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THEE ALLYRGIC REACTION are a fuzz'n'Farfisa-powered 60's garage punk outfit from San Diego, CA USA! While they specialize in fuzz stompahs that will move your feet, they will also melt yer mynd with minor key psych madness! They are also leaders in the emerging "protest garage" scene, with songs that address the import topics of today's over aged teen scene!They have a maraca-breaking wyld live set, but also managed to sit still long enough to record their debut LP for Soundflat Records As every band does, they argued over the title for the LP, and finally settled on one that NO ONE likes, simply, "Thee Allyrgic Reaction"! All four lads grew up in the 80s Charmkin Scene, witnessing first-hand groups like the Unclaimed, The Primates, The Miracle Workers, The Tell- Tale Hearts, The Cynics, The Gruesome, Lyres, The Chesterfield Kings, The Fleshtones and The Brood! (and about a 100 more not named here!) The boys are THRILLED with their new LP on Soundflat, which was recorded over a two day period, and required nine California burritos, three pizzas, two cases of beer, and several cans of wine.

The record features 11 original compositions, as well as their own version of their favourite UNCLAIMED-song. One of the originals is an ode to Peter Maniette of the Crimson Shadows and Wylde Mammoths. So what do they sound like? They certainly pull from the farfisa'n'fuzz blasters of the past, but also employ some 12 string, harpsichord, harp and a few other surprises. They are a little folk, a little psych and LOT of garage punk! The group records at Earthling Studios in the San Diego area, which features an array of vintage gear, including an 8- track from Sunset Sound that was used on Forever Changes. That's how you say "MO-JO"!!!

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

THE CAPELLAS are a rhythm & blues / raw soulful Beat Quartet from the UK, featuring Elsa Whittaker on vocals (The Missing Souls, The Jack Cades), Mike Whittaker on Guitar (Thee Vicars, The Baron Four, The Jack Cades), Mole on bass (The Embrooks, The Baron Four) and Yan Quellien on Drums (The Barracudas, Chrome Reverse) The band have played shows in the UK, Germany and Spain, and they have slowly started conquering crowds with their highly danceable shows, so make sure to bring your dancing shoes! They have released their first EP "Take Your Chance with The Capellas" on Sweet Grooves Records (Spain) which has since then been repressed and they have just finished recording their first LP "Untamed" featuring 9 fabulous self-composed tracks plus one mind-blowing cover version of the classic "Love's Gone Bad" (Chris Clark). What a fantastic debut album by a fantastic group!

Souleance's love of oriental and Mediterranean music is well proven.

The duo Soulist and Fulgeance surprise once again with this new EP with Turkish-funk & disco-psychedelic influences. An instrumental EP that blends Sylvester's funk and disco with intoxicating melodies inspired by Barış Manço or Hamid El Shaery. The result is a raw, powerful sound of mixed funk. KEBAB DISCOTHEQUE is a tribute to the Oriental music that Souleance has loved since its beginnings, be it Turkish, Moroccan, Armenian or Iranian. Each track is a percussive and danceable journey, sometimes lyrical, with smells as sweet and round as a bass sound, as well as the spiced melodies that titillate your musical sweet tooth.

Halumi opens this EP with a guest appearance by the talented Özgür, a promising artist who enhances this first single with his magnificent Anatolian voice for an explosive funk à la Tom Tom Club funk with heady melodies! A perfect warm-up for this dance-dinner! Kaymak open the club doors and takes us on an impulsive, uncontrollable dance step ! A track as catchy as it is transcendent, but also a road trip in a convertible car on which you see the best moments of your life flash by. Souleance recommends this sweet and salty cheese called “kaymak”, and leaves you the joy of discovering it if you happen to be in Turkey (to be consumed on site only*). Belseance is a tribute to the beautiful Marseille’s district, where cultures meet and mingle. This track was bound to be bouncy, joyful, groovy and rhythmically exciting. The ingredients? “Jazz bass sauce”, “moog” peppers & “analog” spices. Neşe (i.e. “joy”, “elation”) is a return to the beat and groove mastered for years by Souleance. A moment of perfect digestion to finally savor the silences between notes, the signature swing of the longstanding duo. A shivering “laid back” track where Fulgeance's bass lines remain as seductive as ever, all this without ever letting you dance with “style” - and why not add a finely sweetened baklava to the mix? And finally, like an invigorating “mint tea”, No Dancing gently slaps you in the face with its “smoky disco” ambience! With its powerful kicks and fluorescent pink lasers ambiance, arpeggio bass and hypnotic “Zurna” flutes, you’re still listening to Souleance, not at “Club Méditerranée”, but in their very own discotheque: KEBAB DISCOTHEQUE.

A refined popular sandwich. An evening to remember

NOW is pleased to announce the next addition in the Millennium series NOW –the ultimate celebration of the finest pop hits from the 2000s . NOW – Millennium 2008-2009, bringing the first decade to a close – out September 27th! Available on STD 4CD set and a special edition 84-track 4CD set is housed in ‘hard-back-book’ packaging, including a 28-page booklet summary of the years and a track-by-track guide and 30 tracks across 2LP’s, pressed in a Gorgeous Gold and a White Vinyl, showcasing some of the most iconic sounds of the noughties!

Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.

The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.

To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.

Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

La Scimmia Records presents: PLANISFERO by Roberto Porzio LSCM05

Renowned Neapolitan keyboardist and composer Roberto Porzio (Parbleu, Psyché, Fitness Forever, The Funkin' Machine and others) makes his highly anticipated solo debut album with Planisfero—a breathtaking sonic journey where tropical rhythms, Mediterranean lyricism, and cinematic orchestrations collide, shaping an intimate and personal musical landscape.

Planisfero blends salsa, samba, and vintage sound library aesthetics with the bold energy of an imaginary Afro-Cuban orchestra. Entirely written, arranged and composed by Roberto, the album is recorded completely live, with no digital shortcuts, becoming a manifesto to pure musicianship and analog authenticity—a rare gem in an era of synthetic production.

Step into a new musical geography—where imagination knows no borders

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

"Non Rompere" is a dark, decidedly experimental song from the disco era, a style embraced in the second half of the 70s by Amanda Lear and then in the early 80s by Italian showgirls such as Nadia Cassini, Patrizia Pellegrino, Pamela Prati, who considered disco-music the most transgressive genre of the time (which later often became ''trash''). G.Bri, namely Vanna Brosio, a seductive actress and TV presenter, follows this trend with an equally bold approach, making use of the shameless lyrics of Cristiano Malgioglio (Cristiano Facile) and the arrangement and orchestral direction of Beppe Cantarelli, one of the key figures of Italian music in the world (with over 100 million records sold). The record production of ''Non Rompere', longed for by followers for decades, nevertheless needs to be enriched. Dave Mathmos takes care of it, choosing to keep the original version intact and faithful to his style he creates two alternative versions: the ''Remix'' oriented towards High Energy, replacing the rock guitar with synthesizers that evoke the sounds of artists such as Giorgio Moroder and Patrick Cowley; the "Italo Dub", draws on the roots of Italo-Disco, highlighting the melodies of the chorus and adding another layer of melodic depth, all through the use of synthesizers (Additional instruments used: Linndrum drum machine, Roland TR-707 drum machine, Moog V - Synth, Jupiter 8V - Synth, Diva - Synth). This approach shows once again the talent of the Italian-Australian DJ in fusing and reinventing the genre, while preserving the energy and innovation, characteristics of the Italian Disco music scene of that time.

Side-A features Alex Désert and Deston Berry of Hepcat, in addition to Malik Moore of The Lions. Side-B features Asdru Sierra, vocalist of Ozomatli. Produced, Mixed, and Recorded by Dan Ubick (The Lions, Connie Price and the Keystones). Previous steady radio play on BBC Radio 6, KCRW, SoHo Radio, etc... Very popular among DJ’s and collectors worldwide. To round out their second wave of 7" singles, Night Owls bring the heat once again with their signature sound and vision.

Re-imagining two Aaron Neville classics, “Hercules” feat. Alex Désert and The Lions b/w “Tell It Like It Is” feat. Asdru Sierra from Ozomatli, Night Owls up the ante by bringing in some heavy hitters for both sides of this 45. Side A's "Hercules" features long-time collaborators and bandmates from The Lions (Stones Throw, Ubiquity, NYCT) - the soulful tenor of Alex Désert (also Hepcat) on lead blending seamlessly with the familiar voices of Deston Berry (Hepcat) and Malik Moore (Ocean 11) on backing harmonies. The Lions front line locks in tight from the many years performing together on top of a darker and grittier interpretation of Allen Toussaint’s masterpiece complete with fuzzed-out guitar, Space Echoes and rhythm drops. On the flip, "Tell It Like It Is" keeps the momentum going and hips swaying with added Colombian percussion elements and California lowrider vibes. Featuring L.A. family and multi-talented vocalist of Ozomatli, Asdru Sierra, on lead and Night Owl Dan Ubick on backing vocals Side B creates a unique blend of reggae and Cumbia into a very fresh take on this multi-generational hit

wetdogg was born in a grotto in Detroit, Michigan with a mission to information to the masses. Through sonic awakening, wetdoggs mission is to enlighten the subconscious and shine light on the deepest crevices of the human psyche. Allowing pathways back into animalistic intuition and away from the technocracy, dig a hole, plant a seed, run in circles and free your mind.

