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“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?

So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.

For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.

In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.

So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.

Indie Retail Exclusive; Clear Vinyl Version:
»Coastal« ist ein persönlicher Dokumentarfilm, der hinter die Kulissen blickt und Neil Young auf seiner Solo-Tournee durch die USA im Jahr 2023 begleitet. Der Film gibt einen intimen Einblick in den Außenseiter unter den Musikern, der nach Covid auf die Bühne zurückkehrt. Von seinen alltäglichen Beobachtungen im Bus bis hin zu seinen offenen Scherzen mit dem Publikum. »Coastal« ist ein seltener Blick hinter den Vorhang dieses ungehüteten Bilderstürmers. Der Film wurde unter der Regie von Daryl Hannah gedreht.

»Coastal - The Soundtrack» enthält 11 Neil Young-Songs, darunter »Song X«, »Vampire Blues«, »Expecting To Fly«, »Throw Your Hatred Down«, »I Am A Child« und »Prime of Life«.

“Egypt’s “official” popular music throughout much of the 20th Century was a complex form of art song steeped in tradition, well-loved by the middle and upper classes, and even accommodating to certain non-Arabic influences. It was highly structured by professional musicians working an established industry centered in the capitol, Cairo. However, far from the bustling cosmopolitan center of Cairo, north and northwest, in towns like Tanta and Alexandria and extending across the Saharan Desert to the Libyan border, dozens of fully marginalized artists were developing a raw, hybrid shaabi/al-musiqa al-shabiya style of music, supported by smaller upstart, independent labels, including the short-lived but deeply resonant Bourini Records. Launched in the late 1960s in Benghazi, Libya, Astuanat al-Bourini اسطوانات البوريني (Bourini Records) published some 40 to 50 titles from 1968 to 1975. Bourini released 7-inch 45 RPM singles by 15 artists, all but one of them Egyptian, igniting brief careers for Alexandrian singer Sheikh Amin Abdel Qader and the blind Bedouin legend Abu Bakr Abdel Aziz (aka Abu Abab). The tracks compiled here comprise a full range of styles covered by the label, while highlighting some of its most gobsmacking moments, from Basis Rahouma’s beastly transformation into a growling and barking man-lion by the end of “Yana Alla Nafsa Masouda,” to Reem Kamal’s hopeful-if-bitter handclapping party pivot “Baed Al Yas Yjini,” which descends into an almost Velvet Underground outro-groove of nihilistic dissonance. All the tracks on this compilation were laid down in stark divergence from the mainstream Egyptian popular music topography of heightened emotions buoyed by lush arrangements. The contrast is most evident in Mahmoud al-Sandidi’s “Ana Mish Hafwatak,” wherein his voice weaves heavily but deftly through a constant accordion drone, and Abu Abab’s “Al Bint al Libya,” a sparse, slow-burning lament with minimal percussion, violin, and Abab’s nephew Hamed Abdel Muna'im Mursi on lyre. Whereas the Egyptian mainstream was aspirational, attempting to reflect Egyptian culture at its most refined, the performances captured by Bourini were manifestations of everyday life lived by the mostly otherwise ignored masses. More than half century old, this music has lost none of its urgency, presence, or relevance. We hear these artists as if they’d just joined us in our living room, and not on a stage decades ago surrounded by tens of thousands of long-forgotten acolytes.

Mint Green Vinyl. Graham Jonson is drawn to the comforts of melody and noise. How the two conspire in tension, tonally and atonally, stirring up memory and mood. This quality animates the technicolor world of quickly, quickly, the psych-pop project that emanates from Kenton Sound, his basement studio in Portland, Oregon. "Everywhere your eye lands, there's another curio to marvel over," noted Pitchfork's Philip Sherburne when he visited Jonson's recording space for a Rising feature just after the release of his "strikingly original" 2021 debut LP, The Long and Short of It. Since then, Jonson formed a live band, released his Easy Listening EP in 2023, and navigated the up-and-downs of a young musician, the sustainability of tours and relationships. While shaped by personal bouts and fallouts, his highly-anticipated full-length follow-up finds Jonson making music that's universal, open-ended, and rewarding, like great songwriters can do. He set out to make a folk album but couldn't help coloring it in with noise; a confluence of lush instrumentation and unexpected sounds. Ambitious yet intimate, hi-fi yet homespun, the idiosyncratic songs on I Heard That Noise curve around the contours of everyday life with warmth, wit, and dissonance.

