Cerca:me

deu Chris Eckman und Carla Torgerson trafen sich 1983, als beide in einer Fischfabrik in Alaska arbeiteten. Beide waren Studenten am Whitman College in Walla Walla im US-Bundesstaat Washington. Chris und seine jüngeren Brüder Grant und Curt hatten bereits in verschiedenen Punk- und Pop-Bands gespielt, Carla war als Straßenmusikerin mit Folk-Songs aufgetreten. 1984 zogen beide nach Seattle, Washington und gründeten die Band The Walkabouts. In den 90er Jahren waren The Walkabouts mehr als nur eine Folkrock-Kultband. Ihre wunderbaren Alben "Devil"s Road" (1996), "Nighttown" (1997) und "Trail Of Stars" (1999) kamen sogar in die deutschen Charts. Anders sah es mit dem US-Duo Chris & Carla aus - obwohl die Musik keinen Deut schwächer war. Dahinter steckten Chris Eckman und Carla Torgerson, die als Walkabouts-Sänger und -Songwriter zeitweise privat ein Paar waren und als Duo auftraten, wenn die Hauptband ihnen Zeit dafür ließ. Das Box-Set enthält 3 Doppel-LPs plus drei CDs, sorgfältig remasterte Vinyl-Versionen der drei Studioalben. "Life Full of Holes" (1995) und "Fly High Brave Dreamers" (2007) und "Swinger 500" (1998) jetzt als Doppel-Vinyl-Set. Alle drei LPs kommen in einer Gatefold-Hülle und das ganze Set wird abgerundet durch eine 16-seitige (LP-große) Broschüre mit vielen unveröffentlichten Bildern und ausführlichen Liner-Notes sowie unveröffentlichten und exklusiven Bonustracks.

DevilDuck wagt sich in neue Gefilde vor! WISENT heißt die bisher "härteste" Band im Label-Kontext und sicher liegt man mit dem Genre "PostHardcore" bei dem Quartett aus Leipzig ziemlich richtig. Allerdings mutet nicht nur das Genre etwas ungewöhnlich für das Hamburger Label an, sondern auch die Tatsache, dass es das erste Konzeptalbum einer Band auf DevilDuck ist. "The Acceptance. The Sorrow" heißt das recht ambitionierte Debütalbum der aus dem irischen Sänger Stephen Lyons, dem Bassisten Morris Duff, dem Gitarristen Mathias Bauer und dem Drummer Oliver Ruß bestehenden Band. "The Acceptance. The Sorrow" ist nicht nur musikalisch ein recht harter Brocken voller Kummer und Reflexion über viele vergangene Ereignisse und Gedanken, aber auch über die Hoffnung, die weiter in uns und den Menschen um uns herum herrscht, ohne die das Leben einfach unerträglich scheinen würde.

Die Hamburger Band Rantanplan um Torben Meissner, Marcus Wiebusch und Reimer Bustorff wurde im Herbst 1995 nach dem Vorbild von Bands wie Operation Ivy und den Mighty Mighty Bosstones gegründet. Ihre zweite Platte "Köpfer" von 1998 war jahrelang auf Vinyl nicht erhältlich, erscheint jetzt aber als 25 Jahre Jubiläums-Edition auf 180 Gramm mintgrünem, farbigen Vinyl. Neben den Smashhits "Ich erinner" mich an alles" und der Funny Van Dannen Coverversion "Unbekanntes Pferd" (auch heute noch das Highlight jeder Rantanplan Show) findet sich ein kleiner Text von Bassist Reimer Bustorff und einige Photos. "Köpfer" war die letzte Platte der Band mit Wiebusch und Bustorff, die nach ihrem Ausstieg Kettcar gründeten.

Como Asesinar a Felipes (CAF) from Santiago, Chile, displays their rhythmic existential poetry over a grounding produced by organic instruments. On the same platform elements of jazz, hip-hop, rock, classical and electronic music meet, creating a mix that has stood out for its originality, atmosphere and a lot of energy during its live performances interpreted through a signature that is uniquely their own: saturated, technicolor hues of sound painted on a dark psychedelic canvas. In 2008 their self-titled debut record was released which gained remarkable attention throughout Latin America and especially their home country Chile. Now, 15 years later, it was time for a fresh sound and a remaster. Soon after the digital release of the remastered album, the record will be released on vinyl for the first time ever!

Celebrating 30 years of success, Candlebox has revealed their final studio album, titled 'The Long Goodbye,' will be released on Friday, August 25th via Round Hill Records. Emerging from Seattle’s burgeoning mid-90s grunge scene, Candlebox quickly found mainstream success with their deep, lyrically-driven melodies and big radio hooks, as evidenced by their massive hits “Far Behind,” “You” and “Cover Me” that propelled their self-titled debut album to sell more than 4 million copies worldwide. Their follow-up album, 'Lucy,' earned a platinum certification and solidified Candlebox as a tour de force in the thriving alt-rock scene. While the commercial success of the first album played a pivotal role in the band’s trajectory to the top, it was their raw and unapologetically honest live performances that ultimately solidified their place among Seattle’s elite. In 1998, Candlebox released 'Happy Pills,' which would be their last album before going on hiatus from 2000 to 2006. In 2008, the band reformed and released their fourth album, 'Into The Sun,' and hit the road for the first time in 10 years, touring extensively and releasing 'Alive In Seattle,' a live album that included tracks from every era of their career. 2016 marked the triumphant return of Candlebox with the release of 'Disappearing In Airports,' a more classic rock-tinged album hailed by many critics and fans as their best work in years. Singles “Vexatious” and “Supernova” drove the album to debut at #9 on the Billboard Charts and spurred multiple U.S. and international tours including major festival appearances at Carolina Rebellion, Welcome To Rockville, and Lollapalooza Chile. While these iconic rockers have been blazing full-steam since, releasing their latest album, Wolves, in 2021, Candlebox is now wrapping up their long and illustrious 30-year career with The Long Goodbye.

A timeless 60's ska instrumental inspired by Prince Buster's 7 Wonders Of The World. Featuring members of Seventh Sense, Goldmasters, The High Notes & Dub The Earth. Sounds great in your living room & in the dance on a sound system.

Bass: Malcolm Goldmaster
Sax: Tim Hill
Drums: Richie De Ruige
Guitar: Dan Foster
Percussion, Guitar, Keys: Jah Rej
Keys: Franco Agresta

Naïve was originally released in 2019 and is the fourth album from pop singer/songwriter Andy Grammer. Now for the first time on vinyl, it features singles “Be My Own Hero” and the hit song “Don’t Give Up on Me” (From the film “Five Feet Apart”).

