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Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

Following his collaboration with Kenny Beats -
‘lowlife’ - dvr releases the ‘dirty tapes’ EP.
 Continuing his signature slacker sound, lead track
‘stupid’ comes with an infectious acoustic hook and
trademark wry lyricism.
 Written, recorded and produced by dvr, who is fast
becoming one of the UK’s most compelling young
talents.
 Fans include Snoop Dogg, FINNEAS, Omar
Apollo, Joy Orbison and Clara Amfo: “dvr - a name
that is going to be everywhere in the coming
years.”

Bossk are a metallic post-everything band from Ashford, Kent, England. In many ways all of us are migrating. To who, or from, is unique to the individual. "Migration" from Bossk is a soundtrack to that herculean journey we all take. Opener "White Stork" is a haunting swirl of analog synth noise and guitars, painting an ominous and fantastic atmosphere. "Menhir" then kicks open the door as a sludge-metal giant of a track, featuring guest vocalist Johannes Persson of Cult Of Luna. Machine-like "Iter" serves as an otherworldly interlude, a pathway to the post-metal masterpiece "HTV-3". Featuring Palm Reader vocalist Josh Mckeown, the song conjures the spirit of Tool and even late-era Faith No More in its sonic twists and turns. Experimental "Kibo" offers a deeper glimpse before fading into the horizon. "Lira" then emerges, a towering giant of a song (nearly 10 minutes in length) that contains one of their most unforgettable riffs to date. All of this leads to the epic "Unberth". A beautiful slow-build closer that brings to mind Pink Floyd in its vast sonic expanse.

These recordings, made in 2001 in the weeks before September 11, constitute a unique historical document. They are spoken-word adaptations of scenes taken from Destroy All Monsters, the first book by acclaimed writer and 'pop culture alchemist' Ken Hollings. A multistranded postmodern epic, Destroy All Monsters offers a radical retelling of Desert Storm, America's military operation targeting Iraq, using imagery derived from MTV videos, CNN news reports, Japanese kaiju movies and anime, Hong Kong action flicks and tales of alien abduction. The book's entire narrative nervously unfolds in an unstable of world of terror monsters, wrecked cities and dangerously tall buildings: where an event like 9/11 is inevitable. The book was officially launched on September 13, but distribution in the United States was delayed when ports on the Eastern Seaboard were closed to shipping post 9/11, leaving copies of the book stranded in the Atlantic. 'Published the very week of the "attacks on America",' Toby Litt wrote at the time, 'Destroy All Monsters is genuinely, spookily prescient…as a progress report on Planet Earth, it seems to have timeslipped onto the front pages.' Lydia Lunch praised it as 'a hallucinogenic spiral into future nightmare', while The Scotsman called it 'mind bending reading.'

In the summer of 2001, Ken Hollings was approached by sound designer and electronic music composer Simon James, who wanted to create an audio adaptation of scenes from the novel to share with subscribers to a spoken word channel launched by totallyradio. The idea was to record Ken reading his own words and then embed them in a soundscape that evoked the fragmented complexity of the original text. Ken concentrated on a small handful of threads from the overall narrative, while Simon directed and engineered the final recording. This resulted in the two sequences of words, sounds and electronic tonalities contained on this audiocassette: an unsettling portrait of people about to be overtaken by events.

In October 2001, having just got married in London, Ken and Rachel Hollings went to New York for their honeymoon, just as they had originally planned. They spent an unforgettable week in a city struggling to recover from the seismic changes that had just taken place while a sudden wave of anthrax attacks on government and media offices filled the news cycles. Rachel took a photograph of Ken at Ground Zero, where crowds of onlookers continued to gather, and the air still smelled of burning.

Ken Hollings is a writer and broadcaster whose main concern is the relationship between culture and technology. He has written and presented numerous critically acclaimed features for BBC Radio 3, BBC Radio 4 and Resonance 104.4 FM His other books include Welcome to Mars, The Bright Labyrinth, The Space Oracle and Inferno all available from Strange Attractor/MIT Press. His latest book, Purgatory, is due from Strange Attractor in Spring 2022.

