Search:man on man

Like the Golden Gate Bridge, hot dogs, Wrigley Field, Converse All-Stars, and Jack Daniels, "Great Balls of Fire" is of the uppermost echelon of cultural exports America has ever produced. If you don't already know this, it's okay...you can buy this single now and no one will be the wiser. The Killer at his finest.

FULL OF HELL make their Relapse debut with their most explosive album to date, Weeping Choir. Dynamic, pissed, and wholly urgent, the highly-anticipated Weeping Choir is a definitive statement of intent by one of the underground’s most dynamic and virulent entities. FULL OF HELL have once again culled the extreme elements from hardcore, metal, and power electronics to redefine darkness and sheer brutality. Distorted guitars and ominous, disparate electronics grind and gnash against rapid-fire drumming as FULL OF HELL take themes of religion, loss, hatred, and set them ablaze. Recorded by the critically acclaimed Kurt Ballou at GodCity Studio, Weeping Choir sees FULL OF HELL fully unleashed. Abrasive, confrontational, none equal!

incl. 12 pages booklet

Along with the publishing of the complete soundtrack of Grandia, Wayô Records is trilled to announced this official tribute album celebrating 30 years of music by Japanese video game composer legend Noriyuki Iwadare. From Grandia, Lunar to Langrisser and beyond, get ready to embark on a journey of sounds, filled with nostalgia and discovery!

Wayô Records presents you a brand new album featuring some of his most memorable and iconic melodies, beautifully arranged for violin and piano. Performed by multi-award-winning superstar pianist Benyamin Nuss, international concert violinist Shauno Isomura, and arranged by renowned composers including Michiru Oshima (ICO, Fullmetal Alchemist), Eric Roth (A New World: intimate music from FINAL FANTASY, Distant World: music from FINAL FANTASY) and many more. Also included in the album, a world premiere track Overcome composed especially for this album by Noriyuki Iwadare himself.

‘Del Rio’ is the third album from the Austin triumvirate of guitarist Craig Clouse (Shit and Shine), bassist Nate Cross (Marriage, Expensive Shit) and drummer King Coffey (Butthole Surfers) and the band’s first release to feature vocals from Colby Brinkman (Taverner). While their two prior albums (2017’s ‘Laredo’ and 2019’s ‘Matamoros’) were somewhere on the periphery of rock music , ‘Del Rio’ is a step or several beyond and a real testament to human imagination (maybe you’re impressed by Tesla Powerwall batteries but that’s because you’ve not heard “Soft Taco”, yet)

Coming off a pair of records their respective labels could barely keep in stock and critical assessments that put reviewers’ own chops to the test (see below), USA/Mexico have delivered their most fully realized statement to date.

Prior praise for ‘Matamoros’ :

“Laredo was a bent-out sunstroke of processed vocals and noise-laden riffs, and its follow up Matamoros is slower, freakier, and somehow louder…too defiantly weird and alien for pigeonholing, that’s how they fit inside Austin’s storied noise rock and experimental music scenes: by refusing to fit exactly in anywhere.” Andy O’Connor, Pitchfork

“Monolithic without being monotone: dirty sounds and gritty textures sliding over each other like sandpaper wiped across a chalkboard.” Marc Masters, Bandcamp

“The amplifiers sound broken, the vocals suggest someone's got their leg caught in a mantrap while deep in the woods trying to poach fat brown hares, and the mixing desk squeals as if it is undergoing physical tort

• 180 GRAM AUDIOPHILE VINYL
• BLACK VINYL

Mikey Dread started out as an engineer with the Jamaica Broadcasting Corporation when some of the most innovative reggae was being recorded in Jamaica. He convinced his bosses to give him his own radio program called Dread At The Controls and the rest is history. You can hear his radio announcements and shout outs before most tracks of his first record African Anthem Dubwise. It is one of the finest ‘80s era Reggae records as it features many styles.

"Odeyalo" is a Russian word that means "blanket". This blanket is made from many rags. It's hard to tell where one ends and the other begins, but the main thing is that you can cover yourself with this blanket.

Foresteppe is the musical project by Egor Klochikhin, artist and history teacher from Russia. Foresteppe's music is a constant experiment with the sounds of tape cassettes, acoustic instruments, field recordings and electronics. Detailed sound collages by foresteppe explore the space of history and memory, as well as the themes of nostalgia and trauma.

"Odeyalo" has been played live with ten cassette tape players and several dozens of cassette tape loops in June – September, 2019 in Vyksa, St.Petersburg, Moscow, Brussels, Tomsk oblast, Novosibirsk and Berdsk.

Israeli DJ and collector Elado makes his debut on RNT with a pack of impossibly rare edit heat! A relative newcomer to the scene, Elado made some waves recently with a stunning entry on Eddie C’s Red Motorbike, and he’s clearly no novice when it comes to digging as this exceptional pack of tunes shows.

With rarefied material ranging from Africa, India and the Mideast, Elado works these 4 tunes with a careful editor’s touch, nipping and tucking only where necessary to let the incredible source selections shine through, but rendered eminently DJ-friendly. Already supported by Antal and many others, this 12” is the first essential add of 2021!

