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The way you're saying it, "prolific" isn't the right word for The Bug Club. You've got to say it with the trademark Welsh lilt and pay due homage to this inimitable band's origins in the renowned hit factory of Caldicot, South Wales. Do that, and you're about right with how to summarize a group who've released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band's name, all since 2021, and while playing 200+ gigs a year. Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music's Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work. Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There's B-52's call-and-response fun mixed with AC/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo "War Movies" and "Quality Pints" sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. "Quality Pints" deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R's as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. If it's that important, which it is, it's worth saying again. "War Movies" dresses distorted chugging with a comprehensive 'best of' list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions. And "A Bit Like James Bond" tackles the UK's sleaziest undercover export at the same time as the embarrassing ego problem that besets much of its population - but it's only heavy(ish) in the fun, loads-of-riffs sense. So, that's what they've been finishing up during their massive month-long break from gigs. In a bid to avoid being branded layabouts, The Bug Club will support their upcoming Sub Pop release with a springtime tour of the UK and Europe beginning May 10, before heading out to the US in September.

"Bury Your Gods" ist das dritte Studioalbum der Melodic Death Metal Band DELIVER THE GALAXY, die aus dem Harz stammt.
Das Album taucht tief in die Welt der Prä-Astronautik ein und stellt die spannende Idee vor, dass die Menschheit nicht allein im Universum ist. Es diskutiert die These, dass eine außerirdische Rasse die Erde zur Zeit der alten Sumerer besuchte und ihr Wissen und ihre Technologie der unterschiedlichen Pyramiden-Konstruktionen weitergab.
Titel wie "Bury Your Gods" erforschen das faszinierende Konzept einer außerirdischen Gottheit, die angesichts einer möglichen Invasion fordert, irdische Götter zu verbannen, während "Get Down" direkt dazu aufruft, sich dem Einfluss des außerirdischen Gottes zu unterwerfen.
Im Vergleich zu den vorherigen Veröffentlichungen, hat sich die Band einen härteren Sound zugelegt, der dem Hörer ein intensives Musikerlebnis beschert.
Tracks wie "Deathlight" oder "Shadows" zeigen zum ersten Mal die Klargesang-Fähigkeiten von Sänger Matthias Mente auf.
Insgesamt ist "Bury Your Gods" eines der stärksten Alben, die die Band je veröffentlicht hat.

"Bury Your Gods" ist das dritte Studioalbum der Melodic Death Metal Band DELIVER THE GALAXY, die aus dem Harz stammt.
Das Album taucht tief in die Welt der Prä-Astronautik ein und stellt die spannende Idee vor, dass die Menschheit nicht allein im Universum ist. Es diskutiert die These, dass eine außerirdische Rasse die Erde zur Zeit der alten Sumerer besuchte und ihr Wissen und ihre Technologie der unterschiedlichen Pyramiden-Konstruktionen weitergab.
Titel wie "Bury Your Gods" erforschen das faszinierende Konzept einer außerirdischen Gottheit, die angesichts einer möglichen Invasion fordert, irdische Götter zu verbannen, während "Get Down" direkt dazu aufruft, sich dem Einfluss des außerirdischen Gottes zu unterwerfen.
Im Vergleich zu den vorherigen Veröffentlichungen, hat sich die Band einen härteren Sound zugelegt, der dem Hörer ein intensives Musikerlebnis beschert.
Tracks wie "Deathlight" oder "Shadows" zeigen zum ersten Mal die Klargesang-Fähigkeiten von Sänger Matthias Mente auf.
Insgesamt ist "Bury Your Gods" eines der stärksten Alben, die die Band je veröffentlicht hat.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

The new album is ready and it’s the best! Cornell says “This is more than an album to me…. It is an up close and personal expression of the many things that move me in life and how I feel about life, love and all the things I value most. The love that went into making this album is without question a collaboration of great musicians and producers who put their Souls into it. No matter what your mood is, there is a song on this album that will relate to all of the different emotions we experience Every Day!”
The first single from this album was “The Change”, released earlier in the year ahead of the massive new song “Everyday”. The album is coming 26th July on CD and will be followed up with a vinyl release (of selected tracks) 23rd August.
Cornell is from Berkeley, California and raised in San Francisco where his debut album “Vindicated Soul” was released in 2017. Since then he has taken the soul scene by storm through further prolific albums “One Love”, “Absolutely” and “Next Life”. Earlier in his career he recorded with The Isley Brothers and performed on stage with James Brown. Cornell performs songs from the album for the first time at The Sussex Soul Weekender Friday 2nd August.

Hello music lovers!

We're thrilled to present a very special vinyl release that's sure to bring back some amazing memories. It's been exactly 20 years since the 2 Black scored an incredible hit in Italy and abroad with their unforgettable track "Waves of Luv" - you know, the one that takes us “in alto mare"!