What happens when Bristol's noisiest export BENZO QUEEN decides to fight themselves? You get this split record - a double-headed beast of post-hardcore fury and experimental noise. Side A delivers "NO GODS NO MASTERS NO SLEEVES" - BENZO QUEEN's sophomore album captured raw and bleeding after months of destroying stages with Mclusky and Whores. Twelve tracks of controlled chaos recorded live on New Year's Eve in Bristol - because why not start the year by breaking something? Side B introduces BENZO AND THE QUEENS - this iteration emerged like a bad rash at Bristol's annual Dean Lane Hardcore Funday. Nobody asked for more, so naturally they recorded an EP. Think of it as BENZO QUEEN's evil twin, if evil twins were actually more evil than their evil siblings.

2025 Repress


No skips, no pauses-since 1995. Sonic Groove Records of New York celebrates an important milestone: 30 years of crossing the parallels within electronic music. This special compilation features exclusively unreleased tracks by some of the most innovative and respected icons in techno and industrial music, each carefully crafting top-notch works to create an album filled with all killer, no filler selections. The legends of Sonic Groove live on!

Als Warped Tour Pop-Punk und American Apparel Indie-Rock das seltsame Post-Y2K-Milieu Gitarren-Band-Milieu dominierten, lieferten Bostons Karate einen fesselnden Schuss Rock, der sich ständig zwischen verschiedenen Schattierungen von unterirdischen Klängen bewegte. Die ruhigen Momente auf Karates viertem Album haben viel von der alten, ungezügelten Intensität, verwoben mit gedämpften Jazz-Melodien und Slowcore-Zurückhaltung. Diese 25-jährige Jubiläumsausgabe von Unsolved entspricht der Originalpressung aus dem Jahr 2000 und enthält auf Seite D die zwei Tracks der "Death Kit" 7" und den Song von der Crownhate Ruin Splitsingle.

Cherrie Coke Bottle Vinyl. Als Warped Tour Pop-Punk und American Apparel Indie-Rock das seltsame Post-Y2K-Milieu Gitarren-Band-Milieu dominierten, lieferten Bostons Karate einen fesselnden Schuss Rock, der sich ständig zwischen verschiedenen Schattierungen von unterirdischen Klängen bewegte. Die ruhigen Momente auf Karates viertem Album haben viel von der alten, ungezügelten Intensität, verwoben mit gedämpften Jazz-Melodien und Slowcore-Zurückhaltung. Diese 25-jährige Jubiläumsausgabe von Unsolved entspricht der Originalpressung aus dem Jahr 2000 und enthält auf Seite D die zwei Tracks der "Death Kit" 7" und den Song von der Crownhate Ruin Splitsingle.

AFIN returns to Frank Music with round 3! Alexander Franz is back on the sampler, delivering another fierce pack of tracks for the dancefloor. First up is "Disko Inferno", a peak-time-power-disco-house (PTPDH) banger that lives up to its name, igniting the energy. Next, "The Beloved" brings a groovy vibe, perfect for those with dancing feet and open hearts. Rounding out the release is "Body Rock", a track that gets your body moving, featuring a special vocal announcement that adds extra flavor. Once again, Birbs and Planties delivers solid gold basslines, locking in the rhythm.
Get ready for non-stop movement as AFIN delivers the goods. This one’s vinyl-only, so don’t wait—snag your copy and let’s make this spring real fun.

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

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

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

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

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

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

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

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

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

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

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

To speak to Luca Daniel Schwarz aka LDS about his music is to be enthusiastically guided into a complex world of his own creation: clean and powerful techno which pulses with life from the textured patterns and drum sequences that have fills and accents that would make anyone who’s picked up a set of drumsticks envious. Yet this ecosystem of noise is deceptive; Schwarz’s process for making music is very different to how a live drummer would create the same subtlety of performance. Forever researching new technology, Luca got deeply interested in different programming languages, and created a series of probability-based music tools for manoeuvring sounds and sequencing.
Manipulating those probabilities takes a skilful alchemy, needing understanding of both musical structure and how the tools he devised work. To return to the drummer analogy, if the drummer is focussed and intentional in the moment of playing, then the method used in LDS tracks is almost diametrically opposed, with all of the intention coming in the assembly of the instruments, potential paths, and gateways; once play is pressed the music flows, following all the rules that were set in advance, not unlike a domino run or Rube Goldberg machine. And like a domino run, the results are fascinating and, ultimately, fun: staccato vocals pop in and out in ‘zipp prompt’; laser-like synths pulse; background noises sweep across the aural plane of the dub techno of ‘diff, blockmix’ and ‘pow’ adding texture that brings vitality all-too-easily missed out when complex mathematical
processes become entwined with music creation. The high sensitivity to texture and rhythmic detail in Stadion Progg is multiplied further on Jean Redondo's remix - whose track, Hypersonic, was the backbone of 2023’s ‘yet’ compilation on Tresor.
The balance between technology and a sense of fun might also come from the maker; it’s not easy to overstate Schwarz’s passion for what is now his favourite way to make music, “it never gets boring. There’s always a moment of anticipation to see what actually emerges.” And the true “power of 2” comes into play when the resulting music can be fed back through the system again and again, potentiating the music in exponential ways.