Simon James is a producer, musician and sound designer based in Brighton, UK, whose work combines electronic sources with field recording techniques and sound treatments, using sound to transport the listener to fantastical audio worlds. Simon's latest release, Electro Smog, collects electromagnetic field recordings from Shenzhen's electronic markets, recorded while he was in China at the invitation of Musicity and The British Council.

The Destroy All Monsters audio adaptations marked the first occasion Ken and Simon worked together – subsequently they collaborated on the 12-part series Welcome to Mars for Resonance 104.4 FM and Connecting, an audio portrait of the original 'phone phreaks', for BBC Radio 3. In 2021 they teamed up again to make Fast Forward, a six-part documentary series for Kasperksy Lab.

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".

REPRESSED !!

Wolfsheim are a synthpop duo from Hamburg, Germany consisting of Markus Reinhardt (music) and Peter Heppner (lyrics and vocals). The band was founded in 1987 by Markus Reinhardt and Pompejo Ricciardi and was named after Meyer Wolfsheim, a fictional character from F. Scott Fitzgerald's novel 'The Great Gatsby'. Ricciardi soon left the band and was replaced by Peter Heppner, a childhood friend of Reinhardt's. Together they produced their first demo tape, Ken Manage', in 1988.

After making a second demo tape, Any But Pretty', in 1989, Wolfsheim applied at various labels until they caught the attention of independent record label Strange Ways Records. They are best known for their debut breakthrough single, "The Sparrows and the Nightingales', the first single to be released on Strange Ways in 1991. The band's musical style takes cues from the 1980s New Romantics, new wave, synthpop, and darkwave. The track's sombre synths were produced by Carlos Peron of Yello. Reinhardt says the lyric was inspired by 'The Great Gatsby', "in the 'onomatopoeic tension' between predator and security." Over six minutes, the narrator describes being lost, unsure of where his life is heading, using highly metaphorical language. On the flip is a brand new remix by German producer Ancient Methods, a pseudonym of Michael 'Trias' Wollenhaupt, who provides a driving, EBM-leaning, amphetamine-laced club ready cut.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Designer Eloise Leigh has updated the record's original design with two sparrows enclosed in a blood moon circle against a deep black purple backdrop. Each copy comes with a black and white photo postcard notes by Carlos Peron and the song's lyrics. This release comes in time to celebrate the single's 25th anniversary.

Tape

SectorSept’s ‘954’ is a boldly original record, one which announces the arrival of a singular musical mind. Its creator states that he crafted this EP by trying to make tracks that were ‘a representation of how I believe music would sound in some distant land in the future’. On ‘954’ this vision takes flight in the form of eight multifaceted, genre-defying electronic productions.

To unpack this record one must first understand the myriad influences which feed into SectorSept’s style. The producer grew up between the UK and Florida - indeed, the record’s title references the area code he had while in the USA. His formative years were spent soaking in the dancehall sounds he heard around him in his Jamaican household as well as techno, jazz, Miami bass and the city’s ‘Love 94 Smooth Jazz’ radio station.

All of this and more can be heard in the fabric of ‘954’. The drum programming alone reveals SectorSept to be someone with extremely wide-ranging musical tastes. Cuts such as ‘Get Ready For The Programme’ and ‘Be There’ are powered by deft beats that have Miami bass, Jersey Club, juke and more in their make-up. Drexciya-adjacent machine-funk creeps into the mix in ‘954’s mid-section, ‘Golden Third Eye’ touches on trap, and closing duo ‘Tropic Universe’ and ‘Prize’ bring dancehall dembows to the fore.

The productions of ‘954’ are simultaneously driving and chilled, coasting nicely yet still plumbed with enough bite to do damage on the dancefloor. It’s a feeling which is heightened by SectorSept’s gorgeous textural work. Several of the tracks here soften up collages of vocal clips with wistful, dreamy synths - see the way that club-caller snippets orbit Boards Of Canada-esque keys on ‘Get Ready For The Programme’ or how closing cut ‘Prize’ works both the classic Warp/Planet Mu sound and the pitched-down stylings of DJ Screw. It’s a rich and fully-formed artistic aesthetic, something which is all the more impressive when you consider that ‘954’ is SectorSept’s first official release.

