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Big Crown Records is proud to present Ekundayo, Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up.

Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today.
Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers. Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after.

But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."

While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions. "This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.

Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.

180g yellow colored vinyl

WRWTFWW Records is not trolling when it says it is very very very happy to announce the official reissue of Richard Band’s soundtrack for horror fantasy classic Troll (1986).The limited edition yellow-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers.The album is also available on CD house in a classic jewel case with cavalier and video store sticker. Both versions contain liner notes by Richard Band himself.

The infamous Troll score is its very own kind of monster: an extended five-movement symphony conducted by Richard Band in full sorcery mode, creating exhilarating moments of excitement and seat-gripping intensity. At the center of the magnum opus lies the incredible "Cantos Profanae" and its chorus sung in a mix of old English, Gaelic, and Latin - an irresistible magic rhythm, an anthem of fantasy, a true cult classic. Richard Band often cites Troll as one of his favorite works - no wonder, it’s absolutely amazing!

This is released in conjunction with the soundtracks of Empire Pictures’ Ghoulies and TerrorVision, also out on WRWTFWW Records November 20th. Established by producer and director Charles Band in 1983, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll and TerrorVision were three of Empire’s finest works, and each movie featured an unforgettable score by Charles’ award-winning composer brother Richard Band.

“The Grind” by El Agua Es Profunda is a beautiful, ever evolving track. Building from a basic rhythm, layering and layering into an anthemic state. Fans of John Hopkins, Kaito, The Field, Gui Boratto will find a familiar vibe in The Grind, but this vivid and cinematic ten and a half minute production triggers memories of epic moments in any dancer.

The B-side holds a remix by Copenhagen‟s Kasper Marott. Highly regarded for his releases on Modeselektor 's Seilscheibenpfeiler, Courtesy's Kulør, and most recently his own Axces imprint. Marott has taken The Grind on a more intense trip, enhancing the percussive elements for the floor.

Behind the artist name El Agua Es Profunda we find the Danish music producer Jacob Funch. He has previously released four digital EPs as well as the abum “Circumnavigating Lueena“ through his own Gold Records. The productions vary in genre from melodic soundscapes and synth-pop to dance music. Besides his solo work he is a frequently used producer for several other artists on the global leftfield indie scene.

In a year of global shift and continuous changes, Figure takes a leap of faith and extends its catalog by introducing a completely new compilation series to the label. The Open Space series will feature forward-thinking Electronica and Ambient from a well-curated list of seasoned producers. Compositions that invite to let the mind wander, weaving stories, and conjuring up emotions.
While these softer genres have already played a respected role in former Figure releases, for the first time in the label’s history they are now being given the center stage. Volume 1 sets the mark by providing producers whom we’ve come to love for their dancefloor-centric output with an open space to showcase another side of their skillset. Open Space remains open to various strains of Electronica and Ambient, ranging from the introspective synth-monologues (Sebastian Muellaert / Kirilik), drony dub-experimentalism (Moritz Von Oswald), alive and breathing takes on the genre (JakoJako), to singular compositions which slowly build their own lasting narrative and thus develop a genuine, emotive quality (John Beltran / Tin Man ). Len Faki himself proves the artistic breadth of Open Space, sharing a powerful and conscious message through a rare and delicate moment of him exploring the form of spoken words. Other contributions include Jesper Dahlbäck as The Persuader, Luke Slater as 7th Plain, or Ralf Hildenbeutel - a former production partner of Sven Väth and now a successful composer of film soundtracks. Unfairly reduced to background music, it is not the kind of Ambient featured on the Open Space series. It is an engaging body of music, bonded by its contemplative, enveloping nature. Open Space bands together an array of fascinatingly skilled producers, finally given the opportunity to present some of their most creative and emotional material yet to date.

Catz 'n Dogz are back with album 'Moments'. Written and recorded in the midst of this crisis. Twelve tracks form the backbone to this wide-spanning sonic journey that document the highs and lows of this time. Drawn out of their comfort zone, it's safe to say this shift in their creative paradigm resonates throughout 'Moments'. Inviting you to gaze deeper inside, the album floats in a haze of dreaminess and cottony serenity. Though seemingly simple, the track titles point at themes more complex and universal that will strike a chord with every soul.

Traversed by a vaporous jazz vibe and highlighting an obvious lean towards laid-back atmospheres, 'Moments' effortlessly alternates between. Lo slung house 'Sunrise' features James Yuill, the heavy-lidded, funky bass-heavy 'Memories' and the rolling brass anthem 'Time', in collaboration with Jaw - and more doped up trip-hop-ness. 'Life', the slo-mo chugger that will get the feels on alert, the chillax of 'Nothing' and 'Love,' and the luscious 'Moment' feat. Angelika Nowak, a sample-heavy, soul jam whose naive charm will prove hard to resist, even for the stonehearted.