Tribunal kehren mit ihrem zweiten Album "In Pentinence and Ruin" zurück, einer Elegie voller Trauer und Verlorenheit, die immer tiefer in den feierlichen Abgrund des Kummers hinabsteigt. Das Debüt "The Weight of Remembrance" von 2023 legte die Messlatte für die Kanadier hoch und wurde zu einer der bemerkenswertesten und am meisten gelobten Doom-Veröffentlichungen des Jahres, was Decibel Mag dazu veranlasste, das neue Album der Band in ihre jährliche Liste der am meisten erwarteten Veröffentlichungen aufzunehmen. Tribunal haben sich Zeit genommen und ein Werk von enormer Tragweite geschaffen, das in längst verlassenen Hallen noch lange nachhallen wird.

In Penitence and Ruin" hat sich zu einer vollwertigen fünfköpfigen Band und Live-Einheit entwickelt und bietet einen größeren Zusammenhalt und eine größere Reife, die das Wehklagen der Witwe mit düsteren Streichern, schaurigen Tasten und Schlagzeug, das wie die eiserne Glocke des Schicksals läutet, miteinander verwebt. Diese Elemente schmücken das monolithische Fundament aus erdrückenden Klageliedern und funeralen Melodien, die aus dem Mark der Trauer selbst gehauen sind. Die Dualität zwischen dem wehmütigen, leidenschaftlichen Gesang des Sängers/Cellisten Soren Morne und den gequälten Knurrlauten des Gitarristen/Sängers Etinne Flinn verbindet sich mit entschlossenem Schritt und schreitet voran in die Dunkelheit, auf einem Pfad, der nur durch das fahle Glühen einer fernen Klage erhellt wird.

Tribunal hath wrought a requiem most dire where beauty and ruin become one and in doing have forged a second album beyond expectations, progressive in its embrace of the penitent and eminently listenable as a scripture of loss. Like ivy upon the tombstone, 'In Penitence And Ruin' winds slowly but inexorably towards spectral grandeur and eternal oblivion.

Tribunal kehren mit ihrem zweiten Album "In Pentinence and Ruin" zurück, einer Elegie voller Trauer und Verlorenheit, die immer tiefer in den feierlichen Abgrund des Kummers hinabsteigt. Das Debüt "The Weight of Remembrance" von 2023 legte die Messlatte für die Kanadier hoch und wurde zu einer der bemerkenswertesten und am meisten gelobten Doom-Veröffentlichungen des Jahres, was Decibel Mag dazu veranlasste, das neue Album der Band in ihre jährliche Liste der am meisten erwarteten Veröffentlichungen aufzunehmen. Tribunal haben sich Zeit genommen und ein Werk von enormer Tragweite geschaffen, das in längst verlassenen Hallen noch lange nachhallen wird.

In Penitence and Ruin" hat sich zu einer vollwertigen fünfköpfigen Band und Live-Einheit entwickelt und bietet einen größeren Zusammenhalt und eine größere Reife, die das Wehklagen der Witwe mit düsteren Streichern, schaurigen Tasten und Schlagzeug, das wie die eiserne Glocke des Schicksals läutet, miteinander verwebt. Diese Elemente schmücken das monolithische Fundament aus erdrückenden Klageliedern und funeralen Melodien, die aus dem Mark der Trauer selbst gehauen sind. Die Dualität zwischen dem wehmütigen, leidenschaftlichen Gesang des Sängers/Cellisten Soren Morne und den gequälten Knurrlauten des Gitarristen/Sängers Etinne Flinn verbindet sich mit entschlossenem Schritt und schreitet voran in die Dunkelheit, auf einem Pfad, der nur durch das fahle Glühen einer fernen Klage erhellt wird.