That said, while the overall flavour of ‘954’ is SectorSept’s and SectorSept’s alone, one also finds links to Gobstopper’s previous output here. Those dancehall influences on ‘Tropic Universe’ and ‘Prize’ line the record up with Gobstopper drops like Otik’s ‘Thousand Year Stare’ while the emotive, soulful synth work that has long been a Gobstopper calling card is also in evidence here. Perhaps the thing about ‘954’ which makes it feel most at home on Mr. Mitch’s label is SectorSept’s imaginative futurism. SectorSept is a keen scholar of anime composers Kenji Kawai and Joe Hisaishi, and as such it is no surprise that there is a slightly fantastical quality to ‘954’. This is most boldly expressed on ‘Intuition Segment’, a magic-realist vignette which looks to Oneohtrix Point Never.

Blending ethereal textures with hybrid electronic grooves, SectorSept’s ‘954’ EP uses the sounds, influences and cultural experiences that have shaped its creator in order to build a vibrant vision of the future.

Infamous Southern wrecking crew return with an all country & western album, marking their 25th anniversary. Features numerous guest legends from the Grand Ole Opry along with Jello Biafra. Join those Legendary Shack Shakers as they mark their 25th anniversary as a band on Planet Earth to celebrate the occasion, they’ve invited former members to help them record an all country & western album! From spaghetti western to bluegrass, western swing to rockabilly, Tex-Mex to country folk, the variety of the genre is on full display. Always ones to respect their history, the Shack Shakers have also included some Kentucky local legends to “pick and grin”. Hotshots such as Stanley Walker (Grand Ole Opry band leader for Jean Shepard and guitarist for Sun Studio’s “Rockin’ ” Ray Smith) and Jack Martin (dobro-player for Lester Flatt) really give those “young ‘uns” a run for their money. And the always-ornery “Hillbilly” Bob Prather (Louisiana Hayride fiddler and running buddy of Opry star Onie Wheeler) pitches in too. Just add The Dead Kennedys’ Jello Biafra, hillbilly royalty Chris Scruggs and an Old Crow Medicine Showman and you’ve got a recipe for what could only be a Legendary Shack Shakers masterpiece. Titling it Cockadoodledeux was done, admittedly, to bookend 2002’s Cockadoodle-Don’t, an album by which many fans were first made aware of the group. However, it also serves to signal the start of another twenty-five years! Just as the plucky, two-headed chick emerges from the egg on the cover, so too begins a fresh start for the band’s creative energies. Once again, generations of fans both young and old get to lean in, listen and expect the un-expected.

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

When Peter Rosenberg was hired by Hot 97 in July of 2007 his task was simple. His Sunday night show “Real Late” was to be a place where independent, underground, and boom bap artists could be featured. Rosenberg leaned into the gig and artists and fans, new and old, took note. In the years that followed Rosenberg world premiered music from future superstars such as Action Bronson, Joey Badass, A$AP Rocky, Childish Gambino, Frank Ocean, Tyler the Creator, Earl Sweatshirt, Travis Scott and countless more. He also became a star of Hot 97’s Morning Drive radio show, held a yearly concert to celebrate his favorite artists, and put out mixtapes in 2010, 2011, and 2013 that broke new music from a variety of these up and comers, including originals from Kendrick Lamar, Bronson, Badass, ASAP Rocky and Ferg, to name a few. Since 2013 Rosenberg has expanded his broadcasting range. He was hired by ESPN and instantly made an impact as a new cohost on “The Michael Kay Show.” Since arriving in 2015, the show has consistently grown in popularity and in 2019 reached the top of drive time ratings. Rosenberg’s passion for sports entertainment also led to him becoming a fixture on WWE pay per view events. It would have been easy to assume that Rosenberg’s next move would be a pivot away from underground music all together. Not so fast. As the pandemic hit, Rosenberg went back to his roots. He decided the time was right to finally put together an official album and in doing so he tapped some of the best artists in hip hop, from legends to newcomers, to put together a complete body of work aptly named after the late night show that put him on the map in the first place. Peter said: “I have considered making an album for years but it really was the pandemic that got me focused and led to me finally creating “Real Late”. I thought this was the perfect time to put together legends, new artists, and underground producers to create a project that sounded like my show “Real Late” on Hot 97. I was fortunate enough to get help from some amazingly talented people and the result is an album that I think truly represents the hip hop that I and so many others love.“ Features guest performances from Westside Gunn, Roc Marciano, Styles P, Smoke DZA, Method Man, Raekwon, Ghostface Killah, Flee Lord, Stove God Cook$, Eto, Willie the Kid, Meyhem, Buckwild, Crimeapple, Jim Jones, Rasheed Chappell, Homeboy Sandman and more!