To celebrate this milestone, we're releasing a commemorative vinyl that's packed with goodness. On Side A, you'll find the two most-played original versions: the Soulstatic Radio Mix and the Mattara Vs Vtraxx Extended Mix. These are the classics that made us fall in love
with the track in the first place.

But wait, there's more! Flip it over to Side B, and you'll discover three brand new, super-fresh remixes that bring "Waves of Luv" right into 2024:


This vinyl is the perfect blend of nostalgia and contemporary sound. It's a must-have for any dance music enthusiast, and it'll be the perfect addition to your summer playlists. Don't miss out on owning this piece of dance music history!

Get ready to ride the "Waves of Luv" all over again!

From 2019 to 2023 Lindsay Reamer worked as a field scientist. With a guitar and a bag of books in tow, she would leave her home in Philadelphia for the postcard scenes of the American landscape to gather data on visitation in National Parks. She counted cars and RVs, surveyed visitors, and made a temporary home for a few weeks at a time wherever she landed. All the while, she collected her own observations like specimens and slowly weaved the songs that would form her debut full-length, `Natural Science.' Recorded throughout 2023 by Lucas Knapp, `Natural Science' paints with a full spectrum. Humor rubs elbows with heartbreak. Acoustic guitars brush up against synthesizers, cradling Reamer as she sings about the American Chestnut tree extinction, employee gossip at a Day's Inn, fishing beside a power plant, turf grass farms, and waking up next to day-old take-out. The indifferent beauty of nature is held up next to the everyday as Reamer does her very best to find clues for navigating the latter by musing upon both. Following the release of her self-produced EP `Lucky' (Dear Life Records) in 2021, Reamer assembled a band with musicians from Philadelphia's vibrant music community and began working her once solo-acoustic songs into full band arrangements. After a brief flirtation with dance music which led to 2022's viral single "Touch Tank," Reamer settled into a sound that lies somewhere in the folkrock-pop matrix, explored with the humor and lightness of songwriters like Sheryl Crow or Melanie. Reamer reflects: "When I heard the songs with the band, I knew it was time to make the record. It felt like something I had been working towards my whole life. I grew up around musicians but I never thought I was good enough to be in a band or even to make my own music. My grandmother Joan gave me voice lessons after school, my mom was an opera singer, and my dad a guitar player. But it wasn't until a few years ago that I realized I could do it. It didn't matter if I could shred on the guitar or something. It was like some illusion shattered." Reamer is a sincere storyteller. The self-doubt and heartbreak expressed in songs like "Spring Song," "Sugar," or "Red Flowers" give way to the triumphant moments of self-acceptance and love in "Lucky," "Necessary," and "Figs and Peaches." `Natural Science' chronicles a path to confidence, an honest reflection of someone with the capacity to hold a deep well of emotion who also makes sure to not take it all too seriously. "Gardens on the land / Castles on the beaches / I trust my hand and / Pluck my figs and peaches," Reamer sings, as she works to reconcile the strange difficulty we have at finding happiness despite the obvious beauty all around us.

As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. * Strictly limited to 1000 copies.*
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Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis' short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance

-3rd album from veteran rap duo Dillon & Batsauce. Dillon on the raps & scratches, Batsauce on the beats. ('On Their Way' - 2018, 'Self Medicated' - 2020).
-Produced entirely by Batsauce, guest features include Grand Puba, Kool Keith, Quelle Chris, Reef the Lost Cauze, Headkrack and Jay Myztroh of Stono Echo.
-Atlanta, GA + Jacksonville, FL album release parties booked for end of July + Northeast Tour Run scheduled for August.
-Batsauce has been producing hip hop and soul for 20+ years with multiple albums on labels BBE (Barely Breaking Even) producing for his wife, soul-singer, Lady Daisey + Galapagos4 where he produced multiple projects for Qwazaar of Typical Cats. He is 1/3 of the group, 'The Smile Rays' (which includes Lady Daisey and Paten Locke). He's also done extensive work with Akrobatik, Mr. Lif and even has multiple songs with George Clinton!
-Dillon is an Atlanta, GA based MC/DJ who has been releasing records for 20 years, 10 of those years was running FULL PLATE, the label he started in 2013 with Paten Locke (RIP). Dillon has worked with many of Hip-Hop's elite from the old school to the true school such as Chuck D, Diamond D, Count Bass D, Kool Keith, Greg Nice, Grand Puba, Homeboy Sandman, J-Live, Quelle Chris, Sadat X, Ras Kass, Stacy Epps, Planet Asia, eLZhi, Slimkid3 of The Pharcyde - and the list goes on!
-Classic black, standard weight vinyl in full-color jacket w/ matte finish. Includes Download Card.
Underground hip-hop veterans, Dillon and Batsauce have been making unorthodox rap music together for nearly 20 years with a simple formula: Batsauce makes the beats, Dillon writes the songs, and whatever happens, happens. After carving out their own lane with a catalog of EPs and LPs over the past 2 decades, the duo has finally slowed down enough to ask themselves, 'What Have We Done'?
Is the title of their latest effort rhetorical or meant to be an actual question? If so, Dillon and Batsauce probably don't want to know the answer. They probably don't want you, the listener, to think too much about it either. Instead, 'What Have We Done' is an invitation to experience the trials and tribulations, the small wins and the big losses of being aging independent artists in an increasingly cut-throat world for music makers.
But Dillon & Batsauce aren't the only ones on this joyride, we also hear from a well-curated crew of characters they've befriended along the way, from bonafide legends like Grand Puba and Kool Keith to modern day rap heroes, Quelle Chris & Reef the Lost Cauze. The end result is a collection of songs that runs the gamut from personal to aspirational to...delusional. Whether it's 'too much' or 'not enough', the answer to the question, 'What Have We Done' remains open to interpretation. Perhaps it’s not a question at all, but merely the naturally visceral reaction when career creators look back at a life lived on the edge.
Track Listing: 1. What Have We Done (Intro) 2. Mind Made 3. Quiet as a Library 4. Eddie Farah 5. Make History 6. Cannonball feat. Grand Puba 7. Banana Peels 8. Accolades feat. Reef the Lost Cauze & Jay Myztroh 9. Wakin' up Hungry feat. Headkrack 10. Goin' Viral 11. Ready on the Left feat. Kool Keith 12. What Are We Doing (Interlude) 13. Watercolors feat. Quelle Chris 14. Speak Easy 15. Isiah Thomas 16. Rock Bottom 17. Yoga Flame

