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In the beginning, there was chaos_ A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can. Angelic chants, Demon's screams, witches dancing and woeful mortal suffering are recounted in this album's songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil. "Battlefields of Satan's servants, witch-hunt for our ways, face off reality and eat TV today. Lucifer, Forever Grey". - Bill Politis - "The Unknown Secretary" comes to further unsettle the turbulent waves of music and burn its own mark in history. Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case.

Joan Baez – a singer, activist and pacificist committed to the struggle against all segregation – recorded her first album in 1959 at the age of eighteen. The titles on these four sides are taken from the first four records she made, and they all reflected the position she took in the folk movement that was then emerging, together with her militant support of minority groups.

It would be sixty years before she said farewell to the stage, in July 2019 at the Montreux jazz Festival, after a sixty-year career of unrivalled quality that actively showed her sincere commitment to social and political causes. The grace in her exceptional voice, her kindness and admirable personality – and her determination – earned her an exceptional place in the history of popular music, as well as in the hearts of an ever-increasing audience.

Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).

Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)

Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.

Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)

Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.

Here’s a definitive compilation of their first period career, Glaxo Babies was one of the most exciting british post-punk band of the era. Raised in Bristol – altogether with such local influential acts like Maximum Joy, The Transmitters and obviously The Pop Group – Glaxo Babies formed in late 1977. The band signed to local label Heartbeat Records (marketed by Cherry Red), with their first release being the This Is Your Life EP in February 1979; in the same year they released the single “Christine Keeler” . This led to them recording their first session for BBC radio’s John Peel the following April, and the track “It’s Irrational”, from this session, opened the seminal 1979 Bristol Compilation album “Avon Calling”. Their aggro mix of in your face lyrics and groovy bassline led to a unique formula, with both their feet in the post-punk scene and the uprising black jazz crossover. The so-called white funk was the plat du jour, even if the band soon achieved a straight and original personality. Fully remastered and licensed, ltd to 500 copies.

She Drew The Gun are today announcing their return with new album Behave Myself. The follow-up to the critically acclaimed Revolution Of Mind, which was named among BBC 6 Music’s Albums Of The Year, is produced by Ross Orton (Arctic Monkeys, The Fall, The Kills, Working Men’s Club). The first music from the record is confirmed to arrive next month.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way.

At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom.

She Drew The Gun are today announcing their return with new album Behave Myself. The follow-up to the critically acclaimed Revolution Of Mind, which was named among BBC 6 Music’s Albums Of The Year, is produced by Ross Orton (Arctic Monkeys, The Fall, The Kills, Working Men’s Club). The first music from the record is confirmed to arrive next month.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way.

At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom.

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

Moar is hot on the floor with this double Hip-Hop/RnB single. Don't miss it, this is a new
killer track for the party :-)
Dancefloors were made for this, quality stuff.
Hand stamped records & limited press!

Truly, the luscious, soulful new album from Manchester singer-songwriter Caoilfhionn Rose (pronounced Keelin) moves through a tapestry of curious musical inflections; nods towards folk, jazz, ambient, electronica and even a subtle influence of psychedelia, it never stands still to take a breath, despite its ethereal and delicate core. Out April 9th on Gondwana Records (Mammal Hands, Portico Quartet, Matthew Halsall, Hania Rani), in Truly, the young singer-songwriter has accomplished a body of work that is both sonically and lyrically wise beyond her years.

Co-produced by Kier Stewart of The Durutti Column following Rose's collaborative endeavours with them on their album Chronicle LX:XL, the musician's song writing draws from a diverse palette of influences, including Building Instrument, Rachel Sermanni, Alabaster dePlume and Broadcast. Rose also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and label mate Hania Rani.

Truly came to exist due to a deep-routed need to create – even though its conception was interrupted as Caoilfhionn Rose recovered in hospital from an illness, she found strength within writing music. "In Spring 2019 I took part in a gig swap with my good friend and fellow musician Kristian Harting who is from Denmark. We played several gigs in the UK but unfortunately the Denmark part of the tour was cut short as I was taken ill. I was hospitalised for several weeks and have taken the last year out to recover" says Rose. "I gradually returned to finishing my second album" she continues. "Coming back to creating after being unwell was challenging but also therapeutic. This record marks a difficult time of my life and writing it helped get me through that. I am really grateful to have music as an outlet." It may be this tremendously challenging period that has abetted its characterising qualities.

Rose's beautifully restrained vocal is all at once soothing yet mesmerising. She demands and holds attention through her evident talent yet hypnotises the listener into a trance with her experimental tendencies. "After being unwell, getting back to recording helped me recover my voice after not singing for so long. Finishing bits of songs, writing lyrics and recording vocals helped me get back on my feet and get better."