2021 marks the 50th Anniversary of the legendary record Fela Kuti made
with Ginger Baker of Cream.
 This Anniversary edition features a newly unearthed second drum solo
from Tony Allen and Ginger Baker, taken from Afrika 70’s performance
at the 1978 Berlin Jazz Festival. Part I has never appeared on vinyl and
this second part has never been heard - until now.
 1978’s Berlin Jazz Festival marked Afrika 70’s final live performance with
Fela. In the Spring of 1979, several members of Afrika 70, including
Allen, would leave the band. Allen had been with Fela since 1964. 1980
saw the birth of Egypt 80, with Baritone saxophonist Lekan Animashaun,
who had been with Fela since 1965, as its founding bandleader.
 Reissued with Abbey Road mastered audio.
 Red double vinyl with collector's 50th Anniversary gold foil obi strip.
 Bespoke etching of album artwork on Side D.
 Fela’s legacy spans decades and genres, touching on jazz, pop, funk,
hip-hop, rock and beyond. While he never achieved true icon status
during his lifetime, the last (roughly) decade has seen a broad
resurgence in his popularity and a critical reevaluation of his life, music
and influence. In 2008, the biographical musical ‘Fela!’ (co-produced by
Jay-Z and Will Smith) became a surprise hit off-Broadway and then
Broadway itself. Since then, Beyoncé performed Fela’s ‘Zombie’ at
Coachella, he’s been called out as an influence by everyone from Paul
McCartney to Questlove and sampled by Missy Elliott, Kendrick Lamar,
J. Cole, Nas, and more. Vice President Kamala Harris even used Fela’s
music at her and President Biden's first joint event together.
 ‘Let’s Start’ features prominently in the trailer and the soundtrack for the
new Western, ‘The Harder They Fall’, staring Idris Elba and Regina King.
 Fela features prominently in an episode of Hulu’s docuseries ‘McCartney
3, 2, 1’, where Paul McCartney cites Fela as one of his important
influences.
 This past spring Fela came in second place, behind Tina Turner, for the
fan vote for the Rock & Roll Hall Of Fame nominations and received
great press coverage in NY Times, Rolling Stone, MOJO, Record
Collector and more.