Viele sehen Louis Cole immer noch in erster Linie als Schlagzeuger. „nothing“, Coles fünftes Album und sein drittes auf Brainfeeder wird diesen Eindruck sicherlich ändern. In Zusammenarbeit mit dem Metropole Orkest und Jules Buckley lehnte er den ausgetretenen Pfad der orchestralen Wiedergabe seiner größten Hits ab und entschied sich stattdessen, eine Reihe brandneuer Musik für dieses Album zu komponieren - größer, kühner und ausladender als je zuvor. Ja, es gibt Anspielungen auf sein GRAMMY-nominiertes Album, „Quality Over Opinion“, aus dem Jahr 2022, aber 15 der 17 Titel auf diesem Album sind brandneu. Das ist Jazz. Das ist klassische Musik. Es hat diesen Funk. Du wirst Synthesizer und Loops hören. Du hörst eine Band und Live-Schlagzeug. Es spielt ein Weltklasse-Orchester. Einige Stücke sind ultrapräzise, während das ausufernde „Doesn't Matter“ die Zehn-Minuten-Marke überschreitet. Für Cole war der Jazz schon immer der einzige Ort, an dem man wirklich alle Erwartungen loslassen kann - bei „nothing“ lässt er der Musik freien Lauf.
Das Metropole Orkest erwies sich als der ideale Partner für dieses Unterfangen. Im Laufe seiner 80-jährigen Geschichte hat es mit Legenden wie Ella Fitzgerald, Pat Metheny und Herbie Hancock zusammengearbeitet - genau die Art von grenzüberschreitender Mentalität, die Cole suchte. Wenn man dann noch den Dirigenten, Arrangeur, Kurator und Komponisten Jules Buckley hinzunimmt, ist das eine dreifache Bedrohung von epischem Ausmaß. Buckley ist ein einzigartiger und seltener Künstler - ein GRAMMY-Preisträger, der das Regelwerk der Orchestermusik und die Rolle des Dirigenten neu definiert hat.

This led to her immediate recognition as a banjo pioneer and to her win in 1991 of the Banjo Player of the Year award from the International Bluegrass Music Association (the first female to win an Instrumentalist of the Year award). For the 2024 reissue, the original 8- track, 1" multitrack tapes were transferred at a resolution of 192kHz/36- bit, and remixed and mastered by Matt Coles at
Compass Sound Studio in Nashville.


The album was produced in 1989 by acoustic music icon and frequent Jerry Garcia cohort David Grisman (architect of "Dawg Music," the jazz- influenced breakout fringe of the bluegrass genre) and recorded with a cast of all- star musicians at Dawg Studio in Marin, CA. Players on the sessions included Alison Krauss (fiddle), David Grisman (mandolin), Mike Marshall (guitar, fiddle, mandolin), Matt Eakle (flute), Joe Craven (percussion) and Jim Kerwin (bass).

The album's 12 tunes were all written by Alison and include the first recorded versions of some of her most well- known compositions, including "Mambo Banjo," "Leaving Cottondale," and "Weetabix."
REMIXED AND REMASTERED from 192kHz/36-bit transfers of the original multitrack tapes. LP – features LIMITED EDITION BLACK & WHITE SWIRL + album download code with 3 never- before- released bonus tracks Includes a 4- COLOR BOOKLET with liner notes from Alison Brown, Dave Dennison, and Mike Marshall, plus ARCHIVAL PHOTOS and SESSION DOCUMENTS

Die US Alternative Metal-Vorreiter MUSHROOMHEAD melden sich diesen Sommer mit ihrem neuen Album Call The Devil zurück. Call The Devil ist der Nachfolger des achten Albums und Label-Debüts A Wonderful Life (2020), mit dem die Horror-Ikonen in den USA große Erfolge feierten (Platz 2 der US Current Hard Music Albums Charts und Platz 8 der Current Rock Albums Charts). Außerdem war es das Debüt von Jackie LaPonza – der ersten Sängerin von MUSHROOMHEAD.

