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The Silhouettes Project was founded by community organisers Jaden & Asher (aka Eerf Evil & Asher Kosher), and is a platform for the new generation of underground hip-hop, jazz, and soul artists in the UK. It aims to shine a light on artists who are making ground-breaking music but who are in need of a solid structure to work within - artists who they felt deserved more recognition. This led to the name ‘The Silhouettes Project’, as they wanted to shine a light on those artists in the shadows. In 2020, they released a number of singles that culminated in their self-titled debut LP, which has gained 65 million streams to date, & featured some of London’s foremost underground rappers & singers like ENNY, Lex Amor, & Kofi Stone. They will be releasing their second album in Q1 2024, The Silhouettes Project Volume II, starting the campaign this September with 'Knocked Down'. All proceeds from the album will go back into the organisation to support and sustain its running, its artists, and the non-profit studio ROOT 73 where the project was created. The contributors all receive an even split of the album, rather than of their specific track, which stays true to their ethos.

Nach der überraschenden Rückkehr 2023 für eine Reihe feierlicher, ausverkaufter Konzerte in UK und Europa starten die Post-Rock-DIY-Helden The Boxer Rebellion in ein vielversprechendes Jahr 2024, das noch einmal in die Tiefe geht und ihre neue 'Open Arms' EP einläutet, ein pulsierendes, kristallines Mantra, das in limitierter 500er Auflage auf cremefarbenem Vinyl erscheint. Neue schimmernd-epische Songs wie 'Powdered Sugar' und 'Lightness Out Of Darkness' oder das kathartische 'As Man As Alive As The City' bestätigen, dass die Band nicht nur zurück ist, sondern auch in einem Ausbruch dringender, aktualisierter Kreativität eine klare Linie von ihrer Vergangenheit zur Gegenwart zieht.

The Silhouettes Project was founded by community organisers Jaden & Asher (aka Eerf Evil & Asher Kosher), and is a platform for the new generation of underground hip-hop, jazz, and soul artists in the UK. It aims to shine a light on artists who are making ground-breaking music but who are in need of a solid structure to work within - artists who they felt deserved more recognition. This led to the name ‘The Silhouettes Project’, as they wanted to shine a light on those artists in the shadows. In 2020, they released a number of singles that culminated in their self-titled debut LP, which has gained 65 million streams to date, & featured some of London’s foremost underground rappers & singers like ENNY, Lex Amor, & Kofi Stone. They will be releasing their second album in Q1 2024, The Silhouettes Project Volume II, starting the campaign this September with 'Knocked Down'. All proceeds from the album will go back into the organisation to support and sustain its running, its artists, and the non-profit studio ROOT 73 where the project was created. The contributors all receive an even split of the album, rather than of their specific track, which stays true to their ethos.

2024 Repress

Get Up! Time to release this beast on 7".

Breakwater’s earth-shattering “Release The Beast” is unquestionably the standout song from their 1980 funk masterpiece LP Splashdown. It also came out as a now-hen’s-teeth-rare 7" in the same year and when it came to putting it out as a 7" again we just had to do it in a miniature version of the Splashdown sleeve. It’s one of the best album cover shoots of all time.

For the b-side, we’ve backed Breakwater’s biggest track with Be With’s favourite: the quietly majestic gem “Let Love In”, another winner from the same LP.

Possessing a sound and a feel that was lightyears ahead of its time, “Release The Beast” is a showcase for Breakwater’s phenomenal power-funk capabilities. The energy is astounding. It rips out of the grooves on a deep funk tip, with speaker-smashing, room-shaking drums competing with distorted funk-rock guitar, bumping bass and space-age synths. But it’s not without its compellingly haunting elements too. What else can we say? It’s a genius piece of music.

And, yes, of course this is the tune Daft Punk sampled for their 2005 track “Robot Rock”. Let’s be blunt, they lifted the Philly act’s funk-rock vamping pretty much wholesale. But to be fair to them we wouldn’t have messed with the perfection of the original either and those Parisians shone a much-needed spotlight on an innovative band from the halcyon period of post-disco funk.

On the flip, “Let Love In” is a smooth, easy glide that demonstrates Breakwater’s superb, sophisticated musicianship. The tight horn section and irresistible bass make for an undeniable groove. However, it also reveals a depth to their lyricism that’s often overlooked. In these dark days, the sentiment of the opening lines is truly one to we should all take to heart:

“It feels good to be friends with everyone, Walk around and the feeling’s in the air, No more hate can’t you see, This is really for me.”

