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A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

Orange/Black/Sunburst Vinyl "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Purple Vinyl. "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Gold vinyl. Building on the momentum of their debut, Shooting Star returned in 1981 with Hang On for Your Life, a dynamic follow-up that further cemented their place in the AOR rock scene. The album delivered a mix of anthemic rock and melodic hooks, with standout tracks like "Hang On for Your Life," "Hollywood," "Breakout," and "Are You on My Side" all receiving steady radio airplay. One of the album's most unique moments came with "Flesh and Blood," an up-tempo rock song featuring a soaring violin solo_a rarity in the genre that highlighted the band's signature sound. While the record found success on rock stations, it also marked the end of an era, as founding keyboardist Bill Guffey departed the band following its release. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still at the helm, Hang On for Your Life captured Shooting Star at their peak_an ambitious, hard-driving rock band with a sound that was both melodic and powerful.

White/Gold Sunburst Vinyl. Building on the momentum of their debut, Shooting Star returned in 1981 with Hang On for Your Life, a dynamic follow-up that further cemented their place in the AOR rock scene. The album delivered a mix of anthemic rock and melodic hooks, with standout tracks like "Hang On for Your Life," "Hollywood," "Breakout," and "Are You on My Side" all receiving steady radio airplay. One of the album's most unique moments came with "Flesh and Blood," an up-tempo rock song featuring a soaring violin solo_a rarity in the genre that highlighted the band's signature sound. While the record found success on rock stations, it also marked the end of an era, as founding keyboardist Bill Guffey departed the band following its release. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still at the helm, Hang On for Your Life captured Shooting Star at their peak_an ambitious, hard-driving rock band with a sound that was both melodic and powerful.

Red vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Red/Black splatter vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Listening to Unknown Path's Pathfinder for the first time is a claustrophobic experience. It's as if the tracks had been recorded to tape and left to decompose for 10 or so years, then dug up and re-recorded. A thick layer of grunge and an overall murky feel sets the tone for Path 0.1 and continues throughout the EP. Paths 0.2 and 0.3 add a more upbeat feel to proceedings, as the beats get scattered around like they were in a pinball machine. Path 0.4 finishes off the experience by bringing the tempo back down, while all the time keeping the uneasy atmospherics that make this EP a unique and rewarding listen.

Two new faces on the label with the two-faced eagle! Both artists have been much respected forces on the international club circuit for a while. IDA ENGBERG is best known for her affiliation with Stockholm’s Drumcode and Truesoul labels. For her Speicher debut though, she’s tapping into a quite different sound territory. “Nothing Feels The Same” will go down in history as the first 2 Step track ever released on KOMPAKT EXTRA. It’s as sensual as it’s booming. Definitely one for those late morning hours. With “Pink Monkeys” is an EBM/sawtooth trance amalgamation of the highest order with enough psychedelic headroom for the festival season.

MARCO RESMANN’s deep involvement with the late Berlin club legend Watergate has made him one of the German capital’s beacons of house and techno. He’s one half of Lunar City Express and former member of Pan-Pot which speaks volumes about his stylistical versatility.”“RIMA feat. Laatz” he delivers a frenetic rollercoaster ride of a techno track. It’s radical, it’s menacing and super fun all at once – A truly one of a kind techno track. “Dimensions” is a low-slung electro bulwark full of intricate details to keep head and feet going in unison.
Zwei neue Gesichter auf dem Label mit dem doppelköpfigen Adler! Beide Künstler sind seit einiger Zeit angesehene Größen in der internationalen Clubszene. IDA ENGBERG ist vor allem für ihre Zusammenarbeit mit den Stockholmer Labels Drumcode und Truesoul bekannt. Für ihr Debüt auf Speicher betritt sie jedoch ein ganz anderes Sound-Territorium. „Nothing Feels The Same“ wird als erster 2-Step-Track, der jemals auf KOMPAKT EXTRA veröffentlicht wurde, in die Geschichte eingehen. Es ist ebenso sinnlich wie dröhnend. Definitiv etwas für die späten Morgenstunden. Mit „Pink Monkeys“ ist eine EBM/Sägezahn-Trance-Verschmelzung der höchsten Güteklasse mit genug psychedelischem Headroom für die Festivalsaison entstanden.