"• Originally released in 2004, Soulfly’s 4th album hit #82 on the US Charts
• Charted globally: UK #103, Germany #24, France #38, Australia #49 and Austria #15
• Includes a cover of Helmet’s “In The Meantime”"

Mayday Parade is celebrating the 10th Anniversary of their fourth studio album, Monsters In The Closet, with an expanded vinyl reissue. The LP includes six previously unreleased demos and alternate cover art, complete with an etching on the d-side. The original July 2013 release debuted at #10 on the Billboard 200, and #16 on the UK Independent Singles Breakers. Kill Your Stereo dubbed the album “Mayday Parade’

This modern jazz summit meeting in Toronto has been called "the greatest jazz concert ever." We owe the survival of the music to Charles Mingus, who, along with Max Roach, taped the concert and subsequently issued it on his own new Debut label. There was tension between the giants before, during, and after the concert. Bird arrived without a horn and had to borrow a plastic alto (he made it sound like gold). The hall was three-quarters empty (the promoters had overlooked the coinciding heavyweight championship match between Marciano and Walcott). But the true heavyweights were onstage, and the results have been knocking out the world of jazz ever since.

Bags' Groove was recorded by Rudy Van Gelder and originally released by Prestige Records. It compiles material from two 10" LPs recorded in 1954, plus two alternative takes. It is described in Allmusic as "…a cornerstone of the post-bop genre." It features Thelonious Monk on the two takes of the title track, Sonny Rollins on tenor saxophone, Kenny Clarke on drums, Milt Jackson on vibraphone, Percy Heath on bass, and Horace Silver on piano in "Airegin" and "But Not For Me (Take 1)." Reissued on vinyl by Craft Recordings, released as part of the Craft Jazz Essentials series.

This is one of the last Chet Baker albums recorded in the States prior to the artists relocating to Europe in the early ‘60s. Likewise, the eight-tune collection was the final effort issued during his brief association with the Riverside Records imprint. The project was undoubtedly spurred on by the overwhelming success of the Shelly Manne-led combo that interpreted titles taken from the score to My Fair Lady (1956). In addition to becoming an instant classic, Manne’s LP was also among of the best-selling jazz platters of all time. While Baker and crew may have gained their inspiration from Manne, these readings are comparatively understated. That said, the timelessness of the melodies, coupled with the assembled backing aggregate, make ‘Chet Baker Plays the best of Lerner and Loewe’ a memorable concept album.

"Frozen Aggressors" bringt die Hörer zurück in die goldene Ära des Thrash, wo jeder Song ein einzigartiges Erlebnis war!
"C.H.U.D. Invasion" und "Circus Of Deception" sind eine Reminiszenz an die "Forgotten Skeleton"-Zeiten, während "Song 666" mit seiner 'S.O.D. meets Pennywise'-Blasphemie ein echtes Crossover-Juwel ist.
"Holidays In Sodom" bietet einen Venom-esken Vibe, der an Sasquatchs Vorliebe für die frühen Venom-Platten erinnert.
"Crib Of Thorns" und "Queen Of The Damned" liefern hochqualitative Thrash-Momente, während das augenzwinkernde "Satanic Cult Gangbang" zeigt, dass die Band immer noch Spaß haben kann, ohne auf Kontroversen zu verzichten.
"Hyperspectral Winter Incursions" ist ein sentimentales Stück, da es der letzte Song ist, den AGGRESSION mit dem inzwischen verstorbenen ehemaligen Schlagzeuger Gaetan "Gate" Bourassa im Jahr 1987 geschrieben haben, und er wäre unheimlich stolz auf die finale Version gewesen.
Insgesamt wird dieses AGGRESSION Album die Band auf den ihnen gebührenden Platz unter den anderen kanadischen Thrash-Legenden katapultieren!
"This is a perfect crossover blend, delivered from our black hearts, influenced by ancient recordings of the past that changed our lives. Fast, furious, and straight through your face!" - Aggression

As part of PNKSLM's 10 year anniversary series of special releases/represses - we're over the moon to finally present ShitKid - "Rejected Fish"! This is the previously unheard, studio version of the now legendary debut album "Fish". ShitKid originally recorded "Fish" at MFG Studios here in Stockholm, with myself Luke Reilly on production duties. The week before it got sent of to the vinyl pressing plant though, Åsa had a bit of a panic that it "sounded too good for ShitKid" - and she ended up re-recording all the songs herself on garageband (mostly in her car) - and this super lo-fi take was the version that ended up getting released. Obviously at the time ourselves, plus our PR and radio partners were a little shocked, but as always, Åsa made the right move (in ShitKid we trust) and the album went on to be the best selling PNKSLM vinyl, streamed millions, won awards, and made fans out of the likes of Iggy Pop and Billie Joe Armstrong. And almost the best part was how divisive the lo-fi recordings made the record - Fish received both the best and worst reviews we've ever had on the label!

"North London’s midnight man tumbles out his treehouse to deliver twelve potions of minor healing in “Iron Day”, his questing, soul-salvaging songbook. Brimming with majesty and maraud in equal parts, Genghis Cohn synthesises trad. English folk and woe with surrealist dream sequences on this debut long-player. A romance of two hedgehogs, devotional bone temples, broken shadows and sausage kings, GC conjures Brent Hayward strolling through the silver birch and presents to us, in a warmly recognisable form, a grand slab of folk music that challenges its ancient rewards.

Previous acquaintance with GC's lean, amorphous strain of experimental home recordings may encounter a menacing apprehension whilst trying to settle in the splendour of "Iron Day", unnerved by it's posture and the anticipation of songs dissolving or amalgamating in rust and gob at any moment. Still minimalist and direct, but delivered by an altogether different jester, songwriting that has featured in many previous works is smithed into fine, well-wrought suites that build and blend through paced, tempered sequencing and playful, intricate storytelling.

Amidst cavernous inner-dialogue and brilliant, contorted pastoral sequences, GC’s guitar (reported to be over 100 years old!?) laps and thrashes alongside accompaniments of Lauren Collier’s aching violin, a lethargic harmonica and emphatic hand-percussion that drifts in and then out. A dynamic, earthy collection that places future barn-stormers like “Underneath The Oak” and the gentle blaze of “Onion” in cadence with the doom-stricken, ghostly slides as on “Misunderstood” and “Secrets”, all recorded in dazzling clarity that captures the cascading instrumentation as clearly as the settled, tormented humour of GC’s blues. Indispensable candlemeat and essential, joyous listening for fans of; Davy Graham, The Godz, Leonara Carrington, Smelly Feet, Martin Carthy..."

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

For Fans Of... Jerry Butler, Wee, Adrian Younge, Roy Ayers, Unlimited Touch. New York's Ben Pirani & The Means Of Production team up with Ohio's Wesley Bright to deliver a midtempo rider suitable for a breezy summer's night. Upon the Means pulsing mellow groove "The Honeyman" begins to make it sweet indeed. The tune opens with a bright Rhodes melody that sets the stage for Wesley's gentle tenor. The song archs upward - with professing of love and devotion - toward an irresistible hook punctuated with sweet soft harmonies. Six Minute Mile is backed with a spaced out part two. Swirling delayed synth melodies and acoustic guitar fill out the groove. Ben Pirani has begun to establish himself as a writer and producer in recent years. With the Means Of Production as house band you can expect much more from the Palmetto Street gang

„Melt My Eyez See Your Future“ ist das bisher reifste und ambitionierteste Album von Denzel Curry. Aufgenommen im Laufe der Pandemie, zeigt Denzel sein Wachstum als Künstler und Mensch. Die Tracks, die aus einer Fülle von Einflüssen entstanden sind, unterstreichen seine Vielseitigkeit und seinen breit gefächerten Geschmack, der alles von Drum’n’Bass bis Trap umfasst.