This cassette collects some of these stills, or better said freeze frames. Freeze frames that become almost landscapes that one can enter or not, listen closely to or use as mere background ambience. Wilson went in and untied the knot, yet while investigating the situation, posing more questions. This is as open-ended a release can get, so captiously simple.I met Andrew Wilson, (aka Berko, Art Wilson, Andras), a few months ago in Tokyo where we were both to perform on a sort of Balearic Ambient variety show in the heart of Shibuya. At some point Andrew was telling me about his interest in Youtube videos of truck accidents, animals attacking people and bloopers. With creating one-shot samples of these sort of “popular fringe finds” he started creating long-form drones of harmonic beauty, without being overtly and subjectively emotional. Wilson presented some of these pieces on said night in Tokyo, in a dandyesque manner all dressed in white, sitting behind a small restaurant table. "Table for one, please … "

"On The Other Side" ist das lang erwartete Debütalbum des Londoner Künstlers Josh Edwards aka Blanco White. Mit drei bislang veröffentlichten EPs - "The Wind Rose" (2016), "Colder Heavens" (2016) und "Nocturne" (2018) - konnte Blanco White derart beachtliche Erfolge verzeichnen, die ihm monatelange Tourneen durch die ganze Welt ermöglichten. Josh studierte Gitarre in Cádiz (Spanien) und das andine Zupfinstrument Charango in Sucre (Bolivien), so verwundert es nicht, dass er Elemente der andalusischen und lateinamerikanischen Musik mit traditionellem Folk seiner Heimat verbindet. Das Album wurde hauptsächlich in London aufgenommen und von Josh selbst produziert. Für den Mix zeichnet sich Jake Jackson (Air Studios) verantwortlich.

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

Recorded in a string of sessions between Curve Pusher’s former Darnley Road location in London and new facility in UK seaside town Hastings, ​Old Tight Selektah​ sees Radioactive Man and Ben Pest (OverworX) riff off their shared passions for studio hardware and live set jams, maintaining the funk at all times.

Lead track ​Old Tight​ works in ​recorded licks from the Pest band’s horn section - Off-Key He-Man. Bar Tab smooths out into a glimmering and acid licked electro number. ​You Bring It, We’ll Wing It​ enjoys more of the Pest brass service, slowing the pace to a dubby, broken beat tempo. Finishing up the EP ​Bracetings​ is a jumpy, up tempo finish to the release showing off both producer’s flair for high precision beat programming.

Ben Pest is a hardware-made-techno specialist based in Bristol. He runs his own label OverworX and has also released his heady raucous sound on ​Varvet, Don’t and I Love Acid.

Asking For Trouble est. 2017
Mastered and cut by Keith Tenniswood at Curve Pushe

Lyon-based freakers Chico Magnetic Band began as Chico & the Slow Death, its front man a
wild Tunisian-born singer otherwise known as Mahmoud Ayari, with drummer Patrick Garel,
bassist Alain Mazet and guitarist Bernard Lloret, later replaced by Bernard Monneri.
Conjuring a dark, excessive sound with unfettered guitar, pummelling drum rolls and Ayari
growling and grumbling over the top, this sole LP is culled from different permutating
sessions, with plenty of audio freakery and extreme effects from Jean-Pierre Massiera;
Hendrix cover “Cross Town Traffic” is rendered with love, despite Ayari’s hefty accent.

Four tracks by one of the biggest names in South African disco: Condry Ziqubu. A regular on the local soul scene since the late 1960s in groups such as The Flaming Souls, The Anchors and The Flaming Ghettoes, by the mid-80s he had qualified as a sangoma (traditional healer), recorded with Harari (the biggest group in the country at the time), fronted his own group Lumumba, and travelled the world as part of Caiphus Semenya and Letta Mbulu’s band.

In 1986 he ditched Lumumba and released his first solo hit, ‘Gorilla Man’. Opening with an audacious 20-second intro, the song tells the story of a man preying on women in downtown Johannesburg. It highlights Condry’s winning formula of lyrics that touch on everyday South African issues and places (without drawing the attention of apartheid censors). Musically the song draws obvious influence from Piano Fantasia’s 1985 Euro-disco hit ‘Song for Denise’.

Also included on this new anthology is another song from the same album, the politically charged ‘Confusion (Ma Afrika)’, as well as ‘Phola Baby’ from his 1988 album Pick Six – a call to men to “stop pushing your woman around … what kind of man are you?” – and ‘Everybody Party’ from 1989’s Magic Man, a straight-up party song with no political or social intimations, other than as a brief escape from the harsh reality of the time, one that still resonates today.

Gorilla Man will be released on vinyl and digitally in early 2021 on Johannesburg-based Afrosynth Records (AFS047), distributed worldwide by Rush Hour in Amsterdam.