MARCO RESMANNs tiefe Verbundenheit mit der jüngst verstorbenen Berliner Clublegende Watergate hat ihn zu einem der Fixpunkte der deutschen Hauptstadt in Sachen House und Techno gemacht und weit darüber hinaus. Er ist eine Hälfte von Lunar City Express und ehemaliges Mitglied von Pan-Pot, was Bände über seine stilistische Vielseitigkeit spricht. Mit „RIMA feat. Laatz“ liefert er eine frenetische Techno-Achterbahnfahrt, die gleichermaßen radikal, bedrohlich ist und ungemein Spaß macht – ein wirklich einzigartiger Track für die Ewigkeit. ‚Dimensions‘ wiederum ist ein tiefgründiges Electro-Bollwerk voller komplexer Details, das Kopf und Füße sicher im Einklang hält.

Following the Nairobi Sisters 45 in 2023 and Revolutionaries LP in 2024, 333 is back for 2025 with another rare mid-1970s cut out of Winston Jones' Flatbush-based Flames label catalogue.

It is issued here under license from Jones, aka the original singer and composer of Stop That Train with the Spanish Town Skabeats aka The Spanishtonians. Making the move from JA to NYC in the early 1970s he established and ran the state-side Flames label, nursing it into a key imprint in Brooklyn's reggae scene from the mid-1970s until the early 1990s. This in-demand roots cut features a stellar horn section in combination with urgent, soul-inflected vocals from Glen Hutchinson. Backed with a killer stripped-back dub.

Julia Hülsmann erweitert ihr Quartett mit einer frischen norwegischen Stimme am Horn und präsentiert
ein Programm gruppeneigener Stücke, die im Quartett- und Quintettgefüge nachdenklich und kreativ ausgelotet werden. Wie auf den vorherigen Alben steuert jedes Quartettmitglied Musik zur Session bei, wobei
die Bandleaderin selbst für die Hälfte des Programms verantwortlich ist. Saxophonist Uli Kempendorffs
Einführung in Julias Trio auf Not Far From Here (2019) brachte bereits eine neue Dimension in das
Zusammenspiel der Gruppe – dieses Gefühl wird durch die Ergänzung um die norwegische Trompeterin
Hildegunn Øiseth, die sich der Band auf der Trompete und dem Ziegenhorn für fünf Stücke anschließt, um
ein Mehrfaches verstärkt und ausgebaut. Fesselnder Lyrismus und spielerische rhythmische und melodische
Kniffe durchdringen Under The Surface – ein weiteres Juwel in Julia Hülsmanns zunehmend beeindruckendem ECM-Werk.

Very little is known about Joe Prichard or his sidekicks, except that the band, which hailed from Missouri, drew its inspiration from influences far and wide, resulting in each of the five tracks being very different in character, ranging from the power chords and staccato guitar breaks of the Jimmy Page variety, to the throaty sax of 12-bar blues specialists Climax as well as the dual guitars of ZZ Top. There’s even a nine-minute jam a la Jethro Tull or Traffic with flute and sax giving a decidedly jazzy feel to proceedings. Originally released in 1974, this is another extremely rare record now reissued by Riding Easy Records. "Pro-sounding 1970s rarity with a ballsy rock sound and songs ranging from ambitious prog over bluesy bar-rock into macho FM rock postures. It’s solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and elaborate arrangements provide a prog-AOR vibe that may turn some off, although there’s enough groove to keep one’s attention throughout the four long tracks." – (Acid Archives)