Lead single from the album – 'Flourish' – is an intoxicating song that meditates on being present in the moment, allowing peace to come to you. "The song 'Flourish' is about looking forwards with hope and possibility, 'let it flow away, let it turn around and flourish'. It's about finding peace and feeling wonder again" says Rose about the track. "'Flourish' hints at the ideas of what could be, how things can unfold if you let go 'and just be here'."

A message of hope is instilled throughout the record, echoed again in 'Fireflies', a song inspired by a campsite in France, which became filled with fireflies at night. "To me 'Fireflies' has a nostalgic and comforting feel. It's about feeling hopeful about the future 'though there may be dark clouds the sun will always come'. There are references to older lyrics I have written. The line 'free from all the chaos' is a nod to a song I collaborated on with The Durutti Column. The song is about acknowledging the past and moving on as 'time is always healing'."

A recurring theme of reflection and being grounded in the present, acknowledging the past and looking forwards with courage is one that envelopes 'Truly', and is something that is echoed in its beautiful swelling flourishes and its tranquillity – resonating with atmosphere, the album all at once sounds so large and yet so subdued. "The line on Every Waking Minute; 'we forget what lies behind the eyes' is about remembering that everyone has their own things going on and challenges to face but we should 'feel every waking minute', become aware of what's unfolding around us outside of our own stories. It's a self-reflective song really, reminding myself that 'life can take you bysurprise', there are going to be ups and downs along the way"

Elsewhere on the album, Rose explores the connection between nature and life on single To Me. "I love going on long walks and the healing power of nature is a recurring theme in a lot of my lyrics. I have a very optimistic outlook and I find solace in the small things like being outdoors."

Caoilfhionn's debut Awaken, co-produced with label mate Matthew Halsall, saw the singer, songwriter and producer tie together remnants of Manchester's musical past with its evolving present. Prior to this, the artist collaborated with one of her biggest musical influences, Vini Reilly of The Durutti Column. The musician worked with the Manchester band on four songs on their album Chronicle LX:XL. "I've learnt a lot from collaborating with musicians like Vini Reilly, Matthew Halsall and my bandmates" says Rose. "This is reflected in my current style and approach to making music. I no longer just write as a therapeutic or reflective process; I can write more abstractly and outwardly."

Kier Stewart of The Durutti Column co-produced her latest offering, Truly, following his band's collaborations with Rose. "I befriended Kier after we worked together. Collaborating with The Durutti Column was my first experience of recording music with other people in a studio." Together, the pair have created something expansive yet fragile – and altogether unique. "He's brought so much to this project" she says. "I feel Keir has brought out the best in the songs, adding really intricate and subtle details and effects. It was inspiring getting to work with Keir and I've learnt a lot from his approach of just experimenting and seeing what works."

Subaerialis the latest and most sophisticated transmission from the long musical partnership of cellistLucy Railtonand keyboardistKit Downes, a collaborative history that stretches back thirteen years. From the beginning, the pair bridged musical worlds, with the former emerging from classical and contemporary music and the latter steeped in jazz tradition. This phenomenal new album captures the musicians erasing lines between approaches and traditions. While improvisation has always been a part of their alliance,Subaerialmarks thefirst time that the duo have used recorded improvisations as the core material for a release. The cello and organ, beautifully recorded byAlex Bonneyat Skáholt Cathedral, blend in richly striated harmonies, with phrases and cadences that stretch back centuries while sounding unerringly contemporary.

The pairfirst crossed paths whilst studying in London and spent the following decade collaborating in various groups whilst cutting their own distinct paths. By the time they rendezvoused in Iceland in the fall of 2017 to createSubaerial,Railton had moved to Berlin, where her embrace of electronics was leading her in new directions, exploring microtonality, psychoacoustics, and synthesis, an evolution captured on shape-shifting albums released by experimental imprints likeEditions Mego, PAN,andTakuroku. Her debut solo albumParadise 94released onModern Lovefeatures Downes on organ. Around the same time, Downes had been signed toECMand was directing much of his focus on the organ—his original instrument—on the two recordings he's made for the hallowed imprint, including the 2019 albumDreamlife of Debris, which features the cellist.