Coming out of Detroit based label Hold Me Records started by Detroit Techno aficionado MGUN and Underground don of all dons Ryan Spencer, wetdogg releases her first Album pssssssp…

From the artist:
"When a dog runs into a river and comes out and shakes itself dry, there is no data collected, technology does not aim to control those that it cannot. Numbers are definite and infinite, a linear path to doomsday. With every move we make, we are tracked and traced and categorized in order to sell ourselves into data hell. Intimacy used to have meaning, the present moment, truth and love but so much of it has been taken captive by technology that seeks to psychologically manipulate and control. A dog runs into the water because that is what dogs do, but it seems these days we are starved from our natural instincts, instead relying on someone else's answer that we of course seek online. "

Using the primitive technology of the password journal (often marketed to little girls to keep their secrets) wetdogg uses the idea of the password journal to imagine a utopia free of the surveillance state in her upcoming album pssssssp…

Founded in 2022, Hold Me Recordings is an independent record label based in southwest Detroit, MI. It is run by Manuel Gonzales (MGUN) & Ryan Spencer, who with a deep-rooted connection to the city's musical history, showcase innovative sounds that challenge the status quo and push the boundaries of contemporary electronic music. Focused on promoting both emerging and established artists, Hold Me is releasing genre-defying tracks that blend unconventional productions with the sincerity of Detroit's legacy. From experimental techno, to downtempo and ambient, Hold Me is committed to offering music that sounds fresh, exciting, and unlike anything you've heard before.

The Kenny Dope - The Unreleased Project: "Get On Down" 7-inch vinyl is a must-have for fans of hip-hop breaks and party breaks. Known for his signature raw beats and groove-heavy production, Kenny Dope delivers an infectious, DJ-friendly track that blends classic breakbeats with a hip-hop edge.

The Kenny Dope - The Unreleased Project featuring Shaggy – "Gunshot" 7-inch vinyl is a standout release from The Unreleased Project, blending hip-hop and reggae influences with Kenny Dope’s signature break-heavy production.

This release is a hidden gem for DJs and vinyl collectors, offering a fusion of rugged hip-hop beats and reggae energy, perfect for party breaks and turntable action.

The James Reese & The Progressions – "Throwing Stones" (Kenny Dope Mix) 7-inch vinyl is a rare gem for collectors of soul and breaks. Released on Kay-Dee Records in collaboration with Now-Again Records, this edition features a Kenny Dope Mix From Original Master Tapes that enhances the deep soul energy of the original with signature break-heavy production.

This release blends vintage soul with modern breakbeat sensibilities, making it an essential pick for soul lovers, breakbeat collectors, and DJs looking for timeless grooves

Vocals by Marlene King

The Kenny Dope Presents The Madd Rackett – "Supa" 7-inch vinyl is a hip-hop and reggae-infused breaks record that showcases Kenny Dope’s masterful production. This track is built around hard-hitting drums, deep basslines, and an infectious groove, making it a must-have for DJs and vinyl collectors.

Kelly Finnigan has teamed up with soul music legend Renaldo Domino for his next 45, out May 23rd via Colemine Records. The A-track 'Keep Me In Mind' is a catchy, straight-down-the-middle soul tune in the classic dual male duo style of Sam & Dave, Eddie & Ernie, and Bob & Gene. Featuring organ and classic horn stabs, Kelly and Renaldo's voices blend harmoniously and make for a killer cut. The B-side, 'Let Me Count The Reasons,' is a track from Kelly's critically acclaimed new LP 'A Lover Was Born.' Slower in tempo and full of love and heart, the tune is a masterclass in romantic soulful sounds.

Long, long overdue reissue of this gem from the depths of The Skaters dreamweaving dimension, released as a limited tape through Spencer Clark's Pacific City imprint back in 2008. Comprising a period of extreme and vital activity for both Clark as Monopoly Child Star Searchers and Black Joker and his kindred spirit James Ferraro under his own name - 'Marble Surf' or 'Discovery' - and a myriad of identities like Liquid Metal or Edward Flex, this split finds these intrepid explorers on each side of a scrying mirror.
Conjuring the Angel Snake entity as a vessel for unlocking the unconscious, Ferraro takes up the A-side with hypnotic wooden percussion sustaining queasy tape processed keyboard lines that intertwine amidst a growing haze of hiss. About halfway through the digression an announcer boombox voice cuts up the scenery for a serpentine dance around the discarded remnants of civilisations past and future. Clark's Monopoly Child rides a beaming synth and muffled percussion accents on his trademarked keyboard thrills, all ascending and descending runs brimming on the horizon, not quite here, not quite out of reach, fading out to a galloping murk smeared by hallucinatory flute-like sounds and portamento accents that float in harmonic suspension.
Truly visionary and arresting stuff from these true purveyors of the netherworld, due to be rediscovered in these times of poor half-reassessments of the given past. It was never a dream, it was always a dream.

