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Fom the Sleevenotes by Paul Murphy: Jazz Room Records:

"I took a trip to the If Music Store, 2nd Floor, above the paint shop and that got me hooked on the sound of COPA SALVO.

"You NEED this!" said Jean-Claude. "They're an amazing and unique Jazzy Combo from Japan!" But at the time I was stuck in some dead end Gulag job getting things together for the launch of a record label idea I'd been working on and the bobs were just not in abundance. Especially in the part of the wallet marked "Japanese Vinyl Import Department". But he gave it a spin and I was pretty much hooked from that day on.

Things soon looked up though and the next sighting of COPA SALVO was on the BBE Records release: A Journey Into Deep Jazz Vol. 3 (Compiled by that very same Jean-Claude!) which featured COPA SALVO - Hasta La Victria Siempre, a pounding piano driven homage to Fidel which incidentally is one of the featured numbers of the album that is soon to be released on Jazz Room Records.

I kept looking for more COPA SALVO as I was really intrigued by the sound they produced and, over a period of time I managed to obtain nearly all of their sparse catalogue. Once Jazz Room Records had started to get established and the release of the Colin Curtis Presents: indigo jam unit compilation had been a success I thought "Time for COPA SALVO to make their Jazz Room debut!"

This Jazz Room Records Compilation will feature their unique and highly original compositions which are an energetic meltdown of Funk, J-Jazz, Afro-Cuban, Boogaloo and range from the Heavy Latin Jazz Vibes of Bolivia 67 to the Kung Fu '70's sound of Tong King Rock with a journey that takes in an Eastern Folktale and a Jump Up Life along the way."

Vocal/Guiro : Tadahiro Masuda

Piano : Eri Konishi

Bass : Hironori Kobayashi

Percussion : Yo Sato

Percussion : Pyon Nakajima

Timbales/Drum : Peach Iwasaki

Noisy (Rockin') Hardcore / Punk outfit VAUTOURS is now closing its EP Trilogy with their most mature, hybrid and tortured work to date : "LIVE FOREVER".

Adding distorted "pop" ingredients in their crude and strange Noise recipe, VAUTOURS gathers late 90's / early 2000's Noise Rock, Crust / Hardcore, Post-Rock and "metallic" Punk influences, blending Unwound and McLusky, Cult Leader and Young Widows into something hyper-versatile, silly-serious... And radically unique.

Plunge into this crude yet sparkling, bittersweet love letter now.
Cause you won't Live Forever (but you'll get what you want).

HAIL THE QUEEN, LIVE FOREVER !

THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.

Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.

After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.

The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

Latin funk at its finest. A kingpin player of Miami’s Cuban music scene, Ray Fernandez, brought together his ‘court’ for this sensational Afro-Cuban funk triumph. Largely a family affair, the album features his wife, two sons and a range of other talented musicians including Rickey Washington on saxophone, father of the contemporary jazz maestro Kamasi Washington. Originally released in 1973 on Manuel J. Mato’s iconic and collectible Sound Triangle Records, Ray & His Court is a dose of Miami heat fuelled by a Cuban fire, taking in salsa, soul, funk, calypso and Afro-Cuban rhythms.

A kaleidoscopic album that draws influence from a range of different genres and scenes blended together in true Ray Fernandez style. Side A, showcases an array of traditional Latin workouts including the addictive enticing opener 'La Señorita Lola' and the pulsating 'Lo Sabia' with its punchy horns and Ray’s wonderful, quirky bubbling organ groove. The tantalising ‘Venimos Acabando’ and bouncing organ stabs of ‘El Alacran’ are two further tickets to get a dancefloor vibing.

The B-side then steps things up, slipping a hit of heavy-weight Miami funk into the mix. Take the DJ favourite ‘Cookie Crumbs’ with its fiery bassline, tripped-out voiceovers and breakbeat drums. Or the amazing, memorable and truly unique funk instrumental ‘Soul Freedom’ with some mighty fine bass clarinet work courtesy of Gary Gottfried. Also featured is a seductive organ-led Cuban funk rework of Bobby Hebb's 'Sunny' (are there any bad versions of this song?), with a sumptuous female vocal that combine to serve up a seductive take us this much-loved classic.

'Ray And His Court' is a brilliant blend of Afro-Cuban gems and Miami funk heat from an influential group on Miami’s Latin music scene. A majestic and magnetic classic where every track is a surefire winner.

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

Maverick UK producer Kevin Richard Martin (Zonal / Techno Animal / King Midas Sound) joins Relapse for the release of his devastating new double album Machine, his first solo instrumental record as THE BUG.