A feel good hit for the summer if ever there was one.

Remastered for this vinyl reissue, we’re delighted to present this modern soul double-sider. Essential in every way.

Best remembered for his partnership with the rapper Will Smith in the duo DJ Jazzy Jeff & the Fresh Prince, the duo won the first rap Grammy as well as scoring some big pop hits back in the day, including their 1987 smash, "A Touch Of Jazz," which famously sampled Bob James' classic track "Westchester Lady."

In a full circle moment, James and Jeff have joined forces on the tune "That Bop," a thumping dance track overlain with elegant piano hooks. "It was fun to work with him so many years after he had sampled me in the past," says James, who reveals they collaborated by sharing music files across the internet during the pandemic.

"We also did a couple of other tunes that may see the light of day soon," discloses James, who is keen to work with the hip- hop legend again. "I hope the next time we'll actually be in the studio at the same time so that we can interact," he says. The B-side features Bob James' original jazz-funk classic and DJ favorite, "Shamboozie", available for the first time on 7" vinyl.

Released by evosound on a 7" Vinyl Single on the 6th of October, 2023. Limited Edition of 1,200 copies worldwide.

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.

"We Started Nothing is the debut studio album by English indie pop duo The Ting Tings. Jules & Katie's combination of dance, indie pop and new wave proved to be one of the hottest things in 2008. The result being the album peaking at #1 in the UK Albums Chart. We Started Nothing spawned no less than six hit singles, including ""That's Not My Name"", which reached #1 on the UK Singles Chart. Eventually, the band, the album and several singles and videos were nominated for a variety of NME, MTV, Grammy Award and Brit Awards. The Ting Tings won the MTV Award for Best UK Act and ""Shut Up and Let Me Go"" won the award for Best UK Video. We Started Nothing is available on black vinyl and contains an insert."

Das Blackberry Smoke Quintett aus Atlanta, das als "die amtierenden Schwergewichts-Champions des Southern Rock" (No Depression) gilt, ist mit seinem 8. Studioalbum "Be Right Here" zurück, produziert von Dave Cobb.

"Viele versuchen, den heiligen Gral, die goldene Ära des Classic Rock, mit ihren sechssaitigen Eskapaden zu reproduzieren, doch nur eine Handvoll schafft es. Eine dieser Bands, der das in hohem Maße gelingt, ist Blackberry Smoke." - Guitar World

Das Blackberry Smoke Quintett aus Atlanta, das als "die amtierenden Schwergewichts-Champions des Southern Rock" (No Depression) gilt, ist mit seinem 8. Studioalbum "Be Right Here" zurück, produziert von Dave Cobb.

"Viele versuchen, den heiligen Gral, die goldene Ära des Classic Rock, mit ihren sechssaitigen Eskapaden zu reproduzieren, doch nur eine Handvoll schafft es. Eine dieser Bands, der das in hohem Maße gelingt, ist Blackberry Smoke." - Guitar World

It was winter. Six Parts Seven had returned to Ohio after touring out to Washington State, to record Casually Smashed to Pieces. There was down time between the recording and the actual release of that album in January 2007, and we were rehearsing, playing local shows, and collaborating, with most of us involved in other projects to keep the momentum going (Mike w/ Talons, Al w/ Beaten Awake), but the one we all came together over was recording an album with Joey Beltram, the songwriter behind Goodmorning Valentine, a local band we shared players with, a band we deeply admired. The music on Kissing Distance came together over two weekend days. There were a lot of people around; 6P7 and GMV players coming and going from the Saint Ledger House. There were handles of whiskey, there was weed, stacks of Marlboro Reds for the ones still dragging butts. We all went 'dancing' at Thursday's, in Akron, Ohio, on Saturday night. Not sure how we were productive the following day. Chalk that one up to relative youth. Over those two days, songs were cut without any prior rehearsal time. None of us remember how the idea came up. In hindsight, it seems inevitable. The first song on the album, "Mediation in D," had been written a couple of years before, and was the decided spark that set the fire blazing: for both bands, this song was the starting point, an invitation to take things further, to expand, combining players from both bands, our 'toolbox' had increased in size from a single hammer to a toolbox. Everything came easily at this point. "Drunk from the Bottle," is the first of the one-take/one mic songs: an SM58 used for both vocal and guitar, making it impossible to over-think anything: You got the version, or you did not, that simple. "Instrumental #2," is the last full/core band recording by Six Parts Seven. The first piece in our catalog written/arranged by Tim Gerak. This song would have been developed on our follow-up to Casually Smashed to Pieces. Alas, an album never came to be. The ache in this is real. It's there in the bass guitar, tuned high and open, played with a slide, and utilizing one of Jamie Stillman's pre- Earthquaker Devices fuzz pedals. "Lonely Daughter," is another one-take/one-mic song, notable for the lead-guitar, played by James Matthew Haas, who overdubbed his part, months later, standing alone on the deck at Joey's folks place, playing to the moonlight, making magic...

