Mutant, in partnership with Hollywood Records and 20th Century Studios, is proud to present the premiere physical release of Benjamin Wallfisch’s score to ALIEN: ROMULUS.
It is hard to overstate just how successful, on every level, ALIEN: ROMULUS and its score are at returning longtime fans to the world Ridley Scott, Dan O'Bannon, Jerry Goldsmith (and so many other brilliant artists) created back in 1979. But spend just a few minutes with Benjamin Wallfisch's masterful score, and you can feel the attention to detail in the craft of every choice.
Doing the impossible task of bridging the gap between sequels and prequels, Wallfisch takes the dissonant, atonal and truly horrifying soundscapes that Goldsmith defined the genre with and makes peace with the melodies and monsters of subsequent films - all while making his own voice heard throughout, creating a truly remarkable piece of film music.
This limited edition physical release features liner notes by director Fede Álvarez and original artwork by illustrator Kilian Eng, continuing his ongoing ALIEN soundtrack series and is pressed on 2x 140gm black vinyl.
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- 1: Juliet As Epithet
- 2: Machiavelli’s Room
- 3: Big Cat Tattoos
- 4: Nancy Dearest
- 5: Autobiography Of Spy
- 6: You Can Film Me
- 7: Christopher St
- 8: Men Like Wire
- 9: Questionable Hit
- 10: Disingenuous
- 11: Milk An Ending
- 12: The Hard Won
“Writing this album, I opened up my closet, and a skeleton came out.” In a café just around the corner from his Edinburgh flat, Hamish Hawk is contemplating his extraordinary new record, A Firmer Hand. “The thing that links all of the songs is a sense of the unsaid, whether out of guilt, shame, repression, embarrassment, coyness, whatever it might have been. I realised: I am going to say these things, and not all of them are going to make me look good. The album made so many demands, and I just gave myself over to it.”
At this stage, where only a handful of close associates have heard the finished album, Hawk is still unsure of what the reaction might be from fans, critics, even family. He jokes that A Firmer Hand is the first of his records that his parents might not enjoy. “But the fact that it makes me nervous tells me it was the right thing to do.”
- Dickes Ding (Feat. Jannis- Deine Nachbarn)
- Ganz Oder Gar Nicht (Feat. Justin & Henne - Rawside & Vito C.)
- Macht Kaputt, Was Punk Kaputt Macht
- Lied Übers Saufen (Feat. Mr Hurley Und Die Pulveraffen)
- Für Dich, Deutschland
- Wenn Ich Wüsste (Feat. Tyna & Mc Motherfucker)
- Immernoch Hier
- Dummröschen (Feat. Reis Against The Spülmachine)
- Fehlerfrei (Helene Fischer Cover)
- Schwule Raus (Feat. Joe - The Busters & 100Kiloherz)
- Mann Im Mond (Ic Falkenberg Cover - Feat. Luci Van Org)
- Gestorben Wird Immer (Feat. Toifel - Berliner Weisse)
Ach du Scheisse - die neue Platte von Menschabstinenz ist da. "Bitte nicht noch mehr von diesem aggressiven, maskulinen, Testosteron geschwängerten Aggro-Zeug." Bitte nicht noch mehr Gast-Features von Jannis (Deine Nachbarn), Justin & Henne (Rawside),Vito C., Mr Hurley und die Pulveraffen, Tyna, MC Motherfucker, Reis Against The Spülmachine, Joe (The Busters), 100KiloHerz, Luci van Org & Toifel (Berliner Weisse) War so oder ähnlich etwa nicht euer erster Gedanke!? Wir geben euch Recht und schneiden darum dem Gegröle und Gehate die haarigen Eier ab - Testosteron/off. Was bleibt ist ein liebevoll schnoddriges, emotionstriggerndes Punk Potpourri, gemixt aus Alkohol und Schlaftabletten, irgendwo zwischen Stumpf- und Tiefsinn, doch so viel mehr als nur ein ,fuck you all". Schnallt euch an und begleitet uns auf eine Reise zwischen den Welten des guten und schlechten Geschmacks. Segelt mit uns hoffnungstrunken auf den Meeren bitterer Tränen und klettert mit uns über die Gipfel der eigenen Empörung, hin zu der Erkenntnis, dass am Ende nichts bleiben wird, was all das wert gewesen wäre. Also hoch die Tassen und laut gedreht: Testosteron/off - kommt mit reichlich Anlauf aber ohne Gleitgel. Ein dickes Ding! ,Gewimmel nicht auf Pimmel gereimt, sondern auf Himmel. Sehr gut! Kannste so schreiben. Wenn de als kleener Piepel an Punk rangeführt werden sollst, ist das das Richtige." Totze Scholz - Beatsteaks 300 Stück in weiß-rot-marmoriertem Vinyl, handnummeriert.