Terry Gross is an engrossing trio composed of guitarist Phil Manley (Trans Am), bassist Donny Newenhouse, and drummer Phil Becker. The trio are also connected as owners and engineers at Bay Area recording spot El Studio, where they began improvising together as a way to test the boundaries and gear of the studio. Their loose, organic chemistry burgeoned into a deep camaraderie and a sound both expansive and exacting. The three experienced musicians crafted their first fulllength album through the pure joy of playing together with no expectations. With the tapes rolling on their rehearsals, the band captures the exuberance of live performance and elevates those recordings through a deft use of the studio as their collective instrument. On their debut LP Soft Opening, Terry Gross channels their cosmic powers and considerable chops into a gleefully mesmerizing odyssey fit for an arena. Soft Opening took shape over the course of 2016-2019, with Terry Gross writing and refining their songs. "Space Voyage Mission" and "Worm Gear" parallel one another as sinuous jams that pulse with adamantine fervor. Each mountainous epic churns spellbinding repetition and simplicity into dizzying gallops that take hairpin turns into sinewy riffing and elysian vocal melodies. Phil Manley's guitar takes on a constellation of tones across "Space Voyage Mission" with drifting delays soaring over the Newenhouse and Becker's driving rhythm section which all succumb to frothing overdrives that spin the song into entirely new pastures. The hypnotic throb of "Worm Gear" grows all the more enchanting as Newenhouse and Becker add subtle shifts to the single-chord barrage. "Specificity (Or What Have You)" contrasts these two in its more traditionally pop-oriented structure while retaining its predecessors wide-eyed energy and delves further into the album's lightheartedyet-earnest take on sci-fi tropes from space and time travel to the singularity. As Terry Gross, Phil Manley, Donny Newenhouse, and Phil Becker are sonic scientists traversing the borderlands of rock. Soft Opening captures the simple joy of a no-holds-barred trio in stunning detail, transporting the listener into the splendor and freedom of rock.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound — if Black Sabbath played Afrobeat — might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues based than before, but the ancient rhythmic formula of the clave remains a constant.
“Musically it’s an opening up more to traditional rock elements,” says vocalist/guitarist/ cofounder Marcos Garcia, who also plays guitar in Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”

The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.
Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.”

Likewise, musically and sonically, the album is self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.

Rough Trade named the band’s self-titled debut in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. Each subsequent album furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers.
“We’re very conscious of how the rhythms service the riffs,” Garcia explains. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”
Ritual Divination will be available on LP, CD and download on January 22nd, 2021 via RidingEasy Records.

Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound — if Black Sabbath played Afrobeat — might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues based than before, but the ancient rhythmic formula of the clave remains a constant.
“Musically it’s an opening up more to traditional rock elements,” says vocalist/guitarist/ cofounder Marcos Garcia, who also plays guitar in Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”

The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.
Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.”

Likewise, musically and sonically, the album is self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.

Rough Trade named the band’s self-titled debut in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. Each subsequent album furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers.
“We’re very conscious of how the rhythms service the riffs,” Garcia explains. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”
Ritual Divination will be available on LP, CD and download on January 22nd, 2021 via RidingEasy Records.

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Issued in 1967, “We Are Paintermen” was the only Creation LP released during their original 60s incarnation, and then only in Germany. With the exception of “Making Time” and “Try And Stop Me”, this release features the 2016 stereo mixes of Creation classics “Through My Eyes”, “Biff Bang Pow”, “Can I Join Your Band?” and “Painter Man” (as later covered with huge success by Boney M).
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

This limited edition vinyl release is a double disc pressing on 180g
heavyweight, translucent ORANGE vinyl. The beautiful record sleeve is a gatefold design to fit both LPs.
This vinyl is a limited release to 1000 pressings; each vinyl is hand numbered.
Kate Rusby’s album, Hand Me Down, started life a few years ago whilst she was rehearsing for the Jo Whiley Show on BBC Radio 2. Jo asks her live music guests to perform songs of their own plus any cover version of their choice, Kate’s choice at that time was Oasis’ “Don’t Go Away”; on her second visit to the show she chose by ‘Friday I’m in Love’ by The Cure.
“As a folk singer, it’s what I do, re-interpret existing songs, but usually the songs are much, much older. After playing a version of Oasis’ ‘Don’t Go Away’ on the BBC Radio 2 Jo Whiley show, about 5 years ago, it dawned on me that not just the very old songs are handed down through the generations, but also favourite songs of any age, of any generation.
Songs are precious for many different reasons. With ‘Don’t Go Away’ proving so popular on the last album and hearing the reaction when we performed it on tour, I decided, “Right, that’s it! I am doing a whole album of covers.”
It was always the plan to make this album this year, lock-down just made it more intimate. We have laughed and we have cried, we have danced and we have sung. All of that is here, engrained in every track.”