In the Andes of Peru, in a valley formed by the Huallaga River, lies the city of Huanuco. There, a little over fifty years ago, the emblematic cumbia band Los Darlings de Huánuco was born, and since then their compositions have gone around the world, bringing their homeland to the ears of music lovers and collectors. Adversities kept them away from music for two decades, but in spite of this, they marked a parallel path and created their own history in the maximum splendor of Peruvian cumbia. In a valley formed by the Huallaga River lies a temperate land located on the eastern slopes of the central Andes of Peru: Huánuco. A little more than seventy years ago, in that land of mountains and starry skies at almost 2,000 meters above sea level, Juan Nájera was born. A multifaceted musician by profession, he did not always have the privilege of being able to dedicate his life to music. For almost ten years he ran a family hardware store in Huánuco and then a mechanic shop on La Marina Avenue in Lima. He was also a truck driver. A decade of military dictatorships in Latin America made the artist's path very hard in the region, and Peru was no exception. Nájera was only nineteen when his first son was born. He had to make a living and the possibilities for entrepreneurship were slim. But if we go back in history, Juan Nájera was, first and foremost, a boy who dreamed of becoming a musician. Later, he was a boy who made it. Los Darlings de Huánuco managed to cross borders, not only in the capital of Peru, but also abroad. There are many collectors and music lovers around the world who seek and appreciate their songs, musical gems that have toured different latitudes and have managed to position this band from the Peruvian countryside in the most remote places on the planet. In a country characterized by its centralism, where opportunities in the countryside are much scarcer than in the capital, where the foreigner is greeted with more warmth than the local, and where getting ahead, especially in the musical field, implies an extraordinary effort, Los Darlings de Huánuco managed to take their sound to where they never thought it would be possible. From the Andes to the skyscrapers, from the heart of Huánuco to the immensity of other continents.

'the fun years', comprised of multi-instrumentalists Ben Recht and Isaac Sparks, have been making music together since the turn of the century, producing intriguing interrogations of ambient, drone, post-rock, and turntablism. Originally released in 2008 on the now-defunct Barge Recordings, 'baby it’s cold inside' is perhaps the high watermark of their discography. Equally concerned with microtonal nuance and harmonic intensity, it is both a product of its time and something well past it. The chief protagonist is surely the turntable, deployed to create woolly, evocative loops from unidentifiable source material that recall, at times, the work of Philip Jeck or Jan Jelinek—churning, roiling, hissing, atrophied textures further articulated with nuanced processing and buoyed by baritone guitar drones and anti-riffing.

The title of opener "my lowville" feels like a wink to the famed slowcore duo, with spare post-rock motifs hovering in a dusty ether, slowly consumed by distorted washes of rich, harmonic sound. One of the most satisfying aspects of the album is that despite the recumbent nature of most of their sound design choices and compositional proclivities, Recht and Sparks are loath to sit still. "auto show of the dead" is a serpentine piano/guitar exploration full of subtle detail, preceding the immaculately titled "fucking milwaukee’s been hesher forever," in which the tactile delights of clicks+cuts are liberated from the laboratory and allowed to slum it in the world of tape gunk and '90s plate reverb. Later, "re: we’re again buried under" presents an inky black ambience that feels truly expansive and almost overwhelming, and closer “The Surge is Working” tears apart an anthemic shoegaze dirge at the seams, leaving only billowing filtered noise and negative space in its wake.

Presented here with a brilliant remaster by LUPO, 'baby it’s cold Inside should be considered alongside records like Belong’s October Language and Polmo Polpo’s Like Hearts Swelling—an arresting early aughts ambient marvel that warrants ongoing investigation.

Australia's world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album. Album opener "Sleep Dreams" is the closest thing to a Surprise Chef tune one would come to expect but then lead single "Bully Ball" comes on and you get the picture that they came to kick in the door on this one. The song's gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like "Body Slam" that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on "Fare Evader" where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-film. The fellas turn up the tempo for the dance with tunes like "Consulate Case" and "Tag Dag"; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on "Websites" and double down on their abilities to make beautiful and ethereal tracks with "Dreamer's Disease". With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground's most beloved to a household name and we are definitely here for it.

After a collage tape collab with Bardo Todol back in 2022 (SUC52, Magnetic Road to Hell) Robert Millis finally gets his Discrepant debut proper, a much overdue entryin our random catalogue of lost musical oddities.

The not so self explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. An hermetic rearrangement of emptiness could be another more big headed title. But I leave the man to talk about his thing:

‘’The phrase interior music occurred to me a few years ago as a way to describe some recent work. It’s about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It’s about exploring tiny audio fragments—single notes, vinyl and shellac surface noise, recording mishaps and anomalies—and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange THEM into something meaningful. It also references “interior design” with the placement of sounds in specific locations, layers or in juxtapositions.

Inspirations include Steve Roden’s lowercase work, Toshiya Tsunoda’s field recordings, Eliane Radique’s slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music—especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations.’’

Robert Millis is a sound artist known for his work with Climax Golden Twins, the Helen Scarsdale Agency, the soundtrack to cult horror film Session 9, the Victrola Favorites book and cassette series, and many releases on Sublime Frequencies including Indian Talking Machine, Paris to Calcutta: Men and Music on the Desert Road, compilations of the earliest music recorded in Korea, Japan and Myanmar, and the documentaries This World is Unreal Like a Snake in a Rope and Phi Ta Khon: Ghosts of Isan. Somehow he is a Fulbright scholar (to India 2012-13) and the recipient of a Guggenheim Fellowship (2020). He has or currently does play with AFCGT, Idol Ko Si, and/or Telescoping.

