these new compositions.

One can still hear any number of echoes of the spirits of original synth artists in his sound, such as Images in Vogue, The Box, Section 25, Thomas Dolby, Skinny Puppy, Chrome, Cabaret Voltaire, Fad Gadget, Japan and Bill Nelson. However, some of Jack’s halcyon punk influences surface as well, taking inspiration from legendary punk/hardcore labels such as Dischord and Gravity, as listening habits over pandemic steered back towards more guitar-based styles. The introduction of expanded production techniques, experiments with vocal styles and tones, and stylistic shifts mark a progression of Soft Riot’s sound. The result is a snarkier, urgent and more playful, with a focus on pure synthpop, new wave, art-punk, proto-EBM as well as grittier synth-punk and post-punk tones.

The variation, energy and tone of this collection of tracks illustrates Soft Riot’s ability to transcend the hallmarks of today’s music environment, which increasingly is fragmenting into smaller and smaller micro-genres. Dry wit and dark humour take the lyrics and the tone of this album on a fun ride through music scenes, dark alleys and inside jokes.