Um diese Vision zu untermauern und die Bandbreite seines künstlerischen Schaffens zu zeigen, hat Denzel eine Vielzahl von Kollaborateuren engagiert und sich als einer der bahnbrechendsten Rapper der Szene etabliert.

Paul Anka, born in Canada of Syrian parents in 1941, carved out a
career that’s so far spanned six decades, metamorphosing on the
way from teen heart-throb to seasoned performer. He enjoyed
success both as a singer and a songwriter, penning Put Your Head
On My Shoulder, You Are My Destiny, Diana and Puppy Love
along with the English lyrics to My Way, the signature song of
Frank Sinatra, as well as Tom Jones’ classic She’s A Lady. Enjoy
a touch of ‘Puppy Love’ and more from this master balladeer.

-Limited to only 150 copies on black vinyl.
-The last recordings of former Roots member Malik B before he passed away.
-Clever 1 of the popular hardcore rap duo 'Da Buze Bruvaz' is a full member of the group.
-Maylay Sparks FKA Rahsheed founded this group.
-Produced by K Sluggah who has done production for Conway, Westside Gunn, Tha God Fahim etc.
IN LOVING MEMORY OF MALIK B (NOVEMBER 14TH, 1972 – JULY 29TH, 2020)
Frozen Mugs started out back in 2020 as a soon-to-be classic hip-hop collaboration between "Maylay Sparks", Swedish producer “K Sluggah” and “Clever 1” (one half of “Da Buze Bruvaz”). You will experience an uncanny chemistry between these 2 high caliber emcees who are providing you with the traditional sharp, tenacious, aggressive & grimey wordplay over K Sluggah's cinematic, soulful, and psychedelic beats giving the listeners a vivid picture of what goes on in these dangerous times. The hard delivery and complex word patterns are descriptive gestures of loose women, action in the streets, cocktails & cold beer guzzling. Sonically this album is honed to be a masterpiece, with owner of the newly formed label “Blacbird Recs”, and revered studio engineer Joe “The Butcher” Nicolo (Ruffhouse Recs. CEO) behind the mixing board. This is hip-hop with an attitude, authentic, and with no compromises!
In the midst of recording this project, we experienced a severe tragedy as we lost the incomparable Malik B formerly from the Roots. The last days before his passing he recorded the verses for the album and he was supposed to record a few more as there were talks of him becoming a full fledged "Frozen Mugs" member. Sadly the talks of doing an album with Malik B on HHE never came to fruition. This project is dedicated to one of the most legendary emcees Philly ever bred and he will always be remembered as a lyrical giant. R.I.P.
All versions come with hype stickers and an insert that will include a bio on Frozen Mugs and a dedication to Malik B on the reverse side.

Repress!

Here's a true West Coast soul-jazz gem originally released on pacific jazz in 1961. Les McCann's warm and emotional singing shines over some gorgeous big band arrangements signed by the great conductor and bandleader Gerald Wilson. McCann's usual trio with Herbie Lewis on bass and Ron Jefferson on drums is augmented by a phenomenal bunch of West Coast top musicians including clarinetist Buddy Collette, tenor sax lions Charles Lloyd, Teddy Edward, and Harold Land, and two absolute guest stars: tenor sax giant Ben Webster and organ stylist Richard "groove" Holmes, what else?

Soul-jazz and blues at their best. Allmusic Guide

Clear Vinyl - Repress!

Trumpeter Don Cherry, an Ornette Coleman soulmate and a world musician decades ago, became one of jazz's many early losses 10 years back. But saxophonist Pharoah Sanders, who joins him on this fizzing 1966 set, has since ascended to cult status, and he is still around to admire . In the 1960s, he knew no melodic fear at all, in which respect he was aptly partnered with Cherry. This is a quartet set, strongly influenced by the melodic approach of Coleman, but with a fierce abstraction of tone quite different from Coleman's playful lyricism.

Moreover, the rhythm team of Ed Blackwell on drums and Henry Grimes on bass provides a scintillating underpinning for the music that is worth listening to all on its own. Sanders' mix of Coltrane's yearning long notes, Ayler's ghostly, fluttering wail, Coleman's fast, bumpy phrasing and his own manic bagpipe screams certainly separates the faint-hearted from the stayers on the opening Awake Nu. But the conversation between Sanders and Cherry is light, lyrical and engaging on The Thing, and the saxophonist even gets into a stubborn, Sonny Rollins-like repeating Latin vamp on There Is the Bomb. An unflinchingly quirky classic. (THE GUARDIAN)

Vacanze di Natale! Four party jams by Alberto Melloni, Luca Bacchetti and Modula feat. Carmen Lubrano from Italy and Red Woodchuck, the Dutch cherry on top. Every record comes with a different sticker sleeve.

ACIDEZ plays killer UK82 style punk from Guadalajara, Mexico that is a heavy take on classic Partisans or GBH In your face street punk that shreds the whole way through!! This is a CD re-issue of the sold out first full- length album originally released in 2011 on Bambam Records in Mexico.

Available on LP for the first time outside of Japan, experimental rock pioneers BORIS & noise mastermind MERZBOW present Klatter, the third collaboration between the two groups, and 04092001, a collaborative album featuring live renditions of the original Heavy Rocks LP!

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

Formed in 2019, Graphic Nature have spent the last two years honing their sound and taking influences from their love of nu metal and early 2000’s metal-core era but adding their own contemporary approach and aggression. The band is excited to share new music later this year.





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Copenhagen punk rock/power pop band BIG MESS is a pile of hooks and energy. Taking their cues from the timeless masters of melody, loud guitars and high BPMs, their music packs an infectious punch. CLEANING UP WITH is the band's fourth full length and its first collaboration with UK-based label Specialist Subject. The album shows Big Mess at their most accomplished yet, and shows total dedication to reaching the ultimate in hit making. Imagine a singles compilation by your favourite band and you get the idea. Songwriting is key for Big Mess - as much Brill Building sparkle as hardcore punk economy, with no room for duds. Lyrically, the songs are heartfelt and occasionally stupid, with the dangers and difficulties of existence and the joys of rocking holding equal importance. Having been a band for nearly a decade, Big Mess’ playing is instinctive, effortless and relentless topped with vocals that combine a hooky sense of melody and rhythm with the right amount of desperation. This time the band adds a refreshingly shameless amount of backing vocals and harmonies that only add to the effective singalong quality Pink vinyl limited to 500 copies “BIG MESS is actually one big, relentless, overwhelming wall of hooks…non-stop, uptempo power pop/pop-punk with contagious riffs and choruses with their own choruses. This group is due a place on the shelf next to pop-punk’s catchiest tunesmiths, like JAY REATARD, the SPITS, MARKED MEN, SCREECHING WEASEL, etc. etc. Great!” - Maximum Rocknroll

Repress!