Psychedelic Anxiety, as a mood, goes something like this: overwhelming, existential, vertigoic, arising when we stare into the void. This metaphysical unease also serves as the title for Brooklyn-based musician Frances Chang’s second album, and as a feeling it’s present throughout, charged by all things occultish. Recorded by Chang and engineer Andrea Schiavelli, featuring a cast of revered NYC DIY players, including Schiavelli (Eyes of Love) and Liza Winter (Birthing Hips), Psychedelic Anxiety relishes in the refining of aesthetic, in the electricity of improvisation, in balancing bleakness with humor. It embodies an idiosyncratic genre Chang calls slacker prog — offbeat, but brimming with spiritual and emotional resonance. The record infuses artifacts of the mundane with otherworldliness— even the love songs live more in the realm of fantasy (or horror) than the romantic. The psychic twin and mirror image of Chang’s 2022 debut full-length Support Your Local Nihilist, Psychedelic Anxiety by comparison is less urgent, leaving space for more nuance and storytelling. Together, these albums represent a new cycle of creativity for Chang, a reset to zero. “Eye Land,” captures Chang on a tour around the Irish and English countryside, in a moment of major life change. “Lying around your spare room,” she sings, “Sky is cloudy here in June.” Around her, guitar sputters and stops. Vocals branch off like vines on the side of an old house. It is a profoundly lovely song, a freaky miniature in the way that a Broadcast song is a freaky miniature. “Darkside” opens up with a particularly memorable narrative moment. “Last night I saw Parasite,” sings Chang, describing how she saw it alone, how regular life that week was acute, weird, intense. How she found comfort in resignation. After all: Psychedelic Anxiety is a serene, bizarre record full of alien sounds and big introspection.

NYC speed rockers PONS are wound up and hot for skronk on The Liquid Self, a golden spiral into insanity at sea surfacing on cassette and streaming October 6, 2023. Besieged by a lighthouse panopticon of pummeling, engine-room percussion, The Liquid Self rises higher than the tides of destiny. These eleven songs churn like a gluttonous maelstrom consuming everything in its path. The Liquid Self chums indie rock’s murky waters with bloody chunks of Lightning Bolt, Van Halen and King Crimson to lure PONS’ mythical and unhinged rock ‘n roll creation to the surface. Harpoons in hand, the dual drums and guitar trio swing, shuffle and strut across oceanic horizons of playful, unhinged garage-prog-pop inhabited by a cast of unreliable narrators; bottom feeders carrying the entire ocean’s weight on their polyrhythms.

On the single “Coral King,” PONS usurp noise rock’s old guard while pledging fealty to the dystopia under the sea with a foamy, froth-mouthed manic industrial scuzz-prog rant seething with sludgy, dissonant bile oozing from every sour note. Furious violin-fuzz riffs and a chorus of lost souls lead the procession at this brutal coronation of the damned.

“Sinking Feeling” hangs ten with bright and beachy major chords anchored by fleet-flippered guitar solos breaching the surf like suppertime at SeaWorld. Chaos reigns on “Queen Conch,” soaking the splash zone with misty waves of undulating percussion and tsunami force sheets of six-string shredding. Barbed post-punk rager “Hooks” swallows the bait whole—and it turns out PONS fish with dynamite.