Machine started life as a series of self-released "floor weapons" (to use Martin’s description), landing in installments between 2023 and 2024 on the Bandcamp page of Martin’s own PRESSURE label. And now - always his intention - Martin has collated a single, powerful, unified statement from those EPs. The album detonates apocalyptic dread-tech mutations of crushing intensity, fusing a unique new strain of futuristic dub with deadly deep electronics and killer bass riffs worthy of the heaviest metal. It is, writes Martin, “ice cold and dystopian.” It celebrates “atmospheric pressure, and the joy of full body assaults, via oversized sound systems in undersized club rooms.” Machine also represents the latest metamorphosis of the "Macro Dub Infection" philosophy Martin germinated with the groundbreaking series of compilations he began curating for Virgin Records as early as the mid 90’s.

A unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.



Catbug is the project of singer-songwriter Paulien Rondou who grew up in Duisburg, a Belgian village near Tervuren. After completing her 'Cabaret' studies at the Antwerp Conservatory, Paulien moved to her mother and stepfather's little farm in Westmalle. Although she left without any specific goal in mind, it didn't take long for the first wonderful songs to originate in this environment.

Catbug released her debut album Universe back in 2018. A record that immediately put her on the map within the Belgian music landscape. "Since the release of King Fisher, Catbug's first song, we have been sitting here on the edge of our seats", Radio 1 wrote about it at the time. Despite the fact that her musical career had clearly taken a direction, Paulien did not feel comfortable living the big city life. That said, it didn't take long before she left Antwerp behind to run the organic farm De Paardebloemhoeve in Malle. As it turned out, that farm was the ideal habitat for Paulien to work on her first Dutch-language album slapen onder een hunebed peacefully and quietly. This album was also well received in Belgium and was even picked up by Japanese label Think!Records. In one way or another, Catbug's music reached the Japanese label and, upon their request, several hundred vinyls were immediately sent out to Japan. In no time, all vinyls were sold out. Despite the fact that Catbug's lyrics are sung in Dutch, the people in Japan love her music.

Now, three years later, there's the brand new album Musjemeesje. The album has become an ode to all the birdson and around the farm, which again served as the breeding ground for all the new songs. One winter day in 2021, Paulien was given a pair of binoculars as a gift and decided to learn as much as she could about the birds on and around the farm. Soon she learnt to recognize the distinctive sounds and ways of flying of many different species, and a separate story began to form with each bird. There was something in them that Paulien identified with, and she wanted to try to map it out. This is where the idea was born of writing an album of songs about birds. "Birds always manage to uplift and inspire me with their crazy habits and their twittering. They reach out to the child in myself", Paulien added herself. For this album, Paulien worked with producer Aiko Devriendt again, who also did the mix. They recorded the album in pianist Guy Van Nuyten's studio and just like they did the last time, a conscious choice was made to keep it sober. Less is more. This resulted in a unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.

For Crown of Thorns, the dynamic, ground-breaking follow-up to 2021’s Royal Destroyer, The Crown made distinctly different creative choices to ensure that the LP’s 10 songs would stand as a unique collection. “For me, Cobra Speed Venom and Royal Destroyer are like siblings,” says guitarist Marko Tervonen. And while Royal Destroyer was termed a “a ridiculously catchy album,” The Crown wanted to “make sure that we would take a step forward, get a bit more out of the comfort zone on Crown of Thorns.” It's very few bands who have a revered and established career—The Crown celebrated their 30th anniversary in 2020 their first eight years spent as Crown of Thorns—yet up the ante continually. With 2018’s Cobra Speed Venom the band reached the same lofty heights as their 2002 landmark release, Crowned in Terror. And with the barbaric Royal Destroyer, and now, 2024’s powerful and unique Crown of Thorns, the metal vets rage with a rekindled fire and ferocity while honoring their roots.

The musical odyssey of the mighty Ketiov continues as he returns for the fifth edition of his self titled
label with the ‘F/G’ EP. In contrast to his well received ambient and downbeat ‘King Of Hypocrisy' LP
released back in spring 2019 Ketiov is right back on the dance floor bringing a broad range of tempos
and styles, demonstrating yet again his ability to effortlessly blend his unique sound and production
style into many genres.
From the quick-paced loose percussive disco grooves of ‘Another Mindset’ to ‘Loca’ taking us back to
the electro-house era in its finest days and to the lazy mid tempo gem of ‘Number One’ this EP is once
again packed with musical goodness for the discerning dance floor and home listener alike...
Meanwhile outside the studio Ketiov has also been hard at work on another project and making a mark
on the Madrid club scene with his night CARBS, as you would expect from Ketiov delivering an
eclectic range of music including disco, boogie, funk, house and modern electronic in an open-minded
‘label free’ space for the LGBTQ+ crowd and anyone else who loves good music. As the man himself
puts it, “you do you, we do the rest…”