Nach zwölfjähriger Pause kehrt Gitarrist Dave „Gravy" Felton auf Call The Devil zurück und verleiht zwei der neuen Tracks seine unverkennbaren Skills. Felton hat in der Vergangenheit auf mehreren wegweisenden Alben von MUSHROOMHEAD mitgewirkt und gilt durch seine Arbeit an Klassikern wie „Along The Way", „Sun Doesn't Rise" und „The Dream Is Over" als einer der prägendsten Songwriter. Call The Devil wurde erneut von Mastermind und Drummer Skinny produziert und von Matt Wallace (Faith No More, 3 Doors Down) gemischt, der bereits für das Kultalbum XIII mit der Band
zusammengearbeitet hat. Gemastert wurde Call The Devil von Jacob Hansen, der für seine Arbeit mit Größen wie Volbeat, Epica und Arch Enemy bekannt ist.

"Waxwork Records, in conjunction with Hollywood Records and Paramount Pictures, is thrilled to present SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman for the very first time on vinyl! SLEEPY HOLLOW is a 1999 gothic supernatural horror film directed by Tim Burton and starring Johnny Depp, Christina Ricci, and Christopher Walken. It is based loosely on Washington Irving’s 1820 short story “The Legend of Sleepy Hollow”. The plot follows police constable Ichabod Crane (Depp) sent from New York City to investigate a series of murders in the village of Sleepy Hollow by a mysterious Headless Horseman.

Danny Elfman is an award winning American film composer, singer, and songwriter. He has garnered international recognition for composing over 100 feature film scores. Elfman is a longtime collaborator of director Tim Burton having scored such films as Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas.

Sleepy Hollow stands as one of Elfman’s largest orchestral scores and utilizes weighty brass, eerie choral pieces, and unnerving strings. His use of romantic themes cut a calming tone throughout the dark and mysterious gothic-fairy-tale.

Waxwork Records is proud to present the debut vinyl release of SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman as a deluxe double LP album. Album features include 150 gram colored vinyl (Metallic Silver and Blood Red Swirl), new artwork by Steven Reeves, heavyweight gatefold jackets with matte satin coating and spot UV gloss varnish, and a 11”x11” art print."

One look at the axe-wielding marauder (drawn by famed heavy metal illustrator Edward Repka) on the front of this album and you know it’s not for the faint of heart. Canadian metal band 3 Inches of Blood’s musical attack (an appropriate term indeed) featured a unique, dual lead vocal line-up of Cam Pipes on “clean” vocals and Jamie Hooper on “screaming” vocals, with bludgeoning guitars (okay, axes) provided by Sunny Dhak and Bobby Froese (Dhak, Froese, and drummer Matt Wood left after this album to form Pride Tiger). Though this record came out in 2004 on the Roadrunner label, it wears its ‘80s metal allegiances on its sleeve, harkening back to the vein-popping intensity of vintage Judas Priest and Accept. Remastered on its 20th anniversary for an orange and black “ashen dawn” vinyl pressing, with a full-color inner sleeve sporting lyrics. Storm the castle!

Matthias Koch isa totalnutcaseDJ and producer of some o’the fiercest music ever to come out of Germany.Fromstarting out DJing and creating musicat the beginning of 2000, playing frequently in many of Germany’s notoriously fiendish clubs, an untimely long break of 17 years beckoneddue to unforeseen circumstances. However, he’s now back and ready to turn up the bass once morein search of a new balance in his free time. Franticallyproducingsince 2022, he’squickly developed his ownbrutalstyle, instantly catching the feverish ears of RIOT Radio Records as it’s definitely, defiantlyand undeniably not off-the-peg techno!Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland,we’re immensely proud to present Matthias Koch’s first evervinyl release.This is one of the most whackin’, jackin’ and beat crankin’ releases to have ever appeared on our label. Featuring six lethal stompers for the darkest of dance floors and smoke filled basements, each track a lesson in how to pound ravers into submission. Withadditional intrinsicallycontortedmachinations by Nomad, JoeFarr, Angelsand othervice-ridden vintagedemonic consoles, Low Entropy’s Doom laden ‘Stripped’remix for example, this release isgonna leaveyou bewilderedlybeatento the core. The full digital release also features twobonusmonsterous tracks, one of which isarelentlesslyfierce 303 mangling by the acid mastermind himself,Bdacid. Scream if you wanna go faster ..................