“Is the juice worth the squeeze? Is the honey worth the bees? Is the trip
worth the risk? Is the rub worth the fleas?”
These are some of the big questions CHILDCARE find themselves pondering
at the top of their second album ‘Busy Busy People’. It’s a mantra that returns
later in the record but remains in the back of your brain throughout, a playful
enquiry into the purpose of our everyday activities that highlights the South
London-based group’s knack of marrying the surreal with the ordinary; soberly
tripping out during the big shop.
It’s something the group have been refining as part of their identity since their
genesis, when singer Ian Cares spent the time between school runs at his nannying job writing songs. He started adding other musicians to the project gradually until two EPs (2017’s ‘Made Simple’ and 2018’s ‘Luckyucker’) and one
album (2019’s ‘Wabi-Sabi’) later, Ian, male guitarist Rich Le Gate, bassist Emma
Topolski, and male drummer David Dyson have shaped CHILDCARE into one of
the most unique emerging groups in the UK.
They’ve earned themselves a loyal following of fans, sold out their biggest
show (so far) at London’s Scala and gained support from BBC Radio 1 (Annie
Mac, Jack Saunders), Spotify (several New Music Friday slots) and five SXSW
2020 showcases, which of course, never happened.
Busy Busy People was recorded at Somerset’s Distiller Studios with producer
Dom Monks (Laura Marling, Big Thief, White Denim)
Former BBC Radio 1 Track of the Week with key supporters incl. Jack Saunders,
Annie Mac plus BBC 6 Music’s Steve Lamacq & Radio X’s John Kennedy
Performed on the BBC Radio 1 stage at Reading/Leeds 2019 and were slated
for SXSW ‘20 before the pandemic hit.
They also sold out London’s Scala in Christmas ‘19.
UK tour kicks off September ‘21 Bassist Emma Topolski also performs as touring
member with Bombay Bicycle Club, Dua Lipa & Laura Marling

Neon Christ, the Atlanta hardcore luminaries founded by Alice in Chains singer William DuVall have announced the official release of 1984 for 17th September. This collaboration between Southern Lord Recordings/DVL Recordings was originally released on Record Store Day U.S.only, now to be made available more widely.

The package includes a full-colour gatefold sleeve and a 12-page oral history booklet featuring dozens of never-before-seen photographs. Heavyweight vinyl at 45 RPM for maximum fidelity.

Neon Christ formed in the fall of 1983 with William DuVall on guitar, Jimmy Demer on drums, Danny Lankford on bass, and Randy DuTeau on vocals. They made their debut in the early morning hours of New Year’s Day 1984. That March, they recorded their eponymous debut 10-song EP. Released in June ’84, the EP's songs exemplify the band's signature musical diversity, from DRI-style thrashers like "Parental Suppression" to the atmospheric improv of "After." A short east coast tour followed. On Labor Day 1984, the band recorded four tracks in the home studio of Nick Jameson, of Foghat fame. A few months later, "Ashes to Ashes" was included on the International Peace/War compilation released by MDC's R Radical Records, bringing the band worldwide exposure.

Neon Christ shared the stage with the luminaries of 80s hardcore including the Dead Kennedys, Circle Jerks, and Corrosion of Conformity. In 1985, the band added Shawn Devine on second guitar, as their sound and songs became slower, heavier, and more melodic. DuVall wrote an album's worth of songs in 1985, but only "Savior (Drawn In)" was ever recorded in what would be the band’s final studio session on December 26, 1985 (the master tapes were lost). Returning to the four-piece original lineup, the band played a handful of Atlanta shows and then took a break in March of 1986. A few months later, William moved to Santa Cruz, CA, to join BL’AST!, and Jimmy, Danny, and Randy formed Gardens of…William later founded jazz/punk/world improvisers No Walls. In 1999, he would form Comes With The Fall and move the band to Los Angeles, where he struck up a friendship and musical collaboration with Jerry Cantrell. William joined Alice in Chains as vocalist and guitarist in 2006. On February 2, 2008, Neon Christ reunited to headline the Ratlanta Punkfest 2.

To this day, the band members maintain a close friendship, as well as a desire to honour the legacy of the group. So when longtime fan Greg Anderson of Southern Lord contacted them about reissuing a deluxe edition of Neon Christ's 1984 sessions, "1984" quickly came to life. To remaster the original tapes using an all-analog process, William DuVall made multiple trips to Nashville to one of the few remaining studios maintaining the vintage technology to play and process the audio. Side one of "1984" features the original Neon Christ 7" EP, and side two contains the four songs of the Labor Day session

After four highly successful albums and two live albums, it was time for Canadian punk rockers Billy Talent to release their first greatest hits compilation in 2014, simply called Hits. The album contains 12 of the band’s most popular singles, including “Try Honesty”, “Red Flag”, “Fallen Leaves”, “Devil on My Shoulder” and “Viking Death March”. The album also includes two new songs, “Kingdom of Zod” and “Chasing the Sun”. It charted well in both the band’s native Canada as well as Germany and Switzerland.

