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Crawling up from the cold underground in Toronto, Canada, Some Exercise delivers their debut record - Web Peril.
Uncompromising and unsettling, the project's inaugural full-length is a noisy yet rhythmic hybrid of classic New Wave tropes and forward-reaching experimentalism. It's a part-post punk, part-industrial analysis of our post-internet age.
Cybernetic beats pulsate beneath jagged and occasionally dissonant guitar licks - recalling the same abstract danceability as underground legends like SPK and Suburban Lawns. Evocative vocals are joined by EBM-style synthesizers, molasses-thick bass, and clanking drum machines.
In a contemporary music landscape where capitalist algorithms promise fame and fortune, Web Peril sinks its teeth the hand that feeds, offering this cautionary tale - the onus is yours. Online is offline. Consume what consumes you.

Another one from Lloydie Slim, this time on his Ivanhoe the Conqueror label. This is the horns cut of his killer lick of drum song, by sax man Lennox Brown. A different mix of this was released on the flip side of the New York pressing of Tappa Zukie’s cut, where it was titled “Ivanhoe Strikes Again.” This mix, with its dub version, were put to tape for a single release titled “Danger Zone” which never happened at the time in the late ‘70s. Another previously unreleased heater, now you can play this one alongside the other cuts of this rhythm appearing on our Record Smith compilation albums.

*press Release From David Katz*

The Hardest Working Reggae Band In Southern England, Dubheart Is On A Mission To Spread Messages Of Peace, Love, Unity And Resistance Through A Heady Stew Of Contemporary Roots Reggae, Delivered On Live Instruments With A Hefty Dose Of Dub In The Mix. Cool Under Pressure, Their Latest Offering, Is The Band's Most Compelling Set To Date, A 'showcase'-style Album Where Every Vocal Track Is Followed By Its Dub Counterpart, And The Vital Contribution Of The Brassica Horns—from Rising London Ska Band Chainska Brassica—is Another Intriguing Element That Makes This Album Tougher Than The Rest.

Drawing On The Foundations Laid By Jamaican Stalwarts Such As Burning Spear, Dennis Brown And Culture, Dub Pioneers Like Scientist And Jah Shaka, Plus Newer Vanguards Such As Tarrus Riley, Grounation And Conscious Sounds, Dubheart Has Crafted A Distinctly Appealing Style That Is Very Much Their Own, Based On The Organic Presentation Of Their Musical Vision. Indeed, This Fully Self-contained Five-piece Is Firmly Engrained In The Neo-roots Movement Of The Present, With A Sound That Faces Ever Forwards.

The South Coast-based Band Was First Formed Back In 1999, And Slowly Built A Following Through Their Intense Live Performances, Which Always Harnessed A Live Dub Element. Their First Ep, the Solid Foundation Rhythm,' Issued On Their Own Karnatone Label In 2011 And Featuring Dub Mixes By Russ D Of The Disciples, Became A Regular Part Of Jah Shaka's Live Playlists. It Was Followed By The 7' 45, we Chant,' Featuring The Band's Charismatic Bristol-based Lead Singer, Tenja (who Originally Hails From France), The Track Becoming An Underground Anthem In Japan (via Rob Smith, Aka Rsd). Dubheart's First Album, Mental Slavery, Was Released In 2013, A Momentous Year That Also Saw The Band Win The European Reggae Contest Staged By Rototom Sunsplash, Leading To A European Tour With Festival Appearances At Summerjam (germany), Reggae Sun Ska (france), Overjam (slovenia), Sudoweste (portugal), United Islands (czech Republic) And The Sardinia Reggae Festival, As Well As Rototom In Spain. Then, In 2015, Karnatone Issued The Dub Companion To Mental Slavery, Mixed Down In A Heavy Dubwise Fashion By Drummer Gavin Sant, Otherwise Known As Fullness, The Band Was Then Invited To Participate In The Bbc Television Show, The Uk's Best Part-time Band, Leading To Their Ep Of Cover Tunes, 2016's full Time Pressure,' Again With Dub Versions From Fullness. part Of The Band's Appeal Lies In Its Tightness As A Recording And Performing Unit, When You See Them Live, You Understand That This Band Of Brothers Is On A Higher Mission, United In Their Wish To Use Music As A Means Of Upliftment. And That Sentiment Is Entirely Evident On Cool Under Pressure. The Melodic Bass Grooves Of Mark Shepherd Act As The Perfect Buffer To The Furious Rolls And Expressive Drum Patterns Of Fullness, David 'daddy U' Mountjoy Adds Scintillating Melodies On Keyboards, Including Some Delightful Wurlitzer Lines, And Richard Ramsey's Guitar Licks Tend Towards The Understated, Aside From The Occasional Solo Pyrotechnics, As Heard Here On rocky Road.' And On Songs Like can't Wait,' watcha Gonna Do' And The Title Track, The Brassica Horns Add Further Melodic Depth Through Fanfares Of Treble Brass Texture. with The Rhythms Laid Entirely Through Live Recording Sessions Cut At Fullness' Home Studio In Bournemouth (with Horn And Wurlitzer Overdubs Done Elsewhere), Cool Under Pressure Reveals Dubheart As A Band On The Rise, Heading For Unstoppable Heights.