You may not require any introduction to the members of ROACH SQUAD, or at least one or two of the band. Needless to say, Hugo Mudie (The Sainte Catherines), Frankie Stubbs (Leatherface), Graeme Philliskirk (Leatherface) have all graced the Paradise Gutters around the Punk Rock world for some time. Joining them is Alex Keane (The Murderburgers), along with another local Sunderland Lad, Sim Robson. As with many of the members previous works, a DIY approach to writing and recording the album was taken. The bulk of the recording took place at their own Rocket Studios in Sunderland, UK with the exception of Hugo laying down the vocals from his home in Montreal (Quebec, Canada). Some of you will have noticed the line-up contains two vocalists, and indeed this is the case. For this new Band, Frankie wanted to take some time out from vocal duties and concentrate on playing his guitar. This sees Hugo taking front stage... Not for every song, though! Who knows what you expect, but what we do ask of you before listening is that you find your comfortable spot, abandon any preconceptions, and as always play it loud.

Sonny Boy Williamson (Alex Miller 1912 - 1965) was one of the most inspiring
harmonica players in blues history. Though he took his name from another well-known
harmonica player, no one really sounded like him. Williamson developed his own
signature harmonica style, always showing a metronome like timing and an endlessly
inventive technique.
This release consists of Sonny Boy's complete debut LP, Down And Out Blues ,
originally released in 1959 on the Chess Records subsidiary label, Checker. Featuring
Muddy Waters, Jimmy Rogers, Willie Dixon, and Otis Spann, among others.
Sonny Boy Williamson toured England with American Folk Blues Festival in 1963 and
1965 and appeared on the iconic tv music show Ready Steady Go (8 January 1965)
backed by UK band,The T-Bones with Gary Farr.

Liner Notes Shawn Pittman 'My Journey' Since releasing my first album in
1998, I have been on a road with many twists and turns and some interesting
stops along the way - Like the title song of this album 'My Journey' reveals,
"if I played on the streets, or on the biggest stage..." I think of high points like
getting a standing ovation and an encore as the opening act at The Fillmore in
San Francisco
Opening up for B.B. King for two nights in Houston at The House of Blues. Playing the
Chicago Blues Festival and having hundreds of people standing in line for an
autographed CD. Playing with the Muddy Waters band at Antone's in Austin and doing
a duo with James Cotton. Being a guest front man with Double Trouble in Minneapolis
and many more special moments. There were also gigs where I played for tips on the
street (mainly 6th street in Austin) and played at a shark auction on a pier in Bordeaux
(the auctioneer would interrupt the song and speak in very fast French!). I played 3
nights a week on the Riverwalk in San Antonio for people throwing wadded up napkins
at me and yelling "Play something we've heard!"
During this journey you meet people along the way that can see something in you that
maybe you can't even see yourself. I have been fortunate enough to meet many
people like that that have encouraged me to continue to use the gift that God gave
me. Erkan Ozdemir is one of those people. We started doing tours together around
2011 and I have had the privilege of sharing the band stand with him many times in
Europe and even in the USA. He is a great bass player and has raised up some
amazing young men as well as musicians, Kenan and Levent. You may know them as
the Ozdemirs. I am kind of like the "American cousin" to them as I have seen them
grow up and felt like family. This is the second time we have teamed up on a record.
The first was 'Make it Right' with Levent on drums and Erkan on bass. We have a great
chemistry live and in the studio.
I think this album might just be my favorite one of them all! Hope you enjoy!

Best known as a founder member of Submotion Orchestra, as well as
Matthew Halsall's pianist for many years & lately keyboardist for Portico
Quartet, Taz Modi now returns with his long-awaited second solo album - the
haunting and elegant 'Involuntary Memories' on Sehnsucht Records
Recorded across the country on a number of different pianos, the album builds upon
the eclectic nature of his debut 'Reclaimed Goods' by aiming to bring as wide a range
of expression into post-classical piano music as possible, whilst also melding subtle
electronic influences