The Congos were formed by Cedric Myton (born 1947 St Catherine, Jamaica) and Roydel ‘Roy’ Johnson (born 1943 Hanover, Jamaica), around the mid-seventies, a time when the Rasta message coming out of Kingston and other pockets of the Jamaican Island was at its most prominent. Cedric Myton’s singing career began back in the rocksteady era in Reggae’s musical story.

He formed the ‘Tartans’ group taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis. They cut ‘Dance All Night’ (1967) and ‘Coming On Strong’ (1968). The line-up reduced to a two piece, Cedric and Devon Russell, when tracks like ‘What a Sin Thing’ and ‘Short Up Dress’ were cut. This line-up became the Royal Rasses, Cedric formed The Congos, on meeting Roydel Johnson. Roydel previously sang as a member of Ras Michael and the Sons of Negas, cutting such tracks as ’Go To Zion’ (1973). As we can see Cedric’s and Roydel’s Rasta roots were firmly in place by the time they had formed The Congos sometimes called ‘The Congoes’.

The Congos possess what all bands look for,that unique sound that draws the listener to them.Lead singer Cedric Myton’s style and phasing, with his distinctive Falsetto voice makes this just the case.Built on a foundation of classic rhythms and with the aid of then Producer, Lee Perry, the groups statement of intent was laid down with one succinct message. The Congos mighty 1977 ‘Heart of the Congos’ album, is quite simply one of the best reggae albums ever recorded.

Producer Lee Perry had wanted to record a classic Jamaican vocal group in his newly built Black Ark Studio. The voice of Watty Burnett was added at the time to cover baritone vocal duties. The studio after various changes in equipment etc. was finally finding its way. A sound built in Lee Perry’s back yard in Cardiff Crescent, Washington Gardens, Kingston, but existing until then in Mr Lee Perry’s mind. The album they cut would be the defining group release to come out of The Black Ark studios, when the vital elements, vibes, musicians, songs and singing would gel to form ‘Heart Of The Congos’. Come the time of it’s release 1977, Lee Perry was in dispute with Island Records and opted to release the record on his own ‘Black Art’ label. Without the high-profile push of a major label, the record undersold and caused a split between producer and band. Under different circumstances maybe this album would be sitting in thousands of homes alongside the Bob Marley, Culture, Burning Spear releases. Cedric Myton went on to release albums with the French arm of the CBS label and Roy Johnson records and tours as Congo Ashanti Roy.

Cedric Myton the central force carries on the mantle of the Congos and we at Kingston Sounds are proud to pick up the story with another set of vocal statements, which sees Cedric cut some of his finest tunes. Helped along by another reggae legend Brent Dowe, lead singer of the Melodians (Rivers of Babylon), over some classic 1970’s rhythms. Yet again we find that magic formula of strong statements working alongside classic rhythms making the balance work. The Rasta message is still strong on modern classics like ‘King Rastafari Is His Name’, ‘Rasta Congo Man’ and the injustices of the world dissected in tunes ‘Some A Thief’, ‘Watch & Pray’ and the prophetical, ‘Citizen Of The World’.

Once touched by magic it does not fade away, but resurfaces as it has with what we believe to be some of the Congos most heartfelt and meaningful set of songs ...... Let the feast begin.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

" The myths of our Western tradition have often captivated me, whether they be Greek, Roman, or Judeo-Christian. Myths are a transcendent collective narrative; a buried memory, not intellectual but spiritual, alive to all the senses of another world. These stories often describe forbidding passages guarded by terrifying monster-like creatures, which, if conquered, give access to other planes. 'Door 1 - Door 2' are two of these planes, opening to prophecy and kingship." (Christopher Chaplin)

Following the release of his powerful and dark album trilogy "Je suis le Ténébreux", "Paradise Lost" and "M", British avant-garde composer Christopher James Chaplin has unveiled his latest project in 2021: "Patriarchs", released to critical acclaim. This project is a musical exploration of the Antediluvian patriarchs, from Adam to Noah, and is another captivating and daring work of art that straddles experimental electronic music and the avant-garde. Chaplin has also been wowing audiences with his live performances, releasing the concert album "Patriarchs Live" to shorten the wait for his new studio album "Door 1 Door 2", which will be released on September 20, 2024.