The Dub Deconstructions On The Disc Allow The Listener To Hear The Exceptional Quality Of Their Playing, Emphasizing Each Member's Individual Talent, While The Lyrics Tackle Subjects We Can All Relate To, With watcha Gonna Do' Addressing Social Inequalities, can't Wait' Alluding To The Refugee Crisis, rocky Road' Imploring Everyone To Hold Strong In Trying Times, And rise Up' Calling For Direct Action Against The Unjust System That Rules Our Lands. Overall, The Outstanding Title Track cool Under Pressure' Really Sums Up The Band's Ethos: The System May Burden Us With The Stresses Of Censure And Control, But Our Obligation Is To Stay True To Ourselves And Resist. And The Music Can Help Us To Achieve This.

Jam packed with west coast twang and tongue-in-cheek lyrics, the Doohickeys' debut album All Hat No Cattle tackles classic country topics like gettin' groped, tiny trucks, and LA traffic. Produced by two-time Grammy nominee, Eric Corne, the record will have you two-steppin' along and laughing out loud. The opening track, Rein It In Cowboy, includes rippin' licks from Dwight Yoakam's touring guitarist Eugene Edwards, as well as back-up vocals from Hayley Orrantia (The Golbergs, The Masked Singer). World-famous comedian Jim Jefferies makes an appearance at the end of Please Tell Me You're Sleepin' (he infamously suggested the song idea to the duo). "This Town Sucks" earned an award for Outstanding Songwriting in the 2023 Great American Song Contest and the music video for "Rein It In Cowboy" won The American Songwriter music video contest.

For the hotly anticipated third release on her critically acclaimed new record label Uppers and Downers, Dr. Rubinstein has tapped one of her favorite producers--Yerevan's Dave N.A.--to take the helm and deliver a smart and stunning rave EP pitched at the intersection of acid and jungle. A prolific producer, adventurous DJ, and co-founder of the ABC Community, Yerevan's collective hub for amplifying breakbeat,jungle, and drum & bass sounds in the Armenian rave community, Dave N.A. is no stranger to Uppers and Downers, just having contributed a vivacious, jungle influenced reinterpretation of Rubi's track "Extacid" to the label's second release, Rubi's Acid Spa Remixes. For the past decade, Dave N.A.'s productions have reliably offered a fresh, frenetic yet finely tuned take on classic rave genres and their acid-drenched antics while exploring the cutting edge of international experimental bass and hard rave idioms. 'XLSoundwaves' proves to be no exception, taking listeners on a boisterous yet atmospheric, tight yet sprawling sonic journey that combines acid, jungle, hard trance, breakbeat, and IDM influences amid a striking wash of captivating, high-definition ambient studio sound design.
'XL Soundwaves' kicks off with "BFLY," an expansive track that features tunneling hard trance 303 lines deftly weaving through bouncy jungle breaks at a sprightly 165, all emerging from and ultimately fading back into an ethereal plenitude of ambient pads punctuated by a soulful, resonant vocal refrain. Next up, "Radiance" offers an infectiously groovy, sidewinding jaunt through cheeky acid breaks that evolves into a crescendo of lush, eyes-to-the-sky ecstasy. "XL," the EP's third offering, brings the heat with fat basslines, frequent turntablist rave licks, and a freaky sense of humor, almost cinematically projected onto a vast horizon of sumptuous strings. The EP comes to closewith "A.I.R.," a thoughtful banger with a mischievous IDM sensibility that sets acid jungle adrift on an ocean of shimmering orchestral sampladelia and ambient synth radiance.
To some, Dave N.A.'s acid jungle opus might seem like an unexpected plot twist in thecuratorial trajectory of Uppers and Downers. Much to the contrary however, the 'XL Soundwaves EP' is a perfect early release, helping to establish the mission of Uppersand Downers as continuing the search across diverse international rave genres, traditions, and communities for producers and productions that resonate with Dr.Rubinstein's lifelong pursuit of soundtracking her ideal rave: one that offers ravers access to an ecstatic, joyful, affirmative, and inclusive sense of home, of feeling at homewith both oneself and one another through the music.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

In making his long awaited return to Periodica, Milord steps away from the mysterious electro and new age mysticisms of past releases, and instead delivers the freaked out boogie funk free-for-alls brain-bending disco dubs, and summertime pop perfections of ‘Party Line’.

The club mix is an extended excursion through hypnotizing and ever-evolving club psychedelia, with wild phonecal detritus accenting a riffing and body-rocking banger led by svelte lyricisms, energized chants, and future gazing vocoder treatments. Elsewhere, the dub is a building body bomb of Afro-tribal grooves techno bass, echoing cascades of drum fx, and pianos soaked in interstellar aether. And for the ultra infectious radio mix, touches of Kraftwerk meet sunshine pop jam band as a molten bubblegum bass guitar bounces on an earworm drum groove, while all around, vocals soar and six-strings jangle through solar-soaked licks.

Back in 2018, Argentinian producer Fernando Pulichino released ‘Search of Indigo’ on Leng, a shuffling slab of colourful, Balearic-adjacent dub disco featuring his own distinctive lead vocals and backing vocals from Luca Gasparini. Six years on, the track returns renewed and refreshed thanks to a string of new floor-friendly reworks by LTJ Xperience and Pulichino himself. Fernando kicks off the EP with his ‘AM Mix’, an inspired re-invention that re-frames the song as a hard-wired, acid-fired chugger – all restless, razor-sharp TB-303 lines, low-slung bass guitar and sparkling piano riffs. On the digital version of the EP Pulichino has also offered up his ‘PM Mix’, a deliciously Balearic disco dub rich in colourful synth sounds, elastic bass, flanged guitars and sun-bright piano licks. It's LTJ Xperience’s trio of remixes that lie at the heart of the EP though. The Italian producer, real name Luca Trevisi, initially made his name as a downtempo and nu-jazz producer before perfecting a trademark style of chugging, slow-motion hedonism that draws influence from both deep house and nu-disco. His main Remix foregrounds many of these trademark elements, in the process delivering a bongo-rich chugger laden with delayheavy bass guitar sounds, head-nodding drums, heady guitar loops and echoing vocal snippets. On the Dirty Mix, Trevisi reaches for tight, short TB-303 ‘acid’ loops, a more sparse and heavy rhythm track offering a more heads-down, dubbed-out affair that should delight those who love late night and early morning hypnotism with flashes of wide-eyed sonic bliss. Then, to round things off, Trevisi delivers a heady, atmospheric and spaced-out Dub full of jazz guitar licks, bubbling electronics, vocal snippets and effects-laden bass. It’s a winning combination.