Its sound veers away from raw black metal intensity, opting for expansive, dreamy
atmospheres. Damian Anton Ojeda's signature approach tempers the harshness of
black metal's usual bleakness with a delicate sense of beauty and melancholy. The
album builds around shimmering guitars and lush soundscapes, creating a sense of
longing rather than the frostbitten aggression typically associated with the genre.
A key characteristic of "I Want to Be There" is how the screamed vocals--reminiscent
of depressive black metal--are mixed to blend seamlessly with the instrumental layers.
This intentional obscuring of vocals, pushed toward the back, transforms the vocals
into another textural element rather than a dominant force. This aesthetic decision
diffuses the emotional weight usually carried by extreme metal vocals, steering the
listener away from despair and toward introspection.
The balance between black metal's darker elements and post-rock's ethereal qualities
gives this record its emotional depth. The opening and closing tracks, "In the Distant
Travels" and the title track, lean more heavily on black metal structures but never fully
embrace the genre's typical harshness. Instead, the fuzzy guitars and crashing
cymbals are imbued with hope and uplifting energy. The post-rock influence becomes
more pronounced in tracks like "I Want to Be With You," which forgoes black metal
vocals entirely in favor of a choral atmosphere, evoking a serene and heavenly quality.
Ojeda also demonstrates his talent for creating immersive soundscapes, drawing
comparisons to *Sigur Ros*. Both artists employ sweeping melodies that evoke
feelings of transcendence. Still, where *Sigur Ros* tends to embrace more overtly
uplifting and sentimental tones, Sadness anchors these grand moments in
melancholy, avoiding overindulgence. The album is a delicate dance between light and
shadow, making the listening experience emotionally rich and layered.
While it may not have the raw emotional punch of *Deafheaven* or the nostalgic
charm of *Alcest*, *I Want to Be There* stands as a polished and thoughtfully
composed entry into the post-blackgaze genre. Ojeda's ability to fuse the weightless
hypnosis of black metal with the airy beauty of post- rock results in a sound that is
both familiar and new. Sadness offers a captivating and often beautiful exploration of
blackgaze, making the album a worthwhile listen for fans of atmospheric and
introspective metal.

The complete LP + 2 bonus tracks - limited edition pressing on 180g vinyl

Although Chet Baker and Bill Evans were both highly lyrical and introspective players who could have made a fabulous partnership, they only ever recorded together on a couple or so occasions. By the time the recordings here were made, Chet Baker had been a star for less than a decade and this wholly instrumental album presents him accompanied by other great jazz stars with whom he would also rarely play and record with again.

"Chet Baker's penultimate session for Riverside produced an all-star lineup to support him, including jazz heavyweights Pepper Adams, Bill Evans, and Kenny Burrell. Each of them makes important contributions to the session. A good place to hear Baker's special way with the horn is made even more attractive with the presence and contributions of top jazz artists." - ***** Dave Nathan, AllMusic