It is another powerful work of art, located between electronic music and avant-garde. Once again, Christopher Chaplin breaks genre boundaries and manages to condense experimental and colorful electronics in chamber music in a unique way, transporting the listener into mental and spatiotemporal intermediate states. A completely unique musical microcosm that can also be experienced in his impressive solo live performances.

THE CULT is fronted by Ian Astbury on vocals and Billy Duffy on guitar. Their fourth album Sonic Temple is not just an iconic record, but a sonic tour de force that defies classification. Released in 1989, the album"s sound is rooted in classic rock and heavy metal, but incorporates a range of influences, from punk to psychedelic rock, creating a sound that is both familiar yet unique. The album"s production is slick and polished, thanks to the contributions of legendary producer Bob Rock, who helped to craft a sound that was both commercially appealing and artistically adventurous. Sonic Temple had four massive hits; "Fire Woman", "Edie (Ciao Baby)", "Sun King" and "Sweet Soul Sister". The album catapulted The Cult into superstar status and remains their most commercially successful release. Declared platinum in 1990, it was also a critical success, cementing The Cult"s place in the pantheon of hard rock and heavy metal bands and earning them a devoted following that endures to this day.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

Katharine Whalen of Squirrel Nut Zippers fame, makes a triumphant return with her Jazz Squad featuring Austin Riopel on guitar, Danny Grewen on trombone, and the great Griffanzo on pianos. This time the chanteuse delivers an entire album of breezy west coast jazz sounds in the form of a tribute to Chet Baker. It was around 1996 when Katharine Whalen first made her grand entrance onto culture’s collective radar as the sultry, yet effervescent voice of the Squirrel Nut Zippers, where she remained until their initial disbandment around the turn of the century.

In addition to the Zippers putting dixieland jazz on the pop charts in the 1990s, they sneakily introduced an unsuspecting "alternative" crowd to jazz music. Her cultural impact was also felt when she voiced the song "You You You You You" a standout track from Stephin Merritt's (The Magnetic Fields) project titled The 6ths. That song would also find its way into commercials and the film Pieces of April. After recording one solo album for Mammoth Records shortly after leaving the Zippers, Whalen stepped out of the public eye.

However, she’s remained very much in the spotlight of one unique small town; Hillsborough, NC, which has been referred to as Twin Peaks meets Northern Exposure. It’s a surreal literary, liberal Mayberry. If you find yourself in this Southern portal, you can find Katharine Whalen's Jazz Squad playing monthly in a cocktail bar appropriately named Yonder. The album was recorded in an old chapel in Hillsborough by North Carolinian royalty, Jerry Kee (Polvo, Superchunk, The Kingsbury Manx). Each song was recorded with the band all playing together in the same room, the way the old jazz records used to be put to tape.

Steve Marion, the critically acclaimed-and completely wordless-songwriter and guitarist known as Delicate Steve, has unveiled a new album called Delicate Steve Sings. Is the album title a reference to the instantly recognizable "voice" of his guitar? Does he actually sing this time? Has he not been singing all along? That"s the crux of Sings-Marion is the rare guitarist where you can put on any of his records and know exactly who"s playing. In an indie rock landscape stuffed end-to-end with guitars and amplifiers, nobody else sounds like this. That unique voice has kept Steve busy in an unpredictable variety of settings. The sheer spread of his work outside his own records-collaborating with Miley Cyrus and Paul Simon, playing in Amen Dunes and the Black Keys, and being sampled by Kanye - doesn"t mean Steve"s a chameleon. It means he"s singular. Delicate Steve Sings is a record centered on channeling iconic voices with his guitar. In doing so, Marion is casting himself in the role of iconic singers like Willie who make standards their own. In the process, he reveals just how singular (dare we say iconic) that voice is. The guitar sings these songs-smoothly, sweetly, boldly, and on its own terms. Recorded with Jonathan Rado on bass, Kosta Galanopolous on drums, Renata Zeiguer providing strings, and co-writer Elliot Bergman, the album features both original songs with titles that suggest they might be new recordings of classics. "I"ll Be There" is smooth like a lost Bill Withers track; "Easy for You" isn"t the Elvis song of the same name, but there"s a hint of the king in there, in addition to Marion"s own takes onclassics such as the Emersons" "Baby," The Beatles" "Yesterday" and Otis Redding"s "These Arms of Mine." "You"re tapping into something universal and in the consciousness of pop music," Steve says-tacit permission for his guitar to drift into vocal expressions he"s internalized through years of close, repeated listening. Just like all the great singers.