Tribunal hath wrought a requiem most dire where beauty and ruin become one and in doing have forged a second album beyond expectations, progressive in its embrace of the penitent and eminently listenable as a scripture of loss. Like ivy upon the tombstone, 'In Penitence And Ruin' winds slowly but inexorably towards spectral grandeur and eternal oblivion.

Cool Up Records presents Music is the Right Way, their latest 7-inch vinyl release. A unique featuring of two soulful singers of the label, Paulinho and Payoh SoulRebel. In this song, these tasteful singers show their skills with determination, resulting a positive song with a crafted result.

Music is the Right way bring a strong message about the importance of music in our lives. Paulinho invites Payoh to join this wonderful tribute to music and how important is to be creative and express your feelings through music. Cool Up provides a Deep Roots track with a solid one drop, sweet vocal harmonies and interesting piano arrangements.

As usual, this release includes a notable dub version on the B-side, highlighting Cool Up's cleverly produced work, resulting in a great final product.

The design is another example of Mr. John Vanilla's unmatched skill. It keeps the look of the earlier singles and shows off his great work again.

Certainly, Reggae collectors will enjoy Music is the Right Way. It's the eight 7-inch release from Cool Up Records, which keeps active releasing music on vinyl.

Following the compulsively layered collage of their Kill Rock Stars debut, Giddy Skelter, the duo felt inclined to evoke simpler times by foregrounding the performances instead of the production. They dropped Ableton & turned to attentive study of Carole Kaye & Hal Blaine. They enlisted Tim’s old bandmate from Joan of Arc, Theo Katsaounis, as a multi-instrumentalist, & hit the road to workshop the songs live, playing dozens of shows across the US & UK over a period of four months. & That set that they played each night became the foundation of their new album, Open ing Night.

Welcome to our porch

Through our many years of playing together on many stages across the globe, we have been able to share our Carolina roots with lots of people. But our tradition really doesn’t live on the stage; it lives on a back porch of Mebane, in a living room in Morganton and in countless other places wherever a musician might find themselves. We wanted to revisit the sounds, places, and textures at the beginning of our musical journey together and to share that experience with y’all. The rain, the cicadas, and thunder become part of the band, grounding us and the music firmly in the long narrative of the place we call home

past present (tone poems across time)" is Mark de Clive-Lowe's exquisite new solo album and his debut for Greg Boraman's Impressive Collective label in partnership with BBE Music. Previously the pair released the Pharoah Sanders tribute album 'Freedom', and the equally lauded 'Hotel San Claudio' in collaboration with Shigeto & Melanie Charles. A deeply personal sonic exploration by Mark, "past present" is a reflection on family, heritage, and healing which was created in tandem with retracing his late father’s journey across Japan 70 years ago. The project is a collection of ambient jazz, emotional cinematic soundscapes that weave analog synths with field recordings from Japanese sacred sites and nature locations. "past present” partially came into existence thanks to the perseverance of producer, percussionist and Mark’s friend Carlos Niño, who after experiencing Mark's multi-layered motifs in the studio and in live contexts over many years explains, "I kept hearing him make an album like this, I kept telling him that he needed to, and that it would be his best album yet. Subtle, poetic, solo, texturally rhythmic, expressive, full of rippling layers, and arrangements representing such profound thoughts, feelings, relationships, and memories". Mark also took on board Carlos' recommendation of recording the bulk of "past present" at Ken Barrientos’ analog synth studio, 'The Breath' in Pomona, California - where he utilized no less than 22 different keyboards to create the ethereal and engaging soundscapes across all 11 tracks, also intertwining his own field recordings made during a long, explorative stay in Japan. Being such an individual and personal concept, it was only correct that Mark wrote the extensive album liner notes, to fully illustrate the decades-long backstory to this stunning collection. Mark completes the album's presentation using archive images from his family's private photo collection - an entire process he likens to time travel and signs off to the listener by stating that he hopes "it takes you on your own journey of imagination and reflection, leading to unexpected places, just as it has for me

Vinyl repress of the sought after second album by Azuzena, queen of Spanish Heavy Metal. A powerful return to her Metal roots originally released in 1989. Originally released in 1989, "Liberación" is the long out of print second album by Metal Queen and ex-Santa frontwoman Azuzena. After a disappointing first effort, "Liberación" meant a return to true Heavy Metal form by Azuzena, a powerful statement and the great, last album by this legendary woman. Includes two bonus tracks, remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.