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

Der Klassiker des einstigen Pfarrers und Kreuzzügler des Allgemeinwohls PASTOR T. L. BARRETT & THE YOUTH OF CHRIST CHOIR von 1971 gilt bis heute als der heilige Gral des Gospel-Soul. Mit dem seinerzeit selbst veröffentlichten Werk des JESSE JACKSON JR.-Mitstreiters demonstrierte BARRETT seine Leidenschaft für die Musik, seine wilde Entschlossenheit, Kinder vor der Straße zu bewahren und sein Talent für mitreißende Predigten (die nebenbei Künstler wie EARTH, WIND & FIRE und DONNY HATHAWAY dazu brachten, seine Kirche zu besuchen) mit einem Album, das vom Chess Records Saxophon Helden Gene Barge und einer Reihe von Musikern wie Richard Evans, Phil Upchurch und dem stürmischen Gesang des YOUTH FOR CHRIST CHOIRs profitiert. Heilige Grooves, Breaks, Beats und Lobpreisungen mit eingängigen Refrains. Chicago pastor and activist T.L. Barrett's rare gospel soul classic Like A Ship. (Without A Sail) is one of the holy grails of gospel soul. Self-released in 1971, Like A Ship was the result of Barrett channeling his passion for music, a determination to keep children off the streets, and his charismatic preaching (which attracted the likes of Earth, Wind & Fire and Donny Hathaway to his sermons at Mount Zion Baptist Church) into the production of the album, a project bolstered by the saxophonist and arranger Gene Barge of the famed Chess Records, and backed by a cast of players that included Richard Evans, Phil Upchurch and the rapturous vocals of the Youth For Christ Choir. Like A Ship... is filled with sanctified grooves and spiritual praise delivered with a righteous, infectious chorus.

* In 1980 Gerald Moore - of G.T. Moore and the Reggae Guitars and Heron fame - was in Kingston, Jamaica working with Lee Perry on the `Return of Pipecock Jackxon’ LP. Gerald went into Harry J’s studio with James Lascelles (Global Village Trucking Company, The Breakfast Band) and Bud Beadle (Ginger Baker & Salt) alongside members of Zap Pow: Don Grant, Cornell Marshall and Dwight Pinkney.
* `Jerusalem’, a meditative and reflective track was one of four tunes recorded.
* Previously released on the `Harry J Sessions’ on Partial Records (PRTLLP001/CD001), this is the first time this cut of `Jerusalem’ appears on 45. Backed with a previously unreleased dub version, mixed by Dougie Wardrop direct from the master tapes.

With a storyteller's eye and sly sense of humor that echoes not only his "honorary uncle" Del Reeves, but Tom T. Hall and Roger Miller, The Kernal delves deep into everything from family dysfunction to road trips to matters of the heart. The music, which he describes with a laugh as "diet country," embodies the spirit of that genre without any of the slavishness or self-seriousness of much modern Americana. Rolling Stone has called his style "sweetly subversive, intellectual and addictive," while Lo-Down said "the songs have an air of nostalgia but they sound far from old - modern, yet timeless. " From the joyous, southern-fried grooves of "U Do U" and "Pistol in the Pillow" through the revved-up rockabilly stomp of "Green Green Sky" and the cinematic travelogue of "Wrong Turn to Tupelo" to "The Fight Song," a sparkling '80s style duet with Caitlin Rose, it's a nine-song sequence that showcases The Kernal's warm, confidential voice while managing to make profound connections with the head, heart and feet. "When people ask me what kind of music I play, I say, 'It's like sixteen-foot trailer country music,'" he says. "You pull up a hay trailer in a field and you barbecue a bunch of stuff and there are people setting off fireworks and there are kids running around in diapers with ice cream running down their bellies. You get up there, turn it up and have a good time. I just love seeing people have a good time, and I think that's why I like country music. The groove of it. It speaks to people's legs. They loosen up and enjoy themselves and it's no big deal. I love that. And I love to be able to contribute to that."

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

Spirale were an Italian quintet from Rome, consisting of Gaetano Delfini (wind instruments, vocals, percussion), Giancarlo Maurino (saxophone, flute, percussion), Corrado Nofri (piano, marimba, mbira, siren, Jew’s harp), Giuseppe Caporello (contrabass, guitar, percussion) and Giampaolo Ascolese (drums) who released a single eponymous album in 1974. This is a release known mostly by Italian progressive rock lovers, since its sound can be easily associated
to the jazz-rock delivered by the way more popular Napoli Centrale and Perigeo - but also to the ‘fundamentals’ Dedalus, Arti & Mestieri, Uno, or even the lesser known Bauhaus for instance. But playing this
kind of music and trying to release an album in the first half of the ’70s in Italy was also incredibly hard and courageous: Spirale, in fact, was one of the many bands that lived a very short life, before splitting up and disappear forever. Spirale was originally released on the International King record label, thanks to Mario Schiano, a free-jazz
saxophonist who discovered the band, and producer Toni Cosenza, who included the album in the ‘King JazzLine’ series. Consisting of just four tracks, most of which taken by the 13-minute long “Cabral, Anno 1” and the marvellous 17-minute “Peperoncino (Cose vecchie, cose nuove)”, Spirale is an incredibly balanced and flowing record that sounds still fresh and inspired even today, and it’s a shame that it has remained hidden and overlooked for such a long time. Moreover, it is characterized by that undescribable and particular Mediterranean flavour that only Italian musicians were able to obtain. This beautiful album is of course immensely rare in its original edition, and is now finally reissued on Dialogo record label in a faithful restored version that will finally satisfy any collectors who have waited for
years for this beauty to see the light again!