German melodic extreme metal act FAR BEYOND mark their return with their third studio album, The End of My Road, on February 16 via their new label home Prosthetic Records. FAR BEYONDüs latest full-length is an ambitious and fastidiously curated amalgam of melodeath, symphonic and power metal, covering themes of courage and heart in the face of depression and hardship. Formed in the early 2000s, FAR BEYOND is the solo project of Eugen Dodenhoeft. Based in the Franconian Switzerland region of Germany, FAR BEYONDüs history to this point has been one of slow and steady artistic progression with 2005's An Angel's Requiem and 2016's A Frozen Flame Of Ice albums showcasing Dodenhoeftüs penchant for seamlessly alternating dynamics of gothic and death metal symphonia. Lusciously complex by design, FAR BEYOND's latest album shines in its songwriting structure. Across the eight tracks, Eugen compiled up to 30 layers of vocals, synthesisers and orchestral textures. Whilst a solo endeavour at its core, The End of My Road sees collaborative guitar solos from Nathram's Lukas Grasslin as well as additional synthesiser embellishments from Ari Ahrendt on Tempus Fugit and the title track. The End of My Road was then placed in the hands of Patrick Staudle of Glaswald Studios in The Black Forest, Germany. Furthering their quest to understand the complexities of the unknown and transcend beyond the unknown, The End of My Roadüs contemplative atmospherics and concentrated sonic extremities merge seamlessly with a deft poetic touch. With Eugen adding: üThe End of My Road is my invitation to get lost in the sonic realms of FAR BEYOND and find a moment of peace and inspiration. I look forward to sharing this album with the world and hope that it touches the hearts of listeners, providing them with an unforgettable soundtrack for their own journey.

PRAISE THE PLAGUE formulate the introduction to the dark, grim soundscape of their third album themselves by saying: "The gate is passed, upon us is a bleak, raging sea. Tidal waves crushing ashore, out of desperation evolves anger and frustration. Time, as a construct, imprisons its architects. "Suffocating In The Current Of Time" takes us from a dark and devouring realm, to staring the devourer into its cold, dead eyes. Lead by fierce and unforgiving melodies, we are marching into our own decay. Lead by the pounding of drums we indulge ourselves in the cloak of false promises." The quintet from the German capital Berlin has been around since 2017. After the debut "Antagonist" and their first album for LIFEFORCE RECORDS, "The Obsidian Gate" (2021), "Suffocating In The Current Of Time" showcases a further intensification of the band's dense and intense black metal. PRAISE THE PLAGUE are modern representatives of their guild and not purists. There are also ominous echoes of doom and sludge as well as atmospheric post-metal. It is no coincidence that the Berliners' third album remains instrumental for longer passages. This increases the impact of the furious tempo sections with their nagged vocals. "Suffocating In The Current Of Time" is full of emotion. Not all of them are purely negative and depressing. Nevertheless, PRAISE THE PLAGUE's playing will be perceived above all as oppressive and hopeless. Given their band name, who can blame them? The musicians pursue relentless catharsis.

Louien is back with her third album, which sees her taking a big leap into a more indie pop sounding universe. She started out writing melancholic folk songs on her debut album, but has slowly found her own voice and a real knack for melodies. We heard hints of this on her last album, «No Tomorrow/Figure Me Out», and on this album - «Every Dream I Ever Had» - she really embraces her new sound. On songs like «Please» and «Hours», you can clearly hear influences from artists like Boygenious, Gracie Abrams and Lizzy McAlpine, while on «Losing My Mind» she turns it up one more notch, with responding vocals from her band, and a tight drum groove. «Quite Like This» is a another highlight from the album, which highlights her skill for writing unbelievably big and beautiful pop ballads. You could say that this is a slightly new turn for Louien, but still with strong songwriting and amazing melodies as the core of all her songs.

Bella Brown & the Jealous Lovers Unveil "Soul Clap" LP: A Fusion of Retro Soul/Funk and Modern Grooves

Los Angeles-based retro soul/funk sensation Bella Brown & the Jealous Lovers are set to ignite the music scene with their highly anticipated LP, "Soul Clap." Born from the creative genius of Grammy Award-winning vocalist/songwriter Carol Hatchett, Bella Brown emerges as a diva with a fiery stage presence, drawing inspiration from the likes of Tina Turner and Sharon Jones, and channeling the empowered female leads of 70s Blaxploitation films. Led by producer/bassist/songwriter Daniel Pearson, The Jealous Lovers assemble an impressive ensemble of A-list musicians, boasting pedigrees that include names like Mick Jagger, Elton John, Whitney Houston, Prince, and Stevie Wonder. This musical collective is on a relentless quest to redefine the boundaries of music, infusing soul and funk with elements of jazz, rock, and Afro-Caribbean influences.

The essence of "Soul Clap" is derived from the cultural phenomena it is named after—a shared and improvised rhythm-making by a collective. The LP, spanning 40 minutes of pure musical bliss, invites the audience to immerse themselves in the groove and discover their individual truths in the music.

The title track, "Soul Clap," and the infectious "Living Proof" serve as funky dance bangers, echoing the spirit of Bohannan and The Tramps. These tracks, punctuated with jazzy improvisations and soulful horn arrangements, are simple yet joyful expressions of shared humanity and self-love.