[j] SUPER STAR [VERSIóN JOMEINI]

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

”Walkin’”, 1957 veröffentlicht, vereint Davis’ Aufnahmen, die drei Jahre zuvor als Miles Davis All-Star
Sextet und Miles Davis Quintet eingespielt wurden. Wenig überraschend präsentiert es eine erstklassige
Besetzung, darunter Saxophonist Lucky Thompson, Schlagzeuger Kenny Clarke und Pianist Horace Silver.
Der Titelsong war aus gutem Grund bei Davis’ Live-Auftritten in ständiger Rotation: Es ist ein geschmeidiges, schimmerndes Beispiel für Hard Bop-Blues, der Davis’ Führung folgt. Der nächste Track des Albums,
”Blue ’N’ Boogie”, ist dagegen eine showmäßige, lebhafte Antwort auf die entspannte Leichtigkeit von
”Walkin’”. Und der herausragende letzte Track, ”Love Me or Leave Me”, ist in seiner Frenetik noch entrückter.
”Walkin’” ist besonders interessant, da es Davis’ allmähliche Abkehr von Bebop-Konventionen illustriert.
”Miles Davis’ Album ’Walkin” ist eines jener Alben, die in jeder Jazz-Sammlung zu finden sein sollten”,
bemerkte Jazzwise. ”Hier sind Davis’ Soli der Inbegriff von ’weniger ist mehr’.”
Auf allen Plattformen ab dem 18. April erhältlich!

Tornamented Walls is the first result of a collaboration that began in 2022. The album is a freeze-frame of emergence: personal preparations prior and minor aside, the album was live and improvised. Rosa Anschütz sings, speaks, plays harmonium, and utilizes a looper as an instrument in itself. Her symbolic prose is at the heart of the music, emotionally direct yet haunted by a translucent potential of meaning. In lockstep with the voice, Tennota dissolve the dense rhythmic complexity of their recent work into a creeping mantra, the material interrogated until the patina of the sound is the music itself.

Tornamented Walls floats on top of a wave of slow-motion techno influences, a deepened ambient and experimental perspective, and a feel of subtle and subdued lyricism not strictly limited to its vocal parts. It is a record of darkly ambient and abstracted techno pop, listening music to be played loud. More disenchanted than dark, it is confrontational through its fearless incorporation of a widely varying set of different states of mind.

Tennota are Tom Wheatley & Grundik Kasyansky. Since 2019, they have been reimagining the relationship between physical and digital worlds through music, using gut strings, sine waves, tree sap, and feedback, and flexing them over contemporary technologies into an elemental suspension. Not futuristic, but rather an alternative present.

Rosa Anschütz is an artist and musician whose sound-based practice is framed by sculpture, installation, and scenography. Her meditative and sometimes haunting compositions combine the dark ambiance of post-punk and cold wave with ethereal polyphony, synth-driven melodies, and spoken word.

Теnnota & Rosa Anschütz will be touring in April, stopping over in Eupen on April 18th for a concert night at the Galerie vorn und oben. Further on the bill that night will be Tristwch Y Fenywod.

Neil Young and Reprise Records announce the 18th April release of Coastal: The Soundtrack, featuring 11 live recordings from the tour film of the same name

Coastal is a personal, behind-the-scenes documentary on Neil Young as he cruises the coast on his 2023 solo US tour. The film gives an intimate view of the maverick musician, as he navigates a return to the stage post-Covid. From his everyday observations on the bus to his candid banter with his audience. Coastal is a rare peek behind the curtain of this unguarded iconoclast. The film was shot and directed by Daryl Hannah.
Coastal: The Soundtrack features 11 Neil Young songs including "Song X", "Vampire Blues" "Expecting To Fly", "Throw Your Hatred Down", "I Am A Child", and "Prime of Life". The album is released on black vinyl, limited edition clear vinyl (includes poster), CD and digitally.

Rhiannon Giddens reunites with her former Carolina Chocolate Drops bandmate Justin Robinson on What Did the Blackbird Say to the Crow, an album of North Carolina fiddle and banjo music. Produced by Giddens and Joseph "joebass" DeJarnette, the album features Giddens on banjo and Robinson on fiddle, with the duo playing eighteen of their favourite North Carolina tunes: a mix of instrumentals and tunes with words.

