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To many crowds the world over PBR Streetgang are known and loved for their talents behind the turntables, selecting at most major festivals and clubs of note but to others they are producers and remixers whose eclectic taste and evolving style has seen them enjoy longevity and critical acclaim. This album is a rare selection of originals and remixes that shows the breadth of their work.

Featuring early original hits that propelled them into the limelight, like ‘Downstroke’ and ‘J2Thab’, and more recently their stand out disco tinged nugget from their debut album ‘Late Night Party Line’.

Previously un-pressed remixes like the cult classic rework of Romathony’s – 'Bring You Up' and the slow chuggy sleaze of Bryan Ferry – One Night Stand and the teary eyed euphoria of their remix Hot Chip’s - 'Melody Of Love'.

This compilation represents an honest retrospective of the production and remix talents of PBR - always keeping true to their sound and themselves.

Limited Vinyl Press.


DJ Support from a very broad base.. from Paul Woolford and Bicep to Jennifer Cardini and Daniel Baldelli.

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

One of the UK’s finest home grown talents are back with new music on their own label since the release of ‘Late Night Party Line’

The killer lead cut ‘Big Wig’ takes us all the way to the late-night discos of NYC and right back to Europe via London and Berlin. It’s richly melodic, sizzling with promise and packed with PBR goodness, and easily their biggest record since ‘Late Night Party Line’.

The remix from Donald Dust adds some classic New Order-esque club sheen but fully updates for contemporary floors, while ‘Shooting Star’ with its nod to F G T H, is an equally incisive club burner which puts PBR right back where they belong, in the middle of the dancefloor.

In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."

"Blinded by Fame", das zweite Studioalbum von Dutch Interiors, ist ein Fan-Favorit. Es wurde noch nie zuvor auf Vinyl gepresst. Die sechsköpfige Band aus Long Beach begleitet sich schon seit fast zwei Jahrzehnten. Jack Nugent, Conner Reeves, Shane & Hayden Barton, Davis Stewart und Noah Kurtz waren alle Freunde aus Kindertagen, und die Band ist das Ergebnis einer kreativen Verbindung, die durch bereits bestehendes Vertrauen und vertraute Verbundenheit entstanden ist. Man kann die unterschiedlichen Stile und Persönlichkeiten der Bandmitglieder an den Songs erkennen, die sie unabhängig voneinander schreiben, bevor sie sie der gesamten Band vorstellen, wo die Stücke oft zu ganz neuen Formen heranwachsen. Trotz dieser individuellen Herangehensweise an das Songwriting beschreiben sie sich gegenseitig als ,Zweige desselben Lebensstamms", deren aufeinanderprallende Einflüsse und Erfahrungen alle in die Songs einfließen. Mit Einflüssen, die von Ambient über Southern Rock und Jazz bis hin zu Dance-Musik reichen, wandelt sich die Band und oszilliert zwischen Alternative Country, kantigem Indie-Rock und Anklängen an dissonante Ambient-Klänge, während sie dennoch wie eine Band klingt, die sowohl ihre eigene private Sprache spricht als auch diese in etwas Universelles übersetzt. Nach der Veröffentlichung ihres jüngsten Albums ,Moneyball" und einer neuen EP, ,It's Glass", über Fat Possum ist Dutch Interior gekommen, um zu bleiben. Lob für Dutch Interior kommt von Pitchfork, Rolling Stone und anderen.

ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.

ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.

A crime is committed on board the Orient-Express. During the journey, Hercule Poirot finds himself surrounded by a group of singular characters, all suspects, each with their own secrets and motivations, as he attempts to solve the murder that has just taken place. The soundtrack was composed by Jean-Luc Briançon (Abigoba, Kurtz Mindfields), assisted by Roman Perreton and featuring a host of guests from Nuage7 Studio. This soundtrack is coloured with mystery, suspense and cinematic atmospheres to take you irresistibly on board this Orient Express to the end of the journey ...

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

Minimal Wave presents a reissue of the seminal first album from Swiss Wavers, Guyer's Connection. Tibor Csébits and Philippe Alioth formed Guyer''s Connection in Basel, Switzerland when they were only 14 and 15 years old. At the time they were in a new wave rock band called 'Kurtzschluss' which they decided to break from in order to make purely electronic music. They began with two synthesizers, a drum machine, a 4-track tape recorder and a multitude of ideas. They channeled their unique and humorous vision into their first album, entitled Portrait which they produced themselves and self-released in 1983. Over the years, the album became a highly sought after minimal synth cult classic. It stands alone as one of the strongest examples of Swiss Minimal Wave, and probably the only one that is in Baseldytsch.

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

The first release on Second Voyage is a self-titled Ep with exotic pumping house jams. Imagine Mr. Kurtz in Heart Of Darkness doing this instead of chopping heads off.