WARNING: RIOTous ANGELICSCREAMERS WILL ALWAYS TURN INTO RENEGADES

A truly one-of-a-kind artist, Kaitlin Butts has a deep affinity for country music’s more theatrical side: the extravagant storytelling, dazzling showmanship, songs embedded with both unbridled emotion and quick-fire humor. After discovering her passion for performing as a little girl, the Tulsa native later brought her boundless energy and radiant voice to her own unapologetic yet soulful songwriting. When it came time to create her third album, the Nashville-based musician leaned into her lifelong love of musical theater and dreamed up a modern-day reimagining of the soundtrack to her all-time favorite musical, Rodgers and Hammerstein’s Oklahoma! The result: a high-concept but candidly autobiographical LP called Roadrunner!, whose 17 powerhouse songs show the full force and extraordinary depth of Butts’ artistry for the very first time. Produced by Oran Thornton (Brent Cobb, Logan Brill), Roadrunner! marks a major tonal shift from Butts’ 2022 sophomore LP what else can she do, a character-driven exploration of complex matters like addiction, domestic violence, and generational trauma. “With the last album I wanted to write about the struggles I’d seen people go through or experienced myself, so a lot of the songs had a sadness or darkness to them,” she says. “I feel like Roadrunner! is much closer to what I’m like onstage, where there’s real emotion and truth but also humor and a tendency to poke fun. It’s all those different versions of me at once.”

For nearly three decades, WHY? have thrived in subverting expectations. Across seven unpredictable and adventurous studio albums, the band led by Cincinnati songwriter Yoni Wolf has stretched the fringes of psychedelic pop, hip-hop, and electronic music. No matter the genre experiments and thematic departures, their discography is remarkably consistent, anchored by Wolf's disarming lyrical transparency. His writing is provocative, self-lacerating, and always considered, coming from a place of blunt emotional openness. The Well I Fell Into, the eighth full-length from WHY?, is Wolf at his most cohesive and poignant. An autopsy of heartbreak, the album charts the ups and downs of a devastating breakup while trading bitterness for healing. Self-released on Waterlines, Wolf's new label that follows in the footsteps of Anticon, the trailblazing artist-run collective he co-founded, its 14 tracks stand as the band's prettiest and most immediate work yet.

Waxwork Records is proud to release TAROT Original Motion Picture Soundtrack by Joseph Bishara. TAROT is a 2024 American supernatural horror film written and directed by Spenser Cohen and Anna Halberg. The story follows a group of college students who, after using a strange Tarot card deck, begin to gruesomely die one by one and must uncover the deck's mystery.

The soundtrack to TAROT was composed and conducted by Joseph Bishara (Malignant, The Conjuring, Insidious, Annabelle). The soundtrack features Bishara's signature dark and haunting composition style that expertly blends heavy usage of synthesizers and electronics with evocative orchestral cues.

Waxwork Records is proud to release TAROT Original Motion Picture Soundtrack by Joseph Bishara as a deluxe double LP featuring three-color hand poured vinyl, new artwork by illustrator and TAROT creature designer Trevor Henderson, heavyweight gatefold packaging with matte satin coating, an 11"x11" insert, and one of five collectable character Tarot cards.

In 1995, schoolmates Elin Almered and Johan Duncanson started a band which they named after a gas-station-turned-radio-repair-shop called "Radioavdelningen" (Swedish for The Radio Department). In 2001, the Radio Dept. sent recordings to music magazine Sonic, receiving a positive review and being featured on the free CD sampler that came with the magazine. Labrador Records heard them on the disc and signed them to their label. The band"s debut album Lesser Matters (2003) was well received by the music press, scoring 10 out of 10 in the NME. NME would rank Lesser Matters ninth on their list of the 50 best albums of 2004. The album received an 84/100 (Universal acclaim) on Metacritic from a total of five reviews.

Writing music for film and theatre has always been a big part of Hania Rani's musical world. It is also a part of the creative process that can be tantalisingly out of reach for listeners, either the project doesn't come to fruition or the music simply isn't available away from the film or play. From early collaborations with friends, to last year's two scores for full length films (xAbo: Father Boniecki directed by Aleksandra Potoczek and I Never Cry directed by Piotr Domalewski') Rani has been involved in many such projects, each representing an important step in her artistic development and life as a composer and artist:

"Composing for motion picture or theatre is for me a very different kind of work than writing for my own projects. Firstly, I need to collaborate with somebody else who sees the world through the lense of their own art and craft. That's why these kinds of encounters can be so exciting - they are a promise of creating something very new, as a result of creative work of so many people from all walks of life. Secondly, I feel that music in film is an invisible character, a missing emotion that creates a special atmosphere and sensation. It doesn't illustrate, it completes the work of art. I think it is an extremely sensitive matter that rejects banal associations and easy solutions. I feel like composing for film works like an exercise for my imagination."