Black So Man. For Black Is Also Man. Tout Le Monde Et Personne. He blames ‘Everybody and No one’.
Clealry, Bingotoma Traore was not trying to get rich, or entertain: he wanted to change the world. And all it took to get there was four cassettes, all recorded between 1994 et 1998. In that time he went from extreme poverty, sellings eggs in the streets and killing pigs at the factory, to being the biggest pop star in his native country, Burkina Faso, and a legend all over Western Africa.
Corruption, ill governance, education, colonisation… All his songs were history and philosophical lessons for the ghetto youths, the unemployed, and the many people who could identify themselves with him.
He died 20 years ago, mortally wounded after going through a car crash. Today, his videos still ranks millions of views on social network. No one has forgotten him. And his fight is more relevant than ever.
Rest In Power Black So Man (1967-2002). Thank you to his son Ange Fela Traore and his ex-wife Adji Sanon (to whom he dedicated the song ‘Adji’ included here) for their trust in us leading this reissue project. Half of the profits from the record goes to them.

Those well-acquainted with Los Angeles-based DJ and producer Wheez-ie can attest to his masterful dexterity both behind the decks and in the studio. For the uninitiated, his forthcoming release serves as another testament to the timely-yet-timeless quality his productions have since become championed for. Finding common ground through an emphasis on genre hybridization, Wheez-ie's latest offering, Horizons, benevolently marks the next entry in the rapidly growing catalog of John Frusciante and Aura T-09's Evar Records.

Set for release on October 1st, this 4-track collection has already received advance support from the likes of Nina Kraviz, Sherelle (with the track "Shut the Door" being featured as part of her official BBC Radio 1 Essential Mix), VTSS, Cera Khin and fellow Evar signee Kilbourne, exemplifying how Wheez-ie's tunes are not only certifiably rave-ready but can find a happy home in DJ sets of all styles.

Drawing influence from techno, industrial metal, darkcore jungle and big beat, Horizons culminates in a fierce exploration of sounds that efficaciously capture the essence of early 90s-era rave through a modern lens that is both perceptive and prophetic. While working from a referential or nostalgic place can be cheugy if not executed properly, the Texas-born producer is at his best when pulling from his encyclopedic knowledge of electronic dance music to provide that 2AM banger the dance floor didn't quite know it needed until the cathartic moment it explodes out of the speakers.

As exemplified by the depth of his discography, including recent additions courtesy of London's THEM imprint (2020's Negative Zone EP) and Perth, Scotland's Craigie Knowes (2020's ONLY HUMAN / WEAPONIZED), Wheez-ie has been fiercely applying pressure and challenging genre tropes from the very onset of his career, and doing so with immense care and understanding of nuanced cultural codes. Prioritizing feeling above genre, Wheez-ie's Horizons brilliantly showcases his multifaceted nature, with each track offering a different side of his dynamic arsenal as a producer and DJ.

Producer Jeremy Harding has delivered an update on dancehall reggae classics with vocals by some of Jamaica’s most exciting young artists - ten songs
that will move the massive - all with a deep respect to the originators

Releasing in September 2021, PNFG & LNFG are proud to bring you the
remastered “I’ve Seen Everything” from Scotland’s legendary band -
Trashcan Sinatras.
The album will be released in a number of vinyl formats, a deluxe CD (with 6
bonus B side tracks) will also be available.
On its release, Tim Harrison of the Ealing Leader described I’ve Seen Everything
as a “melodic, velvety concoction” with “a lot of subject matter” and “strong
echoes of The Housemartins”.
He concluded: “I’ve Seen Everything is an economic, restrained and sensitive
collection well worth listening to.”
The Irish Independent wrote: “Their debut was a fine beginning, but on its
successor they’ve hardened their approach and broadened the scope of their
songwriting. Whereas before they tended to sit back and admire their pretty
chord structures, they’re now audibly relishing the opportunity to get stuck in
to the material.
Brent Ainsworth of the Santa Cruz Sentinel felt the album was “abundant [with]
luscious, flowing pop”, with the “softer songs” being best.
David Mark of the Asbury Park Press commented: “Following up Cake would
be difficult, but I’ve Seen Everything is an equally interesting effort from a very
good group.
While Cake was a bouncy album, I’ve Seen Everything is a notch more somber.
The work, always interesting musically and lyrically, is something of a cross between The Beatles’ Rubber Soul and XTC’s Skylarking.

