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Following their last release, The Day Before Halloween_an imaginative, distorted-synth-driven concept album_Atmosphere returns with a refreshing new project, simply titled WORD? Steering back toward their signature sound, the album further highlights producer Ant's undeniable talents as the project leans into the classic boom-bap aesthetic, bringing a unique energy out of Slug's wisdom, wit and delivery. From onset, WORD? proves to be every bit an exercise in refining and advancing their craft as it is a harkening to earlier work. That is, while their releases have grown more broodingly cinematic, and increasingly concerned with the human condition and mortality, WORD? manages to reintroduce moments of levity and lightheartedness throughout, an approach seldom heard on their albums of late. From album opener "Fleetwood," with its razor-sharp snares and warm fleshy bassline, to the resonant melody of "Clocked", there are strong hints of Atmosphere's nascent years within the sound. Meanwhile, songs like "Woes", "Strung" and "Vanish" cheerfully make light of daily hardships, but they're more likely to be remembered for making listeners want to bob their heads and sing along. With Slug and Ant directing the course, the album plays like a joyride through a range of experiences and emotions, with an extensive cast of special guests hopping in and out along the way, including Evidence, Muja Messiah, Musab, Nino Bless, Nikki Jean, Anwar HighSign, BlackLiq, Sa-Roc, Haphduzn, Lateef the Truthspeaker, Aesop Rock, and the late MF DOOM (RIP). The result is a project that feels like it came from the era or, perhaps more fittingly, the mindset that created albums like God Loves Ugly, Seven's Travels, or the popular Sad Clown series, while sounding as polished and perfected as more recent albums like Mi Vida Local or Whenever. Ultimately, WORD? pairs the breadth of Atmosphere's talents with the beauty of their growth, all while showing they still have a lot of fun in the process and don't mind letting the listener in on the fun as well.

Cromby debuts on Phantasy alongside vocalist Tee Amara with a luminous new single, ‘Qué Sientes’. An emergent anthem overflowing with the energy that has come to define the Belfast producer’s ascent as one of the most versatile talents in club culture, ‘Qué Sientes’ is contemporary electro brimming with character, skilfully remixed by Ecuadorian underground favourite, Nicola Cruz.

Raw in dancefloor intent, ‘Qué Sientes’ erupts with no hesitation atop Dance Mania-indebted drums, blending Tee Amara’s Spanish-language vocal performance with a seductive acid squelch. Written and recorded in Berlin during lockdown, ‘Qué Sientes’ is the meeting of two friends and lifelong dancefloor enthusiasts from across the world, fluid rave sensuality rendered ideal for Cromby’s already legendary closing sets at Panorama Bar, or any other high-voltage dancefloor.

Complementing the Latin flavour of Cromby’s original production, French-Ecuadorian cult favourite Nicola Cruz applies his precision percussion and further cosmological atmospheres to ‘Qué Sientes’. Adeeply trippy take, Cruz’s result is late-night house psychedelia rendered both mechanical and mystical.

Rolling through with a fresh release for Concrete Castle Dubs comes Dutch producer Kid Sundance. An esteemed beat maker and producer who’s been known for his Hip Hop & Breaks over many years behind the mixing desk, always applying that original analogue style of production to his material. After leaving the Drum & Bass scene in 1999 he always kept a weak spot for the tracks that changed his life, he never sold his collection and last year he took them from the top shelf to the ground, rediscovered the love, linked with Disorda @ Concrete Castle Dubs and decided to get back on and release a record for the label...

Hilton Felton was a jazz organ player from Norfolk, Viriginia. “A Man For All Reasons” is his signature album from 1980, now impossible to find on LP vinyl. It includes the 'rare groove' jazz funk dancer “Be-Bop Boogie” recorded at the same studio as Gil Scott-Heron's "The Bottle”. This limited edition, individually numbered issue is in the original sleeve, copies from it’s year of release now fetching over £200

Makèz have come a long way since they first sneaked into Amsterdam’s studio 80 at the age of 17 to hand over their demos to Dam Swindle. Those demos led to their debut EP ‘Different planets’ on Heist in 2019 which gained major support from artists like Seth Troxler and Chez Damier. Quickly after, they signed two records on New York based label Let’s Play House. Fast forward two years, and here we are: the release of their debut album “City of all”.

"City of all” shows an admirable level of sophistication and matureness and effortlessly bridges genres across its 13 tracks. You can feel the amount of thought that has been put into this record, with songs happily blending into each other as Makèz submerge themselves in their concept of accidental encounters, inclusiveness and what it means to live in a city like Amsterdam.