Destroy All Neighbors is a twisted splatter-comedy about a deranged journey of self-discovery full of goopy practical FX, a well-known ensemble cast, and LOTS of blood. William Brown (Jonah Ray Rodrigues), is a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus, facing a creative roadblock in the form of a noisy and grotesque neighbor named Vlad (Alex Winter).

He finally works up the nerve to demand that Vlad keep it down, and William inadvertently decapitates him. But, while attempting to cover up one murder, William's accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla. The soundtrack is an infectious slice of progressive rock cues, EDM freakouts, 80’s synth pop and so much more by the brilliant Ryan Kattner & Brett Morris. Released in conjunction with SUB POP Records, and features an original song by MAN MAN, artwork by Johnny Dombrowski, and pressed on coloured vinyl.

Peter Brötzmann: tarogato, contra-alto clarinet, bass saxophone Paal Nilssen-Love: drums, gongs, percussion 2nd Volume of the perfect pairing Brötzmann & Nilssen-Love, recorded at Zuiderpershuis in Antwerp, August 2015. The music is less frenzied and aggressive than we're used to, as the musicians shared their exploration of new tools with a more contemplative approach. To be sure, both Brötzmann and Nilssen-Love summon the usual energy here and there, but it's a genuine revelation to hear them feel out new sounds in real-time, whether it's the former caressing the rheumy nasality of the contra-alto clarinet, or the latter reveling in the sustained resonance of his new gongs. Still, even if they were trying out new tools, their rapport and level of engagement was just as strong and deep as ever. Colliding schedules prevented them from ever wrapping up the production on the album, but they began planningfor it during the pandemic. Sadly, it fell to Nilssen-Love to shepherd the project at home, but it was worth the wait. This duo album represents a major statement from both musicians. Artwork by Brötzmann, design by Lasse Marhaug. Liner notes-transcription of an interview with Peter Brötzmann.

Having thrived throughout the underground realms for the last ten years, Question built a respectable body of work displaying a sound meeting constant progression, a vision sharpened and perfected with each output. Six years following the debut full-length recording, the Mexican quintet unleashes “Reflections of the Void”, a grand tome of sheer Death Metal might in eight tracks that take Question’s sonic traits and overall concept to a whole new level of magnitude. In perfect unison with the majestic Shoggoth Kinetics artwork that adorns the album’s cover, “Reflections of the Void” stands apart and invites the listener to a pathway beyond the horizon, a detailed journey on life and death and yonder. Such carefully threaded concept meets its aural accomplice as Question carries a cloud of impending doom, a dense and arrestive atmosphere on brilliantly crafted songs that drink from the fountain of the past yet blistering in its very own with a striking sense of dynamics which assuredly puts the group in the major leagues of Death Metal mastery. Obscure, threatening riffs blaze through the first moments of the record, trading somber licks and faster belligerent attacks, yet never failing to enter a redundant path, for a tempo change or a dissonant endeavor spells unexpectedly and takes the listener on an intense rollercoaster. Fiercely crafted, the pulsing bass impulses and organic drumming patterns exhale as the pounding heart of “Reflections of the Void”. Technical, precise, enter a scorching performance in taste and dexterity, never sounding dull or plastic but shining for its soulful presence, side by side with the dazzling production, utterly potent and vibrant, taking the defying arrangements to greater extents. In and above this sonic frenzy, a vociferated voice grunts the illusions of our existence with a resonating dark tone spawned directly from the imposing void. As this opus resumes into the boundless vacuum, we are left with a sense of distress and awe. Question crafted a work for the ages, one which with every listening reveals a further dimension, a hidden mystery, just like the classics in the unholy pantheon to which this opus will surely belong someday.

“Reflections of the Void” is released under the banner of Chaos Records.

Ever wish you could travel back in time and be in the thick of the 1960s rock explosion? Well, until an actual TARDIS is perfected, this album is the next best thing. Recorded in the wee hours of May 26, 1966, A Session with the Remains is a no-holds barred romp through their club set, captured live-to-tape in Capitol Records' studios. Recorded as an audition for the label, the albums seethes and snarls, twists and shouts, rocks and rolls and generally embodies the force of nature that was the Remains. Performing a mix of originals and current hits, the band is in command at every step, rocking one minute and pausing to kibitz between songs the next.

In attempting to describe this album, reviewers have used words like "blazing," "explosive," "delirious" -- but honestly, none of these descriptions comes close to what is contained in the grooves. It's like trying to tell a stranger 'bout rock & roll, ya know? All you really need to do is listen. After all, one guitar lick is worth a thousand words.

This BLAZING, EXPLOSIVE, DELIRIOUS album was painstakingly sourced from the one-and-only original two-track analog mono master tape and wrestled onto high-quality vinyl and compact disc for your review. I'd like to thank you on behalf of the group and Sundazed for listening and I hope they pass YOUR audition!