Fans have been waiting eight long years for this new album from Ishi that
is expected to drop under Swedish Indie Label Icons Creating Evil Art, the
home of Flora Cash, Summer Heart, and Glamour Hammer.
It will be titled ‘Sweet Gold’ and feature the hit singles ‘Not My Girl’ and ‘LoFi Love Affair’ and the new single ‘Fly Away’. Ishi’s ability to successfully walk
the line between an ambitious studio act and a multi-sensory live experience
allows him to engage the audience in an uplifting celebration of life. His subtle
undertones of inner exploration combine to create a concert experience that is
unequivocally one-of-a-kind.
Each night, Ishi intends to create an entirely unique environment of mysticism,
awareness, love and acceptance. Adored by fans and critics alike, there is no
denying that Ishi is an immersive experience that everyone should discover.
Following the successful release of the Yuksek remix of ‘Not My Girl’ (supported by the likes of A-Trak, Kiss FM, Ministry of Sound, Amazing Radio etc.) and
a remix collaboration with the internationally acclaimed EDM-producer Oliver
Nelson, and his Goody Goody collab with fellow Texans CAPYAC; Ishi now line
up some new original music and the new album dropping early fall.

Docile Recordings continues with part three of a five cat series. Docile #30, the Alpha Cat ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. This Docile is a reaction to the stimulus of sight and sound; experiences, people and places inspire a sonic approach steeped in the realization of a moment. Docile aims to capture and release this moment in a minimal style that is its own. The Docile style appropriates noise of any sort to weave into its mello brand of 4/4 digi-o-log techno. Docile will continue until it can not; to shape sound into a spartan beauty.
hese arrangements speak soulfully, whether disruptive or smooth they define a struggle.

A1- brian wilson rides again----- this tribute to a master reflects a studio awareness theory in the breakdown of a minimal “good vibration” . a bass line scales down leading waves of synth and effect to crash upon an ambling kick shifting steady through a western soundscape.

A2-too jada ta’ trotta---the trash can of audio is thrown down the stairs with this haughty mover rocking a rolling crash through digi-glitch symposium.

B1-bumper car cocktail party--- a patchwork rhythms stutter and form together in a ruff and tumble jaunt soothed by a sexy sax that brings the assembly into line.

B2----pong-----crisp hi-hats rotate next to a steady clap complimenting a ponging in various forms under a cloud of dramatic synth calming the animal spirit.

Honing your skills is under-appreciated in times of instant gratification and the continuous stream of music. Rotterdam-based producer Kofi The Unknown subverts this idea and took time for spiritual introspection, studying rhythms and sound production. Where being a late bloomer normally is seen as a sobriquet, the producer, composer and beatmaker wears it as a badge of honour and solidifies it as an honorary title by pinning it to his debut EP on Wicked Wax: The Late Bloomer. Wearing his heart on his sleeve, Kofi The Unknown shares his journey that led to The Late Bloomer, an emotional journey through sophisticated dance music, straight from the heart, aimed at the soul and feet.

Highly influential to Kofi’s sound and this EP is London’s Broken Beat scene. Syncopated drums, soulful chords and heavy bass lines work in tandem to emphasise the danceability the genre is known for. This is further solidified by the track Kofi released leading up to this release: One for Motet, an ode to the Broken Beat MC and Jazz Refreshed host Jason Hicks. The Late Bloomer further develops Kofi’s ode, but provides his Rotterdam flavour and brings his Hip Hop and Funk lineage into the mix.

Embrace Mistakes sets the stage for what’s to come in various ways. It is a textbook case of how dance music can tell a story and be introspective. Kofi’s honesty shines bright on the entire EP and strikes from the first kick drum on. It also shouldn’t be hard to recognise and feel the emotion the producer shares on the title track The Late Bloomer. The emotionally-laced chords and crushing drums are reminiscent of late nights at a warehouse or emotional sequences from a dystopian movie.