Released on Riverside records in 1962, "Letter from Home" was the debut album of Jazz vocalist Eddie Jefferson. Often credited as the founder of vocalese, Jefferson wrote memorable lyrics to classic jazz standards including "Parker's Mood.", "Lady Be Good," "So What," "Freedom Jazz Dance,"... Eddie Jefferson is backed here by a bunch of Jazz heavyweights, all at the top of their game. Among them: tenor sax masters Johnny Griffin and James Moody, trumpeter Clark Terry, pianists, Winton Kelly, and Joe Zawinul, bassist Sam Jones, and two hyper swinging drummers, Louis Hayes and Osie Johnson. This is an often underrated vocal Jazz album, a hidden gem ready to be unearthed. Don't miss it !!!

Slave featuring Steve Arrington is being reissued on vinyl for the first time since it’s 1978 release. After the successful reception to Rhino's Zapp and Roger - All The Greatest Hits release for Black Music Month, Rhino has got another excellent and unexpected addition for any funk collector!

Arguably the hottest of the '70s Ohio funk bands, Slave had an incredible run in the late '70s and early '80s. Their best tracks were lyrically simple, but the arrangements and rhythms were intense and hypnotic. Some of their top hits include "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981 – which you can expect to hear on this new reissue.

Repress

Following their 2021 debut on Mindri, Ernestas Sadau, Rapha & PRZ return to the Pinkman fold as Pluto Junkies with a 7 track mini-LP recorded at the furthest reaches of the solar system. After the swirling synths and cryptic messages on opener Launch, the record quickly descends into a frenzied supernova of metallic synths and propulsive drums. From the twitching Italo-informed techno of Astronaut Dolphine Detective to the frenetic speedball electro in Black Eye Galaxy Battle, this collection of hardware jams is straight up sonic fuel for sweat-drenched hours at wide eyed raves right around the galaxy. With the snarling acid riffs on Captain Blade and the punishing pulse in Cosmo Scooter Race, Pluto Junkies continue to ride the wave of manic energy from their first release, providing further soundtracks for only the most serious space travellers. You have been warned!

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

ONE LEVEL is delighted to announce its latest release, the captivating 'Big Tal's Elements' EP by French DJ/Producer, ALEQS NOTAL.

Following the resounding success of One Level's debut release, the awe-inspiring Afro-futurism of Hagan's 'Forward Focus' EP - a production that ignited a dynamic and fruitful chapter for the London-based artist - the label has been meticulously crafting its return. One Level prides itself on championing quality over quantity, and this ethos is beautifully demonstrated in its second release...

Aleqs Notal, the former scratch champion and consistently evolving producer, joins the label family with a collection of four remarkable tracks. Despite his years of experience, Aleqs admits that he's still in the process of refining his own sound and with 'Big Tal's Elements’, a nickname affectionately bestowed by longtime friend and fellow artist Manaré, his four carefully curated house joints encapsulate a wealth of influences, all beautifully combining to create a modern and innovative soundtrack.

Following his early years of turntable virtuosity, and having embarked on a new creative chapter in the studio, it was 2014 and as a founding member of the innovative ClekClekBoom collective - a group of young French talents who spearheaded a groundbreaking movement that reshaped the Parisian electronic landscape - that saw Notal continue to cultivate his own sound, one rooted in the sounds of Detroit and Chicago. He became a respected DJ on the cities’ club circuit, and has gone on to to feature his music on esteemed labels including Phonogramme, Salon Recordings, Release Sustain and Patrice Scott's Sistrum Recordings.

The EP opens with 'Untwisted Delight', a homage to the timeless sound of the Motor City. A bass-driven DJ tool, pulsating with the resonance of the 808, evoking echoes of Pittman, and igniting a powerful dancefloor energy.

‘Save Ya’ is an ode to determination and self-preservation. A track with its roots deeply embedded in the dancefloor and featuring an archive sound-bank vocal alongside glorious hi-hats, it is a firm favourite of Notals. “I think its from my scratch background. I always work with the hi-hats. For me, when I hear the hats its as though I hear somebody singing." Fully road-tested at Fabric London, Save Ya is now set to rescue many a night.

'Come Get It' channels the spirit of early Chicago house. A fusion of spirited 606 and 808 drum patterns, coupled with the enchanting allure of resounding hi-hats, it offers a heartfelt homage to the revolutionary sounds that defined an era and continue to influence so much of today’s music.

Concluding the EP is 'Hymn Of Passion', a track inspired by Ron Trent's Future Vision imprint. Drawing on a diverse palette of Nigerian percussive elements and samples garnered from past projects, Aleqs weaves a sonic mosaic. Crafted in a single jam session, the track elegantly melds a rhythmic finesse with resonant congas, intertwining with the emotive Rhodes piano, to craft an unforgettable finale.

With a diverse array of influences seamlessly interwoven, Aleqs Notal’s ‘Big Tal's Elements’ EP is a journey through sound that fully captivates the listener.

* Much celebrated and influential album from legendary UK-based producer The Rootsman, which effortlessly merges dub reggae, dancehall, Middle Eastern. Indian flavours with electronic dance music with astonishing and original results

* `Realms of the Unseen’ originally surfaced on the Third Eye Music label back in 1999 on CD and as a mini LP with a plain sleeve
* This welcome features the original artwork in all its glory

Before he was in Sugar or became the Drive-By Truckers’ producer-of-choice throughout their career,
David Barbe led the Athens, GA trio Mercyland, who made one minor classic with 1989’s No Feet On
the Cowling. The legendary Athens, Ga post-punk band’s sole album originally released in 1989 has
been fully Remixed & Remastered. For this 2023 Reissue, Barbe went back to the master tapes and
was able to remix the album to the robust sound that he intended it to be back in 1989. The "lost
American Underground classic" album now sounds bigger and better than ever. Finding a raw but
tuneful midpoint between British post- punk and American rock & roll, the band never sacrifices
melody for power (or vice versa), adding counterpoint vocals and lyrics that explore the human
experience without falling into obvious clichés.

Banzaï Lab is proud to present 'Rogue Monsters 2', the new album from Al'Tarba x Senbeï.

Al'Tarba, the architect of sonic shadows, and Senbeï, the master of electronic textures, join forces once again on an opus that's off the beaten track.

A fusion work inspired by skate subculture, Rogue Monsters 2 transcends convention, blending heady rhythms and ethereal harmonies.

Retro samples blend with contemporary electronic melodies, recalling the fusion of styles and the abo- lition of musical chapels specific to the sound universe of 90's/early 00's skate culture. We're naturally reminded of the soundtracks to Larry Clark films (Bully, Kids), skate documentaries (Fully Flared, Video Days...) and video games (Extreme Games, Tony Hawk's Pro Skater...).