- A1: Jacob Velez & La Mambanegra Feat Nidia Gongora - Manama
- A2: Tonada - Manezco
- A3: El Hijo Del Buho Feat Los Gaiteros De Bueblo Santo - La Danza Del Espiritu
- A4: De Mar Y Rio - Bailen Y Gocen
- B1: Umu Obiligbo - Udemba
- B2: Amadou Balake - Massa Kamba
- B3: Joi N'juno - Samemala
- C1: Conjunto Latinos - Koemanoe Sami
- C2: Mendes Brothers - Balumuka Palops!
- C3: Gaby Moy - Ene Alengue
- D1: Poirier Feat Waahli -Teke Fren
- D2: Timothee Et Pot & Corentre Dans Tom Hlm
- D3: Locobeach - Idea Desperada
"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.
When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.
Over time, to evolve is to find oneself facing only two roads.
On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.
And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.
Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.
This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "
Will probably ship earlier than the 14th. Up until Raising Hell, the rap juggernaut we know as Run-DMC was still in its building and breaking-down- doors phase. In 1986 that changed, and in a dramatic way. With their third long-player, the group had reached the mountaintop. It was THE record that proved hip-hop wasn't a fad. Raising Hell marked an important and significant new era for the group. Leaving producer Larry Smith for up-and- coming sonic innovator Rick Rubin (still co-produced by Run's brother Russell Simmons), they began to fully transition not only their own sound, but the sound of the entire genre. Less live playing - with some exceptions - and a slicker, tighter sonic attack. Musical aesthetics aside, though, at their core they stayed true to the essence of hip-hop: two turntables and a microphone, or two. It's impossible to talk about the album without its worldwide smash, 'Walk This Way,' which hit #4 on the Billboard pop charts and saw the group digging in the rock crates to summon Aerosmith in the flesh, combining Steven Tyler's and Joe Perry's musicianship with the group's own take on the '70s classic. The song's video cemented Run-DMC as legit MTV idols, and both groups rode its wave to new heights. Beyond 'Walk This Way,' the platter is full to the hilt with undeniable classic singles: 'You Be Illin''; 'It's Tricky'; 'Peter Piper' and the fashion-world shifting 'My Adidas.' Each song was new proof that Run-DMC's sound was indeed new, but still familiar, and full of the energy, charisma and innovation that drew fans to their first two LPs. Aside from the singles, the reason the album stands up so well is the fact that there is virtually no filler. 'Proud To Be Black' remains a pioneering and underrated cut when people talk about 'conscious' hip-hop. And to make sure they never lost the streets that gave them their start, 'Hit It Run,' 'Son Of Byford,' 'Is It Live' and 'Perfection' all bring it back to the group's early days in the park. Besides the triple platinum status the album achieved, it was more than just a pop smash. It signaled a new era for rap music, and it was
the no-turning- back point for the entire genre. This was the beginning of what we now call the Golden Era, and it still sounds as fresh today as it did three decades ago.
Pacific Rhythm is elated to announce the forthcoming release of “Exiles”, a deeply life-affirming and introspective four-tracker from one of electronic musicʼs most prolific duos, Frank & Tony. This EP also marks the first release from the pair outside of their own imprint Scissor & Thread. Back in 2021 they approached us with the intention of contributing something that felt like a natural part of our catalog and itʼs safe to say they arrived right at home.
