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Classic RootsReggae is the definitive influence on the music of Vibronics .. so it has been a true labour of love to bring together the powerful voice of Jospeh Lalibela, the intricate playing of the Mafia & Fluxy Band and the deep production skills of Vibronics to make this homage to classic Jamaican Roots Dub Reggae music.
The LP is a fine body of work with full production featuring live bass, drums, horns, guitars & flutes as well as up to the minute studio trickery to produce an album that is rooted in reggae history but sounds relevant right now.
5 vocals and 5 dubs - this album is original showcase style !
Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti and more.
Joseph Lalibela is a Birmingham born UK vocalist who found fame through his work with OBF & King Earthquake
Mafia & Fluxy are the UK’s leading Reggae riddim section and recording artists working with Eek-A-Mouse, Jah Shaka, Luciano and the cream of worldwide Reggae artists.

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

Parisian mambo " is the second album by " Cecilya & the Candy Kings ". The entire LP is an homage to the city of Paris, that has made musically grown up the catalan singer since she settled down in the capital of love. The 11 songs of the album take you to a musical journey back to the 1950"s by the hand of a woman with a powerful and luminous voice committed to the causes of her time. Cecilya"s lyrics, intimate and universal at the same time, not only speak about love and celebrationas the old rhythm"n"blues did. She speaks about dreams (broken or not), internal struggles, healing,emigration, her native Mediterranean sea, the chance to be a freewoman, the superficiality of the world we live in and the nostalgia for better times.The music, signed Rodolphe Dumont, has been carefully created and produced to sublimate Cecilya"s personal universe. The retro sound ambiances and catchy melodies truly take us back to the times of Elvis and Marilyn Monroe. "Parisian mambo" captures the essence of the cream of rhythm"n"blues from the golden era: a mix of blues,rock"n"roll, boogie-woogie, mambo and far more.The musicians on the album are:Cecilya Mestres on vocals, Rodolphe Dumont on electric guitar, Sax, Gordon on tenor and baritone saxophones, Olivier Cantrelle on piano, Abdell B. Bop on double bass and Denis Agenet on drums.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

The Freedom Affair hat von Anfang an tiefe Wurzeln in der Soulmusik geschlagen, aber nach fast einem Jahrzehnt gemeinsamer Arbeit konzentriert sich der Sound der Gruppe auf ihrem selbstbetitelten zweiten Album genau dort, wo Muscle Shoals und Memphis Soul aufeinandertreffen. Es ist eine Meisterleistung an leidenschaftlicher Message-Musik, die zeitlose Themen wie Ungerechtigkeit, Liebe und Zusammengehörigkeit erforscht. Eine schicksalhafte Begegnung mit dem Grammy-prämierten Toningenieur Boo Mitchell (Mark Ronson, Bruno Mars, Al Green) in den Royal Studios im Februar 2023 löste einen Funken aus, der die Band mit neuer musikalischer Überzeugung zurück nach Kansas City schickte. Im November kehrte die Band zurück, um in dem legendären Studio in Memphis völlig neue, vom Southern Soul inspirierte Songs aufzunehmen. Das stets starke weibliche Trio an der Spitze der Band - Paula Saunders, Seyko Groves und Shon Ruffin - ist das Markenzeichen des Sounds und der Identität von The Freedom Affair, und ihr kollektives stimmliches Können ist in vollem Umfang zu hören - von hart bis zart, von Herzschmerz und Hoffnung. Die Erfahrung in den Royal Studios hat die Band davon überzeugt, dass es keinen besseren Raum gibt, um Bläser aufzunehmen. Die ,One-Take"-Bläser von Pete Carroll an der Trompete und Brett Jackson am Saxophon beweisen, dass sich ihre jahrelange Zusammenarbeit mit ihrer Präzision und den perfekt auf die Stimmung abgestimmten Linien ausgezahlt hat. Das Personal der Rhythmusgruppe ist das gleiche wie auf dem Debütalbum "Freedom is Love", aber Chris Hazelton wechselt vom Bass zu seinem Hauptinstrument, der Hammond B3-Orgel, sowie zu verschiedenen Keyboards. Branden Moser tauscht den Bass, der auch sein Hauptinstrument ist, mit seiner früheren Rhythmusgitarre aus. Cole Bales greift an der Leadgitarre weiterhin zu zeitlosen Riffs, und Dave Brick sorgt am Schlagzeug für das Rückgrat mit dem schweren Boom-Bap. Dieses Album hat den Sound von The Freedom Affair zementiert: beständige Melodien mit reichhaltigen Arrangements, unterstützt von einem düsteren Puls. Royal war der perfekte Ort für dieses Album, und die Band nutzte die Geschichte des Studios in vollem Umfang, indem sie Studiogeräte und Relikte während des gesamten Prozesses einbezog. Da die Band nur vier Tage Zeit hatte, um das zehn Songs umfassende Album aufzunehmen, bestand sie darauf, das gleiche Ampex 1"-Bandgerät zu verwenden, mit dem alle Hi-Record-Hits von 1974 und davor aufgenommen wurden, um die Authentizität zu wahren. Es war das erste Mal seit 1974, dass dieses Gerät für ein Album verwendet wurde. Die Einschränkungen und Macken, die sich aus der Verwendung alter, analoger Geräte ergeben, machten Platz für magische Momente, die den Charme des Albums ausmachen. Die Platte erweckt den klassischen Southern Soul zu neuem Leben, mit all der Gemütlichkeit und Wärme, die man erwarten würde, wenn man Al Green oder Ann Peebles Aufnahmen aus dem selben Raum hört. Abgemischt von Vince Chiarito (Hive Mind, Jalen Ngonda, Charles Bradley) und gemastert von JJ Golden (Sharon Jones & the Dap Kings, The James Hunter Six, Antibalas), ist dieses Album eine wahre Lektion in Sachen Soulmusik.

Dive into the enchanting world of Middle-earth with our compilation LP featuring the most iconic tracks from The Lord of the Rings - Themes. This stunning collection captures the heart and spirit of the epic saga, making it a must-have for fans and music lovers alike. The Lord of the Rings film trilogy, directed by Peter Jackson, is based on the classic novels by J.R.R. Tolkien with The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003).

Im Mai 2021 veröffentlichten Adam Duritz und Counting Crows „Butter Miracle: Suite One“ und erhielten begeisterte Kritiken. Nach der Veröffentlichung von Counting Crows’ Butter Miracle, Suite One folgt nun das vollständige Album Butter Miracle, The Complete Sweets!. Das Album besteht aus den 4 Titeln von Suite One sowie 5 neuen Titeln.

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Remastered from the original tapes. Includes poster. 180g vinyl. Despite not participating in the legendary Avándaro festival, La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their fantastic 'Nasty Sex', along with other songs like 'If You Want It' or 'Melynda' boosted their first album at the top of the sales charts worldwide. Although their sound changed over time, their debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Sadly, Mexican record labels lost interest in local rock bands due to the repression of La Onda movement by the Mexican Government, resulting in rock bands being banned. This, in addition to internal disagreements between members of the group, eventually led to the end of their relationship with Polydor in 1973. La Revolución de Emiliano Zapata entered a new artistic phase in their career, focusing on ballads and adopting different new musical trends over the years.

Im Mai 2021 veröffentlichten Adam Duritz und Counting Crows „Butter Miracle: Suite One“ und erhielten begeisterte Kritiken. Nach der Veröffentlichung von Counting Crows’ Butter Miracle, Suite One folgt nun das vollständige Album Butter Miracle, The Complete Sweets!. Das Album besteht aus den 4 Titeln von Suite One sowie 5 neuen Titeln.