NEP was a loose multimedia collective formed in 1982 Zagreb, ex-Yugoslavia. The founder Dejan Krsic collaborated with various artists in a quest of re-thinking the stale concepts of art history, position of the author and the barriers between pop and elitist high culture. Heavily influenced by Walter Benjamin and Andy Warhol in theory and Brian Eno and Kraftwerk in music, Krsic created NEP as an umbrella term (meaning Nova Evropa or New Europe) of diverse rule-breaking activities, covering graphic design, music, photography, video, news-media and theoretical work. Musically NEP focused on experiments in ambient and tape-music, self-released and hard to find compilation tapes like "The Cassette Played Poptones" (1988). Deeply immersed in pop-culture, politics and art theory Krsic's search for perfect pop music with cutting critical edge peaked in 1989, the year 'Decadance' track was conceived in studio. Fox & His Friends published the single in 2017 with Snuffo Remix on B-side. It received rave reviews in music press like MixMag and DJ Mag and it is still played on dance-floors around the world. But the story around the NEP is musically (as well as artistically) much wider: for the first time Fox & His Friends team compiles best cuts from unreleased and rare NEP tapes, covering the period from 1985 to 1989 on POP NOT POP abum. Dejan Krsic is now famous graphic designer and art historian in Croatia. Other collaborators include Laibach and Borghesia photographer Jane Stravs, artist and TV director Gordana Brzovic, Jovan Culibrk, now Bishop at The Serbian Orthodox Church and Anja Rupel, singer of cult Yugoslavian synth-pop group Videosex as well as the other members of Videosex, Iztok Turk and Janez Krizaj who produced some of the tracks. Other collaborators were talented producers Robert Logozar and Davor Daga Devcic, singers Linda Cooper, Natalija, Alexx Kovacs... The list of collaborations is long. Some of the memorable moments on POP NOT POP album are early demo version of Decadance 'How Do I Dance To This Music?' with blue movies samples and drum machine experiments like early Cabaret Voltaire, then Krsic's reinterpretation of legendary Kraftwerk's Trans Europe Express anthem as 'Transcendance', or 'Radical Chic', where Dejan himself and Anja Rupel from Videosex make lovely couple of dandy-esque fashionistas, singing chart-friendly radio synthpop tune that contrasts the A-side (The 'NOT POP' side) - full of experiments, dark wave and industrial nods to Test Department and Cabs. B-side is 'THE POP' side that will surprise most of the NEP followers from their early experimental cassette days. Sunny, danceable, joyfull pop that reveals the many faces of NEP. As Kraftwerk today is more of a concept than a band, NEP does the same by re-writing its products (musical, graphical, theoretical, activist) and constantly puts them in permanent state of change or re-mix. In the future, only NEP logo will be enough to consider something an art piece, and NEP will be everybody who wants to, as their Art Manifest claims. Until that day comes, 'POP NOT POP' is a document of how the vivid and creative were art-scenes in socialist Yugoslavia. Some of the graphic work, cut-ups from theory and Manifesto are also included on this LP, designed by Dejan Krsic aka NEP himself. This release is made from the original master tapes and published for the first time on vinyl.

RECORDED LIVE ON THE BAND’S 30TH ANNIVERSARY TOUR. LIVE AT THE FORUM, LONDON, DECEMBER 2006. INCLUDES THE CLASSICS ‘EVER FALLEN IN LOVE’, ‘ORGASM ADDICT’, ‘WHAT DO I GET?’, ‘HARMONY IN MY HEAD’, ‘WHY SHE’S A GIRL FROM THE CHAINSTORE’ AND TRACKS FROM ACROSS THE BAND’S EXTENSIVE BACK CATALOGUE.

NEVER BEFORE ON VINYL.

PRESSED ON RED VINYL.

LIMITED TO 1,000 COPIES WORLDWIDE.

Join Buzzcocks as they celebrate the 30th Anniversary of the band’s formation in front of a ravenous London audience. Recorded in December 2006, and never before released on vinyl, ‘30’ captures the band on excellent form, performing twentyeight songs from across their back catalogue, including the seminal late ‘70s hits and highlights from the rest of their career. Still wired, still buzzing with punk energy and still playing loud, fast and unapologetically, this is the sound of a band on unstoppable form, led, as ever, by the inimitable combination of Pete Shelley and Steve Diggle.
This red vinyl edition promises to be a must-have for die-hards and collectors, and a brilliant primer for those not yet in the know.

A folk/bluegrass troubadour from Vermont who delves into shape-note traditions and Appalachian ballads and makes it all beguilingly his own. His guitar lines have the fancy fingerwork of a crack banjo player and his banjo lines have the tugging suspensions of a jazzer.’ – Guardian

‘Amidon is a rare Americana artist whose … signature banjo-strewn style … and disparate mix of influences play into a sound that is at once archaically rootsy and savvily refined.’ – Wall Street Journal

Sam Amidon considers his new self-titled album the fullest realization to date of his artistic vision. It comprises his radical reworkings of nine mostly traditional folk songs, performed with his band of longtime friends and collaborators. Amidon produced the record, applying the sonic universe of his 2017 The Following Mountain to these beloved tunes, many of which he first learned as a child. ‘Pretty Polly,’ for example, was one of the first traditional tunes he learned to play, and ‘Time Has Made A Change’ is a song that his parents – singers who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus – sang around the house when he was young. Amidon will perform two concerts at Kings Place in London on October 3. A limited number of tickets will be available in the venue, as well as tickets to stream the event from home. Further details are available here.