This second joint opus is much more than a simple album, it's a unique and timeless experience, fusing hip-hop, punk and electronic music.

Rogue Monsters 2 stands out in today's musical landscape, offering a bold vision of what defines an album, one that will appeal to those nostalgic for the Golden Era of the 90s as much as to those exploring new sounds.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet – and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz – the 1967 magnum opus mesmerizes with instrumental colours, subdued musings, and subtle details.

This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page

A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You" – a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade's most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists' shared chemistry as well as Dylan's instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be "at its best, the craziest and strongest rock and roll ever recorded," Before the Flood crackles with intensity, relevance, and unhinged performances.

Arriving at a crucial time for both Dylan and The Band, Before the Flood is the furthest thing possible from a nostalgia trip. It's where Dylan begins his now-trademark feat of turning songs upside-down, taking risks, challenging expectations, and leaving audiences riveted to the edge of their seats in anticipation of what might come next. He sings with unabated passion, the moods spanning bitterness to jubilation. And his willingness to play fast and loose with the music gives way to compelling shifts, under-the-surface textures, complementary intricacies, and a sense of newness and discovery on par with that of an adventurer embracing total freedom.

Before the Flood buries any notion of limits, safeguards, or borders. It is an open map, each song a route begging for exploration without need or concern for exactness or an appointed leader. Collaborative in every sense, it's a portrait of six inimitable musicians feeding off one another, trusting in their past history as they hurdle towards uncharted territory, using soulfulness as a compass and opportunity as their vehicle.

Wholly different than the live episodes heard on Bob Dylan Live 1966, The "Royal Albert Hall" Concert, Before the Flood is equally seminal and, from the perspective of witnessing an artist dare not only his audience but himself to break through to a new plane, even better. Utterly astounding.

Only 25 years ago, and with the highs (and lows) of the Buffalo Springfield, CSN&Y and three solo albums under his belt, Neil went home to Canada and delivered a majestic set of just voice and either flat-top guitar or piano. Bootlegged recordings of this tour are infamous among fans and have been passed around for decades. The official mix from his personal tapes is a Godsend, positioning the listener front row centre, catching a budding rock legend in his early prime. Mastered by Chris Bellman at Bernie Grundman Mastering from analogue master tapes prepared by John Nowland at Neil's Ranch and pressed on 180-gram vinyl.

Die Band liefert ihr mittlerweile sechstes Studioalbum - und das in besserer Form als je zuvor - voller epischer Songs. Das Warten auf diese sage und schreibe 11 epischen Tracks des argentinischen Quintetts, das heute in Finnland lebt, hat sich mehr als gelohnt. Die Band lässt mit ihrem charakteristischen Sound die Kraft des Heavy Metal mit dem Charme keltischer Melodien verschmelzen. Mächtige, schwere Rhythmen, eine massive Wand aus Schlagzeug und Bass, schmetternde Gitarren und kraftvollen Dudelsäcken treffen auf eingängige und mitreißende Vocals und Refrains.

Vor 19 Jahren von Emilio Souto gegründet, blickt SKILTRON auf einen Werdegang voller Höhepunkte zurück und spielte bereits in über 30 Ländern, darunter die größten Festivals in Europa, Headliner-Touren und Auftritte bis nach Japan. Diese fantastische Werk bringt alles mit, was nötig ist, um nicht nur die Aufmerksamkeit des bereits bekannten, sondern auch die eines neuen Publikums zu erregen. Eine Killer-Produktion, die die Band auf ihrem bisherigen Höhepunkt zeigt.

Beware!!.. Advanced audio sonics prescription for the frustrated and the weird.. Not to be messed with!!

40 years after their last album ‘Secret’ was released in 1983, Classix Nouveaux are back with a brand new album entitled ‘Battle Cry’. Containing nine tracks including seven brand new compositions plus ‘Never Never Comes’ and ‘Interlude/Inside Outside’ which have been re-imagined for the 21st century. Featuring a very guitar-rock sound and also contains a couple of instrumentals which is something that the band used to do on their early albums. In the words of lead singer Sal Solo, this is how the album came about: “The reason this project came about after 40 years is really because of the fans. About 10 years ago, some of the Classix fans were making Facebook pages but it didn’t really come to our attention until a couple of years back. We realised these people are really dedicated and decided to give them a kind of birthday present. I said to the guys ‘Why don't we do a recording together and surprise the fans?’ Everybody said yes and so we did a quick remake of one of our old songs “Inside Outside” and to our surprise everyone's immediately talking about new material! We’d never thought about doing new Classix material - we thought it was over years ago. After a few weeks of agonising, we suddenly realised we could be as we are now. In the light of our increased experience and the fact that our fans are mature as well, we decided we would just make the music that we like today. It didn’t take a lot of persuasion to get everyone on board. It's the original line-up from the first two albums - what people consider the ‘classic’ line-up. We've all been in other bands, but somehow, we've all just seemed to gravitate back to Classix Nouveaux. It feels like a natural home. We hadn’t been in touch for many, many years and so this album is really what’s brought us back together.”

Bill Bruford is the original drummer in YES and was a long term member of King Crimson. The band Bruford recorded this album in 1979 and it went on to achieve critical acclaim and commercial success. The line-up on this album is: Bill Bruford – drums, percussion Allan Holdsworth – electric guitar Dave Stewart – keyboards Jeff Berlin – bass This 12" vinyl re-issue has been mastered from the original 1979 mix, taken from the original 1979 analogue tapes, and comes housed in a replica sleeve. The remixing was done by Jakko Jakszyk (the lead singer of the current line-up of King Crimson) and has been approved by Bill Bruford. This definitive vinyl re-release is re-issued on Bruford’s own Winterfold Records and was overseen personally by Bill Bruford.

Sistro (Sistrum) is a kind of percussion instrument that has had several incarnations and names in various cultures since the time of the Sumerians and throughout history has always been associated with religious rituals. It’s from this relationship between music and the transcendent that Nuno Oliveira (Nuno O, Judas Triste, José Pinhal Post-Mortem Experience), Tito Silva (Vasco da Ganza, José Pinhal Post-Mortem Experience) and Rodolfo Oliveira (Oficinas TK) were gradually inspired to create a trio that pays homage to this instrument of ancient times.

The project was born casually and without intentionality throughout several incursions into megalithic monuments in the hills and mountains of northern Portugal, culminating in an unusual two-day session of musical experimentation in Esposende, in September 2019. In this two-day session, codenamed “Arménio Sessions”, the trio explored a sound based on sea soundscapes, electronic beats, electric noises and the strings of na altered guitar. Channeling the strength of the elements and the mystique of the place in the form of a musical experience.

In 2021, Sistro collaborated with Mario Klingemann (aka Quasimondo) who created a music video especially for the band, created using a vintage video mixing board. Then using feedback loops and a process that Klingemann calls “Neural Edit”, which uses an artificial intelligence algorithm to correlate the raw video material with the sound.