Deerhoof haben sich schon vor langer Zeit als eine der großartigsten Rockgruppen des Planeten etabliert - wer das für übertrieben hält, hat noch nicht genug Zeit damit verbracht, Deerhoof zu hören - das wahnsinnig erfinderische Quartett behandelt jedes seiner neuen Alben als eine Gelegenheit zur kreativen Wiedergeburt. Und doch sind sie irgendwie auch zutiefst zuverlässig, eine seltsame, aber wahre Beschreibung für eine Band, die so kreativ rastlos ist. Man weiß nie, wie ein neues Deerhoof-Album klingen wird, außer dass es immer nach Deerhoof klingen wird. Die Band wird durch solche Paradoxien definiert, wie "Noble and Godlike in Ruin" erneut bestätigt. Ihr neuestes Album ist entweder ein Porträt einer Welt, die in monströsen Hass, Entmenschlichung und Dollarzeichen abgleitet, oder ein eindringliches Selbstporträt der Band als Monster: ein intelligentes, sensibles, hybrides Wesen, das unermüdlich von Liebe singt, sich aber zunehmend von dieser Welt entfremdet. Die Musik ist fröhlich und ahnungsvoll, kybernetisch und zutiefst menschlich, alles zugleich. Streicher, die an avantgardistische Kammermusik und klassische Horrorfilm-Soundtracks erinnern, prallen auf Gitarren- und Basslinien. Das Schlagzeug ist manchmal gefiltert und klingt fast elektronisch, aber kein Computer könnte einen so funkigen und dynamischen Rhythmus erzeugen, bei dem jede winzige Variation von einem Snare-Schlag zum nächsten Welten der Möglichkeiten vermittelt. An der Spitze steht die unnachahmliche Altstimme von Satomi Matsuzaki. Eine Stimme der Einsamkeit, deren schlichte Ruhe seltsam außerhalb des Mahlstroms der Band zu stehen scheint, zu dem sie mit ihren zackig-präzisen Bassläufen selbst beiträgt. Als Einwanderin der ersten Generation in den USA hat sie nie versucht, ihren japanischen Akzent oder ihre Karaoke-esken Vortrag zu verbergen. Auf "Noble und Godlike in Ruin" wirkt dies abwechselnd als Ausdruck von Einsamkeit und als kühle Provokation gegenüber Systemen der Unterdrückung und Kontrolle. ,Kindness is all I needed from you", singt sie auf dem epischen Albumabschluss ,Immigrant Songs`. ,But you think we're in your house." Nicht lange danach explodiert der Song, sein eng gewickelter Art-Pop macht Platz für mehrere Minuten heulenden Lärm. Auch wenn das Thema düster sein mag - wie könnte es anders sein - tragen die Songs trotzigen Optimismus in ihrer Weigerung, sich den Konventionen oder überlieferten Weisheiten zu beugen. Da ist diese berühmte Zeile von Dylan Thomas über das Wüten gegen das Sterben des Lichts: "Noble and Godlike in Ruin" fühlt sich ein wenig so an. Die Welt mag untergehen, aber Deerhoof gehen schwungvoll unter.

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

The incredibly elusive band Sault release their debut album 5 on Vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6's Lauren Laverne and USA's KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves

Dean Josiah Cover aka Inflo has been composing for Michael Kiwanuka, The Kooks, Tom Odell, The Jungle and Little Simz

2025 Repress

Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.

For those who have been paying close attention, this project will come as a welcome return to the vulnerability and playfulness of early Om Unit records such as his sub-radar single from 2010 ‘Lightgrids/Lavender’ (All City Records) or the unearthed chugging ambience of ‘Friend of Day’ (Idle Hands) and indeed in some sense draws from similar wellsprings as moments on 2013’s Bass classic ‘Threads’.

Whilst being perhaps an ‘interim project’ this is still a vital and important expression of exploration and playfulness. A study in the true sense and borne out of a subtle but pervasive frustration with the rigidity found in musical words he has up to now been cohabiting, Acid Dub Studies comes from the pressing need to break with perceived expectation and to explore an honest and natural space away from the genre labels and tags that had been often lazily applied to his sizeable catalogue of music.

With no desire to reinvent the wheel, rather to paint pictures in an honest framework, the LP was crafted using a medley of classic analogue mixing techniques inspired as much by the adventurous dubbing of Adrian Sherwood as by the inward-delving haze of Scott Monteith’s Deadbeat project. Created during a period of lonely introspective walks through his home town of Bristol, the cover art is a photograph of some of the iron kerbstones that are found almost exclusively in the characterful and hardy city which were installed in the late 1800’s to protect pavements from cart wheels. Something about the permanence of those iron slabs and cobblestones inspired a sense of comfort and determination.

Acid Dub Studies is due for release as yet another self-released label-free project leading on from recent EP titles ‘Violet’ and ‘Submerged’ both of which hinted at some of the shapes found in this full length album.

Once again Jim has shown a rare convincing adaptability that few electronic artists can embody. Another step on the journey of personal and creative curiosity that fans are sure to appreciate.

Wairunga finds the Freddy juggernaut digging deep to debut five songs and revisit two classics captured in an outdoor performance sans audience but with wild weather elements playing an important creative role in producing this unique live album.

Recorded in Wairunga, high above Waimarama Beach in New Zealand, it is place etched into the DNA of Fat Freddy’s Drop who’ve roamed here for over 20 years; to party, relax between tours, make a song Wairunga Blues in its honour and even to get married. Farmed by the Parker family for a century, Wairunga is an oasis of green pasture and native tree filled valleys that fall away to the ocean below.