Amidon and his frequent band of multi-instrumentalist Shahzad Ismaily and drummer Chris Vatalaro were joined in the studio by Belgian guitarist Bert Cools (who played on his last EP), as well as Amidon’s wife, Beth Orton, who adds vocals on three songs. Acoustic bassist Ruth Goller and saxophonist and labelmate Sam Gendel also play on the album, which was mixed by Leo Abrahams. Sam Amidon was mostly recorded live in the studio. Amidon arranged the songs, which are traditional tunes, with the exception of Taj Mahal’s ‘Light Rain Blues’, Harkins Frye’s ‘Time Has Made A Change’, and ‘Hallelujah’, which is an 1835 William Walker shape-note tune using earlier words by Charles Wesley, found in the Sacred Harp collection of early American folk-hymns.

Sam Amidon is Amidon’s fifth recording on Nonesuch and follows the 2019 EP Fatal Flower Garden (A Tribute to Harry Smith). Additional recordings include his 2017 album The Following Mountain and Kronos Quartet’s Folk Songs the same year, on which he was a featured singer along with Rhiannon Giddens, Natalie Merchant, and Olivia Chaney; Lily-O in 2014; and his label debut, Bright Sunny South, in 2013.

“The earth shall rise again...”
AMOR/LEMUR finds the Glasgow quartet AMOR in partnership with Norwegian improvising ensemble LEMUR to hopeful and ecstatic effect. Conceived before the onset of Covid 19 but finished during spring lockdown, their eponymous EP is the most loose, alive and elevated recording in AMOR’s catalog. AMOR/LEMUR takes the template of throbbing avant disco expanded upon on previous recordings for Night School and lifts it into new

territories, with new tonalities and unexpected turns on the journey. More than anything, the expanded, near- cinematic expression of human connectivity feels like a lightning new energy to grasp in the dark.

Following a revelatory concert in Glasgow in January 2020 wherein the two sets of musicians met and performed together for the first time, a recording session was arranged the following day, resulting in the most elevated permutation of AMOR’s art to date. Each track was built upon a rhythmic bedrock of percussion and drums performed by Paul Thomson and samples/synthesizer by Luke Fowler. Thomson used bamboo Javanese gamelan (most notably on For You) and scrap metal, as well as traditional percussion and drums while Fowler incorporated processed ambient field recordings recorded in enclosed acoustic spaces around Glasgow. Singer/pianist Richard Youngs contributes some of the most bright and mindful work of his career. Acoustic bass player Michael Francis Duch, whose lush playing as ever provides the elastic spine to each song, scored the string parts for LEMUR on piano at home in Norway. The addition of swelling strings and drones fills out the AMOR sound significantly, lending a sonorous tone to 8 minute, epic closer For You or an ascending melodic introduction to Stars Burst that feels like a new morning dawning on a world saved from certain death. With the circumstances of lockdown forcing the musicians to work differently, a thread of optimism and utopia grounded in the moment weaves through these tracks. Unravel reveals a spine tingling vocal from Youngs. It’s a song about the simultaneously grounding and ecstatic effect of love, feeling connected to others. It’s a simple message, “I’m finding myself in your smile, always unravels me” speaks of ego death, the dissipation of the material into a nirvana of pure energy, the power of surrender. This isn’t a quasi-religious message, this is the power of each other, a love song to connection in a temporary age of isolation. Stars Burst is a play on the inner and outer cosmos, with narrator Youngs exploring wonder to a pounding galloping rhythm and snake-charming synth. It’s an open dance, with the group locked in together for the wild ride. Fear is the centerpiece of the record, starting with drones and scraped overtones before swirling synth notes filter upwards to meet reverberating minor chords. Over 8 minutes of tight but loose playing, Youngs is the shaman instructing us to use Fear as a celebration of the moment, embrace it and jump into the unknown. The only way to overcome your fear is to feel it, use it as an energy. The use of the studio as an instrument throughout side 2 is particularly important, with the dubbing and mixing prowess of engineer Paul Savage (who mixed unattended due to lockdown restrictions) and tape manipulations performed by Jason Lescallet coming into play. For You closes out with a largely instrumental, evolving composition that uses many of the abstract and novel aspects of this permutation to aid the trance. It’s massive, an unfurling creature with unexpected tonalities and serious heft.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

In a time where everyone from Whitney Houston to Frank Zappa have been re-created in hologram form, where Grimes recently suggested in an interview that “we were at the end of human art”; there could scarcely be a better time for genre-shifting Leeds-based six-piece Team Picture to bring forth the thrillingly expansive synth-pop opus of their debut album The Menace of Mechanical Music.

Inspired by an early 20th century essay under the same name by American marching band leader John Philip Sousa, Team Picture take a look at the automation of creativity on this, their first record with a fully settled line up. Themes centre around the value of creative identity in an automated age, the increasingly disposable nature of art and where that leaves its creators. At twelve songs split into a three-part suite; The Menace of Mechanical Music is emphatically maximalist.