On “City of all”, Makèz bring together all the musical influences they’ve picked up in their life as music fans, clubbers and art students. The jazz-funk of opening track “The entrance” feels breezy, casual almost, like the freeform rhythms that are played in a jazz club during soundcheck. That energy also oozes from “Not so different”, which features the smooth vocals of LYMA. There’s a hint of the house-meets-R’n B vibe that made Anderson .Paak the star that he is now. The song is brilliantly funky and shows the songwriting and arrangement talent of Makèz, who cleverly use pop & soul cues to create one of the album’s highlights.

What follows is 4 cuts ranging from the syncopated Balearic funk of “Orbit”, the strings of album title track “City of all”, the organ-led jam “Gonna getya" and the downbeat “Sonder”. Allysha Joy -best known for performing in Melbourne Hip Hop collective 30/70 - is featured on the deep and jazzy cut “Looking up”. If Makèz and Allysha are all looking up, it’s clear they’re seeing the same thing. These kindred spirits perfectly complement each other on this track, where the deep bass, warm harmonies and jazzy percussion prove to be a perfect foundation for Allysha’s rhymes.

Is it an album all about jazz and soulful tracks to listen to at home? Far from that. There’s a nice bit of dance floor-oriented tracks, where the distorted filter funk of “Roselane” featuring Fouk proves to be a highlight along with what is arguably the heaviest cut of the album: “Bent with funk”.

In an EP context, these house tracks would surely do their work, but they really come to life in this album format. No compromise has been made to storytelling and the house tracks all play their part while still standing their ground as powerful club tracks. It’s the expert production and smart arrangement that gives this album its casually funky feel. On “City of all”, Makèz showcase their remarkable talent for writing an album that goes to so many different places, but most of all, just really feels like home.

Enjoy the music,
Maarten & Lars

Fast-rising producer Mr.Diamond makes his debut on Hot Creations this June with the three-track Dance With Me EP. The release continues a standout 2021 for the young talent, which has seen him release on Saved Records already this year.

Dance With Me sets the tone, with jazz-fused horn string samples cosying up next to stripped-back kick-hat combos. It’s a signature peak-time offering that highlights the young talent at his best. Bongomastic takes on a darker edge, as murky drum loops converge on punchy late-night percussion. London Bass rounds off proceedings, a pacey minimal-laced number that you can’t help but move your feet to.

Mr.Diamond has taken the electronic music scene by storm in recent times. His maiden release came in 2019 and he’s since gone on to produce for a selection of contemporary house’s leading labels, including Solid Grooves Raw, Saved Records, Seven Dials and many more besides. Dance With Me EP marks a career milestone, a testament to his keen-ear for production, and sets the tone for a bright future that will see him continue to rise up the global dance ranks.

Tashan, we believe is one of the greatest soul singers of modern times who first became known as a solo artist for his debut album 'Chasin A Dream' on Def Jam in 1986. There wasn't many better released soul albums in the 1980s. Tashan released was his 'Life Goez On' album in 2002. This album was only ever released on CD. We are releasing in partnership with Tashan two songs from the album in 'This Could Be' and 'After Hours.'

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

Techno isn't a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks' debut 'Biokinetics'. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12"s, 'Biokinetics' was the first of the label's album releases, and still stands as its crowning achievement. Porter Ricks are Thomas Köner and Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman.
What separated 'Biokinetics' from other albums at the time was its unwavering narrative - the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together - the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it's hard to exactly put your finger on what makes it a classic. Simply put 'Biokinetics' is one of the most important records in the genre and one of techno's finest albums. It has been re-released ten years ago by Type Records, and now Mille Plateaux is celebrating Porter Ricks' and Biokinetics' 25th anniversary with this sumptuous double viny edition.

Exclusive vocal c/w instrumental mixes of Betty Lou Landreth’s ‘I Can’t Stop’ on this lead-single for the forthcoming Backatcha re-release of Betty Lou Landreth's in-demand 1979 album, "Betty Lou” (cat# BK037 – to be announced). Expanded to a double album, it features the original studio recordings along with bonus material and alternative takes. The late Betty Lou Landreth had already paid her singing dues long before she walked into Studio A at Detroit’s Superdisc, touring with the USO and performing with R&B and Jazz players on the live circuit.

‘I Can’t Stop’ producers Joel Palmer and Charlie Gabriel recruited some of Motor City’s top fellow musicians for the session, including Gabriel’s longtime friend and housemate, trumpeter Marcus Belgrave, arranger Travis Biggs, drummer J.C. Heard, Motown Funk Brothers’ pianist Joe Hunter and trumpeters Herbie Wilson and John Wilson, keys player Emmanuel Riggins, bassist Hubie Crawford, the Body sisters and many more.

"We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavours together."

Joel Palmer, 2021.