In inimitable Freddy's fashion the new tunes run a gamut of genre busting styles. Coffee Black is layered with cosmic hot buttered soul and cinematic wigged out psyche-blues while Shady continues Freddy's Afro-Acid adventures with Fitchie’s beat-making tapping into a South African township brand of techno Freddys experienced on tour.

Bush Telegraph is a reggae classic featuring MC Slave aka Mark Williams on the mic with freshly minted yum char spiced rhymes of hope. The other new tracks Leave Your Window Open and Dig Deep are loose rhythmic experiments that the band have been working on for a long time. Versions were developed, rehearsed, but then set aside – dismissed, demonised - only to be revived with new energy in some future moment of creative cohesion. The results are loose-limbed; broken and bruised beats smashing into subterranean bass and twisted up melodies.

Bones and Wairunga Blues are the two classics from Freddy's vast back catalogue. Off the Blackbird album, Bones has aged beautifully - like a fine wine - the song’s component parts matured and melded together in harmony and balance. DJ Fitchie rates this 2021 vintage superior to the 2013 original. Wairunga Blues has been a work-in-progress since it was released on Bays in 2015. Kuki dials up some appropriately off-kilter keys to match the wonky-funk laid down by Fitchie’s bass line and the horns. It’s a mighty comeback – and a fitting tribute to this magical place.

Again Mysteries delivers 3 exellent long dark atmospheric tracks upholding the established label philosophy. Mastered by Pozek. Artwork by Darkam.
The tribal triumvirate of C. Ysme, Kbyl and Yukai supply fuel for the nomadic war machine. Relentlessly driving, pushing forward at 150 bpm, only stopping for the next gathering in pirate utopia. A maelstrom swirling, drawing you in to the centre of the dance.
Darkness merchants and veterans Too Old Boyz team up with Kaoslog and descend into the catacombs to deal with the fear factor. In the blackness a synth melody shines like a greenish light. Amply named Adrenaline this track urges to keep on moving and confront the monsters. 150 bpm, epic and hard as nails.
After Mysteries #6, #10 and VC 27 Keflat 23 is back and ups the pace going 170 beats full on pumping tribalistic yet subtle in line with the spirit of Mysteries, carefully laying out a mental map of realms and conzepts unknown. Immer geradeaus but when you see the rabbit ask it for directions.
This release includes a 2 side poster, digital download code and artwork sticker.

Mr. Computer sees two figureheads of Dutch electronics pay homage to the voice of electro disco, the vocoder. Figi and Luca dell’Orso team up to sing praise of a tool that has crossed genres and styles and give the little metal larynx deserved limelight on their own three track theatre. Rumbling bass is shot through with crisp snaps in the title piece, warbling vocals rising as keys dance in this wonderful collaboration.

Production across the 12” is beautifully clean and sharp, allowing the rich analogue sound and robotic lyrics to be fully appreciated. Of course, as happens with the vocoder, those lyrics are just that shade of bittersweet. That brooding quality is used to full effect by Luca dell’Orso in “Fire with Fire”. A bold and daring melody is countered by a tale flecked with sorrow, the brightness and immersion of synths contrasted by the filtered and fractured human voice. Figi flies solo for the finale. “Moonlight (Vocoder Version)” dips words in a thick mechanical syrup, a story of burning love recanted to moonbeam rinses and bending disco bars.

A true celebration of man and machine.

THE BIG ONE !

Soul Clap and Haven Star join forces for vibrant collaboration ‘Gone Stumblin’ on Crosstown Rebels.

Landing on 23rd May 2025, the track brings together years of musical evolution, late-night studio magic, and the unmistakable essence of a true party anthem. Genre-blending US house visionaries Soul Clap return to Damian Lazarus’ Crosstown Rebels with a deeply groovy and emotionally charged new release, teaming up with South Florida’s rising star Haven Star for the striking ‘Gone Stumblin’ - ushering in a new chapter of collaboration and cosmic storytelling.

Rooted in a near-mythical session at Brooklyn’s legendary Marcy Hotel, ‘Gone Stumblin’ began its journey with keyboardist John Camp crafting the original chord progressions and top-line melody. After years of floating in digital limbo, the track resurfaced thanks to Soul Clap’s Charles Levine, who reimagined it with a fresh twist and brought in Haven Star—whose soulful delivery launched it into orbit.

At just 24, Haven Star brings fresh energy and vintage soul sensibility to the table—having shared the stage with legends like Patti LaBelle, Jeff Beck, and Sam Moore, while cutting her teeth across genres from orchestral pop to funk-fuelled house. The original mix merges heady keys and rich chords with a bouncing, crisp low end, while the ‘Dub’ strips it back and introduces trippy sonics and heavy low-ends for after-hours introspection. ‘Unifying Force’ leans into Soul Clap’s psychedelic ethos, before the ‘Bonus Version’ of the title cut offers yet another club-ready rework with added punch.