Catz 'n Dogz explore inwards the heart's non-spoken spheres, where the pop-infused hip-hop 'Meditate' introduces Heather Chelan. A more personal affair 'Listen' makes for a playful interlude. 'It's OK' invites you to let go of the shame at shedding tears, a memorable cut with its joyful whistling, elated guitar riffs and rousing bass.

To close off this sonic micro-odyssey, 'Tomorrow' casts a spell of positiveness. With blazing synth lines and robotised talk, unfolds an anthem for tomorrow's world. One where music holds the crucial place it's always had. So be the kids' dreams, the person they want to be in the future. Be Batman, be a firefighter, be a rock star.

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!

"Baby Queen has announced details of her debut EP, ‘Medicine,’ set for release on November 6th via Polydor Records on limited edition Pink coloured vinyl. The EP has 6 tracks, 1.Internet Religion, 2.Pretty Girl Lie, 3.Want Me, 4. Buzzkill, 5.Medicine, 6. Online Dating. Baby Queen’s most recent track, ‘Medicine,’ saw enthusiastic praise across the board, with NME calling it “a subdued but shiny track that explores the side effects and salves of anti-depressants” while DIY proclaimed her ""pop’s buzziest new talent."" Previous single ‘Buzzkill’ saw the rising South Africa-born artist hailed one of BBC Radio 1’s ‘New Names’ on the Annie Mac Show . Additional plaudits from the likes of Billboard, who called the track “an electric, effortlessly cool single that balances its stream-of-consciousness snark with an arena-ready chorus,” drawing comparisons to Billie Eilish and Lorde. "

Discover the world of Luis Ake on his recent “Zeit EP” delivering an overdue update of Neue Deutsche Welle, paired with the fundamental sparseness of synth pop projects with a touch of house music anthems. Join the dance in the forest to “Lilith”, walk with Luis
nostalgically through the streets of Kiev, feel the excitement for new adventures to come in “Zeit” and discover the dreamy common world of Luis Ake and John Moods with “Deine Welt”. To complete this special vinyl release Luis added his first german club anthem
“Komm Verlieb Dich In Mich” due to popular demand. Vinyl tastes better ...

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates its 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* In 1994 Ant Miles launched his own imprint to accompany the vast amount of material coming out of the RAM HQ studio. The first 2 releases were white labels that formed Ant Miles’s alias as Liftin Spirits and the label itself as Liftin Spirit Records. We have selected our favourite tracks from these first 2 releases to bring you a remastered from DAT 4 track E.P which also includes the previously unreleased track ‘Blood Moon’.

Third number in the DDS split series after a pair of releases courtesy of Betonkust/Uj Bala and DJ Overdose/Sematic4, "DDS03" sees Budapest duo SILF (alias Farbwechsel chief-operators Alpar & S Olbricht) and Den Haag-based pair Intergalactic Gary and Pasiphae join forces on a quartet of elusive, unpigeonholeable power moves.

Four years after the drop of their debut joint EP on Biorhythm, "Made of Glass", I-G and Pasiphae are back at it with two left-of-centre hybrids of futuristic techno on a whirring electro-industrial tip. An off-kilter jam percolating fine hints of spiritual elation and post-apocalyptic anxiety, "Microwaves" gets the ball rolling on a dichotomous note. To slo-scudding flocks of loud, bouncy kicks supersede skeins of brittle chimes and rattling drums, all woven together by subtle tectonic shifts of moody pads.

A further hi-intensity affair, "Indistinct Chatter" drives that essential heavenly/nightmarish duplicity to higher spheres of consciousness. Fusing lighthearted, daydreaming tonalities with brooding, cavernous onslaughts from the depths, the track has us navigating in a zone of its own, deftly oscillating betwixt moments of mystique-imbued euphoria and darkling introspection. A choice exponent of the Hague-based dyad's capacity at busting antiquated patterns and limitations.

Having slept in the label's vaults for a few seasons, the two tracks composing the B-side emerge from their slumber in all their time-proof bravura. An in-your-face trampler, the ten-minute long "Mono Miner" takes no byway to get its point across, all set to smash basements and warehouses by the dozen with its electrifying compound of 909-emulated gut churn and spinning synth arpeggios circling like birds of prey over your sore, rhythm-enslaved carcass.