TROJAN JAMAICA / BMG is proud to announce the release of U-ROY’s final full-length, SOLID GOLD U-ROY. The album was originally set to come out in 2020 with plans for a worldwide tour in support, but unfortunately, the pandemic delayed the release. Now, with the heartbreaking loss of U-ROY on February 17, the album has become a celebration of one of the most profoundly influential reggae stars of his generation. An originator of the chatty rhythmic vocal style known as toasting — a key foundational element in the development of rap in its nascent stages in the 1970s — U-ROY left behind an unmatched legacy which is clearly on display on SOLID GOLD U-ROY, with its guest appearances including ZIGGY MARLEY, SHAGGY, MICK JONES of THE CLASH, SANTIGOLD, SLY & ROBBIE, DAVID HINDS of STEEL PULSE, and more. The album arrives on
July 16, 2021.

SOLID GOLD U-ROY is being heralded today by the release of “MAN NEXT DOOR” (Feat. SANTIGOLD). One of the great reggae songs of all time, the track features an indelible guest appearance by the incomparable Santigold. “Man Next Door” is a beloved reggae standard written by John Holt and released in 1968 by his group The Paragons. U-ROY sampled the song in 1982 for “Peace and Love in the Ghetto” on his Original DJ album. Pre-orders of SOLID GOLD U-ROY will come with an instant grat download of “MAN NEXT DOOR”

Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

“We’re proud to announce the release of our debut EP ‘Reporting
Live From The Living Room Floor’ via Nice Swan Records. A
prologue chapter within the world we call Hallan, ‘Reporting Live
From The Living Room Floor’ introduces the 21st Century to the
Gumshoe Boy. The boy is always the man for the job. He’s the man
on the inside. He’s the Agency’s number one frontman and he’s
armed with a tape provided by an anonymous source. An undercover
operative in a satirical, Orwellian world, ‘Reporting Live From The
Living Room Floor’ paints a semi-abstract but tangible image of the
new decade, holding a mirror up to not only our modern society but
our individual selves. The time is now right. From the corner of his
bleak bedroom the boy plans his plan, and from the corner of ours we
do the same.” - Hallan
The EP draws influence from everyday observation, mainstream pop
culture and laughable tabloid fiction. ‘Reporting Live From The Living
Room Floor’ paints an semi-abstract but tangible image of the new
decade, holding a mirror up to not only modern society but
individuals.
Frontman Conor speaks on the track: “Our sound changes depending
on our agenda at any time, finding a different stride with every step.
With ‘Hands Up’ we found ourselves dropped into a Western rerun
armed with a fiercely cowboyish twang on our six string shooter. We
wanted to forth a thematic, semi abstract prose, attacking
businessmen and penny pinchers in a flurry of suitably delirious
criticisms.”
While struggling to find a studio which didn’t just place Hallan in the
cogs of a much larger machine, the band found Rob Quickenden of
Ford Lane studios for their last single, ‘Modern England’. Returning to
the rural depths of Yapton, Hallan once again join forces with
Quickenden on their debut EP. In a studio setting where no ideas
were out of the question and experimentation and exploration were
the words of the day, expect ‘Reporting Live From The Living Room
Floor’ to be a no-holds-barred exploration into the minds of Hallan.
Back in the far forgotten world of live events, Hallan supported the
likes of Sports Team and Porridge Radio. Yet 2021 sees the band
carve their own path all together. Backed by Nice Swan Records
(Sports Team, Courting, Sprints) Hallan are finally ready to release
their latest imaginings to the world.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

Dutch rock band Golden Earring released their twelfth studio album Contraband in 1976. It was the first full album to feature Eelco Gelling as the band’s guitarist. With seven rocking tracks, this album is dominated by guitars – as demonstrated by lead single “Bombay” and by the long guitar solos on “Con Man” and “Mad Love’s Comin’”. Contraband was well received by music critics and charted at #12 in the Dutch album charts.

The album is available as a limited edition of 1500 individually numbered copies on orange & black mixed vinyl, and includes a
4-page booklet.

Countless incredible records were made in Kingston between 1968 and 1971 that has never been able to lose the stigma of being described as 'Skinhead Reggae' but in Jamaica the term never meant anything. However Bunny Lee's Aggro Sound's both at home and away.
They were tougher then tough ,rougher then rough ,kicked like a 'bovver' boot and were sharper then a razor cut trim.
Raw, pure and undiluted every time...some even troubled the UK national charts..
To say the man and his music dominated at the time would be a complete understatement.
'Striker' was everywhere...travelling between Kingston, where he opened his Agro Sounds record shop at 101 Orange Street and London where he set up his Unity label with the Palmer Brothers for the exclusive release of his productions and his Jackpot subsidiaries with both Trojan and Pama records.
Ubiquitous does not start to come into it.
We sincerely hope that this compilation helps to point you in the direction of some of the best music from this often overlooked period from one of the greatest producers EVER!
'The Aggro Man' himself Bunny Lee