How could Canadian heavy metal band 3 Inches of Blood dial up the intensity even more after their 2004 masterpiece Advance and Vanquish? Well, by bringing in Slipknot drummer Jordy Jordison to produce their next record, and adding a new instrumental line-up of former Allfather lead guitarist Justin Hagberg and former Walls of Jericho drummer Alexei Rodriguez to the band’s unique dual vocalist assault of Cam Pipes on “clean” vocals and Jamie Hooper on “scream” vocals. The result was 2007’s Fire Up the Blades, which, as Hooper put it, was “a faster, more intense version of us.” Which means that albums don’t get any faster and more intense than this one; that the epic lyrics are good enough to have been penned by George R.R. Martin of Game of Thrones fame is just a bonus. Speaking of bonus, for the vinyl debut of Fire Up the Blades (and after consulting the band) we’ve upped the stakes with a 2-LP release featuring an entire side of extra tracks that were released right around the time the album was, including their cover of the Lucifer’s Friend song “In the Time of Job When Mammon Was a Yippie.” All pressed in “Crimson Fire” vinyl housed inside a gatefold jacket with lyrics…limited to 1250 ferocious copies!

Established in 2008, the French band The Lumberjack Feedback comprises talented members from diverse musical backgrounds. Their music is all instrumental, characterized by heavy, powerful riffs, two drummers (!) and hypnotic atmospheres, creating a unique dark though melodic sonic universe. The genesis of the band traces back to a shared passion for innovative metal and a desire to create immersive, captivating music. Over the years, The Lumberjack Feedback has honed its musical identity, blending diverse influences ranging from sludge to doom and post-rock. The result is a complex, entrancing fusion capable of transporting the listener to emotional soundscapes. Through their epic music, The Lumberjack Feedback transcends linguistic and cultural boundaries, resonating with audiences worldwide. The band continues to make its mark in the worldwide thriving post-rock music landscape, delivering energetic and mind-blowing live performances that leave no one indifferent. Brown onyx vinyl.

Berlin based Ruffcats are something of an institution This eight-piece outfit made up of some of the country"s most revered session musicians, pool all of their diverse influences and come together as "The Ruffcats" to create a unique take on the music they love. Rapturous Apollo Helios, better known as RAH, has been making a name for himself as one of Berlins" most outstanding rappers, songwriters and vocalists. Originally hailing from Lagos, Nigeria, RAH"s music has always been influenced by his environment as well as a rich history of black music from hip hop to soul and, of course, Afrobeat.

Our Label Records Vol. 1 präsentiert eine Auswahl an zumeist vergriffenen Funk 45s aus zwanzig Jahren Labelgeschichte. 2005 starteten die Brüder Tom und Gu mit der 7” Veröffentlichung "Give Me A Minute" von The New Mastersounds aus Leeds, UK, und haben seitdem mit Bands und Künstlern aus der ganzen Welt zusammengearbeitet. Gerade in den Anfangsjahren war Unique Records als Vertriebspartner einer der Garanten sich schnell zu etablieren. Auf dieser Compilation gibt es Uptempo Funk, smarte Breaks und soulful Grooves die sich als sichere DJ Tracks bewiesen haben. “Give Me A Minute (Part 1 & 2)”, geschrieben von Gu, war nach drei Monaten ausverkauft. Das von DJ-Ikone Keb Darge und Eddie Roberts produzierte “Bread & Water” von The Inmates war nach sechs Monaten nicht mehr zu bestellen. Die "Song 2" Coverversion von Diazpora schaffte es sogar in den Trailer einer britischen Castingshow. Mothergroove, Sir Ali Bengali, Wake&Bake! und Renegades Of Jazz sind Klassiker in den Vinyl Kisten von DJs weltweit und Garanten für volle Tanzflächen. Einige hatten auf Our Label Records die ersten Veröffentlichungen ihrer Karriere. Mit “Smudgin'” von The King Rooster findet sich auf dieser Werkschau zudem eine ganz neuer bisher unveröffentlichtes Funk Monster. Zehn Tracks stark ist "Our Label Records Vol. 1" eine sichere Bank für Funk Fans, Vinyl Enthusiasten, DJs und Sammler. Die erste Vinyl Auflage von 500 Exemplaren erscheint mit einer Bonus 7” aus dem Our Label Katalog.

New album of piano pieces by Matthew Bourne, provocatively titled This Is Not For You. The album is a return to solo piano following a series of recent collaborations with other artists playing a variety of instruments, including Keeley Forsyth, Alabaster Deplume, Keith Tippett, MINING, Nightports, Mzylkypop, Visionist, Paula Rae Gibson, Shiver, Jameszoo, Emil Karlson and Marcus Vergette. This Is Not For You. showcases Bourne"s more contemplative side, but there are flashes of the unpredictability that makes him such a unique and inspirational performer.