Conflict formed in 1981 in Eltham, Southeast London, when frontman Colin Jerwood, inspired by early encounters with the Pistols 'Spunk' bootleg and following The Clash on tour, struck up a friendship with Crass and set about crafting a whole new kind of punk that totally upped the ante in terms anger and confrontation. Crass, the renowned anarchist punk collective, having got Conflict started by releasing their debut single 'The House That Man Bult' in 1982 on Crass Records, ended in 1984 as they had always intended. Now it was up to Conflict to pick up the baton and run with it. And they did, charging into the battle lines of authority.

The years that followed saw Conflict go from strength to strength, peaking on the 18th of April in 1987 at the London Brixton Academy for the 'Gathering of the 5,000' concert. A climax and explosion of rage and rebellion that inevitably ended up in a police provoked full-scale riot with police injuries, arrests, and with the band hopelessly in debt and banned from the majority of major London and UK venues.

Undeterred, Conflict continued into the 90s with their acclaimed 'Conclusion' album and remained a mainstay of the live punk circuit throughout. However, after more than two decades since the release of their (2003) 'There's No Power Without Control' album, the band are back with 'This Much Remains'. Featuring sixteen brand new Conflict creations, the album sees the band keeping one eye on their eventful past, and the other firmly on moving forward, both musically and politically. Animal Rights are still at the forefront of Conflict’s collective minds, giving a voice to the voiceless on songs such as 'A Mother's Milk' and 'Shut The Fuck Up', whilst their anger at world governments will never dissipate.

Also featuring an appearance by the late Benjamin Zephaniah on the track 'Cut The Crap', 'This Much Remains' is the sound of a band that continues to surprise and progress, decades after it first began. Conflict are Colin Jerwood - vocals; Fiona Friel - vocals; Gav King - guitars, melodica & Hammond; Fran Fearon - bass; Stoo Meadows - drums. With Benjamin Zephaniah - vocals on 'Cut The Crap'; Mitsuko Sonoda - voice on 'The Impossible Soul'.

Im Mai 2021 veröffentlichten Adam Duritz und Counting Crows „Butter Miracle: Suite One“ und erhielten begeisterte Kritiken. Nach der Veröffentlichung von Counting Crows’ Butter Miracle, Suite One folgt nun das vollständige Album Butter Miracle, The Complete Sweets!. Das Album besteht aus den 4 Titeln von Suite One sowie 5 neuen Titeln.

Reissue eines der wegweisendsten Dub-Alben ever: King Jammys "Kamikaze Dub" (1979, Trojan Records), aufgenommen mit einer Reihe von Dub-Stars wie Sly & Robbie, Augustus Pablo, "Deadly" Headley Bennett und Bobby Ellis. Prince Jammy und Scientist, Zöglinge des Dub-Innovators King Tubby, traten aus dem Schatten ihres Meisters hervor und machten sich selbstständig. Prince Jammys LP erschien zuerst und legte die Messlatte für immer höher, so dass viele jamaikanische Produzenten sich von diesem wirbelnd-psychedelischen Minimal-Sound inspirieren liessen. Der Rest ist Geschichte.

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognizable worlds of sound all their own that defy any traditional categorizations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou. Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to, avant production. From being a member of Tianzhuo Chen"s performance-art series TRANCE, to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make "heavy music". Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats, and a soaring voice clawing its way towards absolution. Orchards of a Futile Heaven affirms The Body & Dis Fig"s distinct and unified tastes as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. Together, the three have harnessed their expansive artistry to make music that is profoundly emotional, and staggering in its beauty.

Psycho Bummer is thrilled to present our latest release from QUAAD, a leading figure in Seattle’s emerging jungle scene and, in our opinion, one of the finest tracker enthusiasts out there.

Made on an Amiga 1200 with Octamed, QUAAD's “PAULA EP” is a nod to the Amiga's revolutionary sound chip of the same name, as well as a love letter to the primitive sampling techniques and demoscene aesthetics that the Amiga is famous for.

PAULA’s characteristic grime and grit is evident on tracks like EP opener “King Russ”, which cuts up a gorgeously degraded smooth-jazz sample across lethal amen chops and brutal subs. Likewise, the absurdly heavy drop of “Gone Postal” is offset by QUAAD’s particular sense of humor, striking a balance between caricature and dancefloor devastation. “Erb Man Dub” and “Van Nuys Crew” round out the EP, the later switching up the intensity for a more laid back R&B vibe, hinting at QUAAD’s versatility.

Macht Euch bereit für die Magie von "LOVE", dem neuen Studioalbum der schwedischen Prog-Rock-Legende The Flower Kings, die auf eine über 30-jährige Karriere zurückblicken. Als The Flower Kings am 20. August 1993 ihr allererstes Konzert in Schweden gaben, ahnten sie wahrscheinlich noch nicht, dass sie im Begriff waren, Prog-Rock-Geschichte zu schreiben. Mit nunmehr 17 Studioalben, unzähligen Live-Aufnahmen, welt-weiten Tourneen und Festivalauftritten hat die Band ein Vermächtnis geschaffen, das nur von wenigen Bands übertroffen werden kann - und sich als Pioniere der Wiedergeburt des Prog-Rock erwiesen. Das Line-Up besteht aus den drei Originalmitgliedern Roine Stolt, Hasse Fröberg und Michael Stolt sowie den später hinzuge-kommenen Mitgliedern Mirko DeMaio und Lalle Larsson. Gemeinsam haben sie ein Album geschaffen, das den wahren Geist dessen einfängt, was Progressive Rock immer sein sollte: eine kreative Revolution, frei von den Zwängen kommerzieller Hitfor-meln. "LOVE" erinnert an die goldene Ära der späten 60er und frühen 70er Jahre und strotzt nur so vor Vintage-Vibes, epischen Kompositionen und einer reichen Mischung an Einflüssen - von Klassik und Jazz bis hin zu elektronischer Musik und Filmsound-tracks.Auf "LOVE" bieten The Flower Kings über 70 Minuten klangliche Erkundung in 12 Tracks, die von ausgedehnten 12-Minuten-Epen bis hin zu prägnanten 3-Minuten-Perlen reichen. Das Album verwebt Themen zu einem kohärenten Ganzen, das man am besten als eine zusammenhängende Reise erlebt: zugängliche Melodien gepaart mit experimentellen Momenten, wilden Gitar-rensoli und virtuoser Synthesizerarbeit, die an ihre frühen Werke erinnern. Mit neuem Selbstbewusstsein und neuer Kreativität beweisen die Flower Kings einmal mehr, warum sie die Könige des Progres-sive Rock sind. Zur Erinnerung: Krieg ist nur Angst und Versagen, Angst, die sich in kleinen Leuten mit zweifelhaften politischen oder religiösen Absichten manifestiert - LIEBE ist immer der Sieger.