"Something Soft", das zweite Album der irischen Post-Punk-Brandstifter M(h)aol, ist alles andere als soft. Von der ersten Note des Eröffnungsstücks von "Something Soft" bis zu den verzerrten Schreien des letzten Stücks fühlt sich die Platte antagonistisch gegenüber dem Konzept der Sanftheit an, klanglich und thematisch. Es ist eine unapologetische Annäherung an intersektionellen Feminismus, Tierschutz, Konsum und den Kampf um einen Platz in einer Welt, der es an Empathie mangelt. Was M(h)aol bietet, ist Katharsis in zwei Formen: die Art, die man bekommt, wenn man anderen gegenüber offen ist, und die Art, die man bekommt, wenn man mit Recht etwas kaputt macht. Wut und Empathie effektiv zu kanalisieren ist ein Akt der Widerstandsfähigkeit, und um "Something Soft" zu machen, mussten M(h)aol besonders widerstandsfähig werden. Nach ihrem gefeierten Debüt "Attachment Styles" änderte sich das Line-up von M(h)aol und bestand nun aus dem Kerntrio Constance Keane (Schlagzeug/Gesang, sie/ihr), Jamie Hyland (Bass/Gesang, sie/ihr) und Sean Nolan (Gitarre, er/ihm). Dieser Prozess veränderte die Herangehensweise der Band an das Songwriting und die Auftritte und führte zu einem unerwarteten Durchbruch. "Something Soft" zeichnet sich durch einen dringlicheren Sound aus, der sich eng um den Rhythmus von Hyland und Keane legt. In Songs wie "Pursuit" und "Snare" verbindet sich Keanes Gesang mit dem Schlagzeug, als würden ihre Worte durch ihr Spiel zum Leben erweckt und direkt aus ihrem Körper kommen. Vor dem Hintergrund dieser ängstlichen und schwadronierenden Tracks nimmt ihre Stimme den Raum eines inneren Monologs ein, in dem sie von einem angespannten Heimweg und von der Misogynie im Green Room aus einer Position der drolligen Beobachtung heraus erzählt - eine universelle Erfahrung, die in spezifischen Details wiedergegeben wird. Wie seine Vorgänger "Attachment Styles" und die "Gender Studies" EP wurde auch "Something Soft" von Jamie Hyland aufgenommen. Es ist die technisch ausgefeilteste der bisherigen M(h)aol-Aufnahmen, denn die Band, zu der auch Sarah Deegan vom Pixie Cut Rhythm Orchestra am Bass gehört, zog in das Dubliner Ailfionn Studio, wo sie die räumlichen Gegebenheiten und das Studio-Equipment nutzten, um ihrem Sound mehr Nuancen zu verleihen. Die zusätzlichen Sessions und das Können hinter den Reglern waren ein Segen, aber für eine Band, die es gewohnt ist, unter extremem Zeitdruck zu arbeiten, war dies eine unerwartete Herausforderung: Konnten M(h)aol das Gefühl der Unmittelbarkeit beibehalten, das ihre Musik bis zu diesem Zeitpunkt geprägt hatte? Songs wie "DM:AM" zerstreuten diese Sorge schnell, indem sie innerhalb von 20 Minuten aus einem Drone entstanden, den Nolan spielte, während Hyland ihr Aufnahme-Equipment aufbaute und sich beeilte, den Song einzufangen, sobald Keane und Deegan dazukamen. Eine der geisterhaften Hymnen von "Something Soft", "1800-Call-Me-Back", begann als Scherz, dass die Band einen Fußballgesang schreiben sollte, wurde aber weitaus komplexer - die köstliche Balance aus Chaos und Klarheit, die sie gefunden haben, wäre ohne Zeit unmöglich gewesen. "I Miss My Dog" ist weniger spontan, aber seine Meditation über Trauer baut sich in einem halsbrecherischen Tempo auf, von Rückkopplungen über Keanes Schlagzeugspiel und Gesang bis hin zu einem spektakulären Schluss, der die Trauer in Bass und Gitarre erstickt, eine der größten technischen Leistungen von M(h)aol bis heute. Der Feinschliff unterstreicht den schelmischen Charme von M(h)aol und lässt das Intime hymnisch wirken, indem persönliche Erfahrungen genutzt werden, um die allgemeinen Systeme, unter denen wir leben, zu beschreiben. Für diejenigen, die sich in den Songs von M(h)aol wiedererkennen, ist das Hören von "Something Soft" wie ein Sprung in einen lang laufenden Chat-Thread, voller Wut und Humor.

Mit ihrem siebten Studioalbum katapultiert die Berliner Band Kadavar ihren Sound in neue Dimensionen. Inspiriert von einem Zitat ihres Bassisten Simon 'Dragon' Bouteloup, „Ich will einfach nur ein Sound sein“, schaffen sie ein Manifest für Freiheit, Transformation und radikale Präsenz. Keine Konzepte, keine Grenzen: Das Album ist ein musikalisches Ritual des Übergangs, das sich nahtlos zwischen Rockhymnen, Balladen und epischen Momenten bewegt - immer voller Schwung und Veränderung.