All songs recorded and mixed by Pat Lilley at Nexus Recording Studio in Waukesha
Wisconsin between 1998-1999. Songs 1,2, and 4 originally appeared on Parallel
Chlorophyll Regions (Highwater Records 005) 1998. Song 3 originally appeared on
Akarso/Seven Days of Samsara Split 7" (Ricky Schroeder Fan Club 001) 2000. Songs
5-8 originally appeared on Akarso/Faraquet Split CD (404 Records 002) 1999.
Milwaukee's underground scene of the late 1990s harbored many hidden gems, and
Akarso is certainly one of its finest. Blending elements of post-hardcore, math rock,
screamo, and noise rock, the trio quickly made a name for themselves during their
short yet intense existence. Their chaotic and intricate sound earned them a loyal
following within math and post-hardcore circles, and they toured extensively, leaving
behind a legacy that would influence the Midwest's underground music scene for
years to come. With Leave Quietly: 1997-1999, Akarso's complete recorded catalog has
been unearthed, giving listeners a chance to experience the raw energy and innovative
sound of a band that was well ahead of its time. Released through Expert Work
Records, this LP collects Akarso's recorded output from their brief but impactful run.
Featuring Nathan Lilley on vocals and guitar (who would later gain notoriety with Call
Me Lightning), Joe Wong on drums (now a prolific composer for TV and film and host
of The Trap Set ), and Greg Roteik on bass (of Key of Evil fame), the trio's musical
chemistry is undeniable. Their dynamic interplay and knack for combining dissonance
with technical precision is immediately apparent, and this collection serves as both a
time capsule and sheer example of their musical skills.
The songs feel unpolished in the best possible way, full of jagged guitar riffs, off-kilter
rhythms, and aggressive vocals. It's easy to hear why Akarso garnered attention
during their brief career: their music demanded attention. Tracks from the collection
highlight their ability to balance complex structures with visceral energy, reflecting
their post-hardcore roots while pushing into more experimental territory. At the heart
of Akarso's sound is their seamless blending of math rock's technical precision with
the ferocity of post-hardcore and noise rock. The intricate guitar work of Nathan Lilley,
coupled with the driving rhythms of Joe Wong and the powerful basslines of Greg
Roteik, creates a tense and unpredictable musical experience. Time signatures shift
without warning, dissonant riffs collide with frenetic drumming, and Lilley's vocals
pierce through the chaos with a cathartic and desperate intensity.
It's a challenging, chaotic, and emotionally charged album that captures the intensity
of Akarso's live performances and the raw energy of their songwriting. More than two
decades later, Akarso's music remains as vital and relevant as ever, and this collection
that their legacy will continue to inspire future generations of musici

Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the
summer of 2005 out west, while on tour, by Vince Tennant. The recording had been
shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and
got the recording re-mastered. It will be released on limited vinyl and digital.
This is also a companion piece/ record with EW018 (Sweetheart- The Process of
Making Us Well). We highly suggest getting both records.
Sweetheart's "The Unbearable Tightness Of Being" is one of those records you should
put on your radar as soon as possible. A rediscovered artifact from 2005, the album is
a sonic panorama that intricately incorporates post- hardcore, noise rock, punk,
screamo, and indie elements into an innovative and complex sonic landscape. The
guitars, wielded with finesse, serve as the driving force behind Sweetheart's sonic
assault. From the opening chords to the closing refrains, they deliver a relentless
barrage of riffs that defy predictability. The interplay between the two guitarists
manifests as a dynamic dialogue - a musical conversation that seamlessly transitions
from chaotic dissonance to moments of clarity. Catchy, intricate, and hypnotic chord
progressions unfold, evoking the spirit of At The Drive-In and Fugazi while carving a
distinct sonic identity.
However, it's not merely about sonic assault; Sweetheart infuses the album with a
nuanced approach to melody. Amidst the aggressive riffage, this material treats
listeners with moments of harmonic beauty and unexpected melodic twists. Themes,
leads, melodies, and harmonies intermingle, creating a rich auditory experience that
transcends the boundaries of conventional post-hardcore.
The production quality of this long- lost gem further accentuates its brilliance.
Recorded in 2005 but kept in the shadows due to financial constraints and a desire for
perfection, the album has now found its moment in the sun. Expert Work's decision to
release the LP in 2024 has allowed audiences to appreciate the intelligent
craftsmanship that went into its creation.
"The Unbearable Tightness Of Being" is more than a musical journey; it's a sonic
exploration transcending all the possible sonic boundaries. Sweetheart's commitment
to experimentation and honesty, as emphasized by band members reflecting on their
creative process, is palpable. The act of listening, treated as a discipline, is evident in
the careful construction of each track - a result of repetitive practice, internalization,
and an unwavering dedication to their craft. In the grander narrative of the album's
release, the band's reflections on the passage of time and the meaning of their work
imbue the music with a poignant depth.
"The Unbearable Tightness Of Being" is a mandatory addition to any record collection.
It's not just a revival of the early 2000s scene; it's a sheer example of Sweetheart's
enduring brilliance and a celebration of a significant part of their musical legacy.