"A religious totem of all that was manic and marvelous about mid-'60s pop." - Rolling Stone

"Blazing through a mix of originals and covers, the Remains explode in a torrent melody, searing guitar leads and furious drumming. This quartet's ability to play with such delirious abandon yet still nail the tunes' sharp hooks and abundant vocal harmonies marks it as one of rock's more talented and incendiary units. - Chicago Tribune -

This band, and this album, function as critical missing links that takes one from The Fall to Yard Act, from Television and The Minutemen to Parquet Courts and Sleaford Mods, from punk as a sound to punk purely as an ethos. While any Van Pelt album is a stand alone album, the unique approach they take begs one to enter their world and dig deep in.

RELATED TO: The Lapse, Native Nod, St Vincent, Blonde Redhead, Enon, Jets to Brazil, Vague Angels, Ted Leo and the Pharmacists, American Football, Texas is the Reason.

‘The lines between post-hardcore, indie rock, and emo blurred on the two mid-’90s full-lengths from the Van Pelt.’ Pitchfork

‘New York City’s The Van Pelt are an influential, but too often overlooked indie rock band -- cult favorites for many an emo-inclined crate digger.’ Consequence of Sound

‘...should be mentioned a lot more than they are when you talk about the history of emo.’
Washed Up Emo

Back in the day there was this thing called an A&R guy. They would hang out at small venues looking to throw money at the next big thing. In the early 90s, everyone was looking for the next Nirvana of course. NYC's The Van Pelt had just released an album of anthems called "Stealing From Our Favorite Thieves" that seemed to be just that. The only thing is, they didn't want to sign. Legend has it $2 million was turned down over pierogies and coffee one Monday morning because The Van Pelt didn't want to risk crashing and burning. Instead, they were gunning for a long and stable stride even if that meant they would largely remain out of the public's eye forever.

Lack of willingness to play the game didn't mean people weren't waiting with baited breath for their follow up album though. In 1997 The Van Pelt released "Sultans of Sentiment", an album nearly devoid of the anthems and licks people were expecting. In fact, it's a complete bummer of an album that subjects the listener to the point on life's curve where the hubris of youth gives way to a cresting crashing defeat no kid with heart could ever have seen coming. Seeing as humanity are sick fuckers who revel in the misery of both themselves and others, the popularity of Sultans grew and grew and continues to win new loyal fans even today. It's for this classic album The Van Pelt has never fallen off the radar.

That being said, their swan song "The Speeding Train" was recorded while they were working on their third album. In any other age, in any other way, this song would have been a hit. The Van Pelt broke up mid-recording, released Speeding Train as a single, and the rest of the songs from that session didn't see the light of day until they were released in 2014 as the "Imaginary Third" lp.

Why are we here talking about them today in 2023? Because in preparation for the release of "Imaginary Third" The Van Pelt started playing some reunion shows. Soundchecks revealed to them that this band has a voice that was prematurely muted by their inability to see clearly in the thick of it. Returning to explore just what that is 25 years later has led to this first collection of 9 songs, "Artisans & Merchants". This is not a reunion album. This is vindication for that decision made over pierogies and coffee decades ago. The Van Pelt is a band in it for the long haul, free from whatever trappings the mayflies of trends and markets may bring.

For lovers of The Van Pelt, listening to "Artisans & Merchants" is like hearing the voice of a dear friend you haven't seen in years, a friend you used to share countless beers with over banter that went nowhere other than delivering a solid night. Your friend is older, they've changed. In some ways you're worried for them, looks like they might be teetering on the brink of something. In other ways it's the same old them, a nugget of a soul too unique to ever be altered. It's for those unfamiliar with The Van Pelt though for whom we should be truly jealous. This is a stand alone album, incredible vital song writing in and of itself regardless of the long history this band has. The climax of the single "Image of Health" perhaps describes the beautiful desperation best: "And you never felt more alive / Than when the priest came to read you your rites!"

Rival Sons play Rock N Roll in its purest form without apology or pretence. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N Roses, they’ve ignited television shows such as The Late Late Show with James Corden & BBC2 Later Live with Jools Holland. Along the way, they’ve architected a critically acclaimed back catalogue that has earned them multiple GRAMMYâ nominations and 100s of million of streams. 2024 marks the 10th anniversary of the 3rd studio album ‘Great Western Valkyrie’. Originally released in June 2014, this album propelled Rival Sons to Rock N Roll royalty featuring the fan favourites ‘Electric Man, ‘Open My Eyes’ & ‘Good Things’ . It became the first Rival Sons album to achieve Top 20 status in the UK Album charts (peaking at #14). This very special anniversary edition includes the original 2 bonus tracks from the album’s 2014 Tour CD-Edition, first time on vinyl. Jay Buchanan’s voice is stunningly soulful whilst Scott Holiday’s signature guitars riffs,licks and solos elevate the sonic landscape that Rival Sons create to another level.

Souls Of Mischief, the Oakland, CA quartet and members of the mighty Hieroglyphics Crew, are proud to announce the first-ever vinyl release of their fifth album "Montezuma's Revenge." Notably, the album’s striking cover featured a fifth member of the group: the legendarily innovative producer Prince Paul, who executive produced the LP, handling most of the beats and overseeing the musical direction of the album from start to finish.

Emcees A-Plus, Opio, Phesto, and Tajai take turns showing off the multisyllabic flows, witty similes, and smooth lyrics that have made the crew a household name in rap for over 30 years. Souls' trademark juxtaposition of complex, multi-syllabic lyricism against laid-back Cali flow remained as strong as it was in 1993 on “Montezuma’s Revenge,” and Paul’s magic touch on production took the Souls’ sound to a new level.