An actor, musician, visual artist and unyielding creative spirit, Dreaming of You (1971-1976) gathers for the first time the best of Karen Black’s studio and demo recordings. Produced by Cass McCombs and meticulously restored from the original tapes, the collection’s fifteen tracks are a holistic depiction of Black’s dreamy, introspective and earnest musical identity. Cass McCombs and Karen Black became fast friends. They collaborated again on “Brighter!” from McCombs’ 2013 album Big Wheel and Others, and also wrote toward a solo album for Black. “She’d given me all of her poetry and I was trying to work them into some kind of meter that would work as songs,” McCombs says. They were able to record two of them before she died, “I Wish I Knew The Man I Thought You Were” and “Royal Jelly.” See EPK for full description

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable is now extremely delighted to be releasing All Strapping Young Lad beyond Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. All albums include bonus tracks . Grab them now !.

A limited edition of 500 copies on white vinyl. First ever reissue of Alternative TV's "Action Time Vision", compiled in 1980 and featuring the group's 7"es from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue.

What Mark Perry says:
"It wouldn't be an exaggeration to say that Punk turned my world upside down! In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk's premier fanzine, Sniffin' Glue. It was almost an instant success and by December 1976, through our no nonsense approach, our position as the 'punk Bible' was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself.

My first attempt at forming a band was in late '76. We called ourselves the 'New Beatles' and it ended after a couple of rehearsals. It wasn't until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle's Industrial Studios in March '77.

That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums.

I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band's manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles' labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn't want to sign us, but we did end up with the tapes…"

"These Exit Times" is the name of a newsletter sent by an environmental organisation advocating the extinction of the human race as a solution to save the planet. When Victor Ramirez first came across the group on the internet a couple of years ago, it brought a smile to his face. But after some pondering on the subject, he decided that "Exit Times" would be the name of his sensational third album as Ramirez Exposure.

The record started to take shape in early 2020, after a musical hiatus that had lasted a year. It had been somewhat of a dark period, and Victor felt it was time to go back to recording songs. It would be the first time he would be doing so at home. He had managed to set up a small studio that would allow him to make some proper recordings, and without having to use a computer. He'd also started a new job, as an orderly in a hospital, which gave him time to record and cash to pay the rent.

Victor was ready to take on the task of making the album with the help—albeit from a distance, this time—of Ken Stringfellow (Posies, Big Star) and Brian Young (Jesus & Mary Chain, Ivy, Fountains of Wayne), both regular accomplices of the Valencian in production and instrumentation. Working with the two of them feels very natural for him, even though they are in three different countries.

Looking back, it seemed as if he'd prepared himself for what was coming.

And so, the pandemic happened, and Victor found himself turning the ideas he had outlined on his phone into the songs for Exit Times. He was in a good place, personally and, despite the situation, he was happy to be able to contribute to society through his job at the hospital and, after coming home, to concentrate on his music and isolate himself from everything else.

Gradually, the sketches turned into luminous songs, with bright harmonies and lyrics that exude a fine irony. Victor admits that he strives to be a good pessimist every day, and the songs reveal a way of understanding life that relativises almost everything in order to stick with what's really important. This subtle sense of humour in the lyrics, like the luminosity of his music, is vintage Ramirez, and is present throughout the album, and even on the cover. The artwork is a painting by German painter Angela Dalinger, depicting Victor himself, their dog, Colombo, and some meaningful objects. The vinyl record featured is George Harrison's Brainwashed.

Exit Times is a shiny collection of songs with a universal vocation, bathed in sunshine pop with touches of new psychedelia. All simmered under the Mediterranean sun—the same sun that illuminates the entire planet.

Demon Records presents Distortion: Live, the fourth and final edition in a series of expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. The final volume in the series features 8LPs of live recordings from across Mould’s solo career.
8 LPs including –
• 4 live albums – Live At The Cabaret Metro, 1989 (first time on vinyl), The Joke Is Always On Us, Sometimes, LiveDog98 (first time on vinyl), and Live At ATP 2008 (first time on vinyl)
• Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl
with unique splatter effects
• Bonus LP Distortion Plus: Live which features live rarities including B-sides and stand-out tracks from the Circle Of Friends concert film
• Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston Plus -
• A 28-page companion booklet featuring: a new and exclusive foreword by Bob Mould; an interview conducted by journalist Keith
Cameron; an exclusive testimonial from Bully’s Alicia Bognanno; rare photographs and memorabilia