After a long period of incubation, the group's first full-length release sees the light of day on the 31th October, 2023, moment in which a sequence of rituals begins to present and celebrate the relationship between music and the transcendent. Sistro's debut album will be released by Favela Discos, having been mixed by Tito Silva and mastered by Pedro Augusto. The photography and graphics are by Oficinas TK.

Returning to UFO Inc. in high spirits, DJ Europarking steps up for a seriously playful package of rolling rave pieces. Following on from last year's Bitte Everyday, the mischievous Dutchman returns with an unhinged collection of genre-blending tracks, merging impeccable production skills with a healthy dose of humour and experimentation. A loveable rogue in both his productions and DJ sets, DJ Europarking uses an impressive flair for sound design in the funnest way possible, resulting in an absolutely unmissable EP.

Recorded during Christmas time 1986 in Holland together with Jon Burr on bass, Ben Riley on drums and Harold Danko on piano, this album will be released only in Japan the following year. It is a rare compilation of mostly standard songs reinterpreted by Chet with his personal decadent, intense and timeless taste.

The story of Elvis Presley’s ‘discovery’ has passed into showbiz legend and his recordings at Sun Studios have gone down in history. Between 1953 and 1954 That’s When Your Heartaches Begin, That’s All Right, Blue Moon Of Kentucky and Milkcow Blues Boogie were cut. By chance, two covers stood out; Arthur Crudup’s That’s All Right and Bill Monroe’s Blue Moon Of Kentucky which were adapted into high-energy mixes of Blues, Country and Rockabilly. Reaction in the Memphis area was enthusiastic and the Band continued to perform their weekly slot on the Louisiana Hayride Radio Show and bonus tracks from the Hayride Radio Show have been included on this LP. Elvis was the first and greatest star of the Rock ‘n’ Roll era and his early recordings will always retain their appeal.

In this collection, Piaf presents ten characteristic chansons in English. Whether in French or English her command of her art and of her audience are equally profound, and these songs present a fresh approach to Piaf’s work. Her singing of La vie en rose has already taken its place among the classic performances; this presentation is no less rewarding, and, being in English, has a slightly different atmosphere. Similarly, The Three Bells, loses no part of its drama. Indeed, all of Piaf’s performances in this collection brim over with the fervour that she brings to her singing, the controlled intensity that pervades her work

The A side contains the track “Forever”, featuring Nikolaj on melodica duties, who delivers deeply meditational melodies reminiscent of the great Augustus Pablo. This melodica version is performed over the “Always” riddim, sang by Clive Hylton on our previous 7” release (ALDBS7017).

On the B side we find the track “Forever Dub”, a dub version mixed live by Ojah that takes us into a world of modulations that range from the subtle to the extreme.

Hand-stamped and served in a thick custom reversed kraftliner sleeve. Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Melodica by Nik Torp, recorded at Eastcote Studio 4, London.
Mixed by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London.
Mastered by Oscar Pablos at AD Mastering, London, 2022.
Graphic design by Victor Castro.

We’re happy to announce our new 7”, a collaboration between producer Ojah and Jamaican singer Clive Hylton.

The A side contains the track “Always”, featuring Clive Hylton on vocals, who delivers a timeless reggae track. Clive Hylton (a.k.a. Colour Red) is a veteran Jamaican singer who amongst others worked with Lee Perry at Black Ark Studio back in the day.

On the B side we find the track “Always Dub”, a dub version mixed live by Ojah that takes us into a different territory, making the listener appreciate sounds and layers that were half hidden on the vocal version.

We are also releasing a melodica version called “Forever” (ALDBS7018) over this riddim, featuring Nik Torp from The Specials.

Hand-stamped and served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London, U.K.
Vocals and lyrics by Clive Hylton, recorded at Yaad A Fame Studio, Kingston, Jamaica.
Mixed by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, U.K.
Mastered by Oscar Pablos at AD Mastering, London, 2022.
Graphic design by Victor Castro.

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Laolu makes his Crosstown Rebels debut with ‘Now I See’, combining with Off The Meds frontman Kamohelo Khoaripe across the two-track release. Having emerged via his versatile and dynamic DJ sets for the likes of Circoloco, with releases via labels such as Keinemusik, Innervisions and Anjunadeep, Swiss DJ/producer Laolu has stamped his mark while racking up support from Dixon and Black Coffee. Arriving in fine form, he closes out November with a classy label debut on Damian Lazarus’ renowned Crosstown Rebels as he serves up his latest two-track release ‘Now I See’ - a vibrant and personal release shaped and finalised after a decade following the birth of his daughter.

Spirited and resonant, combining soulful female vocals with organic percussion and sweeping melodies throughout, ‘Now I See’ is a warm and sonorous production set for heartfelt dancefloor moments, while ‘Monday To Sunday’ featuring the impactful vocals of Kamohelo takes a darker path as swirling bass patterns, menacing synths and warped tones merge around the commanding flute for a powerful late night cut.

Leon Rosselson has been at the forefront of songwriting in England for over sixty years For 'Chronicling the Times', Rosselson delved into his storied political satirist's song catalog to assemble seventeen of his favorite recordings. Featuring English folk luminaries such as Martin Carthy and Billy Bragg, this collection proves that Rosselson, now well into his 80s, has created an oeuvre comparable to other social critics such as Phil Ochs. He started performing in the early days of the folk revival as a member of the Galliards with whom he made many radio and TV broadcasts. His early songs were topical-satirical, but eventually absorbed many different influences from around the world. He has recorded many albums and published two songbooks. His song "The World Turned Upside Down" was taken into the pop charts by Billy Bragg and covered by artists including Dick Gaughan and Chumbawamba. Rosselson has also published seventeen children's books, the first of which, 'Rosa's Singing Grandfather', was shortlisted for the Carnegie Medal in 1991. Billy Bragg deftly summed up his career: "Leon Rosselson is the embodiment of the original ideals of punk rock- using fearless wit and political integrity to highlight the hypocrisies of those in power."

Coming from Northern Ireland, Domhain is a new band brought by four
experienced musicians from the Irish metal scene
With their emotional mix of post black, blackgaze and atmospheric black metal,
featuring omnipresent vocal harmonies and cello (featuring guest Jo Quail),
Domhain's debut EP "Nimue" is a work of mythical and ethereal beauty.