Unterstützt von Produzent Max Rieger und begleitet von Gitarrist Jascha Kreft zelebrieren Kadavar die ewige Verwandlung des „Ewigen Jetzt“. Ein Soundtrack für die Widersprüche der Zeit, der alles hinter sich lässt, was nicht Musik ist - kraftvoll, verletzlich und immer bereit für einen Neuanfang. Es ist ein Liebesbrief an den Moment, an Berlin und an das Leben selbst - voller Liebe, Verlust, Narben und dem bittersüßen Gefühl der Vergänglichkeit. Kadavar laden uns ein, loszulassen und eins zu werden: mit der Musik, mit dem Jetzt, mit dem Klang.

Labelboss Harald Björk presents an energetic and trancy, yet deep and playful minimalistic techno 12" of swirling melodic soundscapes accompanied by raw beats and danceable grooves. A record consisting of four club tracks for different moods of the night. If you enjoyed Harald's track 'Aluco' from the recent Dots & Pearls sampler out on Cocoon Recordings last spring, make some up front room in your bag for this special record. "Something wild, something deep, something acid, something geil!" as the old teshno say goes for a well blended 12". A tense remix package is coming up from Ida Engberg (Kompakt), Gregor Tresher aka Sniper Mode (Turbo Recordings) and Martinou (Nous'klaer/Mule Musiq).

Mit ihrem siebten Studioalbum katapultiert die Berliner Band Kadavar ihren Sound in neue Dimensionen. Inspiriert von einem Zitat ihres Bassisten Simon 'Dragon' Bouteloup, „Ich will einfach nur ein Sound sein“, schaffen sie ein Manifest für Freiheit, Transformation und radikale Präsenz. Keine Konzepte, keine Grenzen: Das Album ist ein musikalisches Ritual des Übergangs, das sich nahtlos zwischen Rockhymnen, Balladen und epischen Momenten bewegt - immer voller Schwung und Veränderung.

Unterstützt von Produzent Max Rieger und begleitet von Gitarrist Jascha Kreft zelebrieren Kadavar die ewige Verwandlung des „Ewigen Jetzt“. Ein Soundtrack für die Widersprüche der Zeit, der alles hinter sich lässt, was nicht Musik ist - kraftvoll, verletzlich und immer bereit für einen Neuanfang. Es ist ein Liebesbrief an den Moment, an Berlin und an das Leben selbst - voller Liebe, Verlust, Narben und dem bittersüßen Gefühl der Vergänglichkeit. Kadavar laden uns ein, loszulassen und eins zu werden: mit der Musik, mit dem Jetzt, mit dem Klang.

Jello Biafra and the Guantanamo School of Medicine are at it again! Hot on the heels of their debut full-length The Audacity of Hype, the group—featuring Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), Billy Gould (Faith No More) and Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle)—roars back with five unreleased rippers. CD and download versions include “Metamorphosis Exploration on Deviation Street,” a transmogrified 18-minute cover of the Deviants’ classic. The band’s twin guitar attack retains some of the space punk overtones and spy-music-on-meth chaos of Dead Kennedys, while adding a healthy dose of Detroit-style proto-punk, flavoured with Weiss’s industrial excursions into metal percussion. This is Biafra’s first full-time band since Dead Kennedys broke up in 1986, and the depth and breadth of his musical chops and lyrical triumphs are on full display on these ferocious tracks

Jello Biafra and the Guantanamo School of Medicine are at it again! Hot on the heels of their debut full-length The Audacity of Hype, the group—featuring Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), Billy Gould (Faith No More) and Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle)—roars back with five unreleased rippers. CD and download versions include “Metamorphosis Exploration on Deviation Street,” a transmogrified 18-minute cover of the Deviants’ classic. The band’s twin guitar attack retains some of the space punk overtones and spy-music-on-meth chaos of Dead Kennedys, while adding a healthy dose of Detroit-style proto-punk, flavoured with Weiss’s industrial excursions into metal percussion. This is Biafra’s first full-time band since Dead Kennedys broke up in 1986, and the depth and breadth of his musical chops and lyrical triumphs are on full display on these ferocious tracks

Veteran Drummer Ken Serio has been a staple on the New York
studio scene for over 30 years
and has appeared on over 70 CDs,
as well as 18 as a leader. His new release Brooklyn Oasis is his most ambitious release to date and features Jazz Legend Ron Carter
on Bass as well as Tomoko Ohno
on Piano, and Saxophist Dave Mullen. Recorded October
24th at The Acoustic Studio in Brooklyn NY, and produced by
Bob Cowley, it features two
originals The title track
“Brooklyn Oasis” penned
by Ohno, as well as "For Micheal
" a heartfelt tribute to the late
Micheal Brecker by Dave Mullen
. Liner notes by Jazz journalist
Bill Millkowski, and also Hammond great Brian Charette. Other songs include the McCoy Tyner burner “
Changes”, “Dindi”, the Jobim classic,“Hard Eights” by Lyle Mays
, “In Your Own Sweet Way”, by
Dave Brubeck, and the lovely “
Skylark” by Hoagie Carmicheal.

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card