“Exiles” further explores the dubby, subtle energy theyʼve crafted since the project began in 2012 and refines it down to the pure essence of genre. Itʼs a deeply rewarding listen and we believe Itʼs a wonderful addition to the on-going soundscape weʼve been building for the last decade with Pacific Rhythm.
- A1: I Want To Break Free
- A2: Every Breath You Take
- A3: Sweet Dreams
- A4: Don't You Want Me
- A5: Take On Me
- A6: Rio
- A7: Gold
- B1: Karma Chameleon
- B2: Come On Eileen
- B3: Cruel Summer
- B4: Stand & Deliver
- B5: 99 Red Balloons
- B6: You Came
- B7: I Should Be So Lucky
- B8: Never Gonna Give You Up
- C1: (Just Like) Starting Over
- C2: Dancing In The Dark
- C3: Easy Lover
- C4: Livin' On A Prayer
- C5: The Best
- C6: If I Could Turn Back Time
- C7: Everybody Wants To Rule The World
- D1: I Wanna Dance With Somebody (Who Loves Me)
- D2: I Feel For You
- D5: Red Red Wine
- D6: House Of Fun
- D7: Town Called Malice
- D8: Brass In Pocket
- E1: I'm Still Standing
- E2: Uptown Girl
- E3: Footloose
- E4: Take My Breath Away
- E5: Ghostbusters
- E6: Back To Life
- E7: Ebony & Ivory
- E8: Hello
- F1: Blue Monday
- F2: Heart
- F3: Relax
- F4: You Spin Me Round (Like A Record)
- F5: Tainted Love
- F6: Temptaion
- F7: Vienna
- D3: Don't Leave Me This Way
- D4: The Tide Is High
5x12" Color Vinyl Boxset[47,69 €]
It’s time to celebrate an amazing decade for pop music – as popular today as it was back then...and with so many fantastic hits to choose from we had to make this a 100 track selection across 5 CDS – including over 50 #1 singles… Time to immerse yourself in the decade that never stops… legwarmers on – it’s : ‘Also available on 5-LP boxset featuring 78 huge hits, including 40 #1s, over 10 sides of vinyl, pressed in 5 different colours, one for each LP – red, yellow, pink, green and blue. Then we have a 3LP set featuring 45 unforgettable hits, including 27 #1s across 3-LPs, pressed in a red, a blue and a green vinyl
- A1: Fingertips – Pt 2
- A2: Uptight (Everything’s Alright)
- A3: Hey Love
- A4: I Was Made To Love Her
- A5: For Once In My Life
- A6: My Cherie Amour
- A7: Signed, Sealed, Delivered I’m Yours
- B1: You Are The Sunshine Of My Life (Single Mix)
- B2: Superstition
- B3: Higher Ground (Single Edit)
- B4: Living For The City
- C1: You Haven’t Done Nothin’
- C2: Boogie On Reggae Woman (Single Mix)
- C3: I Wish
- C4: Sir Duke
- C5: Master Blaster (Jammin’)
- D1: That Girl
- D2: Do I Do (Single Edit)
- D3: I Just Called To Say I Love You (Single Edit)
- D4: Overjoyed
- D5: Part-Time Lover (Single Edit)
Description:
Best-selling, 21-track hits set that’s now on vinyl for the first time. Features classic after classic, from early gems including “Fingertips – Pt. 2” to “Signed, Sealed, Delivered I’m Yours,” as well as the timeless No. 1 songs “Superstition,” “Higher Ground,” “You Are the Sunshine of My Life,” “I Wish,” “Overjoyed,” and many more. With rare photos, Braille embossing, full track credits and a celebratory essay.
- A1: Housey Doingz - 7Th Piano (7Th Voyage Remix)
- B1: The Ron Honey Experience - Nitedrive
- B2: The Ron Honey Experience - Drive
- C1: Space Bunny - Space Bunny (Extended Mix)
- C2: Space Bunny - The Key (Wubbledub Edit)
- D1: Space Bunny - Space Dub
- D2: Space Bunny - Spudnik (Ver Vlads Mix)
- E1: Get Fucked - Time For A Quickee (On The Kitchen Counter Edit)
- E2: Get Fucked - Momentum (The Smart Alex Dub)
- F1: Green Eyed Monster - All Gone By
- F2: Strange Weather - Infinite
Black Vinyl[30,21 €]
Laurant Webb, Dave Coker, Justin Bailey and Dave Pine were the driving forces behind Strange Weather Studios. Based in Southeast London, the studio served as a creative hub, playing a pivotal role in shaping the sound of a groundbreaking genre. Alongside close friends and collaborators, they produced a series of influential records that have left an indelible mark on the music landscape.