Macht Euch bereit für die Magie von "LOVE", dem neuen Studioalbum der schwedischen Prog-Rock-Legende The Flower Kings, die auf eine über 30-jährige Karriere zurückblicken. Als The Flower Kings am 20. August 1993 ihr allererstes Konzert in Schweden gaben, ahnten sie wahrscheinlich noch nicht, dass sie im Begriff waren, Prog-Rock-Geschichte zu schreiben. Mit nunmehr 17 Studioalben, unzähligen Live-Aufnahmen, welt-weiten Tourneen und Festivalauftritten hat die Band ein Vermächtnis geschaffen, das nur von wenigen Bands übertroffen werden kann - und sich als Pioniere der Wiedergeburt des Prog-Rock erwiesen. Das Line-Up besteht aus den drei Originalmitgliedern Roine Stolt, Hasse Fröberg und Michael Stolt sowie den später hinzuge-kommenen Mitgliedern Mirko DeMaio und Lalle Larsson. Gemeinsam haben sie ein Album geschaffen, das den wahren Geist dessen einfängt, was Progressive Rock immer sein sollte: eine kreative Revolution, frei von den Zwängen kommerzieller Hitfor-meln. "LOVE" erinnert an die goldene Ära der späten 60er und frühen 70er Jahre und strotzt nur so vor Vintage-Vibes, epischen Kompositionen und einer reichen Mischung an Einflüssen - von Klassik und Jazz bis hin zu elektronischer Musik und Filmsound-tracks.Auf "LOVE" bieten The Flower Kings über 70 Minuten klangliche Erkundung in 12 Tracks, die von ausgedehnten 12-Minuten-Epen bis hin zu prägnanten 3-Minuten-Perlen reichen. Das Album verwebt Themen zu einem kohärenten Ganzen, das man am besten als eine zusammenhängende Reise erlebt: zugängliche Melodien gepaart mit experimentellen Momenten, wilden Gitar-rensoli und virtuoser Synthesizerarbeit, die an ihre frühen Werke erinnern. Mit neuem Selbstbewusstsein und neuer Kreativität beweisen die Flower Kings einmal mehr, warum sie die Könige des Progres-sive Rock sind. Zur Erinnerung: Krieg ist nur Angst und Versagen, Angst, die sich in kleinen Leuten mit zweifelhaften politischen oder religiösen Absichten manifestiert - LIEBE ist immer der Sieger.

traverse is proud to announce the release of its first record - a compilation of six tracks from various artists, inspired by Pembroke King’s poem moving silhouettes, written for this occasion.

As the fourth volume of the compilation series “traversée”, moving silhouettes encourages artists to explore all corners of listening music and creative avenues that aren’t tied to any one convention.

Pembroke King’s poem sheds light on the mood of the compilation, and even though each artist brings its own interpretation of it, there is a beautiful harmony of it all - from Kate Miller’s atmospheric sounds to Teqmun’s drums-made-of-rain-drop-recordings or Ghjuliú’s nostalgic melodies, the listener travels around Pembroke’s words with each track.

As our first physical release, we feel honoured to collaborate with artists who have been involved in a way or another on traverse before such as Officium, Mika Oki and Alohn, but Kate Miller, Teqmun, and Ghjuliú, that we’ve been keeping close to our heart for a long time already.

Credits:
artwork: Gabriel Sauvageot
tracks produced and mixed by (in order of appearance): Alexis Tytelman, Tijmen Blokzijl, Alban Mercier and Yolek, Kate Miller, Ghjuliú, Mika Oki
mastered & cut: Marco Pellegrini at Analogcut
digital master: Umvral
distribution: Kuroneko

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

Hate, who formed in Warsaw in 1990, have been hailed as a “hallmark of consistency,” and praised as a “sleek and tight death metal monster.” Since 2017’s Tremendum, Hate has focused on nature and its mysteries as a main source of inspiration. For instance, 2019’s Auric Gates of Veles focused on death, the Slavic perception of death in particular. Six years later, Bellum Regiis finds Hate delving into “humanity and why are we, as creatures, so deeply motivated by concepts like power, wealth, glory and faith. The main theme is a struggle for power and everything that comes with it.” Hence the album title Bellum Regiis, which translates to "A War of Royalty" or "A War of Kings."

Cat-O-Log Records setzt in Zusammenarbeit mit Universal Music Enterprises die Feier des 50-jährigen Jubiläum des klassischen Live-Albums von Cat Stevens, ”Saturnight” (Cat Stevens Live In Tokyo), fort.

Ursprünglich wurde das Album von A&M Records nur in Japan veröffentlicht. Jetzt ist das Live-Album in brandneuen Fromaten erhältlich. Die schwarze LP sowie die The Circle Store exklusive ”Lava Splatter” LP erscheinen in einer Klapphülle, die Texte und neue Notizen von Hallam Kite, Tourmanager Carl Miller und Bassist Bruce Lynch enthält. ”Saturnight” ist auch zum ersten Mal auf CD erhältlich, inklusive einem 16- seitigen Booklet, mit den Anmerkungen von Hallam Kite, Tourmanager Carl Miller und Bassist Bruce Lynch.

”Saturnight” wurde am 22. Juni 1974 im Nakano Sun Plaza in Tokio aufgenommen, auf der japanischen Etappe der Bamboozle Tour und war Cat Stevens’ erstes Live-Album.

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Looming above Hastings on the South Coast of the UK, carved into East Hill, three black shapes are visible from a distance. Mysterious and ominous, they assume the aspect of the entrance to a church or a portal to dimensions unknown. Closer inspection however reveals them to be no more than mere follies carved and painted into the rock, as hoaxster John Coussens sought to convince visitors that an elaborate subterranean kingdom lurked within. Centuries later, this coastal town remains a place that serves as a magnet to the wyrd and the mischievous. And it’s here that the meeting of minds took place that led to 'Folly' - the second release for Rocket’s Black Hole series - an imprint focused on the unorthodox, otherworldly and esoteric. The journey that led to ‘Folly’ began in the dingy cellar of a wine bar in the town. Black Arches formed around a regular local experimental night in such environs aptly named Weird Shit, initially as a freeform musical outlet for author and musician Gareth E. Rees’ later incorporating Matt Frost from his garage rock troupe The Dirty Contacts, and frequent collaborator James Weaver, to form a vehicle for wild experimentation and psychic abandon. Given he was also a regular attendee, it was no surprise when Sexton Ming, arch maverick outsider artist and uncompromising iconoclast of over four decades standing, entered the picture. Soon after a perplexing but serendipitous chain of events took place, with demons conjured up via improvised sessions, poetic licence taken, dystopias chronicled, audio files gone awry, vocals overdubbed and laptops lost, Somehow amidst the sturm-und-drang ‘Folly’ was summoned in all its murky glory. As we embark on the second quarter of an uncertain century, just maybe this psychic travelogue is a dark prism to make sense of the chaos we confront. Whichever, it remains a spectacle as compelling as that by which Black Arches were named

Welcome to Forms World.

Our fi rst outing takes shape as a 4-tracker from ADMNTi, delving deeper into the sounds that have shaped the Londoners aural palette.

'Second Hand Sushi' kicks things off to a rowdy start - a real slab of energy that consists of paces drum patterns, twisting synths, and gritty, rattling basslines.
This one's a no-frills dancefl oor destroyer. The steppy drums of 'Lost Fruits' pull us further in, paired with shifting subs and laced with soundbites that echo the era of tape packs and pirate radio.

As we fl ip to the B-side, ‘Diptych’ delivers a still pacey yet more soothing vibe, blending lush orchestral strings with warped vocal chops, all while keeping the head-bopping grooves intact. Rounding things off , a dub-tinged stepper which comes in the form of 'Shrublands'. Eerie chords evolve throughout the track, accompanied by melancholic flutes that bode well with the heavily delayed sax and wobbing basslines. Dialogue from London graff royalty weave in and out, as well as a certain Brooklyn king.

This re-issue of World Machine, Level 42's 1985 breakthrough album, is presented with scrupulous attention to the detail of the original UK first pressings and available in audiophile 180g pink vinyl in celebration of the album's 40th anniversary.

By 1985, Level 42 – bassist and vocalist Mark King, keyboard player/vocalist Mike Lindup, guitarist Boon Gould, drummer/lyricist Phil Gould and studio-only keyboard player Wally Badarou – were on the verge of breaking big - After a string of well-received albums, such as their pioneering jazz-funk 1981 debut or the Ken-Scott produced True Colours, the group decided, rather than work up material through jamming, to sit and write some songs for their forthcoming album.