Many were learned from their late mentor, the legendary North Carolina Piedmont musician Joe Thompson; one is from another musical hero, the late Etta Baker, from whom they also learned by listening to recordings of her playing. Giddens and Robinson recorded the album outdoors and on location at Thompson’s and Baker’s North Carolina homes, as well as the former plantation Mill Prong House. They were accompanied by the sounds of nature, including two different broods of cicadas, which had not emerged simultaneously since 1803, creating a true once-in-a-lifetime soundscape. The duo, along with four other string musicians including the multi-instrumentalist Dirk Powell, will embark on the Rhiannon Giddens & The Old-Time Revue North America tour in April.

“With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way,” Giddens says. “With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes.

“What is the role of music in our society?” she wonders. “How do we de-couple it from unfettered capitalism, where music is a product and musicians are incidental? How do we use the tools and system that we have been bequeathed in a way that reminds us of other ways of being?” Robinson adds, "Recording this album felt like being back in the saddle. Just this time Joe is not here, and his fiddle is under my chin. The album is about home, the cicadas, the storms, the music, and the people who make it feel like home."

Thompson was one of the last musicians of his era and his community to carry on the southern Black string band tradition. He played a crucial role in the lives of Giddens and Robinson, who, along with their Carolina Chocolate Drops bandmate Dom Flemons, spent their formative years learning from Thompson in traditional apprentice/mentor relationships. His influence has guided all of their artistic journeys as well as their mission to keep the legacy of the Black string band tradition alive.

In further tribute to Giddens’ North Carolina roots, What Did the Blackbird Say to the Crow will arrive just a week before Biscuits & Banjos, the inaugural edition of her first festival, which highlights the deep roots and enduring legacy of Black music, art, and culture while fostering community and storytelling. The sold-out festival will feature a much-anticipated Carolina Chocolate Drops reunion, their first performance together in more than a decade.

Repressed in coloured vinyl ! prod.by Ill Bill, DJ Muggs, DJ Premier, Necro, DJ Lethal, T-Ray, Sicknature, Cynic & Hero / Raekwon the Chef, Immortal Technique, Tech N9ne, Vinnie Paz (Jedi Mind Tricks), La Coka Nostra, B-Real, Howard Jones (Killswitch Engage), Bad Brains, Max Cavalera (Sepultura/Soulfly), Necro and others.

For Fans Of The Indie/Americana, Punk ‘N’ Roll, Streetwalkin’ Cheetahs, Fear, Supersuckers, Tom Petty, MC5. Living Between the Lines is the debut solo LP from Frank Meyer. A long time coming, Meyer’s been hinting at it for a while now with Bandcamp exclusive tracks, covers on tribute albums, acoustic solo shows, and his acclaimed collaboration album with Eddie Spaghetti of the Supersuckers. Like the Eddie collab, LBTL is out on Kitten Robot Records. The 11-song album adds touches of blues and soul to Meyer’s expected high-energy rock ‘n’ roll, revealing a more mature voice. He is joined for duets by longtime friend and collaborator Lisa Kekaula of the Bellrays on the title track, Runaways icon Cherie Currie on “Piece of Me” and Spaghetti himself on “Partners In Crime.” An award-winning musician, filmmaker and author, Meyer has a track record that covers rock ‘n’ roll, punk, heavy metal, blues, and country. Known for his work with everyone from Rock ‘n’ Roll Hall of Famers James Williamson (Iggy & the Stooges) and Wayne Kramer (MC5) to legendary punk act FEAR, Meyer has carved out a career full of unlikely collaborations, hard work, searing guitar playing, and ace songwriting skills. “I have rarely seen the public leave so enthusiastic by the pure rock ‘n’ roll download that they had just witnessed. Frank Meyer is an incomparable frontman who lives rock ‘n’ roll 24/7 and always gives his all!” Popular 1 Magazine.