Staying true to his ethos ’exploring the university that music holds’, Kofi finds this beyond music production as The Late Bloomer provides an audible experience through creative mixing. Stuttering analog synths, enveloping leads, multiple percussion rhythms and off-beat snare rolls hit from all directions of the stereo spectrum, further underlining the sophistication of his merit. While the EP follows the Broken Beat accents on dance, it is an equally mindful listening experience.

Kofi The Unknown is a Rotterdam native producer with a knack for rhythms. His keen ear is informed by mentor and Dutch enigma Trian Kayhatu. While Kofi has taken the time to perfect his skills under the guidance of Trian, the two are simultaneously working on the exciting follow-up project to this debut EP. Without looking too far ahead, enjoy The Late Bloomer. It’s not only a crown jewel Kofi proudly wears, it is also establishing him as a future household name in the sophisticated dance scene. "

Technical Ecstasy by Black Sabbath, limited edition, remastered, new mix, 90 mins of unreleased outtakes, alt mixes, live tracks from Ozzy, Tony, Geezer and Bill plus extensive book, tour program and poster. LP set on 180g vinyl.



In the summer of 1976, Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward headed to Miami to record Technical Ecstasy at the famed Criteria Studios. The band was coming off a world tour for their previous album, Sabotage, that had found their live performances evolving to include keyboards and synthesizers. These newly incorporated instruments and sounds were then introduced into the recording process on Technical Ecstasy. The new songs encompassed a wide range of styles from the hard charging “Back Street Kids” and single ballad “It’s Alright,” to the funky “All Moving Parts (Stand Still)” and progressive rock “Gypsy.” The Deluxe Edition presents a newly remastered version of the eight-track album, along with an entirely new mix of the album created by Steven Wilson using the original analogue tapes.



With eight previously unreleased outtakes and alternative mixes. Among those are different mixes of “You Won’t Change Me” and “Rock ’n’ Roll Doctor,” as well as both outtake and instrumental versions for “She’s Gone.” The collection concludes with 10 previously unreleased live tracks recorded during the 1976-77 World Tour. The songs touch on different eras of the band’s history with early tracks like “Black Sabbath”, “War Pigs” (from Paranoid), “Symptom Of The Universe”, “Snowblind” and “Children Of The Grave” alongside new songs “Gypsy” and “Dirty Women.”



The collection comes with an extensive hardback book featuring artwork, liner notes, rare memorabilia and photos from the era, plus a replica of the 1976-77 world tour concert book and a large colour poster of the iconic Hipgnosis (Storm Thorgerson/Aubrey Powell/Peter Christopherson) futuristic robots image which is perfect for framing.



Black Sabbath embraced change in 1976 when the heavy metal innovators started managing themselves and began exploring different sounds on the band’s seventh studio album, Technical Ecstasy.



BMG honours this daring album with a collection that includes a newly remastered version of the original, a brand-new mix by Steven Wilson, plus more than 90 minutes of previously unreleased outtakes, alternative mixes and live tracks. TECHNICAL ECSTASY: SUPER DELUXE EDITION will be available as a 4CD box set and 5LP box set on 180g black vinyl.



Contents:



Vinyl box set includes:

Original album newly remastered
New Mix LP
Outtakes and Alternative Mixes LP
2LP live concert from the World Tour 1976 - 77
40-page book with photos, artwork and liner notes
Technical Ecstasy colour poster

Asleep At The Wheel is celebrating their 50th Anniversary with the release of Half A Hundred Years. The nineteen tracks feature original band members, current band members and guest artists. The special guest artists are Lyle Lovett, George Strait, Lee Ann Womack, Willie Nelson, and Emmylou Harris.
Tracks 1 - 11 are new songs featuring the original band members. Tracks 12 -16 are old songs featuring the current band members and Asleep At The Wheel alumni. Tracks 17 - 19 are songs from the vaults that have never been released and track 14 features the current and the two previous female band members.

Many peoples from Miami, Brussels and Montreal cities recently spotted some mysterious creatures that appear in their street. They look like apes but when you look at it they also seems to be as human as we are. They are coming from Planet Hanuma and came on earth to spread their message through analog drum machines and synths.

ayne/Wayne County's most audacious album is also possibly among the most important albums of its age. Released in 1979 just as the new wave was teetering on the brink of some kind of bold step forward, Things Your Mother Never Told You was one of the sudden shoves which sent it sprawling into its destiny. Electro-punk starts here. Producer David Cunningham takes only a portion of the credit; in years to come he would lead the Flying Lizards into the realm of heavily stylized electronica. But County's songs match his ambitions all the way, from the harsh, grating soundscapes behind "C3"'s muttered imprecations to the soft-spoken paranoia of "Waiting for the Marines," and onto "Berlin," the song that put into words everything David Bowie (among others) tried to convey about that city via image and insinuation. It's not all electro-art smarts, of course. "Boy With the Stolen Face" and the pouting, punishing "Wonder Woman" are archetypal Electric Chairs - a reminder of how, at the band's very best, they could run the Rolling Stones close in the swaggering rock & roller stakes - and the murder mystery "Wall City Girl" could have fallen off a forgotten volume of Nuggets or Pebbles. The title track, meanwhile, doesn't simply seethe with all the promise -- sexual, social, and societal -- which made County the superstar (s)he so very nearly was, it also lets listeners know why no one has ever truly snatched that crown away.