Producing themselves, with assistance from engineer Julian Mendelsohn, this new approach meant that World Machine was the quantum commercial leap they craved. And most of that was due to the album's towering lead single, the pop-funk of "Something About You". With its expensive video seeing the group styled for the 80s, it set radio alight, becoming a Top 10 hit and charting around the world, importantly in the US. Following up with the tender ballad "Leaving Me Now" and then the bouncy funk of the album's title track as singles, the album's success was guaranteed; it reached No 3 in the UK charts and spent an amazing 72 weeks on the listings.

**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.

Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.

After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.

“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."

Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.

Das gefeierte Hip-Hop-Experimentalisten-Duo Infinity Knives & Brian Ennals aus Baltimore meldet sich mit dem neuen Album "A City Drowned In God's Black Tears" zurück - einer explosiven, unwiderstehlichen Rap-Platte, die unerschrockenen Diskurs mit mutiger und unvorhersehbarer Produktion verbindet. Ihr Vorgänger "King Cobra" wurde von Magazinen wie Spin und Loud & Quiet zu einem der besten Hip-Hop-Alben des Jahres 2022 gekürt.

SCARING THE HOES ist das erste Kollaborationsprojekt von JPEGMAFIA und Danny Brown.

Nachdem das Album über ein Jahr lang gehänselt worden war, erschien es im März 2023 und fand großen Anklang bei der Kritik. Beide Künstler verfügen über eine breite und etablierte Fangemeinde und ein Renommée in der Alt-Hip-Hop-Welt.

Ihre Online-Präsenz ist mit zusammen über 1 Mio. Instagram-Followern riesig und der Podcast von Danny Brown erreicht eine große Hörerschaft. Neuauflage auf weißem Vinyl.

DESERTED FEAR haben sowohl ihr Songwriting als auch den Sound und das musikalische Können mit "Veins of Fire" erneut auf eine neue Stufe gehoben. Die Ostdeutschen sind ihrer Marke zwar wie gewohnt treu geblieben, aber sie haben ihren ausgefeilten Melodien und dem Schlagzeugspiel ein hörbares Upgrade verpasst. Obendrein konnte Frontmann Manuel "Mahne" Glatter seine stimmliche Spannweite noch einmal vergrößern. In den Texten von "Veins of Fire" reflektieren DESERTED FEAR über die aktuellen Themen unserer Gesellschaft, doch ohne jegliche Predigt oder Forderung nach Konformität. In ihren Songs spiegelt sich eine Welt voller Unsicherheit, Ungerechtigkeit und wachsenden Spaltungen. Der Aufstieg von DESERTED FEAR ist ebenso bemerkenswert wie spannend. Als sich das Death Metal Trio im thüringischen Eisenberg gründete, konnten Gitarrist und Vocalist Mahne, Gitarrist, Hauptsongwriter und Produzent Fabian Hildebrandt sowie Schlagzeuger Simon Mengs kaum ahnen, dass sie an der Spitze der deutschen Szene landen würden. Bereits das Debütalbum "My Empire", das die schwedische Legende Dan Swanö produzierte, schlug im Jahr 2012 beim Death Metal Publikum wie eine Bombe ein. DESERTED FEAR brachten neben brachialer Kraft, donnernden Riffs, einem hämmernden Schlagzeug und heftigem Gesang von Anfang an auch ein intensives Gespür für packende Melodien mit. Daher war es nur folgerichtig, dass sich das Gewicht mit jedem folgenden Album weiter auf die melodische Seite verlagerte - ohne dass dabei der nötige Biss verloren ging. Sämtliche Studioalben, "Kingdom of Worms" (2014), "Dead Shores Rising" (2017), "Drowned by Humanity' (2019) und "Doomsday" (2022), erwiesen sich als beeindruckende Meilensteine einer steilen Karriere.

DESERTED FEAR haben sowohl ihr Songwriting als auch den Sound und das musikalische Können mit "Veins of Fire" erneut auf eine neue Stufe gehoben. Die Ostdeutschen sind ihrer Marke zwar wie gewohnt treu geblieben, aber sie haben ihren ausgefeilten Melodien und dem Schlagzeugspiel ein hörbares Upgrade verpasst. Obendrein konnte Frontmann Manuel "Mahne" Glatter seine stimmliche Spannweite noch einmal vergrößern. In den Texten von "Veins of Fire" reflektieren DESERTED FEAR über die aktuellen Themen unserer Gesellschaft, doch ohne jegliche Predigt oder Forderung nach Konformität. In ihren Songs spiegelt sich eine Welt voller Unsicherheit, Ungerechtigkeit und wachsenden Spaltungen. Der Aufstieg von DESERTED FEAR ist ebenso bemerkenswert wie spannend. Als sich das Death Metal Trio im thüringischen Eisenberg gründete, konnten Gitarrist und Vocalist Mahne, Gitarrist, Hauptsongwriter und Produzent Fabian Hildebrandt sowie Schlagzeuger Simon Mengs kaum ahnen, dass sie an der Spitze der deutschen Szene landen würden. Bereits das Debütalbum "My Empire", das die schwedische Legende Dan Swanö produzierte, schlug im Jahr 2012 beim Death Metal Publikum wie eine Bombe ein. DESERTED FEAR brachten neben brachialer Kraft, donnernden Riffs, einem hämmernden Schlagzeug und heftigem Gesang von Anfang an auch ein intensives Gespür für packende Melodien mit. Daher war es nur folgerichtig, dass sich das Gewicht mit jedem folgenden Album weiter auf die melodische Seite verlagerte - ohne dass dabei der nötige Biss verloren ging. Sämtliche Studioalben, "Kingdom of Worms" (2014), "Dead Shores Rising" (2017), "Drowned by Humanity' (2019) und "Doomsday" (2022), erwiesen sich als beeindruckende Meilensteine einer steilen Karriere.

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

"Released in 2007, Past Lives: The Best Of The RCA Years is a compilation album that highlights Level 42’s work during their time with RCA Records. The British band, renowned for their sophisticated mix of jazz-funk, pop, and rock, delivers a collection of tracks that showcase their musical versatility and technical brilliance. This compilation features hits and fan favorites from the RCA era, including songs like ""Guaranteed"" and ""Overtime,"" which reflect the band's signature blend of infectious grooves, smooth vocals, and intricate basslines by Mark King. The album captures Level 42’s ability to create catchy, yet musically rich songs that resonate with both longtime fans and new listeners. Past Lives: The Best Of The RCA Years is a must-have for anyone looking to explore Level 42’s catalog and revisit the band’s innovative contributions to the jazz-funk and pop genres. Past Lives: The Best Of The RCA Years is available as a limited edition of 1000 individually numbered copies on yellow coloured vinyl."

Cincinnatian blues stalwart Albert Washington was a prolific recording artist from the 60s to the 90s. His ‘I’m The Man’ has become a New Breed R&B classic, which despite several US and UK releases, including our Kent one in 2003, is still eagerly sought out by people willing to pay whatever it takes.

‘Case Of The Blues’ is a similarly hip R&B dancer that was first issued on the Rye label in 1971. This slightly earlier Fraternity version is very similar.