Album Description BROS VOL 2 takes you on a technicolor journey via your ear drums. The eclectic flavours of VOL1 are taken to new heights. The musical scope is wider, and the worldly sonics more exotic. The power pop refrains sink their hooks deeper, the sly musical jokes sell out harder and the hard charging grooves really pack a wallop. BROS make music that is fun and colourful, the way it's supposed to be. Bio After boldly displaying their full musical range on the 2016 debut album Vol. 1, BROS—aka The Sheepdogs’ Ewan and Shamus Currie—return with Vol. 2, an endlessly surprising new 13-track collection that’s something akin to a party thrown by your friends with the best record collection. Recorded over a two-year span with producer/engineer Thomas D’Arcy in Toronto, BROS sought to expand their scope on Vol. 2 by inviting a host of collaborators, from a horn section and tabla drummer, to Sheepdogs guitarist Jimmy Bowskill (on a range of instruments he doesn’t normally play) and even their father Neil Currie on piano. The results contain something for everyone, from the Tropicalia-inspired “Sunflower” and the smooth jazz of “Clams Casino,” to the lowdown funk of “Never Gonna Stop” and the vintage AM radio homages “Crazy Schemes” and “You Love This Song.” With Vol. 2, the combination of visually evocative instrumentals and finely crafted Pop and Soul nuggets is now undeniably BROS’ trademark sound, one that’s utterly distinct from The Sheepdogs’ arena-ready, guitar-fuelled rock. As a pure studio creation, the album not only displays the Curries’ dynamic creative bond, but also their playful sense of humour and easy-going relationship, something that can’t often be said of fraternal musical partnerships. So as we all wait patiently to return to bars and concert halls, BROS Vol. 2 is here to provide the perfect soundtrack for whatever you happen to get up to within your bubble, just as long as the intention is to have some fun. For Fans of: The Sheepdogs, Dan Auerbach, The Doobie Brothers, The Allman Brothers Band, Eric Clapton, The Band, The Black Crowes

The European/UK vinyl release of Hokus Bonus: a vinyl-only compilation of ‘bonus tracks’ from special editions of the band’s previous albums, many of which have never been available on vinyl before. The LP, limited to 6K numbered copies, features cover art from long-time Volbeat illustrator Karsten Sand and will be pressed on yellow smoke vinyl. Hokus Bonus brings several songs such as “Slaytan,” “Under The Influence,” and “Immortal But Destructable” to the vinyl format for the first time, and also includes early versions of fan-favorites “Evelyn,” “Black Rose,” and “Die To Live.” “We all spend a lot of time in record stores both at home and on tour,” said the band, “and bringing these songs to vinyl, some of them for the first time ever, brings us great joy.” Hokus Bonus will be available on Friday, July 16th' on Transparent Yellow W/ Black Smoke Vinyl

After spending nearly a decade recording and touring with the collaborative psych rock band Quilt, Anna Fox Rochinski has completed her first solo record, Cherry. Though this is her first solo outing, Quilt released three full length records on Mexican Summer between 2011-2016 and toured North America and Europe extensively via High Road Touring and Paper and Iron Booking, respectively. Quilt completed several headlining tours in both continents, as well as opening on tour for bands such as The War On Drugs, Luna, and Woods. Anna’s songs have been licensed and used for sync placement extensively, most recently in Netflix’s “You”, and Quilt signed a publishing deal with Third Side Music in 2016. Their music was featured in many press outlets including NPR and Pitchfork, and was performed live on KEXP, Late Night with Carson Daly, and NPR’s Tiny Desk. Initial pressing on limited edition opaque red vinyl

Hitting number two in the UK album chart and with over a billion streams, in Dissimulation KSI creates space for both his public persona and the personal: big hit features with the likes of Rick Ross and Lil Baby (Down Like That) and AJ Tracey (Tides) sit alongside more intimate, honest tracks. No stranger to defying expectations, Dissimulation received critical acclaim. Clash labelled it “an excellent body of work”; “he’s absolutely smashed it” proclaimed Metro.

It’s no surprise that KSI has been seen on the cover of The Sunday Times Magazine and Music Week; The Observer Magazine, Viper and Notion. Other labels and artists want a piece of the KSI pie too: just look to the success of his features on S1mba’s Loose and Nathan Dawe’s BRIT nominated Lighter. 



With his second album on the horizon, a 2021 tour which sold out in seconds, the launch of his own label and a single with Craig David (Really Love), Anne-Marie (Don’t Play) and YUNGBLUD (Patience), KSI is proving that music is very much his domain. 



KSI brings with him the unrelenting work ethic and infectious energy which YouTube instilled in him. Despite his debut’s success, he’s certain Dissimulation just scratched the surface: the next record, he’s clear, will showcase his artistry’s further progression again. Given FAULT Magazine described KSI as “one of 2019’s biggest success stories - “an emergent hip-hop star” said The i - all eyes will be on his follow up. KSI’s task - writes The Observer - is “not just to make “YouTube rap” but the real thing”. Their verdict? “Mission accomplished.”