YWF is one of those producers who is capable of bringing a twist to his dedicated genre with every release. His cooperation with the TDS crew truly undermarked the concept of technodub.

The second release of TDS Records is dedicated to a forgotten TV show character, this sets the dynamic and emotional focus. The original track was written and named by the Danish producer, and it starts the vinyl with a twisty opus, followed by some jolly dub vibes from Garpo and beko. On side B Krisz Deak brings his stirring, metallic sounds back to the table, and the season ends with the ambient style closure that we all deserve.

With TDS02 the label continues to pay its respect to the timeless sounds of dub & techno, by keeping this kind of raw minimalist aura alive.

Kansas City trio BUMMER mirror the absurdity of
modern life with a balance of dark humour, dejected
nihilism and righteous fury. Their music spills out in
torrents of skull-crushing riffs, gargantuan bass and
caustic howls delivered at breakneck speed with
gleeful abandon.
Following their split 7” with long-time friends The Body,
which teased a more focused, lean sound for the
group, ‘Dead Horse’ hones BUMMER’s auditory
desolation and scathing gaze to laser-point precision.
In eleven short vignettes the quartet lay waste to
everything in their path, penning a vitriolic overview of
life in the American Midwest, a surprising blend of onestar Trip Advisor review and insightful cultural critique.
“BUMMER puts the ‘power’ in power trio as they play
a raw and primal form of aggressive music that splits
the difference between ‘Bleach’-era Nirvana and the
early, primitive thrash of Slayer. It’s aggressive and inyour-face, but doesn’t skimp on melody, making their
songs memorable. So, there is power and a bit of
precision to what they do. A whole lot of volume, too.” -
New Noise Magazine
CD in gatefold packaging with lyrics.
LP packaged with download code.
Available to independent retailers on grey / blue vinyl.
Artwork by painter Joan Lalucat Vehil.

FOUR STROKE BARON return with their third full length studio album ‘Classics’, mixed by Devin Townsend and brimming with catchy riffs and unforgettable choruses. Having streamlined into a duo, Kirk Witt and Matt Vallarino cast a sardonic eye over the human condition - as seen through their own uniquely distorted lens, and told via tales involving a murderous rampage at a kegger while dressed as a knight, to being trapped in a casino during a robbery whilst on acid, and other such adventures. They are our guides as we traverse the filthiest folds in the dark underbelly of Reno, Nevada; illuminating the darkest corners of their twisted psyches with their upbeat and insanely catchy pop hooks.

Having scraped off the detritus of their city, rubbed the crust from their eyes and molded it into the heavy pop songs you hear before you today, they enlisted the only person they knew who could add the extra layer of embellishment that the album required. Enter Devin Townsend. They gave him only one instruction for producing Classics: go as hard and insane as possible. The added textures brought in by Townsend during mixing elevate these 10 tracks to another level.

If you’re unsure of what constitutes a classic, a good place to start is with FOUR STROKE BARON’s 2020 release, Monoqueen, which features covers of the likes of Chvrches, The Beatles and Death Grips. Sometimes it’s necessary to allow time to pass to reveal the true nature of a classic track; FOUR STROKE BARON have shaved the waiting time all the way down to zero. Hit play - the classics are all there waiting for you.

DEATH's landmark ‘Spiritual Healing’ record is nothing short of genre-defining. Originally released in 1990, Spiritual Healing marked a new turn in the DEATH discography, one which ushered in cleaner production, a new level of boundary pushing musicianship and songwriting skills that were previously unimaginable from a metal band. Spiritual Healing sets the standard for riffs, insane time changes and of course mainman Chuck Schuldiner's masterful guitar solos. Includes Digital Download

“Spiritual Healing hacked and exploited gaps in the boundaries of death metal. It was brutal and toxic, yet replete with unorthodox, cleaner shadings. On this reissue, it sounds as visceral and vital as the day it was originally released, affirming the fact that its narrative and musical sophistication laid the groundwork for countless metal bands to explore frenetic musical pathways with unabashed artistic honesty.” - PopMatters

After retracing the path of Lou Reed, with her tribute show
and album ‘Run Run Run’, Emily Loizeau returns in full
force, influenced by growing concerns for the challenges
of climate change and migration, and everything we’ve
been through these past years.