For Fans of, KISS, Starz, Angel, and 70’s classic rock! Employing a dazzling mix of glam rock, hard rock, and progressive rock, Angel's outrageous, white-satin-heavy image and equally over-the-top stage shows, making them one of the more colourful arena rock bands of the mid-'70s and early '80s. Discovered by KISS bass player, Gene Simmons, the group issued their eponymous debut album in 1975, which hewed closer to prog rock than the glam pop that would inform future endeavours like On Earth as It Is in Heaven(1977) and Sinful(1979). The group released a total of 5 studio albums and 1 live album before going their separate ways in 1981.Formed in Washington, D.C., the group's self-titled 1975debut was recorded for the flamboyant Casablanca Records label--home to KISS--with a line-up comprising Frank DiMino (vocals), Punky Meadows (guitar), Gregg Giuffria (keyboards), Mickie Jones(bass), and Barry Brandt(drums). A heavy slab of heavy pomp rock with lengthy songs swathed in Giuffria's atmospheric keyboards and featuring the longtime stage favourite "Tower". Now to celebrate the50thAnniversarythis classic has been remastered and is being released on both a 6-pane l CD digipak and on 180G vinyl with liner notes by Rock Candy journalist Dave Reynolds. There are only 700 of the Black-Blue swirl worldwide. A must have for any Angel fan with classics like “Tower” and “Rock & Rollers”

Wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! // Unlike anything else, this is THE high life music you've always wanted // Ceremonial music played with abandon and extreme intent, honoring the living and dead alike // Recorded on location in SW Madagascar by Maxime Bobo // “Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted - ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations – which last between three and seven days – cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this vinyl LP includes a 4-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.”

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

Limited first run of 7” Vinyls

The two tracks feature a different sound to most of James’ other solo releases, with production employing a more sample-based approach, rather than the electronic-based productions James is usually heard on.

James Massiah is a well known, and loved poet & musician from South London. He is known for his poetry works over the past ten years, prolifically writing and performing poetry both in London and around the world.

In addition to this he is a member of Dean Blunt’s enigmatic group ‘Babyfather’ (under the name ‘DJ Escrow’) with which James has performed around the world, and been part of many recordings/ albums, such as the seminal ‘"BBF" Hosted By DJ Escrow’, which featured credits from Mica Levi & Arca.

‘Holland Park’ features production by London-based artist/ producer Shimz343 & ‘Hot Winter’ features production by aloisius, founder of life is beautiful records (a london-based gesamtkunstwerk/ label & collective that regularly curate shows at venues such as Cafe OTO & Ormside Projects).

James Massiah was special guest at the first ever show life is beautiful hosted, in early 2023 at Ormside Projects (which was the start of a busy two years of live shows and releases by life is beautiful records, who’ve since hosted shows including: DJ Spanish Fly (UK Debut), Novelist, Lord Tusk, Lolina, Slauson Malone 1, John Glacier, Pretty V & Jadasea.

Collecting Orders For Repress

Debut EP on Grape City Records for French young wizard Alpine DJ, full-heart producer, profoundly musician, formerly known behind the decks for depicting his high intensity creativity through energetic DJ skills, or sharing machines with his companions of Hanna & Robbie, delivering entrancing and shamanic live acts.

Alpine DJ evolves in « Illusions » with playful synths, epic adventurous lines, shooting star lasers, penetrating colors and pearlescent layers, and delivers a glazed 4-track EP rooted in post disco heritage gloomily twisted with new-school trancy house oddities and futuristic techno driven bass lines. Propulsive gear for peak time and ascensions of euphoria, settled in dreamy and spacey energies, proving Alpine’s shrewdness in musical and production search exploration, a juvenile yet extra-sharp lucidity.

South Londons’ indomitable Medlar delivers an ambitious new album

The long-time underground favourite has collaborated with the likes of Dele Sosimi, Rebekah Reid, Deevoenay, Finn Peters, Sam Virdie, Afla Sackey and Arnau Obiols on an album that finds him taking his production to new levels.
From roots playing illegal raves in the South West to building up a cultured catalogue that bounces between house and garage, Medlar has long been part of the underground conversation. He has dropped a previous album and many innovative remixes and edits for the likes of Billy Cobham and Shirley Lites, worked in the studio and on stage with Afro legend Dele Sosimi and most recently released an album under his own name that collected myriad different sonic sketches from the past 15 years.

Islands is an altogether different proposition that comes after establishing himself as a mix engineer and producer of other people's music. In that time, Medlar has honed his skills, learnt new tricks and grown more able to express himself in sound. The result is an album that explores a more electronic palette inspired by '80s fusion sounds whilst maintaining a loose, organic flow through his use of live instrumentation. “The idea for the LP was for a collection of music which could sit alone as club tracks, but would work equally well as part of a whole. The name Islands came from this, as there's some connecting ideas but the tracks sit independently in their own little sonic worlds. I took a lot of inspiration from early 80’s electronic music produced during early years of MIDI technology… proto house, jazz fusion, electronic disco and experimental ambient. I wanted to juxtapose some of these methods with more contemporary production and make something that's ultimately quite fun!” says Medlar of the record which could easily soundtrack a summer road trip.