Apocryphonis the fourth studio album by American heavy metal band The Sword and featuring The Veil of Isis, Cloak of Feathers, Arcane Montane and The Hidden Masters Recorded at Magpie Cage Studios in Baltimore, Maryland with producerJ Robbins, it was released by New York label Razor & Tie in October 2012.Apocryphonis the band's first album without original member Trivett Wingo, and the first to feature his replacement Santiago "Jimmy" Vela III, who took over from interim touring drummer Kevin Fender in October 2011; it is also the first of the band's albums to be released by Razor & Tie, with whom the group signed in early 2012 after seven years with Kemado Records. Remastered and pressed on 180 gram vinyl. Housed in a gatefold jacket featuring artwork by the award-winning comic book artist and penciller, J.H. Williams III. "Heavy metal distilled to its purest form." - Consequence

Meteora - a chain of Greek-Byzantine monasteries was built around the 14th century on top of sandstone rock formations in the fading range of the Pindus Mountains, in the Thessalian lowlands of Greece At an over 600 meters high, some of them were only accessible by rope ladders or winches for hundreds of years. Makiko Hirabayashi learned of this place during a concert tour to Athens and was immediately captivated by its symbolic power: the isolated units which nevertheless exist in a larger context; fragile and floating, but at the same time firmly grounded. The opening title of the new, fifth album of her trio seems to have been perfectly chosen; "Warp", relating to the space above the early monasteries on the rock formations, as well as connecting the album to her previous release Weavers, in which much was woven with warp threads. A high-pitched bass, the subtle use of electronics, like everything else that follows, seem to emerge somehow from outer space. These are seemingly simple structures that only reveal themselves as complex architecture upon repeated listening - meditative and fleeting, but at the same time permanently carved into the rock. Minimalistic piano figures from which melodic fragments emerge, in their very clarity offer ample material for improvisation. With onomatopoeic percussion, an impressionistic and scenic painting is sketched in "Birds Ascending", whereas enthralling rhythms lead the way in "Chestnut Alley" or the sky-racing "Meteor". In between those, you find the improvised miniatures like "The Door" or "Slip", aspherical connections between worlds: imaginary doors, rope ladders or hinges. After the lockdown album Weavers, Makiko Hirabayashi is back in the piano trio setting with Klavs Hovman on bass and the legendary percussionist/ drummer Marilyn Mazur, reclaiming her space and time. Some of the material produced here has been part of their live repertoire for some years and gone through a maturing process, becoming an integral part of the whole album put together in the spirit of Meteora.

Oddisee's breakthrough album: Imbued with love, honesty, and selflessness, The Good Fight is virtuosic in its musicality, direct in its language, and infinitely relatable In a landscape overrun with abstract indulgence and shallow trend-chasers, the Prince George's County, Maryland artist has created a record that reminds you that it's music before it's hip-hop. For Oddisee, "The Good Fight" is about living fully as a musician without succumbing to the traps of hedonism, avarice, and materialism. It's music that yields an intangible feeling: the sacral sound of an organ whine, brass horns, or a cymbal crash. It's a meditation on our capacity to love and the bonds binding us together. It's our ambition and greed warring with our sense of propriety - a list of paradoxes we all face when living and striving. Oddisee's production simmers in its own orchestral gumbo. You sense he's really a jazzman in different form, inhabiting the spirit of Roy Ayers and other past greats. The Fader's compared him to a musical MC Escher, calling hailing his "grandiose and symphonic sound" and "relevant relatable messages." Pitchfork praised his "eclectic soulful boom-bap.

Problem Patterns have got something to say and they're going to say it fucking loudly Unfiltered, raw and absolutely vital, queercore quartet Problem Patterns are angry. When Problem Patterns reconnected during a break in the pandemic, they realised that the mission was more important and the rage was extra- critical. This, surely, was punk rock time. Problem Patterns are not limited by age or ability or binary identities. They don't have a front person, they swap instruments and roles to ensure that each member of the group has a voice. They espouse queer punk and they have shared touring schedules with Queen Zee, JOHN, Pink Suits & soon to be Bob Vylan. They are part of a supportive musical community in Belfast that includes Gender Chores and Strange New Places. Live shows are celebratory and uplifting. Outbreaks of fun and positive havoc are part of the experience. The band's admiration for Bikini Kill and the riot grrrl movement led to an online conversation with the artist Kathleen Hanna, who they later went on to support (Bikini Kill) in Manchester and Glasgow. "She's been part of relighting the fire," says Ciara, "and the trust and confidence we have in ourselves as a band. We've for more of a 'fuck it' than we've ever had. And we already had that. Punk provides protest songs and it provides a release for feelings." Beverley agrees: "We're talking about what's currently happening right now. Always.

Mystical and moving, Wish Queen (aka Cleveland-based singer/ songwriter Grace Sullivan) takes the intangible feelings of desire and yearning (wishing), and transforms them into gorgeous melodies, ranging from danceable pop to deliciously introspective ballads you'd love to sit alone and cry to Blending her rich classic vocals and long hidden poetry with layered reverb and synth-based production styles, Wish Queen transports her listeners to a myriad of times and places all at once. Drawing inspiration from various Queens that came before her, including Billie Holiday, Joni Mitchell, Fiona Apple, Lana Del Rey, Weyes Blood, and Ethel Cain, Wish Queen has created a unique sweet spot that is all her own, and invites you to immerse yourself in her dream world. A hypnotic blend of dream pop, art pop, and indie folk, Wish Queen's debut album, "SATURNALIA," explores earthly cycles, heartbreak, and coming of age via Saturn Return. Recorded mostly in a garage in the summer of 2022, "SATURNALIA" is a true diamond in the rough, complete with breathtaking layers of synths, powerfully intuitive vocal harmonies, and a meticulously crafted hidden narrative. If you're looking for a sound that's been compared to Stevie Nicks meets Beach House, this music is for you. Make a wish!!

This EP is 6 unreleased tracks in the Thomas Brinkmann celebrated Max Ernst series of 12", all with female names, released with names ordered alphabetically. Starting with. 1. Anna Beate, the series ran for 12 releases over the 2 years from 1998 to 2000. 2. Clara Doris 3. Erika Frauke 4. Gisela Heidi 5. Inge Jutta 6. Karin Lotte 7. Monika Nikola 8. Olga Petra 9. Susie Trixi 10. Ulla Vera 11. Wanda Xenia 12. Yvette Zara, followed. There was never an ep with Q and R. Number 9 is Susie and Trixie. The tapes were lost. But have come to light nearly 25 years later. So now, here is Q/R; Quila 1-3 and Romy 1-3. What we have here are the original tracks as intended for release, with some minor editing and rearranging for release now. The original series was very successful. The first 3 12", released at the same time were a sensation on release. Suddenly, Thomas Brinkmann was the name to check. Today, these Quila/Romy tracks may well have the same impact as the other tracks in the series had when they were released. There is still nothing that sounds like this music. It seems to be an example of a perfect melding of soul and machine. 25 five years later... a annniversary of sorts, offered up by the machines.

Essence of Life was formed in 1973 in Charlotte North Carolina at Johnson C Smith University.

Towan Butler and Craig Young were basketball players on scholarship who were singing in the shower after practice, when a man named Jock Johnson who was a business major who had graduated heard Towan and Craig singing in the shower and asked if we would like to be in a singing group that he was putting together, if we did he asked us to meet him later that evening at a location on campus.

When we arrived we were introduced to Jerry Johnson, who is Jocks brother, Kenny Lock and Larry Graves and Essence Of Life was formed. Essence Of Life has performed with such groups as Blue Magic, The Whispers and The Barkays to name a few.