Closing the journey on a much softer, hazier vibe, "Aces" steers us towards a realm of ambient wonder, where slo-drip cascades of tapping percussions and elegiac synth waters flow into warm, glimmering summer beds. A most contrasting, tranquillising finale to an EP defined by its propensity to change colours and intensity throughout.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates its 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* The 8th release on Deep Seven brought with it a new artist to the label in the form of ‘Aeon Flux’. An alias of Nigel Broad who had previously produced tracks under the artist name ‘Release’ in 1992. His Hardcore cuts such as ‘The Spirit of Space’ EP and Dance in Eden/Passion are now seminal classics and this release is no different. Remastered from the original DAT and presented on 180g heavy weight vinyl with the extra and longer mix of Reality that was not previously included on the original 12”

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates its 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* The 1994 track 'Cold Fresh Air' by Higher Sense pushed Liftin Spirit Records firmly into the developing Jungle/dnb scene and is re issued and remastered here on 180g black vinyl. Both tracks remastered and enhanced from the original DAT.

“Easy rider, come and take me higher”. When the world seemingly crumbles around, music can provide an escape few other mediums can. For their debut self-titled LP, Velour effortlessly levitate you above the madness below, each track taking a new turn, cruising over hazy flecked skylines, bustling walkways and bleary eyed bedlam. A trajectory that takes in all of jazz’s vibrancies, blending elements of neo soul, broken beat and hip hop coupled with a much-needed sense of hope across nine deep, soul-searching tracks released via WOLF Music Recordings.

A style and sound taking influence from genres and moods, environments and experiences, Essen-based Velour stretch their legs for this, their first full length album. From the off, they nestle you under their wing with the rustling sax washes of opener ‘CLP’ before diving into an epic slo-mo burner, swooping down into the chaos as singer, Eva Czaya, wistfully narrates the scenes beneath.

Unafraid to shift pace within songs, the likes of ‘Pose’, sauntering from soulful summer groove into woozy late night affair, and ‘Tom's Garage’, that progresses from roadside recounting to grungy basement blowout, finished with a sample of jazz-tinged dusty beats, show that accomplished and adept heads rest on the shoulders of these relative newcomers.

WOLF Music mainstay Mr Fries continues to head up production for Velour, his trademark touch capturing the intimacy of Velour’s sound presenting it in a way that’s considered yet raw - nothing feeling rushed, nor cluttered. A separation and space that gives each element the room it deserves to breathe, with short interludes and skits providing the perfect bridge between tracks, guiding you through smokey jazz bars and twilight whisperings.

Moving through the album, Czaya at points wanders in a serene spoken dialogue, at others letting her voice loose, but always with an ethereal demeanour that comes off with natural ease. One of many highlights, ‘Anthony Davis’ shows off this celestial prowess whilst perfectly embodying Velour’s dream-like escapism. A pent up release of creativity, as moody bass tones mix with deft keys, rolling snares sit behind swirling saxophones.

The journey ends with ‘Luminate’, a transcendent closer laced with space-echoed vocals that reverberate around over-driven Rhodes and feverish drums. Cymbals crash, as modulated synths rise, building and building before easing you off into the night and on your way to a parallel universe.

As a body of work, ‘Velour’ is a shining example of the freedom, energy and enthusiasm of the new school of jazz that’s been captivating minds the world over. An instant on repeat staple - let go, feel the flow, it’s what we need in a time like this.

Black 7" dinked centre hole vinyl. Fully remastered reissue with replica artwork of this super sought after slice of 1980’s disco, 'Rockin – Poppin Full Tilting' celebrating the 40th anniversary of it's original release.

A classic in it's own right, Midland brought it back to the forefront of people's minds, expertly sampling it in the 2016 summer anthem ‘Final Credits’, leaving many scrambling to find an original copy of the 7 inch. And with prices in excess of £125 it's high time an official reissue came around.

(180 gram pressing) Kosmo Sound from Ghent presents its long-awaited debut album 'Antenna'. The instrumental sextet is inspired by the typical dub sound where their background in jazz is never far away. They mix heavy bass lines and tight drums with spacy melodies into an organic trip that sets every venue on fire. They have already performed twice as the support act for Dub legend Adrian Sherwood and became winners of Sound Track 2019.

One of the most expensive records in the world. The only available copy on Discogs is a mere £4,000!

This was Willie Tee returning to his '60s anthem "Teasing You" but updating it with a beautiful 1972 New Orleans production turning it into a Modern Soul anthem. It's a work of sublime genius and the fully remastered 7" reissue will have replica artwork of the original Gatur label. You have just been spoilt, again.