Across 11 tracks, he blends old-school techniques like a fusion of live instruments, FM synthesis and MIDI triggered vocal samples with more contemporary touches such as punchy, club-friendly drums and dub inspired, speaker-wobbling low end. The result is less reliant on samples than his previous works and makes for a perfect blend of retro authenticity and future freshness.

repressed !

Setting out to make some 'happy music', Sophie Lloyd produced Calling Out' in a dreary January as an antidote to the pervading doom and gloom of the news, summoning the power of the most joy-filled sound of all, gospel. This no-holds-barred anthem radiates all the live atmosphere of gospel worship in mid flow, with full instrumentation, keyboard breaks and understated kick drum pulling it all together. Bringing in the uplifting voices of soul trio Dames Brown to re-record some old gospel samples was the icing on the cake, adding the last element of authenticity. A new member of the Classic family, Sophie Lloyd's impeccable knowledge of disco, soul and house shines through in this sparkling record, available on 7' for the very first time.

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

Footshooter is the moniker of Barney Whittaker, a south London-based producer and DJ. His production style takes in influences from broken beat, jazz, house and more, working with rappers, poets and vocalists to create a soulful sound referencing the past while being firmly future-facing in its approach. His records as Footshooter and SAUL have earned airplay and support on BBC Radio 1 & 1xtra, BBC 6 Music, NTS Radio, Jazz FM and Rinse FM, from the likes of Gilles Peterson, Bradley Zero, Errol (Touching Bass), Alex Nut (Eglo Records) Shy One, Virgil Abloh, Zakia, Jyoti, Nabihah Iqbal, Bonobo, Jamz Supernova, Maryanne Hobbs, Mr Scruff and more.

His musically diverse live band sets and DJ sets over the past seven years have taken him to Boiler Room London, Tate Modern, Alexandra Palace, The Jazz Cafe and the Barbican Centre, as well as performances at Brainchild, We Out Here and Love Supreme Festivals. A Balamii Radio resident for the past 5 years with his monthly show 'Sonic Fruits', Footshooter's DJ sets are as versatile and wide ranging as his production credits, spanning the finest soulful house, broken beat, UK Rap, soul, jazz and beyond.

"This is the sound of London right now, and it is fantastic" - Juno Records

Sound artist and designer Mattia Onori’s debut album “Tra Vento e Oscurità” (“Between Wind and Darkness”) on Naarm’s Southern Lights illuminated the expanse through the interplay of sound and silence; a harmonious balance between experimentation and sonic art, deeply rooted in an expansive understanding of sound engineering. It is only appropriate then, that the remix compositions for Tra Vento e Oscurità are entrusted to fellow artists who provide the same sense of sonic experimentation and sound art as Onori. Up steps Katatonic Silentio and Planatia. Katatonic Silentio’s absorbing and elegant live set in support of Onori’s album release party at Berlin’s Arkaoda in 2024 was a highlight; here she extends the energy of that evening by delivering a delicate and auditory rework of Tra Vento e Oscurità. Planatia’s remix is a twelve and half minute odyssey into the expanses of Tra Vento e Oscurità, traversing its way between sound and silence, underlying vibration and atmosphere, where getting lost in the journey is the ultimate outcome.

FIRST STRIKE of TRSSX, co-founder of the Wodawater label and Glasgow’s underground club EXIT on ZHARK. An amalgamation of harmonic distortion and gruelling modular signals recorded live to embrace rawness and throw you off balance. Divergence versus sameness.Incongruity versus equilibrium Tautology versus chaos

Celebrating 40 years of the legendary radio show "On The Wire" comes the first repress of "Bugs On The Wire", a collection of tracks donated by friends and associates, compiled by presenter Steve Barker and originally issued in 1987 on Leghorn Records via Skysaw. Featuring tunes from Dub Syndicate, The Fall, Lee Perry, Bim Sherman with Singers & Players, General Strike (David Toop + Steve Beresford), and The Suns Of Arqa with Prince Far I and more. A Lantern Rec exclusive.