While the aforementioned and unmistakable SOM sound remains very much intact, Paul's vision and risk-taking come through on the finished product. Tajai was comfortable from the start in working with the visionary producer: ”Paul is a perfectionist and so are we so we took time with the beats and subject matter. This album to me is a great insight into who we are as people and how important it is to progress stylistically, yet it retains a classic, timeless feel."

This is a rare original press from the masters behind Myriad Recordings as they were just testing the vinyl waters...two gorgeous licks of jungle on a lovely white label....

Truth Manifest Records is proud and excited to release Beyond Jazz Volume 2, the second volume in this wonderful, futuristic four-part series!

This stellar vinyl release on Truth Manifest Records is from executive producer Malik Alston, with distribution from Mother Tongue. As we travel to the edge of our senses with Beyond Jazz Volume 2, it is immersed in poetry pulling on the heartstrings of urban reality. This is where live meets a hip-hop foundation, sped up and transformed into a dance jazz Afro-Cuban up-tempo banger, to tell the story of the groove. Put Volume 2 to a funky jazz lick phrase, reminding us that through the struggle, there is victory. Let your spirit shine as you feel the essence of boom bap jazz.

This powerful collection has special new remixes and edits based on Malik’s current radio show, Beyond Jazz

Stomping into the SBC universe comes 131bpm; a Berlin houseTM-hold head with his distinct signature style of sass’d up sexy dance floor burners. The 5 track collection “Ethereal Yarn” weaves in jacking house, bounce bass and flirty tech with a bonus remix from PSL; hot, heavy and ready for your play. Expect the unexpected as conventionality is unraveled through freaky vocal cuts, buckwild percussion and genre mashups for the gods. How long is a piece of string? Lick my chain if you’re nasty!

Sdban Records präsentiert unveröffentlichte Radioaufnahmen
von 1967 des serbischen Jazztrompeters, Komponisten und
Bandleaders Dusko Goykovich (1931-2023). Zu diesem
Zeitpunkt hatte er sich endgültig als einer der profiliertesten
Jazzkünstler Europas etabliert.
Goykovich wurde in Jajce, Bosnien und Herzegowina, damals
Teil des Königreichs Jugoslawien, geboren. Er studierte von
1948 bis 1953 an der Belgrader Musikakademie, spielte
Trompete in Dixieland-Bands und trat im Alter von 18 Jahren
der Big Band von Radio Belgrad bei. Nach seinem Umzug
nach Frankfurt 1956 etablierte er sich in der westdeutschen
Jazzszene, wo er mit Kurt Edelhagen und Kenny Clarke &
Francy Boland spielte. Mitte der 60er Jahre kehrte Goykovich
nach einem USA-Aufenthal nach Europa zurück und stellte der
Welt bald seinen innovativen Balkan-Jazz-Sound mit Swinging
Macedonia (1966) vor, einem Album, das durch
melancholische Melodien und anspruchsvolle Rhythmen
gekennzeichnet war.

Bowie is a new label that says it intends to "dig deep into the unreleased sides of pop superstars material from the past." The opening gambit is a strong one that should hook you in for more as it comes in the form of a 7" with two fine funk instrumentals, neither of which have been put out before. 'Golden Years' has lovely live drums and meandering guitar licks for some carefree listening, while 'Fame' has a deep cut groove that rises and falls in dramatic fashion with more neat and tidy riffs adding the detail next to the big licks.

Lonnie Smith (1942 – 2021), was an American jazz organist. He was part of several vocal ensembles in the 1950s, includ- ing the Teen Kings which included Grover Washington Jr. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3. Smith’s affinity for R&B mixed with his own personal style as he became active in the local music scene. In 1965 he met guitarist George Benson. The two con- nected on a personal level and formed the George Benson Quartet, featuring Lonnie Smith, in 1966. After two albums under Benson’s leadership, Smith recorded his first solo al- bum ‘Finger Lickin’ Good (Soul Organ)’ with George Benson and Melvin Sparks on guitar, Ronnie Cuber on baritone sax, and Marion Booker on drums. This combination remained stable for the next five years. After recording several albums with Benson, Smith became a solo recording artist and sub- sequently recorded over 30 albums under his own name.
Numerous prominent jazz artists joined Smith on his albums
and in his live performances, including Lee Morgan, David “Fathead” Newman, King Curtis, Blue Mitchell, and Joe Lova- no. The album ‘Finger Lickin’ Good (Soul Organ)’ showcases Lonnie Smith’s virtuosity and his innovative approach on the organ, with tracks that feature intricate solos and groovy rhythms so typical of the soul jazz and jazz funk genres. Lon- nie Smith was named 9 times “the best organist of the year” by the Jazz Journalists Association.

This release comes as a limited edition of 750 copies on smoke coloured vinyl.

She's In Parties ist ein englisches Quartett aus Colchester (benannt nach dem kultigen Bauhaus-Track), dessen eigenwillige Mischung aus Shoegaze und Dream-Pop ihr relativ junges Alter verrät. Die neue EP "Puppet Show" ist ihr bisher politischstes und lyrisch reifstes Statement. Es behandelt die Sorgen nach dem Erwachsenwerden und die existentielle Erkenntnis über die Probleme dieser Welt, von den sozialen Medien bis zu Kriegen und der persönlichen Angst, all dem hilflos ausgeliefert zu sein.