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

Born in Naples, educated in New York and now residing in Paris, drummer Francesco Ciniglio combines spotless drumming facility with substantial compositional flair, and has the capacity to move, reflect and express through his music. An in-demand sideman, Ciniglio has collaborated with Wynton Marsalis, Shai Maestro, Aaron Parks, Dayna Stephens, Seamus Blake and Tony Tixier. Following his debut solo release (‘Wood’, with Parks and Joe Sanders), Ciniglio returns as leader for his Whirlwind debut, ‘The Locomotive Suite’, a set of compositions for sextet that combine a personal metaphor of resilience with snapshots of his formative familial influences. Barcelona-based Raynald Colom (trumpet), fellow Paris emigr e Matt Chalk (alto) and Matteo Pastorino (bass clarinet) take the frontline duties, with Frenchman Alexis Valet on vibraphone and rising star Felix Moseholm on double bass. The suite is a collection of substantial, knotty harmonies, rhythmic shifts and spacious textures. But it also experiments internally, with chordal horn textures giving bass and vibraphone more melodic freedom. The unusual scoring is inspired by the soundworlds of Pat Metheny and Ben van Gelder, bridging the gap between music for large ensemble and harmonically focused trio music. Or, as Ciniglio puts it, it’s all about “finding an ensemble that’s not too big or small.” “This album is all about movement - getting a train here, marching there,” summarises Ciniglio. But it also reflects on people and places, and on the personal growth that helps make ‘The Locomotive’ Suite a significant compositional statement.

Contains new specially prepared liner notes by Penguin Guide To Jazz’s writer Brian Morton and by Paris’ prestigious Jazz Magazine.
6 bonus tracks (Green Vinyl) “The question of whether Etta James became a pop singer, a jazz singer, or a blues singer needn’t detain you long. She was all of those, as At Last bears out, and more besides. James touched on gospel, doo-wop and rhythm’n’blues
with equal facility. “Dance With Me, Henry” was a hit, but renamed “The Wallflower” and covered by Georgia Gibbs. Because James had a composition credit, it made her some money, but she didn’t like to be bested. She made sure that the next time it would be her name on the label.“ Penguin Guide to Jazz “At Last!, her debut LP, made for the celebrated Chicago label Chess, certainly is one of her most memorable. It’s impossible to not be moved by the power of her voice, beginning with the opening notes of “Anything to Say You’re Mine”.
Every phrase, every word is attacked with an energy that commands respect. But beware, this young woman (she was only 22 at the time) could also take on the sweetest forms of a melancholy ballad, such as “Stormy Weather”, and manage to achieve tenderness. At Last! is one of the key soul music albums of the early 1960’s.” Jazz Magazine ETTA JAMES, lead vocals; The Riley Hampton Orchestra. Arranged and conducted by Riley Hampton. Recorded in Chicago, Illinois, 1960 and 1961. Original sessions produced by Phil and Leonard Chess.

Jan Hertel, so CHAOZE ONE bürgerlicher Name, ist ein gesellschaftskritischer Rapper, Autor und Theaterschauspieler aus Mannheim. In seiner ersten aktiven Phase von 2000 bis 2009 veröffentlichte er zahlreiche Alben und EPs. Die Musik war immer Vehikel für seine politische Arbeit, die im Vordergrund seines künstlerischen Schaffens steht. 2019 veröffentlichte Hertel das Buch "Spielverderber - Mein Leben zwischen Rap & Antifa", in dem er seine musikalische wie politische Sozialisation beschreibt. "Venti" von CHAOZE ONE erscheint auf dem Hamburger Label Grand Hotel van Cleef. Auf dem Album finden sich 17 Stücke in knapp 70 Minuten. Als Gäste sind u.a. Torsun Burkhardt von Egotronic, Mal Éléve, Shana Supreme sowie Autor Jan Off und zahlreiche mehr zu hören. "Venti ist die erste Hip Hop-Platte auf GHvC, und der Opener Memento Moria / Die Welt brennt der erste echte Rap-Track auf unserem Label. Aber Genres sind egal. Denn beim Hören dieses Songs - auch beim vierhundertsten Mal - fangen und Gehirne und Herzen an zu glühen. Der Song und diese Platte umfasst all das, was wir denken und fühlen, wie wir Dinge sehen und was wir fordern. Und zwar ohne Zeige-, dafür ab und an aber gern mit Mittelfinger", lässt sich das Hamburger Label zitieren.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label, with “The Wanderer” being the first
album released on the label.
• Legendary producers Giorgio Moroder and Pete Bellotte remained at the helm.
• With the US #3 hit of the title track and other standout tracks ‘Looking Up’, ‘Cold Love’, ‘Who Do You Think
You’re Foolin’’ and ‘Nightlife’, “The Wanderer” continued Donna’s creative output.
• “The Wanderer” was released the year after the ‘Disco Demolition Night’ event - which was held,
ironically, two days before ‘Bad Girls’ became a US #1 single - and introduced more rock-infused
dance/pop tunes – which paved the way for many Artists throughout the 1980s.
• Donna received two Grammy Award nominations. Best Rock Vocal Performance, Female for ‘Cold Love’
and Best Inspirational Performance for ‘I Believe In Jesus’.
• In 2020, “The Wanderer” had a resurge in interest and a re-appraisal, with several tracks being remixed for
a new generation, resulting in a one month stop at #1 on one of the UK’s top Soul radio stations.
• This special edition revisits the original album on 180g White Colour vinyl