Meet Me in the Garden is a richly textured exploration of love, loss, and renewal. Co-produced by Felix Bloxsom (SIA, Genesis Owusu), Daniel Mougerman (The Bamboos), and Rita Satch herself, and mixed by Grammy-winning engineer Ben Kane (D’Angelo, Emily King), the album features contributions from some of Naarm/Melbourne’s finest, alongside a sweeping 12-piece string orchestra.
Blending smooth soul, contemporary R&B, orchestral flourishes, and stacked harmonies reminiscent of D’Angelo and Bilal, the album unfolds with cinematic beauty and emotional depth. It opens with a stirring string prelude by Mougerman before transitioning into the dreamy title track. Standouts include the meditative Breathe, the funk-fuelled Joyride, and Warrior Princess - a heartfelt tribute to Satch’s late grandmothers that helped her process grief through song.
Rooted in personal loss and spiritual growth, the album draws from Satch’s Kabbalistic studies and her belief in reunion beyond this life. With its timeless soul and modern edge, Meet Me in the Garden is a bold, soul-stirring debut that leaves a lasting impression.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

Newly mastered from restored audio fidelity tapes. Comes in digi sleeve with alternate sleeve artwork and includes a rare 8-page booklet. Includes the original version of 'Pop Corn', later a worldwide hit in 1972 . Adds rare single B-side as bonus track. This CD edition also adds exclusive mono mixes to the expanded tracklist.

One of the earliest & most influential Electronic albums OF ALL TIME "Audio Fidelity Records... believes Gershon Kingsley is a true genius and a worthy creative compliment to the electronic wizardry of Robert A. Moog, the creator of the Moog Synthesizer." 1969 The Beatles were influenced by him (and sampled his music on their 1968 Beatles Christmas EP). Since 1972, his music accompanies each day's Main Street Electrical Parade in Disney theme parks. Yet Gershom Kingsley (born: Götz Gustav Ksinski) remains a mystery to many, despite being one of electronic music's finest pioneers and earliest exponents of Robert Moog's synthesizer and the possibilities its use bought to music. Newly mastered from restored Audio Fidelity tapes - this reissue sounds incredible! The rare non-album B-side The First Step (The Sea Of Tranquility) has been added to the LP while the CD adds additional mono mixes and comes in the album's alternate cover. Both LP and CD include the rare 8-page booklet that came with initial copies of the Audio Fidelity LP. To repay The Beatles compliment of including one of his songs, Gershom Kingsley covered two Fab Four classics in his own unique electronic style and included them on Music To Moog By: 'Nowhere Man' and 'Paperback Writer'. "First-wave Moog enthusiast and electronic music pioneer...." Electronic Sound - The Electronic Music Magazine, January 2020.

Melvins 1983, die rohe und ungefilterte Inkarnation der legendären Band um Buzz Osborne und Original-Melvins-Schlagzeuger Mike Dillard, kehren mit 'Thunderball' zurück - ihrem ersten Album seit vier Jahren, das am 18. April bei Ipecac Recordings erscheint.

"'Thunderball' ist das dritte Melvins 1983 Album, das wir zusammen gemacht haben, und ich wollte, dass es bombastisch wird - und ich glaube, das haben wir erreicht“, sagt Osborne. „Außerdem wollte ich schon lange etwas mit den Elektronik-Künstlern Void Manes und Ni Maîtres machen. Beide sind außergewöhnliche Talente. Ihr unkonventioneller Einsatz von Elektronik hat 'Thunderball' über meine Erwartungen hinaus getrieben.“

Aufgenommen wurde das Album von Toshi Kasai in den Sound of Sirens Studios.

Die 1983 in Montesano, Washington, gegründeten Melvins gehören zu den einflussreichsten Bands der modernen Musik. Gegründet von Buzz Osborne (Gesang/Gitarre) und dem ein Jahr später hinzugekommenen Schlagzeuger Dale Crover, leisteten die Melvins Pionierarbeit bei der Verschmelzung von Punkrock und Heavy Music. Im Laufe ihrer vier Jahrzehnte währenden Karriere veröffentlichten sie mehr als 30 Originalalben, unzählige Live-Mitschnitte sowie zahlreiche Singles und Raritäten.

- Ltd. Col. LP: (Smoke Is A Color Vinyl)

Melvins 1983, die rohe und ungefilterte Inkarnation der legendären Band um Buzz Osborne und Original-Melvins-Schlagzeuger Mike Dillard, kehren mit 'Thunderball' zurück - ihrem ersten Album seit vier Jahren, das am 18. April bei Ipecac Recordings erscheint.

"'Thunderball' ist das dritte Melvins 1983 Album, das wir zusammen gemacht haben, und ich wollte, dass es bombastisch wird - und ich glaube, das haben wir erreicht“, sagt Osborne. „Außerdem wollte ich schon lange etwas mit den Elektronik-Künstlern Void Manes und Ni Maîtres machen. Beide sind außergewöhnliche Talente. Ihr unkonventioneller Einsatz von Elektronik hat 'Thunderball' über meine Erwartungen hinaus getrieben.“

Aufgenommen wurde das Album von Toshi Kasai in den Sound of Sirens Studios.

Die 1983 in Montesano, Washington, gegründeten Melvins gehören zu den einflussreichsten Bands der modernen Musik. Gegründet von Buzz Osborne (Gesang/Gitarre) und dem ein Jahr später hinzugekommenen Schlagzeuger Dale Crover, leisteten die Melvins Pionierarbeit bei der Verschmelzung von Punkrock und Heavy Music. Im Laufe ihrer vier Jahrzehnte währenden Karriere veröffentlichten sie mehr als 30 Originalalben, unzählige Live-Mitschnitte sowie zahlreiche Singles und Raritäten.

- Ltd. Col. LP: (Smoke Is A Color Vinyl)

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Pressed on smoky blue vinyl. 1971 classic album with new analogue mastering. Released on the Upsetter label, celebrating the groundbreaking collaboration between Bob Marley and The Wailers and Lee 'Scratch' Perry

The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing Released in Jamaica in 1971, Soul Revolution Part II is the follow-up to Bob Marley and the Wailers' 1970 debut album Soul Rebels. Going from strength to strength on the material they recorded for Lee Perry, this 12-tracker constitutes another crop of exceptional early-roots reggae anthems. Some of the songs are among the more widely lauded efforts in the repertoire of Bob Marley, Peter Tosh and Bunny Wailer. 'Don't Rock My Boat', 'Duppy Conqueror', 'Sun Is Shining' are about the most acclaimed of them and sound better than ever on this newly remastered edition using vintage analogue gear. Recorded at the famed Randy's Studio (also known as Studio 17) located at 17 North Parade in Kingston, Jamaica, this is the second full-length collaboration (and last!) between Bob Marley and the Wailers and producer Lee 'Scratch' Perry!

Long awaited re-press of this out of print classic.

Smoove ist einer der produktivsten und beständigsten, britischen Produzenten, ob als Komponist/Produzent seiner Geordie-Soul-Band Smoove & Turrell, als Produzent hinter der hochgeschätzten Multitrack-Vinyl-Re-Edits-Serie oder als Remixer für zahlreiche Hip-Hop/Soul/Funk-Acts. Abgesehen von Smoove & Turrell war sein erster Soloauftritt bei Jalapeno Records eine Zusammenstellung einiger seiner besten Remixe, die in einem DJ-freundlichen Paket mit dem Titel "First Class" 2012 zusammengefasst waren. 2019 folgte die zweite Sammlung namens "Recorded Delivery" und nun geht es mit dem Remix-DJ-Paket #3 "Heavy Goods" weiter. Auf diesem finden wir wirklich umwerfende Cuts von Betty Black & The Family Fortune, Emma Noble, Kraak & Smaak, Izo FitzRoy, The High & Mighty und Bahama Soul Club, alle in der charakteristischen Smoove-Produktionsmagie.

a Betty Black & The Family Fortune - Sweet Dreams (Are Made Of This) Smoove Extended Remix

c Max Sedgley - I Want Your Soul (Smoove Remix) feat. Tasita D'Mour


[f] The Bahama Soul Club - Never Roam No More (Smoove Remix) [feat. John Lee Hooker]
[g] Vice Beats - That Love (Smoove Remix) [feat. Greg Blackman & Audessey]
[h] TGH Collective - Higher Level (Smoove Remix) [feat. Lee Scratch Perry]