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

LIMITED EDITION SPLATTER VINYL WITH NEW ARTWORK
For over 15 years, Zu’s modus operandi of straddling and abusing musical genres has resulted in over fifteen unique album releases across labels such as Ipecac, Atavistic and Headz (Japan). Their experimental amalgam of metal, math, no-wave, noise and electronics, led acclaimed composer John Zorn to describe their sound as “a powerful and expressive music that totally blows away what most bands do these days”.

In the running for the title of “the world’s hardest working band,” Zu have performed over 1000 shows throughout Europe, US, Canada, Asia, Russia, Mexico and even Africa, touring with the like of Mike Patton (as the Zu/Patton quartet), also sharing the stage with Faith No More, Fantômas, The Melvins, Lightning Bolt, Sonic Youth, The Ex, and countless others. They have also collaborated with a vast number of musicians including Mike Patton, The Melvins, Dälek, Jim O’ Rourke, FM Einheit (Einsturzende Neubauten), Peter Brötzmann, Nobukazu Takemura, Eugene Robinson (Oxbow), Steve MacKay (The Stooges), The Ex, Thurston Moore, Stephen O Malley, Damo Suzuki (Can), Mats Gustafsson, NoMeansNo, Joe Lally (Fugazi).

CARBONIFEROUS is their masterpiece, originally released on Ipecac in 2009, it includes collaborations with Mike Patton, King Buzzo, Giulio Ragno Favero.

Hailing from Toronto, the dynamic indie rock quintet, Good Kid, comprises lead vocalist Nick Frost, drummer Jon Kereliuk, bassist Michael Kozakov, and guitarists David Wood and Jacob Tsafatinos, who thrives as a vibrant community fueled by the boundless enthusiasm of its listeners. Their eclectic blend of J-rock, indie-rock and pop-punk resonates with high-energy riffs, catchy melodies and clever lyricism.

A jack-of-all-trades ensemble - musicians, programmers and storytellers, Good Kid has carved a unique path for their audience to follow suit. Good Kid's fanbase is not just passive listeners; they are a passionate community, actively contributing to the band's universe. Through platforms like Discord and Iwitch, as well as their strong social media presence, fans create art, animation, videos and covers, reflecting their profound connection to the music. The band's journey is marked by streaming successes with the release of "From the Start" on November 10th, 2023, hitting 1 million streams in just 24 hours, accumulating several million streams and counting. Their reach extends to leading YouTube and Iwitch accounts in the gaming space, aligning them with top content creators

and gamers. Their energetic performances have not only led to two-sold out headline US tours in 2022, but have included supporting sold-out UK and EU tours, as well as a nationwide run on Portugal the Man's Canada tour.

Los York's became the epitome of Peruvian garage sound. 'Abrázame' features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'! Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of 'Abrázame' was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' r&b classic 'Mercy Mercy', the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna, resulting an irresistible Latin garage hipshaker! A rawer, fuzzier version of the same song was released one year later and renamed as 'Abrázame baby'. How cool and handy is to have both versions together on one single artifact? Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'!

A band who have justifiably been championed across the world, Tokyo’s Melt-Banana have been responsible for some of the most complex punk rock ever made … that far outshines ninety-nine percent of most other bands out there. The band once described their live show as “Shooting machine gun and laser beam, chaos in order.” And I think that pretty much sums them up. — Olli Siebelt, BBC No wave without the self-conscious pretension, avant garde composition compressed into one-minute-or-less bursts, urgency, intricate destruction, pure glorious abandon. Melt-Banana play the same way that Repulsion, Naked City, The Ruins, or The Boredoms all make you want to scream and dance and kill your neighbors. This is not music that we are conditioned to accept. This is you delirious with joy scraping your five senses off the floor. —Matthew Moyer, Ink19 Melt-Banana are in a league of their own. There are other extreme hardcore bands out there who are experimental and unique but Melt-Banana are more than that. They area giants amongst infants. Masters amongst pupils. Kings amongst serfs. Nobody can do what they do and nobody can adequately use words to describe them. —Jeb, Crass Menagerie

The band emerged in the late 70s punk scene in Glasgow and released a handful of singles in the 80s but not a debut album until 2014. This highly anticipated follow up is a must have for fans for unique, honest rock n roll. It's a truthful, painful and raw document of The Lonewolves at the height of their powers