"Coming For You" is Bella's audacious response to the soul/funk classic Apache, boldly announcing her and The Jealous Lovers' arrival on the modern soul landscape. "I Found You" takes a northern soul love song approach, reminiscent of Gloria Jones with a touch of modern influence, giving it a distinct Amy Winehouse feel.

Bella Brown seamlessly weaves social commentary into her art. "Bang Bang Bang," an uptempo, funky Motown groove, cleverly uses Curtis Mayfield's sense of sarcasm to reflect on American gun culture. "Lady Time" takes a driving afrobeat groove, employing brassy horns and reggae-like echoes to address the issue of homelessness.

However, the album is not without its lighthearted moments. "Fast As Lightning" celebrates a cleaner future by imagining Jimi Hendrix joining Ike and Tina Turner's band to create a classic Chuck Berry car song. "There Is Love" blends horns, strings, and vocals reminiscent of The Stylistics over a Chi-Lites style rhythm section, to create a lush message of support to those among us that may find the world a bit overwhelming at moments. Finally, "What Will You Leave Behind," is a revamped version of the group's sold-out vinyl 45 release. This track serves as a powerful call to action for a better future, delivered over a straight-up Motown groove with a funky Sly Stone finish.

Bella Brown & the Jealous Lovers have crafted an album that transcends genres, embracing the roots of soul and funk while pushing musical boundaries.

"Soul Clap" is a celebration of individual truths, shared experiences, and the timeless power of music.

Rated 5/5 in UK Music Republic Magazine

"Webster explores themes of different relationships through her broody tunes, tackling the notion of writing only sad songs by writing her "saddest song" yet. In a way, the record feels like a comingof-age for the singer-songwriter into her own perfectly curated moment, which surely will lead to bigger and better things." - NYLON // "Faye Webster is filled with lush bluegrass sounds, featuring plenty of slide guitar and the occasional trill of a fiddle, which Webster's fragile voice flits through like that of a younger Natalie Prass." - W Magazine // "_a soulful offering heavily inspired by the country and western music she grew up listening to." - Pitchfork "Her self-titled record will win fans across the musical spectrum for its left-of-center approach to folk. Webster is a lifelong student of country-western songwriting and Americana sound (...) But she punctuates her own tunes with subtle flourishes of funk. Her voice hits a sweet spot somewhere between bluegrass powerhouse Alison Krauss, Natalie Prass, and Tennis's Alaina Moore, whose light vocals glide across any melody." - VICE // #8 album of 2017 - Gorilla vs. Bear

Steve O’sullivan Delivers an Original Soundtrack of a Movie
thriller! Full of Suspense and Keeping Yourself Right Here on The
floor. That Party Friend That Will Not Leave Your Dj Bag, Let’s Hope
so. the Main Character of That Movie Is a Straight Groove That
flirts With Some Light Dub Arrangements and Late Back Voices.
the Original Track Called Secret Chamber Has Two Other Versions....

10 Year Anniversary Vinyl Release (first time vinyl pressing of Blake Mills’ debut album). Includes Hi Res Audio Download Card & Poster Foldout. BLAKE MILLS is a Grammy-nominated songwriter, guitarist, producer, and composer based in Los Angeles. In 2010, Blake’s solo career began with this self titled critically acclaimed album released only on a limited run of CDs and digitally. It became a cult favorite over the years, with 2019 marking the first time it will be pressed on vinyl. In 2015 he produced the highly acclaimed sophomore album SOUND & COLOR for ALABAMA SHAKES. The album reached #1 on Billboard charts and was nominated for six Grammys, winning Best Alternative Album, Best Engineered Album, Best Rock Performance and Best Rock Song. Blake went on to produce the albums NO SHAPE for PERFUME GENIUS, DARKNESS AND LIGHT for JOHN LEGEND, WE’RE ALL GOING TO DIE for DAWES, and SEMPER FEMINA foR LAURA MARLING - earning him his second Producer of the Year Grammy nomination. Blake also composed original music for DAVID O’RUSSELL’S Academy Award nominated film JOY. As a session player and sideman he has worked with BECK, CASS MCCOMBS, JACKSON BROWN, LUCINDA WILLIAMS, BAND OF HORSES, FRANK OCEAN, RANDY NEWMAN and NEIL DIAMOND, among others. RICK RUBIN and T BONE BURNETT frequently call upon his services as a guitarist, and equally enamored is ERIC CLAPTON who told Rolling Stone magazine “Blake Mills is the last guitarist I heard that I thought was phenomenal