[j] Nautilus - Georgy Porgy (Smoove Stripped Back Remix) [feat. John Turrell]
[k] The High & Mighty - Funk-O-Mart (Smoove Remix) [feat. Chubb Rock]




[p] Kraak & Smaak - Never Too Late (Smoove Remix) [feat. Janne Schra]

[a] Betty Black & The Family Fortune - Sweet Dreams (Are Made Of This) [Smoove Extended Remix]

[c] Max Sedgley - I Want Your Soul (Smoove Remix) [feat. Tasita D'Mour]


[f] The Bahama Soul Club - Never Roam No More (Smoove Remix) [feat. John Lee Hooker]
[g] Vice Beats - That Love (Smoove Remix) [feat. Greg Blackman & Audessey]
[h] TGH Collective - Higher Level (Smoove Remix) [feat. Lee Scratch Perry]

[j] Nautilus - Georgy Porgy (Smoove Stripped Back Remix) [feat. John Turrell]
[k] The High & Mighty - Funk-O-Mart (Smoove Remix) [feat. Chubb Rock]




[p] Kraak & Smaak - Never Too Late (Smoove Remix) [feat. Janne Schra]

[a] Betty Black & The Family Fortune - Sweet Dreams (Are Made Of This) [Smoove Extended Remix]

[c] Max Sedgley - I Want Your Soul (Smoove Remix) [feat. Tasita D'Mour]


[f] The Bahama Soul Club - Never Roam No More (Smoove Remix) [feat. John Lee Hooker]
[g] Vice Beats - That Love (Smoove Remix) [feat. Greg Blackman & Audessey]
[h] TGH Collective - Higher Level (Smoove Remix) [feat. Lee Scratch Perry]

[j] Nautilus - Georgy Porgy (Smoove Stripped Back Remix) [feat. John Turrell]
[k] The High & Mighty - Funk-O-Mart (Smoove Remix) [feat. Chubb Rock]




[p] Kraak & Smaak - Never Too Late (Smoove Remix) [feat. Janne Schra]

Von allen unabhängigen Plattenlabels der 1980er Jahre war él das einzigartigste und aufregendste. él existierte nur wenige Jahre und war doch paradoxerweise - angesichts seines bescheidenen kommerziellen Erfolgs - äußerst einflussreich. Für den Schriftsteller Jonathan Coe, einen der vielen Anhänger des Labels, war él "das große musikalische Geheimnis Großbritanniens". Diese "Best of"-Compilation, kuratiert von Label-Chef Mike Alway selbst, wird die Welt an die Größe von él erinnern.

Exklusive Neuauflage des Debütalbums der schwedischen Death-Thrasher Metempsychosis (später Mournful).

The seventh and penultimate season of the fantasy drama television series Game of Thrones premiered on HBO in 2017.

The penultimate season focuses on the convergence of the show's main plots in preparation for the final season. Daenerys Targaryen arrives in Westeros with her army and three large dragons and begins to wage war against the Lannisters, who have defeated her allies in the south and west of Westeros. Jon Snow leaves Sansa in charge of Winterfell and visits Daenerys to secure her help to defeat the White Walkers and the Army of the Dead. He mines the dragonglass at Dragonstone and begins a romance with Daenerys. Arya and Bran (now the Three-Eyed Raven) return home to Winterfell; the Starks execute the treacherous Littlefinger. Tyrion persuades Daenerys not to destroy King's Landing, reminding her that she does not want to be simply a queen of ashes. Instead, Jon goes north of the wall to capture a wight to prove to Cersei that the fearsome army of the dead exist and are coming; in doing so, his group is pinned down and nearly killed. Daenerys rescues them with her dragons but the Night King kills one of her dragons and makes it part of his army. The undead dragon later destroys part of the Wall and the dead march through. Bran learns that Jon is really his cousin, Aegon Targaryen, the legitimate heir to the Iron Throne.

Game of Thrones Season 7 received 22 nominations for the Primetime Emmy Awards and won for Outstanding Drama Series and Dinklage won for Outstanding Supporting Actor in a Drama Series. The score by Ramin Djawadi was also nominated for a Grammy Award for Best Score Soundtrack for Visual Media.

Game Of Thrones Season 7 is available as a limited edition of 750 numbered copies on silver coloured vinyl and includes a 4-page booklet.

35 Years of Evil Existence ist ein Live-Album, das die Essenz von ROTTING CHRIST einfängt. Von Klassikern wie "The Raven", "Demonon Vrosis" und "666" bis hin zu älteren Stücken wie "Among Two Storms" (1997) oder sogar "The Sign of Evil Existence" (1993) ist diese außergewöhnliche Performance, die in der Großartigkeit des Lycabettus Theaters in ihrer Heimat aufgenommen wurde, eine monumentale Hommage an ihre unermüdliche Reise über die Jahre.
Stell dir fast zwei Stunden heftige und unnachgiebige Hingabe vor, eine musikalische Pilgerreise durch ihre geschichtsträchtige Karriere - von den rauen, ursprünglichen Hymnen ihrer frühen Tage bis zur symphonischen und gotischen Grandiosität ihrer jüngsten Kreationen.
Erhältlich auf Vinyl, verewigt diese Veröffentlichung eine Nacht, in der rohe Emotionen und rituelle Intensität in einer Symphonie aus schwarzer Harmonie zusammenfielen. Brüder und Schwestern des Metals, erlebt den wahren Geist des Metals, wie ihn die legendären ROTTING CHRIST verkörpern.

35 Years of Evil Existence ist ein Live-Album, das die Essenz von ROTTING CHRIST einfängt. Von Klassikern wie "The Raven", "Demonon Vrosis" und "666" bis hin zu älteren Stücken wie "Among Two Storms" (1997) oder sogar "The Sign of Evil Existence" (1993) ist diese außergewöhnliche Performance, die in der Großartigkeit des Lycabettus Theaters in ihrer Heimat aufgenommen wurde, eine monumentale Hommage an ihre unermüdliche Reise über die Jahre.
Stell dir fast zwei Stunden heftige und unnachgiebige Hingabe vor, eine musikalische Pilgerreise durch ihre geschichtsträchtige Karriere - von den rauen, ursprünglichen Hymnen ihrer frühen Tage bis zur symphonischen und gotischen Grandiosität ihrer jüngsten Kreationen.
Erhältlich auf Vinyl, verewigt diese Veröffentlichung eine Nacht, in der rohe Emotionen und rituelle Intensität in einer Symphonie aus schwarzer Harmonie zusammenfielen. Brüder und Schwestern des Metals, erlebt den wahren Geist des Metals, wie ihn die legendären ROTTING CHRIST verkörpern.

OPAQUE YELLOW VINYL. 'Lawn Mower Man' is the second studio album from Swollen Members'
Madchild, and would hit #2 on the Canadian Albums Chart and #150 on the US Billboard 200. The record
features guests including Sophia Danai, Bishop Lamont, JD Era, Prevail and Slaine. To commemorate 10+
years since its release, Suburban Noize is proudly presents a limited colorway exclusively for RSD 2024.

High Roller Records, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mit ihrem zweiten Album folgen Mekong Delta der Progressive-Thrash-Metal-Linie weiter, die sie auf ihrem 1987er Debütalbum etabliert hatten. "The Music of Erich Zann" erschien nur ein Jahr später und ist ein Konzeptalbum, das auf der gleichnamigen Geschichte des Kult-Horrorautors H.P. Lovecraft beruht. Diese 2024er Edition wurde von Patrick W. Engel remastered.