This release is a heartfelt tribute to Strange Weather Studios and the talented individuals who brought its magic to life. It also honours the studio’s production partners though iconic projects such as Housey Doingz, 7th Voyage, Space Bunny, Get Fucked and Green Eyed Monster. These projects that were instrumental in forging the signature, original London Tech House sound.
The tracks on this record have been handpicked by Laurant Webb and Yossi Amoyal, meticulously restored and remastered from the rare original DATs.
This release marks a significant milestone for London Tech House, symbolising a collaboration between its key pioneers and a label that evolved alongside the genre. It’s an organic partnership that celebrates the past and looks towards the future. A project we’re incredibly proud to share with you
- Dadadoo
- Task
- Considerations
- Pre Moon Shooter
- Shoot To The Moon
- Or Somthin
- Just For The Night (Part Two)
- Nu-Best
- Arbutus Intermission
- Toothful
- I Do Love
- Less Sensible
- The Key Still
- Grinnin' And Winnin
- Rocky Point Road Interlude
- Do U A Solid
- Pleem
- A Vibe And A Flow
- Hype Sight Interlude
- All This And More
Moka Only is a hip-hop legend with a career spanning nearly three decades. Hailing from Vancouver, he's renowned for his prolific output, introspective lyrics, and unique blend of melodic rap and thoughtful storytelling. His music explores themes of personal growth, societal issues, and introspective reflections, making him a respected voice in the hip-hop landscape.
Moka's highly anticipated new album, "Arbutus Canyon” is a deeply personal tribute to his formative years on Vancouver Island, the album is a sonic exploration of the region's landscapes, culture, and memories. Inspired by the iconic Arbutus tree and the Arbutus Canyon, a real geographic location near Victoria, the album is a rich tapestry of sounds and stories. Moka's signature beats evolve while remaining true to his established style, creating a seamless continuation of his previous work, "In and of Itself."
Throughout "Arbutus Canyon," listeners will encounter coded references to adventures and experiences on Vancouver Island, as well as cryptic elements that invite deeper exploration. The album features a variety of interludes, including the extended "Arbutus Intermission," providing a unique listening experience.
- Adore
- It’s All 4 U
- Intro-Live From Bushwick General Hospital, Part 1 (Feat. Zoi Ellis & Dj Rell)
- Seckle (Feat. Krs-One)
- Product (Feat. Ruste Juxx)
- Back In Style (Feat. Ras Kass)
- Champion (Feat. Mickey Factz)
- Martial Law (Feat. Apathy)
- Fear None (Feat. The Villanz)
- It’s All 4 U (Feat. Halley Hiatt & Al Skratch)
- Can’t Live Without It (Feat. Marquee & Monifah)
- Live From Bushwick General Hospital, Part 2
- Anti (Feat. Black Moon)
- The Birds (Feat. Bishop Lamont)
- Where You From (Feat. Loaf Muzik)
- B-Ville Pioneers (Feat. General Steele & Lil Fame)
- Cheeba (Feat. Stahhr & Camp Lo)
- 100: Proof (Feat. Ras Kass)
- Live From Bushwick General Hospital, Part 3
- My Year (Feat. De La Soul, Rasheed Chappell, Pharoahe Monch & Corey Glover)
Da Beatminerz defined the dark, gritty sound of underground Hip-Hop in the '90s. Formed in 1992 by brothers Walter “Mr. Walt” and Ewart “DJ Evil Dee” Dewgarde, the production duo pioneered Hip-Hop's brooding vibes, a tonal shift that came with the release of Black Moon's classic debut album Enta Da Stage. As producers of the seminal 1993 project in its entirety, Da Beatminerz set a precedent for hardcore Hip-Hop.