Tracks like the breathy, twinkling Flowerpots, Electric Beds and Handsome Machines’ Icarus-like striving for the sun are an antidote to a music world awash with digital production manipulation and songs written to algorithm. In debating the loosening of the human grip on creativity, Team Picture have poured every last drop of emotion into the recording process.

The group’s now trademark three-way vocal delivery and blurring of textures takes on new structure and purpose. They’ve always had a self-awareness to themselves, too. Initially grouped in with the guitar psych crowd, thanks to their fledgling repeato-rock, they were quick to disassociate themselves from that on 2018's mini-album Recital. With The Menace of Mechanical Music, they expand their sound further still, pirouetting from the likes of Sleeptype Auction – which glimmers like a late 80’s 4AD artefact – through various FX-laden dreamscapes, to the squelchy post-punk of closer Quit Reading. Yet the group were as much influenced by the work of the Early Netherlandish painter Hieronymus Bosch, and his triptych The Garden of Earthly Delights, as they were music touchstones ranging from Kate Bush, Cass McCombs and The Cure.

It’s Sousa words that resonate most deeply within the record however: “The fears of Sousa echo the fears of today's musician,” says Lewis of the late band leader’s 1907 text. “The re-appropriation of funds and support that the artist needs to survive, the gradual erosion of musicianship and self-improvement, that art will become disposable, and that our cultural identity will disappear.”

Recorded with producer Matt Peel (W.H Lung, Eagulls), half the group were unemployed during the session and a daily routine would see them undertake universal credit meetings and job interviews in the morning, before heading to the studio to work into the night. “It was an anxious process but an enjoyable one” says the band’s guitarist Josh Lewis. Indeed, beyond the increasingly golden gated idea of ‘making it’ as an artist, this new album is simply about surviving as one.
Sousa’s vision of a society that had deferred to automation, where babies were rocked to sleep by wheels and pulleys, and people no longer played piano with their own hands. Well over 100 years later and on the precipice of a technological shift never seen before, The Menace of Mechanical Music is the most human response that Team Picture could have given.

Blues singer and harmonica player Brian Knight (1939-2001) is counted as one of the initial members of The Rolling Stones. Co-founder of Brian Jones first band together with Ian Stewart and Dick Taylor (later Pretty Things) among others. Musical disagreement with Jones, who fancied Bo Diddley and Chuck Berry while Knight was a Muddy Waters follower, led to his departure from the group - later to be replaced by Jagger and Richards. He formed his own "Blues By Six" band, frequently with Charlie Watts on drums, and spent the following years touring and playing London clubs. In the seventies he continued with Bradford-Knight Blues Band. Always a high profile act on the English blues circuit Knight has performed with many known artists through the decades, as Rick Wakeman, Peter Green, Paul Jones, Zoot Money, Ronnie Lane, Charie Watts, Chris Farlowe...and many more. After two successful decades of touring and performing he finally got to record his debut in 1981on the independent label PVK Records. The album is a mix of standard blues and rock numbers as traditional "white blues", sometimes reminding of early British R&B from Cyril Davies or Alexis Korner. It features Dick Heckstall-Smith (Colosseum) on sax, Peter Green on guitar and Stones own Charlie Watts on drums

Blue Vinyl

Hailing from Wolverhampton, Weeping Messerschmitts gave us one absolutely cracking 12”, released on Upright in 1986 and then disappeared . Previously only available on 12” only we bring you 2 of those tracks on 7” for the very first time
Coming out of the West Midlands Weeping Messerschmitts cut their teeth supporting schoolfriends The Mighty Lemon Drops.
Initially called The Railway Children (until another band from Manchester nicked the name and pressure from lawyers at Virgin Records forced a change.) and briefly managed by Gerry Cott of The Boomtown Rats (until a disagreement about the bands direction, forced him to quit) the Messerschmitts gigged constantly all over the UK, creating quite a buzz, building a following and gaining favourable reviews from the music press.
It was no surprise that they were soon offered contracts with 3 major labels before choosing to take the indie route with Upright Records. For whom they recorded one of the greatest lost indie records of the 80’s. Unfortunately, this was to be their only release before splitting in 87

Fabrizio Lapiana continues to offer up deep musical escape from these troubling times with another expertly crafted techno EP, Cantamen, on his own Attic Music label. It features four of his own original cuts and builds on the success of his latest release, Collective Chaos, back in March.

For more than a decade, this Italian artist has been at the forefront of a techno scene that deals in deep and rolling drums, well sculpted synths and cavernous grooves that are rich in ambient detail. His Attic Music label has been at the centre of that thanks to careful A&R and always innovative releases, while he has also released on cult imprints such as M_Rec Ltd, ARTS, Figure Jams and Out-Er and many other collaborations.