American cellist prodigy Yo-Yo Ma recorded Sing Me Home with the Silk Road Ensemble, a musical collective with performers and composers from all over the world. The album features guest appearances by Grammy Award winning artists Toumani Diabaté, Gregory Porter, Lisa Fischer, Bill Frisell and many more.

Released in 2016, Sing Me Home was meant to open hearts, ears and minds during a time of tragedy and political turmoil. “All around the world, people constantly meet the unfamiliar through change,” Yo-Yo Ma said of the album. “Rapid or dramatic change can feel threatening, tempting us to build walls to defend against the unknown. At Silk Road we build bridges. In the face of change and difference, we find ways to integrate and synthesize, to forge relationships, and to create joy and meaning.”

Bringing together the cultural backgrounds of the musicians, Sing Me Home is a culturally conscious album, reflecting on modern globalisation and collaboration. From Macedonian folk to traditional music from Mali, and from Irish fiddle to Indian sitar: it all comes together wonderfully. Critics agreed, and the album went on to win the Grammy Award for Best World Music Album in 2017.

Sam Prekop's eponymously titled LP is a study in pop nuances. Simultaneously transporting the listener from mild climes and swinging palms to darkened skies and wind blown steppes, the record will be easily recognized by fans of The Sea and Cake. Known to many as the singer and main songwriter for said group, Mr. Prekop is assisted on this release by Chad Taylor (Chicago Underground Duo), Josh Abrams (ex-Roots, Town and Country), Jim O'Rourke (Gastr del Sol) and Archer Prewitt (The Sea and Cake). Those expecting to find more of the computer beats and trickery found on The Fawn and Two Gentlemen are in for a surprise. Whilst prevalent on "Faces and People" - (a lucious groove overlayed by cornet and guitar), the computer takes a back seat to real strings, drums, piano, electric piano and organ as well as electric and acoustic bass. The subtle grooves, a trademark of The Sea and Cake records, are still present here as Sam and his band blend West African rhythms with a bit of soul, jazz and pop. The resulting record is something wholly original, elegant and earthy. A cauldren, if you will, of sweet smelling and enlightening stew. So line up, grab a spoon, and dig in. All the ingredients and intoxicating aromas necessary for an auditory feast are contained within.

Wooden Shjips, as it is today, started in 2006. The band self released a 10" and 7" that year and started playing shows shortly thereafter. Prior to 2006, Wooden Shjips was an experiment in primitive and minimalist rock. After it imploded, Ripley Johnson, guitar and vocals, assembled the current lineup of Dusty Jermier on bass, Nash Whalen on organ, and Omar Ahsanuddin on drums. West marks the first time the band recorded in a proper studio, as well as the first time with an engineer (Phil Manley). All previous recordings, either self-released, for Holy Mountain, or Mexican Summer were done more piecemeal in the band's rehearsal studio. West was recorded and mixed in six days at Lucky Cat Studios in San Francisco. It was mastered by Sonic Boom at Blanker Unisinn, Brooklyn, with additional mastering by Heba Kadry at The Lodge in New York.

During 2019, Blondie was invited to perform in Havana, Cuba as part of a cultural exchange through the Cuban Ministry of Culture. This was a 40 year ambition come especially for songwriter & guitarist Chris Stein, who had longed to visit Cuba for most of his life. Artist and director Rob Roth documented this special moment and career highlight by shooting a short film titled “BLONDIE: VIVIR EN LA HABANA”.

The film is broken up into 3 parts — Water, Fire and Air — and present a meditation on the experience as well as highlights from the two-night live musical performances with special guests Alain Perez, David Torrens and Cuban Fusion Pioneers Sintesís at Havana’s famous Teatro Mella.

With narration from Blondie founding members Debbie Harry, Chris Stein, and Clem Burke, providing a glimpse into the passion and beauty they discovered in Havana and the magic moments of performing alongside incredible Cuban artists. “BLONDIE: VIVIR EN LA HABANA” goes beyond the atypical short form film and live music documentary by presenting a portrait of the legendary band’s first experience in Havana and of the magical exchange between musicians from the two cities each call home and their intertwined influences.

The sound track for the film features Cuban musicians Carlos Alfonso, Ele Valdés, María del Carmen Ávila, Alejandro Delgado, Juan Carlos Marin, Jamil Schery, Degnis Bofill, Adel González

Released in July on limited edition pale blue vinyl to accompany the film which will feature throughout 2021 in many prominent Film Festivals inc the Tribeca Film Festival.