Whether you’re a punk rocker looking to get to know Billy Talent in 14 incredible songs, or you’re a longtime fan of the band who already knows all their songs by heart, this compilation is an absolute must have. It comes in a UV matte finished gatefold sleeve and contains a
4-page booklet as well as an art print by Ken Taylor.

The latest entry in the ongoing series of exciting collaborations sees the Turkish free form ensemble KONSTRUKT live on stage with THURSTON MOORE.

# 5 in the continuing series of KONSTRUKT collaborations on KARL is a live document of the concert by the Turkish freeform group with THURSTON MOORE. KONSTRUKT, the Istanbul based free jazz / freeform group founded and led by UMUT ÇAĞLAR and KORHAN FUTACI, are known for their openness to and interest in collaborations – and regularly meet up and perform with new partners that range from JOE McPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, ALEXANDER HAWKINS, KEN VANDERMARK or OTOMO YOSHIHIDE. This latest release sees the quartet join forces with one of the indie rock icons: THURSTON MOORE, who besides his decade-long main band SONIC YOUTH always found time and inspiration for solo projects and collaborations of different kinds.

"Turkish Belly", recorded live at SalonIKSV in Istanbul in february last year, is as adventurous and daring as one will expect from such a pairing and a highly rewarding experience for the fans of KONSTRUKT and those of MOORE alike.

[a] 01: Yapayalnız (Gezerler Sokaklarda) [Live] [feat. Thurston Moore]
[b] 02: Sis (Live) [feat. Thurston Moore]
[c] 03: Kurtadam, Pt. I (Live) [feat. Thurston Moore]
[d] 04: Kurtadam, Pt. II (Live) [feat. Thurston Moore]
[e] 05: Zor (Live) [feat. Thurston Moore]
[f] 06: Uğultular (Live) [feat. Thurston Moore]

The redoubtable renaissance man Barrie K Sharpe is back with a scorching vinyl 45 showing he’s lost none of his edge or ingenuity in producing a potent fusion of funk, soul jazz and beyond. This effusive cut sounds utterly unlike anybody else and is testament to his flamboyant superfly style cementing why he is considered to being one of the burgeoning spearheads in the Acid Jazz movement of yesteryear.

It’s interesting to note he hasn’t stood still either and has been extremely prolific releasing three exceptional albums under the banner of Rhythm Rhyme Revolution and this slow burning dance floor groove is the perfect distillation of his recent body of work.

‘BaDThingz’ falls between the sensual and the spiritual like all good dance music and the direct ‘come on’ lyrics becomes an injunction to move on the facts not just suppositions!

The groove is the epitome of seduction itself with a funkified blessedness as clear as a bell. A fantastic homily signalling the virtues of sexual chemistry whilst highlighting the modern era of cutting edge studio production to sonic perfection. The groove is simply total atomic explosiveness and DJ Tabu is someone you’d definitely want cooing in your ear!

Aided and abetted by multi instrumentalist Gareth Tasker and trumpeter Kenny Wellington it seems your man is riding his groove to glory - with a bit of added polish from Fritz Catlin. This is going to have untold longevity in any DJ’s trunk of funk. Grab it now for a shock of pure pleasure. (Emrys Baird – Blues & Soul)