Sleek opener 'Demons' is a mind melting and widescreen deep techno groove. Groaning synths creep across the face of the track as all manner of earthy and organic motifs drift by, as if you're racing through an underground network of caves. It's music for the mind as well as the body, and the hugely atmospheric 'Cantamen' is just the same - fizzing synth details and alien life forms fill the airwave with tension as the smooth and supple kick drums pound away down below.

The hypnotic masterclass continues on 'Kura' with rattling snares and harder hitting drums making you move your body before coarse claps and a majestic arpeggiated synth hook repeats up top and takes you to another level of rapture. Last of all is the fantastic 'Back Home', which has a skeletal electro groove run through with late night sci-fi pads. Its vast sense of cosmic infinity leaves you feeling floating adrift amongst the stars.

These are four evocative and cinematic techno tracks that take you into another dimension.

Generative music seems to imply a systems approach to music, or a system that once created can utilise randomness in a creative way. The benevolence of nature’s creativity belies this musical term, and can flip the word ‘generative’ to mean to involve constantly flowing creativity with purpose. In Europe there was a time in the Pagan Renaissance when architecture would mirror nature’s generative quality. Sculptures and columns were to imply animation or movement.

That’s where Milan W.’s album comes through in 2020. His music involves the night shadows of Europe’s architecture and its growth. In Bloom personifies itself by showing Antwerp’s influential ‘Night Play’: a term that can relate to many European cities such as Bologna, Vienna, and so on and so on. The leftovers of Renaissance and gothic architecture are everywhere in Europe still; layers of ruins that can generate the impression of simultaneous time periods. Tracks like Spa and Helium Queen reveal and revel in the power of shadow movement that is generated by the night. In Milan W.’s past works, the poignant and simple creative play of dark wave and synth beat music was his vehicle for expression, but now on In Bloom he departs to a touching sidereal impressionism allied with Coil’s instrumental pieces on Horse Rotorvator — an album whose cover portrays the potential powers of the pavilion just as Milan W. is portraying the generative soul and alienation of Europe’s ‘Night Play’. Because of In Bloom we can come to believe that there is a secretive energy in alienation, a playfulness that is alight at Night.

Marie Knight's legendary 45 from 1964 that made her a name in the Northern Soul scene. Massive spin in Wigan Casino allnighters, officially reissued here for the first time with 'Say It Again' on the flip, as originally released.


DESCRIPTION
Singer and pianist, Marie Knight made her name as a gospel superstar recording for Decca in duet with the legendary Sister Rosetta Tharpe. Her first solo record for Decca arrived in the mid '50s, just a couple of years before her signing to Mercury. She later toured with rhythm and blues acts like the Drifters, Clyde McPhatter and Brook Benton. Three singles followed on Diamond in 1963/64 before she was signed to Musicor Records later in 64.

Her definitive non-religious song 'That's No Way To Treat A Girl', crafted in this period, failed to become a hit at the time but was the recording that would make her name with the Northern Soul fans in the UK many years later, standing as one of the most celebrated spins at the Wigan Casino allnighters.

The slow-paced ballad on the flip-side, 'Say It Again', is a beautiful deep soul song that echoes the gospel singing Knight had mastered over the years. After her deal with Musicor ended, she was unable to land another secular recording contract. "That's No Way To Treat a Girl' is officially reissued here with 'Say It Again' on the flip for the first time, as originally released.

The Danish quartet Yung returns with their second full-length Ongoing Dispute, their first with PNKSLM Recordings (ShitKid, Hollow Ship, Les Big Byrd etc). Arriving 5 years after their acclaimed debut A Youthful Dream on Fat Possum, Ongoing Dispute finds Yung leaping forward, with stronger and more confident songwriting and a broader sonic palette. After the receiving the attention of Pitchfork, NPR, Stereogum and more with the debut, Yung took a step back after returning home following multiple tours around the world and after reassessing themselves and the band they started working on what would become Ongoing Dispute, delivering on the early promise and firmly establishing themselves as one of the premier bands in their genre.

The Danish quartet Yung returns with their second full-length Ongoing Dispute, their first with PNKSLM Recordings (ShitKid, Hollow Ship, Les Big Byrd etc). Arriving 5 years after their acclaimed debut
A Youthful Dream on Fat Possum, Ongoing Dispute finds Yung leaping forward, with stronger and more confident songwriting and a broader sonic palette.
After the receiving the attention of Pitchfork, NPR, Stereogum and more with the debut, Yung took a step back after returning home following multiple tours around the world and after reassessing themselves and the band they started working on what would become Ongoing Dispute, delivering on the early promise and firmly establishing themselves as one of the premier bands in their genre.