Cryovac Recordings recognizes and recruits artists with individualism and creativity to add to its list of collaborators. Cryovac has evolved into a project that is brought to life by craftsmen, musicians and visual artists that give their time and effort for a common cause. Cryovac aims to weave a thread between the varying sonic approaches that describe a direction techno must go. A. García tends the cryovac from conception to press; combining with Mike Kretsch to create a unique minimal sound. Mr. Joshooa has the tools and know how to describe his personality as his work. He swims the Detroit techno-sphere wearing many hats, and is always pushing techno forward by any means necessary. Cryovac is a vehicle for the rebel spirit; we hope you listen to it.
The Cat Lover E.P. starts with Mr. Joshooa taking his time weaving a slow funky grind. “Horse Hockey’ is the name of this 4/4 two step that gallops and bangs its way through cinematic synth rises, heroic harmony, and crunchy to smooth samples. Mr. Joshooa's mischievousness is on full display with his second jam “fuck around”. Tumbling samples form a bop that is maneuvered playfully through a hectic arrangement. Side 2 is a. garcia and Mike Kretsch’s domain. Their first effort minimally clicks and rings into a soulful melody; popping rhythm holds your body to terra firma so your mind can “spacetravel”. B2 ,”meerkat”, opens with a raw kick on top of marmic synth evolving into a dramatic techno drive turning and shaking along a desolate road

New pressing, with a front punch of color! It’s the yellow belt edition!
(yellow vinyl)Take an auditory trip through a wacky world of oddball and obscure ‘classick’ exploitation cinema soundtracks from the 1960s and early 1970s, presented by one of the most beloved genre film video companies of all time’ Something Weird! Two LPs chock-full of oddities and earworms with great sets of liners and track by track factoids!

The ethereal harmonies of Eve were ever present, but the psychedelic girl group feel of their previous band, Honey Ltd, was replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s. In the late 1960s, four teenage girls from Detroit hitch-hiked to Los Angeles to follow their dream. Known as the Mama Cats, their combined voices, created a magical instrument, a holy harmonic vehicle built upon the inspiration and improvisation of four close friends. Their ethereal voices and heavenly harmonies sounded like no one. Upon meeting Lee Hazlewood in Los Angeles, he was bowled over, offering them a recording contract on his label, Lee Hazlewood Industries (LHI), renaming them, Honey Ltd. Their sole 1968 LP never saw the light of day. Out of the ashes of the group, the three remaining members continued on under the name Eve. In the spring of 1970, Eve and producer Tom Thacker went into the studio to record "Take It And Smile". The ethereal harmonies were ever present, but the psychedelic girl group feel of the Honey Ltd album were replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s (Think John Philips "Wolfking Of L.A.). Backed by another amazing group of musicians, the recording sessions included members of the Wrecking Crew, Elvis' TCB band, Ry Cooder, Sneaky Pete and Glenn Frey from the Eagles. Featuring songs by James Taylor, Fred Neil, The Gibb Brothers, Burt Bacharach, Bob Dylan, Mac Davis and a handful of amazing originals including the beautiful "Dusty Roads" and the title track "Take It And Smile," co-written with Glenn Frey. Upon its release, the album failed to find an audience. After recording one last song, "So Tired" for The Vanishing Point soundtrack, the girls went their separate ways, each continuing to sing professionally with artists that include Bob Seger, Neil Young, Tina Turner, Loretta Lynn and countless others. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Eve members Laura Creamer, Temmer Darigan & Joan Glasser and GRAMMYr-nominated reissue producer Hunter Lea. This record is the first release in a new series of full albums reissues from the LHI (Lee Hazlewood Industries Records) catalogue that Munster will be releasing over the next months. All the releases include liner notes and exclusive interviews with the artists, rare photos, and restored original artwork

Legendary psychedelic guitar music from the Islamic Republic of Mauritania finally available on vinyl!
Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered.
For fans of the more raw side of Sublime Frequencies, Sahelsounds, the ripping tape-hiss psychedelia of Les Rallizes Denudes, and anyone remotely interested in GUITARS.
12” 160 gram black vinyl LP, with 2 spot color reverse-board jacket, and 8-page full sized booklet with extensive notes and photos, and a history of Mauritanian guitar playing.
‘’this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.’’ 8.0 Pitchfork
The LP version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie.
Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention.

New album from NJ-based singer/songwriter Marc Ribler.

The explosion of indie Hip Hop labels in the early 90s resulted in an ongoing snowball effect that started to shift the narrative around an artist’s need to sign to a major label. Coincidentally, quality home recording equipment was also becoming more easily accessible


and, with the rising popularity of CD-R technology, this allowed artists to write, record, and manufacture their own albums right at home.