It is the nature of these collaborations though, that sometimes the composers own preferred compositions don't make the final cut. This is where Music for Film and Theatre comes in as it allows Rani to present a selection of her own personal favourite pieces composed for film and plays. Pieces that made it to the final cut and pieces that were rejected by the director or the producer. Bringing the music together as an album offers a chance for Rani to share her music with her listeners on her own terms and a chance for her fans to hear a different side of her art.

"I put them in one place, as a collection of precious objects that were kept for years in a drawer. Some of them were composed a couple years ago, some are the result of recent research. I am very happy to finally be able to present them as a separate project."

Rani is of course grateful to all of the directors who have entrusted her to create music for their projects, but she professes especially warm feelings for the pieces composed for her first 'real' theatre play, Pradziady, directed by Michał Zdunik. The title comes from 'Dziady' a term in Slavic folklore for the spirits of the ancestors and a collection of pre-Christian rites, rituals and customs that were dedicated to them. The essence of these rituals was the 'communion of the living with the dead', namely, the establishment of relationships with the souls of the ancestors. "I felt this story needed extremely dark and fragile music, and at the same time a sound that could express the mixture of the two worlds - the living and the dead. I decided to compose part of the soundtrack with a string quartet but including two cellos, viola and only one violin. We recorded in a little house, completely built from wood, mostly from Finnish pine. I always felt this space has a very special, warm and natural acoustics - especially when it is combined with string instruments. The track composed for this theatre play is called Ghosts but actually didn't finally make it to the performance, although I like it so much that I thought it would perfectly fit



this compilation". Other highlights include the enchanting Soleil Pâle written for a collaboration with director Neels Castillon, and improvising dancers Alt Take, the beautiful melancholy of In Between (from the film score for xAbo: Father Boniecki) and the magical bliss of The Beach (from I Never Cry) and together they create a beautiful offering from an artist whose every note is worth hearing, but for whom the journey is just beginning:

"I am very happy to see that many artists consider my music as the right soundtrack for their works, because film music was always a huge inspiration for any of my compositions. I find there a lot of life and real emotions, but also a feeling of freedom. Freedom from my own thinking patterns and prejudices. I also believe strongly in collaboration between people, I always feel this is the way to create something really new, based on a mixture of different ways of thinking, feeling, expressing."

This then is Hania Rani, Music for Film and Theatre – enjoy!

Recorded straight on the heels of Bad Company's 1974 debut — just a matter of three months later; not quite long enough to know how big a success the first LP would be — Straight Shooter is seemingly cut from the same cloth as its predecessor. It is, after all, a tight collection of eight strong, steady, heavy rockers that never, ever proceed in a hurry, but from the moment "Good Lovin' Gone Bad" kicks off the proceedings, it's clear that Bad Company have decided to expand their palette this second time around, writes AllMusic.

The album, released in April 1975, reached No. 3 on both the U.K. Albums Chart and the U.S. Billboard 200. It was certified gold (500,000 units sold) by the Recording Industry Association of America (RIAA) a month after its release.

The jacket for the album was designed by Hipgnosis, who also designed their debut album.

"Good Lovin' Gone Bad," was released in March 1975 and reached No. 36 on the Billboard Hot 100. The album was released in April. The album's final single "Feel like Makin' Love" was released in August and reached No. 10 on the Hot 100.

"Feel Like Makin' Love" and "Shooting Star," became classic rock staples due to this expanded aural vocabulary, and even straight-ahead rockers like "Good Lovin' Gone Bad" and "Deal with the Preacher" benefit from this additional muscle, while they feel comfortable enough to settle into a soulful groove on "Anna" and "Call on Me."

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing, this is the definitive pressing of Straight Shooter and one fans of Bad Company will be proud to own.

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

Two times UK Blues Award winner second album for APM Records released on CD. HSLB carries the narrative of a bluesman upto no good who when his world falls apart, admits what he’s done and atones. Produced by Phil Dearing (Eliza Carthy, Gretchen Peters, Lauran Cantrell). Features special guest Vaneese Thomas (daughter of Rufus and sister to Carla Thomas). Radio for HSLB : no.1 IBBA radio chart two months running , Top 50 iTunes Blues album chart (US) / no.3 Roots Music Report Blues Album (Global)/ no.1 Roots Music Report Blues song ‘Blind Leading The Blind’ (Global) / Top10 Living Blues radio chart (US) / Top 20 National College Radio (US), airplay on 50 stations (US) / airplay in Netherlands, Australia, Canada, Switzerland, Croatia, France, Italy, Germany, Israel Press for HSLB : Blues In Britain front cover, reviews Blues Matters, Blues in Britain, Rock & Reel, Living Blues (US), Blues Blast (US), Charlotte Blues Society (US), Blues Roadhouse (US), Big City R&B (US) Bluestown (NL) “Mississippi MacDonald riffs like a fabulous Albert King circa his Stax days”. • Mississippi MacDonald is playing: Love Fields Stage-Glastonbury, Linton Blues Festival, Dereham Blues Festival, Brightlingsea Festival, Over The Hill Festival, Mississippi MacDonald won Traditional Blues Artist of the Year 2024 and Acoustic Blues Artist of the Year 2024 at the UK Blues Awards in April. HSLB Nominated for UK Blues album of the year