Their sample-heavy, gutter tracks laced with heavy basslines, and hard kicks and snares helped reshape the music genre. Da Beatminerz continued to refine their distinct sound and identity with countless classic records for other artists and two albums of their own (2001’s Brace 4 Impak and 2004’s Fully Loaded w/ Statik) over the course of their illustrious 30-year career.
Stifled Creativity is the duo’s first full-length album in 20 years.
“We started working on this album in 2009... We had one focus and the focus was to stick to our core sound. We just wanted to bring back our traditional way of attempting a classic album. Everybody has their own type of hip hop that they love. Well, this is ours.” - Mr. Walt
m Adore HER (feat. Keith Murray)
q It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)
[m] Adore [HER] (feat. Keith Murray)
[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)
[m] Adore [HER] (feat. Keith Murray)
[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)
- A1: Often They Came To Visit, Even Just To See How She Was (M1)
- A2: In More Turbulent Times, She Managed To Take The Perfect Shot (M4)
- A3: What’s Really Important She Wanted To Know - Part 1 (M6)
- A4: What’s Really Important She Wanted To Know - Part 2 (M7)
- A5: What’s Up Is Not What’s Real Most Of The Time (M5)
- B1: When They Came Closer She Realised They Were Alien Creatures (M3)
- B2: The Shine Of Gold Was Too Strong (M8)
- B3: When She Curled Up They Started Dancing (M2)
- B4: He Was Painting Her Face With Colours She Had Never Seen (M9)
- B5: I Is One (M10)
Skylla is the debut solo recording of Italian-born and London-based composer, bassist, and vocalist Ruth Goller. This
album of otherworldly detuned bass harmonics and dense vocal arrangements was initially released in 2021 by longtime collaborator Bex Burch's Vula Viel Records, and quickly went out of print. Since then Goller's notoriety has only grown, and her follow-up record, SKYLLUMINA, was released by International Anthem in early 2024 and met with high praise.
Skylla is the genesis of her sound, and it is a sound that is hard to place. Listeners could be convinced that these recordings came out of contexts as disparate as 80s Downtown NYC or some mysterious Bjork-adjacent project of the Icelandic 2010s. It's hard to imagine a person making this music despite the fact that its elements are instantly recognizable.
- A1: Destroy All Neighbors
- A2: Always Hallways
- A3: Rocking In The 5Th Dimension
- A4: Bob Marley & Me
- A5: Vlad's Hallway Now / Bitch / Sex Maniac / Kevin Bacon Haircut / Hemifacial Spasm
- A6: My Epic Nightmare Life In Montage / My Girlfriend Has Sleep Apnea & There's A Vlad In My Bed
- A7: Get Out Of My Kitchen
- A8: Gloss Bounce / Euro Trip '69 / Pumping Jeremy Irons / Consensual Hand Puppet In Thump Country / Penetrate / The Gored Torso (Decapitation Blues)
- A9: Swig's Advice On Corpse Disposal
- A10: Make The Body Disappear
- A11: Dirty Boys
- A12: I Am God, Destroyer Of Vlad
- A13: I Live!
- A14: One Hot Lick Iii: Let's Go Incinerate A Body
- A15: Meating Your Heroes
- A16: Stupid Willie Brown
- A17: Dragging Plastic Wrapped Bodies From A Van Music
- A18: Mona Lisa Grimace
- A19: Cool Dawn Dimension Shirt Theme / Fuck All Night Music / Sticky Pleather Jonah Jams
- B1: Progressive Rock Is Life
- B2: Epitaph For The Fallen Circus: Demo
- B3: Requiem For Pig Guy
- B4: My Girlfriend Has Just Realized That I'm A Very Violent Murderer Person / A Not So Beautiful Mind / Ode To Generic Investigative Tv Journalism Music
- B5: Eleanor
- B6: The Neon Rainbow
- B7: The Mythology Of Madness, Call To Arms
- B8: Caleb Bang Jansen Has A Gun / Cops Ruin Everything / The Ex Girlfriend Suddenly Appears To Witness Your Potential Suicide By Cop
- B9: A Big Bear Story
- B10: Epitaph For The Fallen Circus
- B11: You Mean Everything To Me Even If I've Scarred You For Life Since You Witnessed A Horrible Crime (A Love Song)
- B12: Free - Performed By Man Man
Destroy All Neighbors is a twisted splatter-comedy about a deranged journey of self-discovery full of goopy practical FX, a well-known ensemble cast, and LOTS of blood. William Brown (Jonah Ray Rodrigues), is a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus, facing a creative roadblock in the form of a noisy and grotesque neighbor named Vlad (Alex Winter).