Writing in the thick of lockdown and recording during
quarantine in England with John Parish (producer and
musician for PJ Harvey), Loizeau had dreamt of
collaborating and creating an album in the land of her
roots long before it came to pass.

Both guitarist Csaba Palotaï, by Loizeau’s side these last
ten years, and pianist / bassist Boris Boublil, a new
addition to the team, had worked with Parish before on a
variety of musical projects. Sacha Toorop, on the drums,
also had experience recording with Parish for Dominique
A’s ‘Auguri’ album.

“Our work on the demos with Boris, Csaba and Sacha; the
songwriting for this album; the sound I was trying to
render: everything seemed to point to a return to the
United Kingdom and to Parish’s creative force, which is
raw, sensitive and powerful all at once," Loizeau says.
"The time was right!"

The album is a diary - personal fieldnotes from a
lockdown, with an eye turned towards the outer world. A
call, a deep and powerful desire to seek out the core of our
fears and anger and find there what binds each soul to the
other.

‘Icare’ is the story of the infinite within us, our desires and
our shortcomings, how we reach for beauty, for harmony,
our creative frustrations and the Promethean madness
that may precipitate our fall.

Outsider is Taylor’s first album of new material since 2013’s Fun On Earth A highly personal project, Outsider’s instrumentation is almost entirely performed by Taylor, with his largely restrained vocals matching the album’s contemplative ambience. But Taylor does cut loose along the way with a foray into some hard-riffing blues-rock as well as an adrenalin charged BIG surprise retread of a classic 1965 novelty song, which is exactly the fun on earth we need in these challenging times.






f 6 We're All Just Trying To Get By [feat. KT Tunstall]

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Afterlife is a brilliant minimal kicker. Then comes Disorder, a massive downtempo hardtek tune, melodious and progressive.
Fading brings a nice minimal sound, growing to acid .
Déréliction finishes the job with a very Acid threatening sound staying behind the door...

A dancefloor killer !

Forty years ago, on July 8th and 9th in 1981, a group formed by the splintering of some of Bristol’s essential post punk bands, entered the hallowed studio at Berry Street in London to record their debut single. What would emerge was not only an exuberant post funk classic on the A-side, but also a wildly influential dub workout on the flipside, whose reverberations can still be heard today. Both songs have proven essential in very different ways.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist and multi-instrumentalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant charge of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style.

Bursting at the seams, “Stretch” feels like it can barely be contained within the studio walls. Rainforth delivers a vocal performance that can only be found within the freedom of someone recording their first ever single. I’m not lying when I say there isn’t another song that sounds quite like it. The group’s love of funk is evident on “Stretch”, but the heavy influence of dub and reggae from their surroundings shapes the moody skitter of “Silent Street”. Here, the sing song vocals seem to drift across the heavy late night air. The two songs are wildly different, yet both could only have come from this key collection of players. Paired with the likes of The Pop Group, The Slits, The Raincoats and the On-U-Sound collective, Maximum Joy still stands out as a unique voice in the movement.

Y Records head Dick O’Dell would join the sessions and give the release a warm home in the UK while legendary 99 Records in New York took on the US release since Maximum Joy made perfect sense being equal parts ESG and Liquid Liquid. This 12” has been a staple for DJ’s in the know since day one.

AMSIA is one of those hidden representatives of Basque experimental music that happened and disintegrated long ago.

Called "The other musics" or "Risky music" it originated two decades ago in the slaughterhouse of the Basque town of Azkoitia (Gipuzkoa).
This native music scene was an attempt to summarise the evolution of contemporary pop/experimental/ contemporary music, rather than an attempt to generate something new.

Its character is solitary and its nature is electronic; the result is a sound collage of MIDI orchestrations combined with synthesized sounds, vinyls and sampler libraries.

The sound of it is chaotic, unpredictable and strangely beautiful.

Full LP of new, original holiday music featuring members of Durand Jones & The Indications and The Dap-Kings. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Ironsides, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Atlantic's "Soul Christmas", Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace" this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general! This is Kelly Finnigan's third full-album production in just under two years, including his debut LP "The Tales People Tell" and Monophonics' most recent effort "It's Only Us". He is rapidly establishing himself as a key producer, songwriter, and performer in the current soul scene.