- "Colchester’s new answer to hazy shoegaze heroes Cocteau Twins." – NME

- "Melding shoegaze-y pop and dazzling indie licks, their wall of sound is simply irresistible." - DORK

- "All dreamy, reverbed atmospherics and interlocking textures... A real find." - Sunday Times Culture

Golden-era of kinked, acid-hued, analogue, harmonic song writing sits at the heart of The Eggmen Whoooooo!’s first, mind-bending, full-length album. Two-decades of meandering musicality fans the embers of cult Welsh legends, El Goodo, glowing beneath Benedict Frye’s latest bakeries of sound.

Whisking effervescence and colour into the flat glass of soda of mundane middle age, the
former El Goodo pace-setter has gathered a band of five other, talented souls and asks the jittery cut of sparking psych to lead the charge as the band’s debut album, ‘Fuzzy Eggs, Please’ is announced for release on Fri 25 October 2024.

Almost a full two decades since El Goodo rose to an elevated position amongst discerning
music-lovers as consorts to, support act beneath and studio collaborators with Super Furry
Animals, and a full four years since the final act of the departed band (their last, acclaimed
studio album, Zombie) a tapestry of distinctly and brilliantly odd songs scrambles from the
heart of the Welsh hills. Transplanted into the chest cavity of a new, stage-ready six-headed creature, what awakes is a new beast of valve amp and feedback-fuelled splendour.

All ten songs, recorded in mountainous seclusion in Carmarthenshire with producer,
Thighpaulsandra (Spiritualized, Tim Burgess), have clustered in strange harmony on The
Eggmen Whoooooo!’s very first, perfectly imperfect album.

Formed in a lightning strike of inspiration by prolific, remote South Wales-based keeper of
various musical flames, Benedict E Frye, The Eggmen Whoooooo! finds members of
kindred, Welsh musical spirits, El Goodo, Los Blancos and Trecco Beis, joining hands and
overloading studio plug sockets in a display of unchallenged creative hubris. With nobody to please but themselves, the six-piece’s indulgence in sounds straddles sun-licked Californian harmonies and the torn-sneakered snottiness of New York punk making for thrilling sonic schizophrenia with only their own record collections occasionally poached.

The Check In brings us 006 by Duncan Thomas. Anyone operating in the world of deep minimal groovers have heard the whispers and tales of his genuinely unique grooves, blurring the lines of deep and soulful to light-hearted and bouncy.

Hard synth stabs and a punchy drum grooves open the EP through the A1 Espresso Tonic, a deep roller which is seductively euphoric. Then into Movin’ To The Sound which brings out the jazzy side of Duncan Thomas with synth licks and floaty chord progressions.

Flip over and you land on See You Never which leans to the festival forrest with heavy swing, a driving lead and laser sounding synth chords. Followed by the B2 Hello Out There which closes off the EP and is easily the most soulful of the four cuts. The repeating chord stabs are undoubtedly nostalgic and the bass-line routes the nostalgia to the dancefloor. This is a sunrise groove if ever there was one

5, the fifth installment of the mixtape series that propelled her to stardom - a journey that began over a decade ago with the release of the first Winter’s Diary. This follows the release of her 2023 masterpiece, Thanks 4 Nothing, which was executive produced by Hitmaka. Thanks 4 Nothing has garnered over 160 million streams, and received accolades from virtually every major publication, including receiving a 7.6 rating by Pitchfork and gracing the cover of Galore Magazine. She followed up with her Thanks 4 Everything North American tour where she delivered an unforgettable performance of hits from her previous albums as well as the new project. In addition to new music coming this year, Tink will also be joining Jhene Aiko on The Magic Hour arena tour, spanning 27 cities. While all of this success may be a surprise to some, Tink and her day ones know how hard she has been grinding for this moment and how deserved it is. An album over 6 years in the making, Winter’s Diary 5 is finally here, and it’s about to be a cold winter.

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

It's been nearly a decade since Montreal's PYPY (pronounced like 'π π'...with a long 'i' rather than long 'e', thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger "She's Gone" carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial "next level."

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in yr hair.

"Lonely Striped Sock" grooves along like "Earthbeat"-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the "ear-vestment" in dividends throughout. "Ear-vestment"? Yikes. Then it's time for "She's Back," a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day's best-known gem (the aforementioned "She's Gone"). This one packs a hook that'll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn't matter...nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you'll be doing that anyway. A lot. "Erase" is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn't know we had...deceptively kicking off with a no-fi drum machine that is immediately lost in the massive pop din that seemingly includes everything within reach. "Poodle Escape" is two minutes of perfect (and perfectly distorted) synth-punk and "I Am A Simulation" – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70's (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. "15 Sec" (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes' gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album's title track is a love letter to Hawkwind in the musical language already established here. "Vanishing Blinds" is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of "Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