FOR FANS OF: FLEETWOOD MAC, THE DOOBIE BROTHERS.
1971 in Los Angeles gegründet, gehören The Eagles zu den bekanntesten Country-Rock-Acts weltweit. Einen wesentlichen Anteil am Erfolg der Band
hatten ihre musikalischen Köpfe Glenn Frey und Don Henley. Die Gruppe verkaufte weltweit bislang über 150 Millionen Tonträger. Diese limitierte
Vinyl Schallplatte enthält legendäre F.M. Recordings von 1994 inklusive den Mega-Hits "Hotel California" und "Peaceful Easy Feeling".

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

Der US-amerikanische Rapper Vince Staples gehört ”neben Kendrick Lamar zu den anerkanntesten und
versiertesten ”Story-Teller” / Rap-Erzählern zurzeit”, schreibt der SPIEGEL.
Auf seinem sechsten Studioalbum ”Dark Times” (Blacksmith Records / Def Jam Recordings) verfeinert
der 30-jährige kalifornische Musiker alle Elemente, die seinen Katalog im letzten Jahrzehnt auszeichneten:
dichte, melancholische Lyrik, voll von Beobachtungen über das Leben, dargeboten auf üppigen vielschichtigen Beats, die Lichtnischen in der endlosen Dunkelheit suchen.

Ben Reed has worked with Frank Ocean, David Byrne, Sampha and many others, but his own music is unpredictable, passionate and tinged with melancholy and has drawn comparisons to the so-called Canterbury sound of Progressive rock.


‘Bandaged’ is much more in the singer/songwriter vein than Ben's previous releases, albeit tinged with an undeniable British proggy-ness. The richness of melody and harmonic vocabulary remains, and the influence of jazz is still detectable, this time via more concise song forms.


Past review comparisons to the Canterbury sound aren't too far wide of the mark here, especially as Jimmy Hastings (Caravan, Hatfield & the North) is present on two of the songs.


Throughout the album there is a detectable combination of sentimentality and melancholy combined with playfulness and a dark sense of humour making ‘Bandaged’ one of the most interesting and innovative new albums of its genre in 2023.

Boxed set of five 7-inch vinyl records, 300 copies limited edition. Artwork poster included.

All tracks remastered from the original master tapes.

Alessandro Alessandroni is no longer remembered simply as 'the whistler' in Morricone's spaghetti western soundtracks – and rightly so, since he was the key figure behind much of Italian 'secret music' from the 60s and 70s, always there in the studio during recording sessions, whether as a multi-instrumentalist or as the leader of session vocal group I Cantori Moderni di Alessandroni. Today his pervasive presence and important role has been finally recognized by music professionals and enthusiasts alike, so much so that he is now considered the true father of Italian library music – a genre whose sound he shaped since 1968.


As a film composer, Alessandroni often worked for small productions that had very limited (and often regional-only) distribution, and whose budgets were worlds apart from those in the 'top league' where friends and colleagues like Morricone, Bacalov, Trovajoli or Piccioni thrived. Rarely released as a soundtrack, this music ended up, at best, forgotten inside dusty ¼-inch reels or, at worst, disappearing into thin air.

After a string of releases that have brought back to life forgotten or lost works by Alessandroni (Sangue di Sbirro, Afro Discoteca, Lost and Found, etc.), it was pretty natural for us at Four Flies to start delving into a little investigated area of his filmography: his scores for erotic films, the last genre to gain popularity in the flourishing Italian film industry of the 60s and 70s, and perhaps the most extreme too, the one that, by pushing things too far, eventually put an end to that industry and its genres.

So, we're now very proud to present Alessandroni Proibito, an exclusive boxed set of five 7-inch records. It contains a total of 14 previously unreleased tracks from the soundtracks of 4 soft-core erotic films that included hard-core sequences and, therefore, fell somewhere in-between normal commercial distribution and the underground scene of adult movie theatres.

Taking an artisanal approach to his musical craft, Alessandroni was not afraid of having to deal with spicy subject matter, wobbly productions, implausible plots, improvised actors, or cinematographers who were clearly no disciples of Storaro. And he was so good at making a virtue out of necessity, at turning budget constraints into creative advantages, that he created soundtracks that far surpass the films' quality, with music that at once captures and elevates the spirit of the erotic genre as if into a condensed symbol.

More specifically, the maestro recorded many of the pieces in a DIY fashion at home, using a 4-track Teac tape machine to arrange his compositions. The Teac allowed him to play different instruments on each track, which meant he could basically put an entire soundtrack together all by himself, or almost all by himself.