SUMMER OF SEVENTEEN are MONIKA KHOT (NORDRA, ZEN MOTHER), WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA (MAMIFFER), and AARON TURNER. (SUMAC, SPLIT CRANIUM).

Wildfires plagued Washington state during the summer of 2017, their smoke drifting westward toward the Seattle area and toxifying the air. Shortly before that trauma, MONIKA KHOT, WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA, and AARON TURNER had gathered at the latter two musicians' House Of Low Culture studio on idyllic Vashon Island with revered producer RANDALL DUNN. There they cut eight songs that capture the makeshift band's feelings of what COLOCCIA calls "a kind of doomsday lurking in the background." It's as if these highly attuned players had a premonition.

"Summer Of Seventeen" -which was edited and arranged by MONIKA KHOT, who records apocalyptic music solo as NORDRA and plays in the avant-rock band ZEN MOTHER—is a nuanced admixture of these musicians' sounds and a culmination of all of their previous collaborations. COLOCCIA and TURNER have created eldritch folk and chamber rock for over a decade in MAMIFFER while engaging in various solo and group projects that explore their profound spirituality in sound. MENCHE has been a fixture on the abstract composition scene for 31 years and COLLINS is a savvy explorer of drone and ambient forms. Their ephemeral summit meeting has yielded a masterwork for the ages.

A heaven/hell and beauty/beastliness dichotomy pervades the album—as if a titanic struggle was transpiring in that small studio. The fearsome trumpet fanfare that starts "Chorus Of The Innocents" heralds a baleful fate. With a subliminal industrial rhythm bristling beneath the eerie exhalations, the song submerges us in a slow-motion maelstrom, a horror-film facsimile of MILES DAVIS' "Bitches Brew". "Perceived Slight" threads death-metal screams through a stark, suspenseful atmosphere, with austere glints of guitar and beats like fists on a casket lid intensifying the dread.

Angelic chants and celestial drones perfume the air in several of the songs on "Summer Of Seventeen", countered with muted blast beats, serrated hums, jagged glitches, simulacra of grinding gears and lightning. It's as if no good deed goes unpunished. "Spirits Of Redeemer" could be an elegy for the human race while "Cultural Orphan" sounds like a symphony for a malfunctioning factory. The album ends with "Theatre Needs An Audience," a harrowing ballad somewhere between EINSTÜRZENDE NEUBAUTEN and MERZBOW; it's a savage rent in the space-time continuum.

"Thinking about this record now," COLOCCIA recalls, "it seems like we were all sort of anticipating something like this current pandemic happening, although we were thinking about it as fire in the hands of man (literal fire, and also gunfire) that would overturn the normal running of things and reveal the current false beliefs systems holding up most of America."

That grave aura infiltrates "Summer Of Seventeen", However, a hopefulness bubbles beneath the foreboding architecture of sound and noise summoned here. The bunker is the new penthouse.

-Dave Segal, April 2020

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Thaba is a collaboration between South African singer/
songwriter Khusi Seremane and American producer/musician
Gabriel Cyr. Tragically in July 2020, while the two were
working with Soundway to prepare the release of their first
record, Seremane died a few days past his 41st birthday, after
battling health issues for several years.
The particular Thaba sound reflects a sonic duality drawing
on a double pop heritage of Mbaqanga and Bubblegum artists
like The Soul Brothers, Paul Ndlovu and Pat Shange alongside
traces of Roxy Music, Grace Jones, Sade, and Talk Talk that’s
wrapped up in a modern, electronic, layered, introspective
and at times jazz-tinged production style.
Brought together by a shared love of kwaito, 90’s R&B and
classic downtempo, Seremane and Cyr collaborated for a
decade after meeting online in the halcyon days of Myspace
Music. While the pair initially planned for Seremane to guest
on a Teleseen track, their ideas eventually evolved into an
entire record. Their debut, Eyes Rest Their Feet, was created
remotely over the course of several years, with the core
recorded during a 2016 studio session in Cape Town.
After returning to New York, Cyr honed these recordings with
several Brooklyn-based musicians, calling upon members
of Antibalas, Underground System, Midnight Magic, Loboko
and others. Eyes Rest Their Feet spans genres as well as
geography, touching on elements of soul, reggae, synth-pop
and beyond, with lyrical themes that explore loneliness and
the challenges of human relationships.
Eyes Rest Their Feet not only represents the apex of
Seremane’s work as an artist but also a meditation on the
transformative power of love and the impermanence of all
things.