He finally works up the nerve to demand that Vlad keep it down, and William inadvertently decapitates him. But, while attempting to cover up one murder, William's accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla. The soundtrack is an infectious slice of progressive rock cues, EDM freakouts, 80’s synth pop and so much more by the brilliant Ryan Kattner & Brett Morris. Released in conjunction with SUB POP Records, and features an original song by MAN MAN, artwork by Johnny Dombrowski, and pressed on coloured vinyl.
- 01: The One That Loves You
- 02: It's Alright Kevin (Manhood 23)
- 03: I'm Going To Get Free
- 04: Coming Home
- 05: The Feminine Divine
- 06: My Goddess Is
- 07: Goddess Rules
- 08: My Submission
- 09: Dance With Me
Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.
The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.
The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.
- Come Here
- It's Just A Dream
- Forget About Him
- A Homeless Dream
- Who You Are
- You And I Keep Falling
- Can't Rise To Your Feet
- What Is Really Beautiful
- Fall Again
- Sand In My Shoe
- We Crossed Over
- I Wanna Love
- In Your School
- Finally
Kath Bloom is an American legend of folk, country, blues and avant-garde music. She has been making records since the late 70s, and has had her music featured in the movie Before Sunrise by Richard Linklater (starring Ethan Hawke and Julie Delpy), but from 1984 up until Finally released no new material of her own, bar a few self-distributed cassettes and CD-Rs.Born in Connecticut, Kath met avant-garde guitarist Loren Mazzacane Connors in 1976, teaming up with him for a series of now highly sought-after albums of traditional blues, folk, and Bloom originals. Four of these albums have been reissued as double disc CDs by Chapter Music. Finally compiles Kath Bloom's heartbreaking, lovelorn and remarkably beautiful songs recorded since the early 90s. They reveal a mother-of-three songwriter as accomplished and affecting as any of her more acclaimed colleagues such as Lucinda Williams, Gillian Welch or Hazel Dickens.
I don't feel anything. Anymore. I will not feel myself. For sure. Well, I don't feel anything. Anymore. I can't even remember if I ever did. But it's hard to do so. It's hard to feel me. Feel myself. Have feelings for someone else. And if I do so, I just run away. Running away seems my only way...
Fang Island's second and last record, long out of print and back in stock as gray splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Two years after Fang Island released what they expected to be their first and only album, Major became the "highly anticipated sophomore LP." The songs were bigger, shinier and hookier, forged under the pressure that comes with being a band rather than a couple of weekend warriors - label pressures, grueling tours and the frequent personnel changes that ultimately brought the band to their amicable end. Fang Island began with the crackle fireworks and, as the band heard fireworks going off in the distance as they played in Barcelona, they took it as a supernatural sign that this show would be the perfect bookend to their career. "We were getting older, we were in serious relationships, we were getting tired, and that just felt like the right way to end it."
- Boot Licking, Boots Kickin
- Bubble Butt Trouble
- Frozen Nose, Melting Toes
- Spill The Beans And Tell The Truth
- Ride The Bar
- Chicken Shit Bingo
- Strain My Taters
- Ye Gods And Little Fishes
Peter Brötzmann: tarogato, contra-alto clarinet, bass saxophone Paal Nilssen-Love: drums, gongs, percussion 2nd Volume of the perfect pairing Brötzmann & Nilssen-Love, recorded at Zuiderpershuis in Antwerp, August 2015. The music is less frenzied and aggressive than we're used to, as the musicians shared their exploration of new tools with a more contemplative approach. To be sure, both Brötzmann and Nilssen-Love summon the usual energy here and there, but it's a genuine revelation to hear them feel out new sounds in real-time, whether it's the former caressing the rheumy nasality of the contra-alto clarinet, or the latter reveling in the sustained resonance of his new gongs. Still, even if they were trying out new tools, their rapport and level of engagement was just as strong and deep as ever. Colliding schedules prevented them from ever wrapping up the production on the album, but they began planningfor it during the pandemic. Sadly, it fell to Nilssen-Love to shepherd the project at home, but it was worth the wait. This duo album represents a major statement from both musicians. Artwork by Brötzmann, design by Lasse Marhaug. Liner notes-transcription of an interview with Peter Brötzmann.