These recordings often feature drum machines – which provide that retro, early electronic music vibe – as well as funk guitars and exotic-sounding percussion in the rhythm tracks. In addition, there is an extensive, almost bewildering use of synthesizers to replace solo instruments that would have required a paid session player. On top this minimalist arrangement, Alessandroni layered what he could: some piano chords, a little flute and, most importantly, his signature 12-string guitar phrasing.

The result is just stunning: a unique mixture of electronic music and acoustic instruments, in a style that stops short of kitsch and ranges from cinematic ambient pieces like "Tensione erotica" to disco-funk tracks like "Snake Disco" and "One Sunday Morning", both of which feature vocals by Alessandroni himself.

Alessandroni Proibito comes with artwork by Eric Adrien Lee and a matching 30x70cm folded poster inspired to the insert-size posters which used to be hung outside movie theatres to attract cinema-goers.

The boxed set is being released in a limited edition of just 300 copies and will never be reissued. First come, first served.

We’re glad to be back with the second installment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club.

Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before.

On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013.

On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler.

There are two versions of Perennial: the adventurous art-punk modernists, layering British Invasion pop, 60s soul, 90s Dischord post-hardcore, electronic music, and free-jazz, and the live three-piece whose bombastic 20 minute sets have become a “must-see” in the New England music scene. What started in 2015 as an all-encompassing art project has since grown into an honest-to-goodness word-of-mouth phenomenon, with over 300 shows played in the last six years (including shows with Guerilla Toss, Bully, Calvin Johnson, Jon Spencer, Sheer Mag, Teenage Halloween, and Downtown Boys) and multiple pressings of both of their full-length records. Perennial formed the band they always wanted to hear, and when they play, they're the band they always wanted to see. Perennial’s breakthrough 2022 LP, In The Midnight Hour, was their first time working with producer Chris Teti (The World Is A Beautiful Place & I Am No Longer Afraid To Die), a collaboration that garnered rave reviews from BrooklynVegan, Under The Radar, Post-Trash, Pop Matters, NPR Music and more, and marked a new creative benchmark. Feeling inspired, the band once again worked with Teti on 2023’s 7” EP The Leaves Of Autumn Symmetry, which earned more high praise from Stereogum, Paste, Consequence, Alternative Press, and Bandcamp Daily. Their latest release is the adventurous, experimental mod punk LP Art History, available June 7 via Ernest Jenning Record Co. and Safe Suburban Home.

Welcoming Matty B who has previously released on Hardcore Vinylists & Cantina Cuts -to the Return of The Vibe Label for the Sounds Of '92 EP - Available on Flame yellow or Standard Black vinyl - This EP is 4 original tracks using well known samples encapsulating the sound and vibes of the best year of rave music - 1992 - New stuff made in the Old Skool Style

Welcoming Matty B who has previously released on Hardcore Vinylists & Cantina Cuts -to the Return of The Vibe Label for the Sounds Of '92 EP - Available on Flame yellow or Standard Black vinyl - This EP is 4 original tracks using well known samples encapsulating the sound and vibes of the best year of rave music - 1992 - New stuff made in the Old Skool Style

Seit mehr als zwei Jahrzehnten verfolgen Dr. Dog ihre Hingabe an die Alchemie des Musikmachens. Als es an der Zeit war, ihr elftes Studioalbum aufzunehmen, wählte die aus Philadelphia stammende Band einen vielschichtigen Prozess aus, der eine tiefere Synergie zwischen den fünf Mitgliedern (Bassist Toby Leaman, Lead-Gitarrist Scott McMicken, Rhythmusgitarrist Frank McElroy, Keyboarder Zach Miller und Schlagzeuger Eric Slick) erforderte. Diese Reise begann mit einer gemeinsamen Session in einer Hütte in den Wäldern von Pennsylvania, von wo aus Dr. Dog sich nach und nach ihren Weg zu dem fröhlich-unbefangenen Psych-Rock ihrer neuen, selbstbetitelten LP bahnten. McMicken übernahm bei "Dr. Dog" zum ersten Mal in der Geschichte der ausgesprochen egalitären Band das Ruder als Produzent, abgemischt wurde das Album vom mehrfachen Grammy-Gewinner Matt Ross-Spang (Jason Isbell, Drive-By Truckers). Getreu dem eklektischen Geist, der die Band schon immer beseelt hat, wechseln die 11 Tracks auf "Dr. Dog" von Soul über Surf-Rock bis hin zu symphonischem Pop mit einer Ausgelassenheit, die durch die wiederbelebte kreative Energie beflügelt wurde. Ihr erstes komplettes Album seit "Critical Equation" von 2018 zeigt Dr. Dog als eine Band, die noch immer, nach über zwanzig Jahren ihrer Karriere, zusammenwächst und sich weiterentwickelt.

Notorious - Notorious signified a musical change for Duran in 1986. Produced by Nile Rodgers, it focuses on brassy numbers and Chic inspired dance rock. Over time, it has become a cult favourite of fans for the more mature compositions and sophisticated directions. It was the first album to feature the band as a trio with the departure of Roger and Andy Taylor.