*RED VINYL*Of the plethora of touted "private press hard rock monsters'' out there, very few live up to the swaggering riff-fury of west coast blasters ODA. Commonly known as the "Black Album," the first clobbering platter by the quartet was released on their own tiny Loud Phonograph Records imprint and now commands large sums—but is actually worth the heavy hype. The band naturally centered around Randy Oda, a multi-talented ax shredder and keyboardist, and the lineup was filled out by his brother Kevin on drum assault, Art Pantoja on lead bellows and rhythm guitar, and galloping bassist Kyle Schneider. The Oda brothers were born in Alameda County, California, attending Kennedy High School in Richmond, and started the band while still teenagers at the beginning of the '70s. ODA was influenced by hard UK rockers like Deep Purple, Zep, Free, and the Who, and they gigged all over the Bay Area, with Randy garnering comparisons to Jeff Beck's molten six-string mastery. This 1971 self-titled LP (aka the Black Album) fully displays their blistering talents, but despite some local airplay on KSAN radio, the band packed it in by '73. This would not be the end of the Oda story, as Randy joined CCR's Tom Fogerty in the outfit Ruby afterwards, laying down his licks on two LPs that flirted with the mainstream, while staying true to his highly electric guitar muse. In 1983, ODA actually reformed for one more LP on Loud Phonograph, entitled Power Of Love. The comeback album delves a little deeper into radio friendly power pop, which makes sense, as in '82 Oda co-wrote "Think I'm In Love" with Eddie Money (which, let's face it, is Money's best song by like a mile). Randy would also collaborate with Fogerty as a duo, and the posthumous Sidekicks album (released after Fogerty passed) listed the clearly-integral Randy Oda as "arranger, composer, guitar (acoustic), guitar (electric), keyboards, primary artist, and producer.” In the 2000s, Randy would start another band with his brother called OPO which means "to lay a foundation" in Hawaiian, and ODA would reform to play a benefit in 2015 along with other obscure and heady/heavy Bay Area rockers like Savage Resurrection and Country Weather (some live footage of the event shows the band still rocking hard). At last, Riding Easy is legitimately reissuing ODA's first smoking, gargantuan LP with bonus tracks, so crank this one up in the '70s Camaro with the windows open, and some dirt weed joints a-blazin'. #

2024 Restock

An excellent album by one of the greatest Brazilian funk bands ever – a wonderful blend of funk, jazz, and soul – and a set that rivals any of the best work coming from the US at the time! These guys are right on the money right from the start – moving through sharp changes with effortless ease, yet never in a way that's too slick or commercial – kind of like that perfect balance that Kool & The Gang hit for just a few records in the mid 70s – but with more of a Brazilian feel overall. Jazzy licks abound – and the keyboards, guitar, and horns are just great – but the set's also got some more regional percussion, too – which really rounds out the record wonderfully. The grooves all have a really universal appeal – essential for any fan of funky sounds – and titles include "Mr Funky Samba", "Junia", "Casa Forte", "Na Baixa Do Sapateiro", "Lelbon Via Vaz Lobo", "Baia", "Maria Fumaca", and "Metalurgia".

On their third full-length album, 'The Signal', the Compact Disk Dummies keep a few interesting balls in the air. They play with the opinions and expectations of the outside world, while also confronting their own desires and doubts. This is aptly depicted on the cover with a table, a bell, two brothers and an impatient crowd: who is waiting for whom? The album is as diverse as its cover is surprising. In a mix of styles and influences ranging from retro house to funk, Lennert and Janus Coorevits demonstrate their versatility. Following their scintillating performances at Rock Werchter and Pukkelpop, and the success of the radio hits 'There's No Sex Without You' and 'fomo', 'The Signal' marks the start of a new era for the Dummies.

Lennert notes, "Pfff, I would think about everything indefinitely. And I'm not the only one, I notice. Stuck in a kind of limbo, a state of uncertainty, surrounded by signals, but still feeling a certain fear of following the signal."

On 'The Signal', 'fomo' dissects human desire, reaching for the unattainable. 'Where We Go (Calypso)' is like the shipwreck no one wants. And in the title track, the female lead character finds herself in a toxic relationship, the signs of which are obvious, at least to the outside world. While the content of 'The Signal' revolves around doubt, contemplation and acting or not acting, the musical interpretation is in direct opposition to that. The Compact Disk Dummies do not doubt; they hold their heads up and their chests out. With certainty, they mix everything that excites them musically into the blender, without grinding the identity of the Dummies themselves; actually enriching it instead. The retro house of 'Solàr' (a song about Louis the Fourteenth? Why not) flows into the rampant funk of 'Ballet Dancer' before expanding into 'Underwater'. In every track, you sense the long road the Coorevits brothers have travelled since their breakthrough - and their then angular electro-punk. This third album is Lennert and Janus' most sophisticated work in the expanding universe of the Compact Disk Dummies.

In addition to being a mix of styles, 'The Signal' is also a mix of collaborations. There is the French touch of mixer Michael Declerck and mastering engineer Alex Gopher. There is the Dutch input of Wieger Hoogendorp (Goldband) and Jens Van Der Meij (Froukje). Beautiful string sections are provided by Wietse Meys and Reinhard Vanbergen, bass licks by Boris Van Overschee and backing vocals by Isolde Lasoen and Judith Okon, among others. Producer Jasper Maekelberg always kept an eye on things. And again, for the third album in a row, after 'Mess With Us' (2013) and 'Neon Fever Dream' (2020), artist Athos Burez also provided the artwork for 'The Signal'.

But however international the music sounds, however great the contributions from other top artists, 'The Signal' remains largely the work of the Dummies, with Lennert as vocalist, lyricist and multi-instrumentalist, and Janus as engineer, producer and all-around tech wizard. The album was not made in New York, Tokyo or Berlin, but in Desselgem. Studio 87, the Coorevits family's garage converted into a studio, remains Ali Baba's cave for the Compact Disk Dummies. In their studio crammed with synths, percussion and guitars, Lennert and Janus could not ignore the signal: time to smash it!

SUNANDBASS ambassador FD returns for his latest EP to guide you back to the familiar shores of our annual celebration in Sardinia. Rich and expressive music that works on the dancefloor can be hard to find but FD brings the goodness once again, with this diverse three-tracker.