- A1: Freedom Blues
- A2: Greenwood, Mississippi
- A3: Two-Time Loser
- A4: Dew Drop Inn
- A5: Somebody Saw You
- A6: Spreadin’ Natta, What’s The Matter?
- B1: The Rill Thing
- B2: Lovesick Blues
- B3: I Saw Her Standing There
Rock and Roll Hall of Fame Member Little Richard is a musical institution. The Architect Of Rock ’n’ Roll’s 1970 return. Pressed on opaque pink vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Some successful recording artists are lucky to enjoy a lengthy career and perhaps one successful comeback after their popularity wanes over time. Rock ’n’ roll pioneer and absolute legend, Little Richard, achieved several. In the ’50s he racked up a non-stop string of smashes for Specialty Records with producer Bumps Blackwell like the blistering cuts, “Tutti Frutti,” “Long Tall Sally,” and “Rip It Up.” The Georgia Peach was deemed too uninhibited and unpredictable for TV variety shows to present to the nation, but the records were undeniable hits. He was clearly, an artist far ahead of the culture and times. Little Richard returned in 1970 with The Rill Thing and instead of sticking around his adopted home of Los Angeles, Richard set out for Rick Hall’s FAME Recording Studios in Muscle Shoals, Alabama to record the album for Reprise, joined by Bumps, who was now his manager. The opening track, “Freedom Blues,” was released in April of 1970 and hit #28 on the charts. The second cut, “Greenwood Mississippi,” was also released as a single in August and also made a Billboard appearance. The marathon title track (running a whopping 10 minutes and 20 seconds) was an intense funk jam that was captured in one take. The album also featured covers of tunes by The Beatles and Hank Williams—it was a different sound by far than the savagely rocking attack he’d ridden to fame like a rocket at Specialty close to a decade and- a-half earlier, but it was every bit as effective. The Rill Thing bore the slogan “The Little Richard Sound” on its labels. “He was at his peak with his vocals on there,” says guitarist Travis Wammack admiringly. “He was just singing his booty off!” The Rill Thing is back as a 12" long player, and pressed on opaque pink vinyl with a printed inner sleeve that includes liner notes by Bill Dahl.
- A1: Celsius - Initiation
- A2: Celsius - Not Gettin In
- B1: Celsius - Raverface
- B2: Celsius - Just Getting Warm
- C1: Celsius - Test Pressing
- C2: Celsius - Hear Me Now Rudeboy
- C3: Celsius - Banger
- D1: Celsius - Trip To The Moon
- D2: Celsius - Manic Shuffel
- E1: Celsius - The Clock
- E2: Celsius - Revolver
- F1: Celsius - Fusion
- F2: Celsius - Acid Fucker
- G1: Apzolut - Out Of The Boat
- G2: Apzolut - Ayoo
- G3: Apzolut - Restaurant Jungle
- H1: Apzolut - Restaurant Jungle (Fff Remix)
- H2: Apzolut - Vinyl Sniffah
- H3: Apzolut - Brassbreaks
- I1: Fff - Axehead
- I2: Fff - Magnetic Mountain
- J1: Fff - Eternal Mind
- J2: Fff - What We Once Where
- K1: Fff - Sleep Thieves
- M2: Coco Bryce - Satan
- M3: Coco Bryce - Get Stupid
- N1: Coco Bryce - Yallah
- N2: Coco Bryce - Can't Get Enough
- K2: Fff - Curve Of Forgetting
- L1: Fff - Death Tappin
- L2: Fff - Twilight Emerge
- M1: Coco Bryce - My Space




