Bewilderment - the feeling of being perplexed and confused - is the inspiration behind Pale Jay's new album. It's a soulful exploration of a family's gradual disintegration due to years of avoidance and miscommunication. During this difficult time, Pale Jay began to question the stories he had always lived with and re-examined his identity. The resulting work, Bewilderment, is his first full-length album, which strives to find answers to these questions and more. The album is set to release on 8/18/2023 on Karma Chief Records, a subsidiary of Colemine.Pale Jay is a trained jazz vocalist and pianist, and he wrote, recorded, and produced all songs on the album, except for 'By The Lake', which is a collaboration with labelmates Okonski - Steve Okonski, Aaron Frazer, and Michael Montgomery. Pale Jay's music is influenced by a wide range of songwriters, including Labi Siffre, Carole King, and William Onyeabor. 'Bewilderment' is a seamless blend of Pale Jay's trademark dusty soul, slow disco, and Afrobeat, with string arrangements by Raven Bush adding an extra layer of magic to the beat- heavy productions.Pale Jay's debut LP is a captivating journey of self-discovery. Each song on Bewilderment tells a unique story, but they all share a common theme of personal growth and self-understanding. Grab a copy on 8/18/2023 to dive in and experience the new album.

The immediate successor to ska, the soulful, melodic sound of rock steady first developed during the long hot Jamaican summer of 1966 and reigned supreme thereafter for two glorious years before finally being superseded by the more energetic style of reggae.

Despite its relatively brief period as the island’s national sound, the rhythms of many of its biggest hits have continued to influence and inspire music-makers to the present day, resulting in renewed interest in the sub-genre among record buyers in recent years.

This superb 2xLP vinyl collection features 24 of the most popular recordings of the rock steady era, including the UK hits, ‘007’, ‘Train To Skaville’ and ‘It Miek’ and The Maytals’ anthemic dance-filler, ’54 46 That’s My Number’.

Pressed on high quality 140gm vinyl and presented in a stylishly designed sleeve, the album not only provides the ideal introduction to this hugely popular and influential sound, but is also a must for established fans of the Jamaican sub-genre, with many of the tracks appearing on vinyl for the first time in decades.

As a rock icon and filmmaker with a unique vision, ROB ZOMBIE has continuously challenged audiences as he stretches the boundaries of both music and film. He has sold more than fifteen million albums worldwide, and is the only artist to experience unprecedented success in both music and film as the writer/director of eight feature films with a worldwide gross totaling more than $150 million.

UK jazz ensemble The Jazz Defenders release their third album "Memory In Motion" in April on Haggis Records (home of The Haggis Horns and Malcolm Strachan). The Bristol jazz boppers deliver another quality release of original material that takes in their usual diverse mix of influences and genres, from timeless acoustic jazz referencing the classic sounds of Blue Note Records, to a more contemporary fusion where jazz meets soul, funk and hip-hop.

Although they love to mix things up, their roots are in the classic acoustic jazz quintet sound of the late 1950s/early 1960s, back when hard bop and modal jazz ruled. They have already explored this musical path well on their previous albums but they still deliver a couple of classic inspired jazz cuts here. "Chasing Fantasies" and "Fuffle Kerfuffle" both give the band some space to cut loose on solos over swing jazz beats that will keep their original jazz audience happy. The latter bubbles away with a jazz shuffle beat that would make drum legend Art Blakey smile.

"Meanderthal" and "Snakebite Playfight" bring soul to this jazz party. Exactly like jazz legends Lee Morgan/Herbie Hancock/Freddie Hubbard etc did back in the early-mid 1960s. The first is a feel-good, toe-tapping gem that's heavy on the backbeat and short and snappy on the solos, the exact reasons that made it the perfect opening single from the album. "Snakebite Playfight" comes with a jaunty New Orleans shuffle before transforming into a heavy psychedelic soul jazz burner, flipping back with ease to the NOLA shuffle for the Mardi Gras meets bebop piano solo by band leader George Cooper.

"Rolling On A High" is a hip-hop/jazz banger that sees the band continue their collaborations with UK rapper Doc Brown, a perfect combination that began on their second album "King Phoenix''. This time, the Doc spits some old-school block party-style bars over a bouncy uptempo funky beat with the band cooking up some soul stew behind him. Definitely dancefloor material.

Another uptempo jam is the heavy jazz fusion jam "Net Zero". It kicks off with some live broken beat kit playing and piano/bass staccato vamping before taking off into Headhunters territory on the solos, sounding both contemporary and classic at the same time. This is The Jazz Defenders at their fiercest and toughest and delivering a track that will have jazz dancers worldwide in an utter frenzy.