This reissue of Nina Simone’s ‘Forbidden Fruit’ includes a bonus album, ‘Nina Simone sings Ellington’ plus 2 bonus tracks. On the 1960/1 recording Nina sings and plays piano, accompanied by Al Shackman, guitar Chris White, bass and Bobby Hamilton, drums.
The bonus album was recorded in 1961 with an orchestra conducted and arranged by Ralph Burns. The two bonus tracks are from 1957 with Jimmy Bond on bass and Albert “Tootie” Heath on drums. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “With Forbidden Fruit, Simone became one of the defining voices of the 1960s.” Penguin Guide to Jazz

Netflix's acclaimed series Suburra: Blood on Rome (available in over 190 countries) focuses on the deep connections between politics and organised crime in the Italian capital. The soundtrack to the third and final season was written, produced and performed by Roman rapper and songwriter PIOTTA, whose "7 Vizi Capitale" was already the theme song for seasons 1 and 2. His music beautifully complements the gripping plot and the characters' journey, capturing the atmosphere of a side of Rome unknown to many. The vinyl LP contains 10 previously unreleased tracks, including 2 instrumentals and a remix; the CD features 3 bonus tracks.

With 9 albums under his belt, Tommaso Zanello, also known as PIOTTA, is one of the pioneers of Italian hip hop. Active on the Roman rap scene since the mid-90s, he earned national fame with his award-winning single "Supercafone" (1998), which was later used by Sky Japan as a theme song for the Italian football championship. He can boast collaborations with hip hop legend Afrika Bambaataa and English musician Captain Sensible and has toured the United States with the Vans Warped Tour.

Album composed, recorded and mixed by Elko Blijweert. Mastered & cut by Frédéric Altstadt. Original cover artwork painted by Joe Brockerhoff. Album pressed on 180g vinyl, in an edition of 500 copies.

Here we add a new classic chapter to tradition. A tradition known as the many exotic sounds of Maestro Elko B. The multi instrumentalist member of bands like ‘The Horse Head Bed’, ‘The Groovecats Deluxe’, ‘Dino And The Chicks’ and many more has once again composed a new solo album for Ekster. This fine and tasty selection of musical pieces vibrate colourful echoes ranging from blossoming fountains over casino-esque gambling. Space-cowboys play hide and seek with childlike innocence in an adult world. Many of the songs on “Realm of Rides & Romance”
have found its origin in Blijweert’s work as a composer of soundtracks for theatre, dance performance and artistic installations. Cinematic reflections providing EXO “Paradise Moods” by this multitrack one man band.

Recorded from 2017 to 2020, Elko has expressed finding inspiration in chance, the Sphinx, the casino, the Decap organ, colonialism, bats and frogs.

'the commentary of the worst reality show you can imagine...Britain'

Following the recent self-titled mini album, Dead Sheeran returns with his full debut album 'A National Disgace'. Once again Dead looks at the way the country continues to spiral downwards into oblivion in his usual satirical and tourette-like way. Pianos and strings play over harsh basslines and hip hop beats, and punk rock fuses with video game soundtracks, while the lyrics paint a dark picture of the situation we find ourselves in. The album was started in the last throes of Lockdown 1, with songs such 'Can Things Get Any Worse?' 'The Problem With This Country' and the government's failed attempts at getting UK furloughed workers to get out and harvest fruit in 'Pick For Britain' narrating the crazy days of Summer 2020. As lockdown eased, and society started to erupt, tunes such as 'Kicking Off In The Streets, and 'Keep Your Distance' started to come into play. Self awareness, social media abuse, litter louts and right wing mates all come under fire over the duration of this 11 track album, with the moods changing as regular as the F-bomb gets dropped. Essential listening for these strange times.

Dead Sheeran aka Paul Catten writes, produces, mixes and plays all instruments on this. From programming beats, fiddling with synths to recording himself playing Pac-man, Dead pushes further musically than the previous release. The influences of the Sleafords, The Fall, The Streets and the many punk outfits that influence him still rumble in the distance, but make no mistake, this is a Dead Sheeran record. He has carved out his own sound and vibe on 'A National Disgrace', and as Dead will tell you, this is only the beginning…

The Begotten is the brainchild of Jürgen De Blonde (Köhn/de portables) and Brecht Ameel (Razen), who initially performed a number of shows and released a CS under the moniker 'Kohier' - gleefully referencing the absurdity of Belgian tax systems and institutions.

On their debut LP "Temidden Laaghangende Wolken" they are joined by percussionist and improv-veteran Dirk Wachtelaer (Pablo's Eye/Vanishing Pictures), who locked with De Blonde and Ameel's post-reality continuum during a recording session at Les Ateliers Claus in Brussels. In this new trio format, The Begotten weaves a stripped-down set of after-hours, trancey observations on keys, baritone guitar and drums. Neon-lit bars are named Le Kheops or 60 Moons, streets are soaked in sheets of rain, people are staring at tax sheets and comets pass by unnoticed. Dub with tears; "Temidden Laaghangende Wolken" is the perfect backdrop of a strongly medicated game of Manillen during a 'Derrick' rerun.

In 1976 Rolling Stone called prog-rock pioneers Crack The Sky ‘one of year’s most impressive debuts.’ Today, 40+ years later, the band releases a new studio album entitled Tribes, due out in January 2021.
The title track speaks volumes about modern society’s perpetual cultural divide, wherein each side believes its inalienable right to champion the only opinion that matters.
Side 4 of the album includes bonus tracks from Crack The Sky’s catalog, not available on the digital or CD versions.