When Walter Smith III released his fourth solo album ‘Still Casual’ in 2014,
people listened, and the album was heralded as one of the top
releases of the year.
Now, fans of the saxophonist and composer can experience the tenorist’s wideranging release on vinyl for the first time on this special 2xLP, 180 gram limited
edition pressing with gatefold artwork.
Smith’s discography is pleasingly joined-up. As ‘In Common 2’ follows ‘In Common’, ‘Still Casual’ references his 2006 solo debut ‘Casually Introducing’. The
title might be another one of Smith’s trademark riffs, but the album is as committed to exploration as any other. Over the course of ten original tracks, Smith
covers a swathe of musical and emotional ground.
The players assembled for ‘Still Casual’ speak volumes for the quality of Smith’s
company. Trumpeter Ambrose Akinmusire joins Smith for explosive soloing on
‘Fing Fast’ and ‘Something New’. In Common co-convenor Matthew Stevens
provides reflective harmonic support and muted solo colours alongside the
understated backings of Taylor Eigsti. Together, Harish Raghavan and Kendrick
Scott provide moments of tension and intrigue from the backline, adding suitable punch to the opener ‘Foretold You’.
Chronologically, the album precedes the In Common projects, and comes right
as Smith hits his stride as a composer and arranger. From the elaborate (‘About
360’, ‘Processional’) to the personal (‘Greene’ is dedicated to saxophonist Jimmy Greene, whose daughter was killed in the Sandy Hook school shootings in
2012), Smith shines across fast-flowing vernacular and reflective, tender tones.
Still Casual showcases a group stretching themselves in a way that never seems
hurried, delving into a powerful collective energy to test their limits instead.

Repressed and available again - black vinyl.

Epic tracks like D.O.A., Slumlord, Unknown and Smash The State lash out at the listener with incredible power and drive. This album influenced fans and musicians from around the world including: NOFX, Nirvana, Green Day, Jello Biafra, Henry Rollins, Red Hot Chilli Peppers and Rancid.

STANDARD 2LP VINYL EDITION - LIMITIERT Geboren 1970 in Tokio, verbrachte Jonathan Meese seine frühe Kindheit in Japan, und kam mit drei Jahren 1973 gemeinsam mit seiner Mutter zurück nach Deutschland. Als Kind sprach er nur japanisch und englisch. 1995-1998 Studium an der HfbK in Hamburg, 1998 Durchbruch als bildender Künstler auf der Berlin Biennale. In seinen Gemälden, Performances und Aktionen thematisiert Meese immer wieder die Rolle Deutschlands und deutsche Mythen. Eine ursprünglich beauftragte Meese-Inszenierung des ûParsifalë 2016 in Bayreuth wurde 2014 wegen angeblicher Unfinanzierbarkeit gekündigt. Der Münchener Techno- und House-Produzent Hell ist seit zwei Jahrzehnten ein Bewunderer Meeses. Als Hell vor zwei Jahren bei Jonathan Meese anfragte, ob dieser das Cover für Hells neues, kürzlich erschienenes Album ûHouse Music Boxë gestalten wolle, sagte dieser sofort zu. Die Wertschätzung entpuppte sich als gegenseitig. Man verabredete eine experimentelle Studiosession, um auszuloten, ob die polarisierenden Sprachperformances von Jonathan Meese in Verbindung mit Musik von Hell eine eigene Qualität entwickeln würden. 2019 nahmen Hell und Meese zum ersten Mal gemeinsam auf. Meese steuerte Textideen auf Papier bei, Hell hatte Instrumentals vorbereitet, die sowohl Hells stilistische Interessen, als auch Meeses musikalische Vorbilder - von DAF über Sisters of Mercy bis hin zu Kraftwerk - berücksichtigten. Hell: ûMir wurde in vielen gemeinsamen Gesprächen klar, wie musikaffin er eigentlich ist und wie viel unterschiedliche Musik er kennt. Und vor allem: Wie sehr die Musik ihm auch in seiner Kunst als Inspirationsquelle dient.ë Die Sessions - insgesamt drei, davon zwei gemeinsam mit Meeses 91-jähriger Mutter Brigitte - fanden im Trixx-Studio am Berliner Moritzplatz statt. Meese assoziierte Freestyle über Beats und Loops von Hell. Hell: ûIch bewundere Jonathan Meese nicht zuletzt als performativen Künstler - und gerade auch seinen stimmlichen Vortrag. Im Studio sang, sprach oder flüsterte er dann seine improvisierten Texte über die Tracks, die ich vorbereitet hatte.