It's not all uptempo numbers or dancefloor-oriented compositions on this album. Two tracks take the musical dynamics right down to give a temporary break from the high-energy numbers. "Take A Minute" has a rolling double bass line locked into the groove while the horns play a lazy and laid-back theme with vibes embellishment, sounding like some trippy independent film soundtrack. Another recurring musical reference point for this band over the years.

The album finishes on a poignant and introspective note with a beautiful piano and double bass feature for George Cooper and bassist Will Harris. It's called "Enigma", it was recorded live in Paris and it closes the album on a peaceful note evoking the music and playing of Bill Evans. The perfect way to close this brilliant third album from The Jazz Defenders.

With Memory In Motion, pianist George Cooper and his band undoubtedly pay great homage to a golden era of jazz music that they love, but also elaborate on this influence with a wealth of modern musical experience, to create their own raw and vibrant compositions. The result is an enthrallingly unique sound that is as danceable as it is listenable.

King Midas is a Norwegian band, playing a unique mix of art pop, electronica, lounge-jazz, blues and psychedelia. They started in 1994 in Oslo, Norway and gained some commercial success a decade later after signing with Universal Music, touring and also getting airplay for several singles. «The Jaguars» their fourth album was originally released in 2005, and is now available on vinyl for the first time

Stuck in the depths of a dark alley, blocked by yet another breeze, hitting a stone wall, road sign ahead: Dead End.
Impasse. "Cul-de-sac".
Hip‐hop. The original, some would say, official music of the late 20th Century Bronx.
Some say it has endured it's fair share of distractions, detractors and defectors. Some say it has murdered itself, having been abandoned by its so‐called best men, those who have gone off in other directions, or who have, simply, just beat‐retired. Yet, there are plenty of Soldier Monks still out there, prepared to sweat it out in the Temple of Machinery and Mics.
Low Cut honored this cause four years ago, with his MPC crafted minimalist version of NY Minute and he's back to ring the bells and unsheathe the samples!

The starting point of Dead End's production remains the 90's boom-bap, but the will to carry it even further brings it to its destination. By decorating it with rich samples flushed out after digging through vinyls pressed several decades ago, it is guided by a compass pointing deposits to the East. With sound quality inherited from a fastidious composition and mix works, using inspiration rather than just being a copycat, Dead End celebrates it without setting it up as a museum piece.

Picturing the beatmaker stuck in the depths of a dark alley, ended with a brick wall, is easy. But far from isolated in his Parisian basement, Low Cut has rung phones in New York, Baltimore and Detroit, rounding up the faithful. He magnetized the hidden but sharp forces, and gained attendance of legends. The casting of Dead End : Ruste Juxx & Nutso, Dirt Platoon, Guilty Simpson, Torae, Rasheed Chappell and the stainless Masta Ace, among other beat crushers. Also starring DJ Duke, Nix'on, Topic and Ordoeuvre with their DMC titles crates, for a deep beatfight on bars scarified of scratches.
Heavy atmosphere, martial beats and street soul, Dead End is also the final episode of the projects initiated by Low Cut, based on the model of a producer inviting various MCs.
He will then replace his turntable needles, refresh his sample banks, and settle the BPMs of his productions on more abstract frequencies.

Origu and Unique Records bring you a UK Hip Hop Holy Grail.
For the first time on vinyl this double sider features two standout tracks from the 1993 "The Rhyme Wrecka EP“.
The short lived group Freakin’ Inglish from Salford & Manchester gained massive respect in the Hip Hop scene with their tape only debut just to break up in the year after. After a digital only release in 2013 and a CD reissue by Chuck D’s SpitSlam label in 2021, the uptempo title track and the cleverly produced „A-Dorable“ make their vinyl debut.

Freakin' Inglish is a Hip Hop group from Salford & Manchester, (United Kingdom). Formed in 1993, The group originally consists of Emcee's (Red Venom, Eric-T & Yozzer) the group quickly split up the following year. They released their debut EP "The Rhyme Wrecka" in '93, along with other tracks via Fat City Records and other stores round the UK.

A reunion on the 2nd decade (2013) of their formation in (1993) was planned by Red Venom & Hip Hop Producer: Nate Whittaker Featuring original members Red Venom & Eric-T along with Nate Whittaker as the missing 3rd member, taking Yozzer's place in the group, but as a producer. red venom has now gone on too be a member of the rhyme syndicate and is putting out albums and a reunion is set now for 2021 with eric t and red venom and a new member .