“All Yours” hits the sweet spot straight away, with dusky vocals and tight beats. Deft guitar licks keep the funk fluid, wrapping around an essential groove, whilst crystal keys shimmer in the heat haze. An ace opener to any set, this track strikes a rare balance between rhythm and elegance.

Flipping the script with an ice-cold intro, “Second Villain” creeps up close and personal before dropping a murderous bassline on your chest. Produced alongside one of Switzerland’s most respected DJs, Ryck, the ‘Villain’ encompasses and embraces influences from Jungle and Drum & Bass alike.

Finalising the ninth release on SUNANDBASS Recordings is “Wah Wah Track”, which puts the music first to prove that the medium really is the message here. Melodic layers rise and fall like waves on this classy and uplifting piece of future soul music.

Gepaart mit dem unermüdlichen Bestreben der Band, ihre Musik im ganzen Land unter die Leute zu bringen, wuchs der Ruf von Maul schnell und ein Pakt mit 20 Buck Spin wurde mit Blut besiegelt. Die ersten Früchte dieses Bündnisses wurden Ende 2023 mit dem Promo-Tape "Desecration and Enchantment" geliefert. Und nun führen alle Wege zu Mauls zweitem Album "In the Jaws of Bereavement".

Während der verrottete Death Metal im Kern der Band unbestritten ist, schämt sich die Band nicht, wenn es darum geht, eine Vorliebe für die härtere Seite des Hardcore mit moshtauglichen Riffs und massentauglichen Breaks zu zeigen. In the "Jaws of Bereavement" schafft es, die unheimlichen Erscheinungen und die melodische Leadarbeit der Größen des Death Metal mit den strafenden Rhythmen der gewalttätigen Kraft des Hardcore so gekonnt zu verschmelzen, dass es sich völlig organisch anfühlt. Zusammengehalten wird das Ganze durch die ungestüme Stimmgewalt der menschlichen Abrissbirne Garrett Alvarado.

FFO: Sanguisugabogg, Phobophilic, Fulci, Scorched, Warflurch, Kruelty, Terminal Nation, Obituary, Gatecreeper

Gepaart mit dem unermüdlichen Bestreben der Band, ihre Musik im ganzen Land unter die Leute zu bringen, wuchs der Ruf von Maul schnell und ein Pakt mit 20 Buck Spin wurde mit Blut besiegelt. Die ersten Früchte dieses Bündnisses wurden Ende 2023 mit dem Promo-Tape "Desecration and Enchantment" geliefert. Und nun führen alle Wege zu Mauls zweitem Album "In the Jaws of Bereavement".

Während der verrottete Death Metal im Kern der Band unbestritten ist, schämt sich die Band nicht, wenn es darum geht, eine Vorliebe für die härtere Seite des Hardcore mit moshtauglichen Riffs und massentauglichen Breaks zu zeigen. In the "Jaws of Bereavement" schafft es, die unheimlichen Erscheinungen und die melodische Leadarbeit der Größen des Death Metal mit den strafenden Rhythmen der gewalttätigen Kraft des Hardcore so gekonnt zu verschmelzen, dass es sich völlig organisch anfühlt. Zusammengehalten wird das Ganze durch die ungestüme Stimmgewalt der menschlichen Abrissbirne Garrett Alvarado.

FFO: Sanguisugabogg, Phobophilic, Fulci, Scorched, Warflurch, Kruelty, Terminal Nation, Obituary, Gatecreeper

Taylor Hollingsworth, the fingerpicking songwriter hailing from the vibrant city of Birmingham, AL, is back with an electrifying, foot stomper of an album titled "Yahola." With his unique blend of folk, rock, and blues, Taylor has carved out a distinct musical niche that he calls "folk n' roll" or electric folk. In a world full of manufactured pop sensations and cookie-cutter artists, Taylor Hollingsworth stands apart as a true maverick of original music.Taylor's dedication to his craft has earned him accolades and recognition both within and outside the local music scene. His immense talent on the guitar, coupled with his remarkable songwriting abilities, has earned him a rightful place among music connoisseurs. Notable achievements in Taylor's musical journey include having his works featured in popular TV shows, podcasts, and movies, showcasing his ability to strike an emotional chord with listeners. Esteemed artists such as Conor Oberst and Phoebe Bridgers have recognized Taylor's songwriting prowess by covering one of his songs.

For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.

As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.

With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.

As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.

Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.

Well, Voilaaa is back as its best, “that’s all” (C’est tout).

The Vessel Recordings label - with owner/orchestrator Ira James at its helm - has pretty much won us over right from the off. It has dropped a slew of early releases all at once and they are all well-crafted and original deep house EPs that marry soul and drive to perfection. 'Body' licks off and has a humid and sexy throb to it, while 'Freespeech' is more raw and dirty. It's brilliant, too, with deft chords and seductive vocals woven into the mix. 'Hourglass' shuts down with some crisp percussive house action and proper nice chord work that oozes soul. A great collab from Juwan Rates and Jlove, a pair we can't wait to hear more from.

Ltd Double Silver Vinyl, Monochrome edition artwork, DL card. Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with Moogs, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.” Pitchfork. Track List: Disc One: A1 Solid Gold Tooth A2 Ice Cream A3 Jet Pet A4 RTX-USA A5 Kool Down Wheels B1 Chances Are The Comets In Our Future B2 Yin Jim Versus The Vomit Creature B3 Osiris Disc Two. C1 (Edge Of The) Ape Oven D1 Florida Avenue Theme D2 Lick My Boots D3 Glitterbust D4 Funky Son D5 Ratcreeps D6 New York Avenue Bridge