High Roller Records, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mit ihrem zweiten Album folgen Mekong Delta der Progressive-Thrash-Metal-Linie weiter, die sie auf ihrem 1987er Debütalbum etabliert hatten. "The Music of Erich Zann" erschien nur ein Jahr später und ist ein Konzeptalbum, das auf der gleichnamigen Geschichte des Kult-Horrorautors H.P. Lovecraft beruht. Diese 2024er Edition wurde von Patrick W. Engel remastered.

Rot/grünes Vinyl, limitiert auf 300 Exemplare. RULAMAN steht für schwebende, psychedelische Klangteppiche, gewoben aus einem erdigen und analogen Sound. 2015 gegründet, gelang es ihnen unter dem Namen `TheHace' schnell lokale Erfolge zu feiern. Damals noch als Quartett unterwegs spielten sie überall, wo sie konnten -wobei das Publikum ständig wuchs. Nach zwei Jahre des Schaffens, Dichten und Texten steht das zweite Album DEATH WHISTLE in den Startlöchern. Der aktuelle Sound zeigt sich im düsteren Gewand, vereint dabei sowohl Doom als auch Stoner und klassischen Rock. Schwere Riffs, leicht im Ohr, brachiale Bässe gefolgt von tänzelnden Percussions. Textlich erkunden RULAMAN die Abgründe des menschlichen Daseins und die Verlockungen falscher Versprechen. Auf der Suche nach Glück und Zugehörigkeit, klingen die Versprechen skrupelloser Sekten und Kulte nur allzu verlockend. Alles, was man für wahr hält wird in Frage gestellt. Kenne ich mich? Kenne ich wirklich die Menschen um mich herum? Ist es nicht einfacher sich gänzlich dem Gemeinwohl aufzuopfern und sich selbst aufzugeben? Bis der Geist und alles drum herum ausgetrocknet ist.

Songs of Silence is a beautiful turn-based strategy game of fantasy warfare. Leading one of the game's distinct factions, it is the player's task to conquer randomized maps through military might, subterfuge or arcane means. Intriguing hero stories grounded in a rich fantasy world create emotional bonds and give meaning to the player's actions. Roguelike meta-game progression, based on heroes' personal stories and unlocking new features and content via playing, ensuring long-time motivation and keeping the game excitingly fresh. The atmospheric soundtrack of the game is composed by Hitoshi Sakimoto, the famous artist behind all-time favourites such as Final Fantasy Tactics, Final Fantasy 12 and Valkyria Chronicles. Sakimoto describes his way into creating the soundtrack for Songs of Silence: "Regarding Songs of Silence, the stage design and the world-building are incredibly detailed and meticulously crafted. The settings are thoroughly developed and each region has its own unique culture. Given this highly refined world, I believe that my role was primarily to support and enhance the atmosphere with sound. At the same time, I wanted to ensure that the music conveys the uniqueness of this world. When people see it, I want them to feel its strong presence while also recognizing that it is a world unlike anything they have seen before. Expressing this uniqueness and reinforcing the impression it leaves is, in my view, the role of music and sound." But Sakimoto's music isn't just pushing the gamer's experience, it aims to add a little extra in a way that only his profession is able to: "It's a bit difficult to describe the specific 'feeling' I was aiming for, but I intend to create sounds and music that people have rarely heard before. Since the world itself is already well-defined, my approach was to add an extra layer - something that cannot be conveyed through visuals or text alone - through music."

Blue Vinyl

Daniel Higgs vocals , Asa Osborne guitar, Sean Meadows bass, Mitchell Feldstein drums.
The Lungfish band from Baltimore, Maryland performed and released albums on the Dischord Records label for more than 20 years. The group's consciousness alternately/simultaneously coalesced and dispersed creating a continuous quasi-musical pulse, which reached climax at semi-monthly public performances.

Lungfish is now, as it often has been, quasi, if not entirely, defunct. However, after the release of Feral Hymns in 2005, singer Daniel Higgs (who is also an accomplished visual artist) embarked on a solo career, releasing albums on Northern Liberties, Thrill Jockey, and Holy Mountain and showing his artwork both in the States and the United Kingdom. Asa Osborne is currently recording and performing solo material under the name, The Zomes.

Some time back just after then and before now, i was approached to work up a rough working script for a Punk Rock film, based on a boys entre into the whole Punk Arena and how it would affect his life. A loosely updated tale somewhere along the lines of a ‘Punk Quadrophenia’.

After many stop / starts and we are waiting for funding… etc, etc... and changing of ideas. I thought I better just get on with it. I worked up twelve tracks and put an opening script together for approval. Like some of the best made plans, as time moved on, so did the theme and the initial rush of enthusiasm rolled on to somewhere else.

A shame but lurking in the back of Punk Art studios the tapes were found and a bent up copy of the working introduction script. So here it is in all its rough and ready glory. Who knows what might have been but here is some of what could have been… hope you enjoy the idea.
Mal-One

Chitown's DJ SLUGO, self proclaimed "king of ghetto house" drops this 7 track album of "some of the best ghetto house music coming out of Chicago!" If hip house and Miami bass had a bastard lovechild it might sound just like this. Released in time for Record Store Day 2025

Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.

Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.

We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....

Lascelles Perkins was one of the first stars of the Jamaican music scene. Studio One's leading balladeer and one of the most underrated singers from that time. Lascelles Perkins sang sentimental ballads and he scored massive local hits for Coxsone Dodd's Studio One label. Songs like 'Lonely Moments' and 'Together Forever' other big hits followed 'The Mighty Organ' song as a duet with Hortense Ellis, Alton Ellis' sister, 'Destiny' and a whole catalogue of standards or foreign songs as they were called. Lascelles could sing any song, make it seem effortless and at the same time address it in his own unique style.

Lascelles Perkins was present at the birth of Studio One, at the initial sessions carried out in 1959 alongside the other big singers of the day, Alton Ellis and Basil Gabbidone. The session took place at Federal Studios and as was the method of recording at the time, the studio would have one mic hanging down in the middle of the room. The singer would be nearest to the mic and the musicians, depending on how loud their instrument was, would place themselves accordingly in the room. Everything was one take or you would have to record the whole song again. The singers and the musicians would have to be at the top of their game and would be paid for each side they cut. Doing things over would mean less songs finished, time and money was tight but this discipline made the great records we know today.

We have captured Mr Perkins on some lost tapes from producer Bunny Lee's archive that capture Lascelles singing some of the big Studio One hits of the day.

'Rain from the Skies', 'Stick By Me', 2Love me Forever' and 'No Man is an Island'. Alongside other great tunes from the time like 'Dancing Mood', 'Pledging My Love', 'Take My Hand', 'Never Never' and 'Dinner For One'. Let's hope this set gets Lascelles Perkins back on the musical map and listened to by a whole new audience. Top tunes performed in a style that seems effortless yet is only possible if one has the taken tot pull it off and Mr Perkins has it in bundles. Hope you enjoy the set.......

Catching Flies' (aka Produzent/DJ George King) Musik ist ein bassig-melodisches Amalgam aus brütender Elektronik und komplexen Rhythmen mit Anklängen aus Hip-Hop, House, Soul und Jazz. Er veröffentlicht auf Ninja Tune, Anjunadeep, Cercle und seinem Label Indigo Soul, kollaboriert mit Sofia Kourtesis, Hot Chip, Pretty Girl und DJ Seinfeld und zählt Diplo, Bonobo, Keinemusik, Maribou State, Jungle und Nils Frahm zu seinen Fans. Nach "Silver Linings" (2019) und "Tides" (2024) folgt nun sein neuester Longplayer, den er wie folgt ankündigt: "Ich habe nach einer Tour an der US-Westküste ein Airbnb in Ojai gemietet und ein Beat Tape gemacht. Es ist eine Ode an die Downtempo-Beats-Szene der 1990er/2000er, mit der ich aufgewachsen bin."

Scientist's name will be found on many dub releases in peoples record collections.His connection to King Tubby's studio is inseparable and many say when the dub end of Reggae music had fallen on quieter times it was Scientist with his often stripped back style and at other times, wild off the wall remixes that breathed life back into the dub cannon.

Scientist (born Overton Brownie,1960, Jamaica) was in many ways King Tubby's apprentice. Having helped his own father out repairing televisions and such like, he would help Tubby on winding transformer coils, that the amps of the day all needed. His interest in recording grew as he watched the many sessions taking place at Tubby's Dromilly Avenue Studio, learning the ropes as the musicians came and went. His first break happened when King Jammy (then Prince Jammy) was too tired to work on a session booked for producer Errol 'Don' Mais. Scientist engineered the session to every one’s bewilderment and great satisfaction.

His first hit would be a mix of Barrington Levy's 'Collie Weed' and his reputation built on the many versions he cut at Tubby's where he would become the engineer of choice. His pared down mixing style suited the new Dancehall reggae sound that came at the tail end of the 1970's and rolled into the 1980's. Such was his stature that albums were now sold with his name on their jacket, 'Scientist Vs Prince Jammy, 'Scientist meets The Space Invaders' to name but two.

His time at King Tubby's was followed as chief engineer working for the Hookim Brothers at the mighty Channel 1 Studio's and on many of top producer Henry 'Junjo' Lawes tracks, that were hit after hit at the time.

We have compiled some tuff tracks from the late 70's / early 80's just before everything went digital. Some great dub versions to some killer tracks that rocked the dancehalls around this golden time.The mighty Tristan Palmer whose killer cuts 'BadBoys','Stop Spreading Rumours','Eveready' and 'The Greatest Lover’ alongside Michael Palmer's debut release 'Mr Landlord' and Robert Trench's 'Mr Babylon'. The songs stand back-to-back with Tony Tuff's timeless 'Never Trouble Trouble' and the biblical Rod Taylor's 'The Lord is My Light'. Sammy Dread's 'Wah Dah Wah' and the always respectful Dennis Brown's 'Time and Place' all benefited a touch of magic from The Scientist and his laboratory of effects.

Hope you enjoy the set.....

Much sought after “Everyone Has Got To Go”, a militant 1976 roots stepper by Jamaican/Canadian singer Prince Robinson, aka R. Man Prince.

Born in Rockfort, East Kingston, Robinson auditioned, like many other hopefuls at Studio One, in his early teens, but it was not his time and he would not record in Kingston until a decade later.

After migrating to New York and then Canada, Robinson returned to Kingston in 1976 to record two incredible roots anthems at Joe Gibbs studio “Everyone Has Got to Go” and the impossibly rare “Funny Dream”. He was joined by The Soul Foundation, a vocal trio who laid the track's beautiful harmonies plus some of Jamaica’s greatest session musicians, including Sly Dunbar and Robbie Shakespeare, who were not yet superstars.

The track was mixed at Channel One and the explosive “Super Bionic Version!” Dub by Ernest Hookim and Barnabas enters truly apocalyptic territory.

Luckily for all of us, inside a now battered briefcase that he took to Jamaica in 1976, Prince has kept his mastertapes and promo photos in pristine condition, knowing that his music had value and biding his time.

Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........

Buffet Lunch have been a band since 2017. They are a pop group formed of musicians based in Glasgow, Edinburgh and (sometimes) Newcastle. Described previously as a band that creates 'a hodgepodge of noises' who are 'lyrically ridiculous'. Both claims are strongly denied by the group.
Buffet Lunch have released 3 EPs & 2 LPs since 2019 and 6 months after self-releasing 'For Display Purposes Only' are back on Upset the Rhythm with their third album 'Perfect Hit!'
‘Perfect Hit!’ was recorded in the West Highlands, in the shadow of the UK’s Biggest Ben, during Leap Year week 2024. George Horler (Holy Loaf) joined the band as recording engineer along with new members Matthew Lord and Jack Shearer plus founding members Perry O’Bray & Luke Moran, to spend a week writing and creating the record. The majority of the record was completed in the studio, with as much recorded ‘live’ as possible and the week flew by, and we had such a lovely time we forgot to go on a walk. Most of the songs are new and only been played a few times live.
Lyrically, the album contains more deliberately personal lyrics than previous records, with several songs addressing ancestry and becoming a parent (Quarrymen, Shoes, Blue Chairs). Elsewhere, the songs deal with thorny issues such as; identity & full face tattoos, hands, legs & a swordfish sighting (Perfect Hit), the importance of kindness (Blip), disgraced Presbyterian John Knox (Merchandise), a potentially disgraced sportsman featuring star turn from Beef Jerk front man Jack Randall Lee (King Conker) and historical consciousness via Wikipedia (List of Walls).
Musically, the aim (as ever) was to make an album which is as fun to listen to as it was to make. These are mostly playful pop songs with a focus on melody and hooks. There are approximately 40% more guitar chords featured on ‘Perfect Hit!’ than on previous records.

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

Archival reissue of the garage-psych Zamrock masterpiece (1974)

PRESSED ON OPAQUE RED VINYL

“Electrified by a diet of James Brown, the Stones and Deep Purple,
WITCH were the stadium-filling kings of 70' Zamrock." - MOJO

Our comprehensive overview of Zambia’s premier garage-, psych-, prog-, funk-,afro-rock ensemble WITCH, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four WITCH albums available in archival reissue form. As with our box set, the audio is nigh-perfect - restored and remastered from the original master tapes. WITCH’s musical arc is contained to a five year span and, in retrospect, is a logical one. The band’s first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the WITCH band, or Zamrock in general.

Das neue Album 'Back for Me' ist eine Schatztruhe mit weniger bekannten Perlen bekannter Künstler (Bill Withers, Ray LaMontagne, Allen Toussaint, Doyle Bramhall II, Tracy Nelson), produziert von Janiva Magness' langjährigem Mitarbeiter Dave Darling. Auf dem Album sind die erstklassigen Gitarristen Joe Bonamassa, Sue Foley und Jesse Dayton zu hören, die ihren jeweiligen Gastauftritten ihren Stempel aufdrücken. 'Back For Me' ist ein Kraftpaket, das vom Chicago-via-Texas-Stück 'Masterpiece' bis zum schmerzenden Gospel-Soul-Funk von Bill Withers' 'The Same Love That Made Me Laugh' reicht. Es geht um Herzschmerz und Liebeskummer, aber auch um Selbsterkenntnis und Verantwortungsbewusstsein und die Stärke und Kraft, die daraus entsteht. Janiva Magness hat acht Blues Music Awards gewonnen, darunter den begehrten B.B. King Entertainer of the Year Award, und wurde 2016 für einen Contemporary Blues Album Grammy nominiert.

Green Vinyl

Black Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

Petrol Green Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

Die schwedische Rock-Band Spiders präsentiert ihren neuen Longplayer 'Sharp Objects'! Wie bei ihren früheren Veröffentlichungen ist der Sound von Spiders tief im klassischen Rock'n'Roll verwurzelt. 'Sharp Objects' bietet jedoch etwas Neues, indem es Einflüsse aus der New-Wave- und Garage-Rock-Szene der frühen 80er Jahre einfließen lässt. Klingt wie Blondie, Dead Boys, The Hellacopters oder Bikini Kill.