Essence Of Life sang and danced their way into the hearts of fans all over the United States spreading love through high impact performances.

Emerging from the cold echoes of Reykjavík's underground music scene, ex.girls, previously known as Russian Girls, chart an inspiring journey from inception to international recognition. Founded in 2017 as a personal venture by Guðlaugur Einarsson, the act soon evolved into a vibrant, collaborative platform for kindred spirits bonded by an unyielding passion for music.

The project consists of three: frontman Tatjana Dís on vocals, alongside Guðlaugur Einarsson and Gylfi Sigurðsson. Their kinship took root at their erstwhile studio on Skúlagata in Reykjavík, where this creative sanctum became a melting pot of musical exploration, learning, and leisurely hangouts. Guðlaugur and Tantjana also ride the waves as members of the rock band Skrattar, whose album 'Hellraiser IV' saw Bjarki's experimental bbbbbb recors imprint venture outside strictly electronic music for the first time in 2021.

Despite their penchant for maintaining an enigmatic aura, ex.girls won the ‘Best Icelandic Electronic Music Song’ in 2022 with their anthem, 'Halda Áfram', released during the backdrop of the COVID-19 pandemic on bbbbbb recors, which translates to “keep on going”, became a beacon of hope during tough times in the Icelandic music scene. Their distinctive sound palette paints with broad strokes of lush arrangements cemented with a lo-fi disposition. It's a soundscape where the rumble of a crunchy bass meets a quirky sprinkle of Nordic humour, a signature style they fondly dub as 'SauerLounge'.

While the group has traditionally embraced a leisurely cadence in unveiling new music, anticipation bubbles as they gear up to their debut album, ‘Verk’. A twelve-track exploration of experimental, conceptual and unorthodox textures and sonics, with sounds and influences spanning rock and nu-wave through to electro, drone and ambient. The result? An absorbing and hypnotic trip, with twists and turns across every track, presenting a debut album that keeps you guessing minute by minute.

To be released in both vinyl and digital formats, the album will also welcome engaging remixes from artists native to Iceland and the broader global stage. In a world of ever-evolving music, ex.girls stand out as a testament to authentic collaboration, raw talent, and the art of electronic storytelling.

ex.girls ‘Verk’ LP drops via bbbbbb recors on 24th November 2023, with remixes to follow in the months ahead.

We are honoured to present AFTERMATH's "Straight From Hell" 12" EP reissue A limited edition in replica format that will feature several bonus songs and many other extras. AFTERMATH is an essential name in the history of Arizona Metal. Born in the city of Tucson (home to bands such as SHEOL HADES and INTREPID) and masters of a very particular style of thrash, full of powerful and intricate compositions, they easily please fans of the more technical side of metal. In 1985 they independently released the now sought after record "Straight From Hell". There began a journey that lasted until the early 90s, with many studio recordings including the albums "Don't Cheer Me Up" and "Building Up To Meltdown", reissued by our label last year in CD format. In this reissue you can find, in addition to the four songs from the original EP, two songs from the never- released EP "Killing Time" (1987), the song "Malicious Intentions" taken from the second volume of the Iron Tyrants compilation (1986) and an exclusive song from the 1987 demo tape. All songs fully remastered for best sonic experience

ACIDEZ returns with 13 ripping new songs about beer, war and apocalypse that mix classic UK82 style in the vein of GBH, Discharge, with the heavy style of modern bands like Inepsy and Toxic Holocaust Beer Drinkers Survivors thrashes with a shredding metal edge in comparison to their first punk record. Recorded at Noise Devil Studio in Guadalajara, Mexico and mastered in Portland, USA by Brad Boatright (From Ashes Rise) & Joel Grind (Toxic Holocaust) at Audiosiege Studios

This is quite a unique release , as expected with genre-defying label Subsound Records. From a mystical frontier where the East meets the West comes a psychedelic wonder called The Cyclist Conspiracy This musical collective consisting of ten men and women creates unique sonic escapism for the soul that embark any listener onto a long-haul voyage without further ado. New album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs. The Cyclist Conspiracy, The (Anti) World Orchestra is the musical output of The Little Brothers dedicated to The Mysteries of The Last Age. Started as an informal project within the Society For The Development Of Alchemical Studies "Vasko Popa" in 2014, it is now a musical troupe consisting of ten male and female souls. The orchestra draws infuences from various parts of the world while trying to avoid superfcial, "new age" eclecticism and direct its creative efforts towards the synthesis of the given elements. Whether it's the Byzantine Empire or secret nomadic paths of the desert, the smokey cafe crowded with manges and frivolous women, or the steppe with the sky for shaman only, psychedelic or turkce rock, Middle or Far East, the journeys the cyclists taking are never the quest for the heart of this world. Sometimes they appeared as a symbolic quest for Constantinople, the heart of The Cycling of Byzantium, but they are always the quest for the heart of the only true light Agape. The Cyclist Conspiracy have played numerous concerts in Serbia and neighboring countries, whether as headliners, support for other bands (Acid Mothers Temple, King Dude, Hayvanlar Alemi), or a part of festival lineups (Haywire Festival (RO), INdirekt (CRO), Zelenkovac Jazz Festival (BH), The Music of the Secret Society that Owns Belgrade (SR)). Their new album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs.The band comments: "Mashallah Plan" is a story about a spiritual journey on a bicycle. This simple device reveals its profound symbolism only through the path of most resistance and thus represents a perfect esoteric vehicle for The Dark Age we are living through".

-Side Project of Jordan Chini aka the artist "Boy Dude".
-Recorded and Mixed in a traditional analog 4-track tape dub style.
-Available on black vinyl and on limited edition glacial clear blue vinyl.
Under the name Count Dubula, LA based multi-instrumentalist, music producer and composer Jordan Chini performs, records, and mixes old-school style dub/reggae in the various traditional styles of his inspirations (like Scientist, King Tubby, and Lee Scratch Perry). With a love for recording live instruments and analog synths, Count Dubula’s rhythms and melodies are recorded to tape, then married to an analog mixer and improvisation-ally mixed, accompanied by a space echo, spring reverb, and hi-pass filter.

-Side Project of Jordan Chini aka the artist "Boy Dude".
-Recorded and Mixed in a traditional analog 4-track tape dub style.
-Available on black vinyl and on limited edition glacial clear blue vinyl.
Under the name Count Dubula, LA based multi-instrumentalist, music producer and composer Jordan Chini performs, records, and mixes old-school style dub/reggae in the various traditional styles of his inspirations (like Scientist, King Tubby, and Lee Scratch Perry). With a love for recording live instruments and analog synths, Count Dubula’s rhythms and melodies are recorded to tape, then married to an analog mixer and improvisation-ally mixed, accompanied by a space echo, spring reverb, and hi-pass filter.

Lab Music 4th record is a solo Ep by Slak with a massive Answer Code Request remix, exploring the world of ambient rooted break-techno with a drum and bass excursion in the remix.

On the A side we find the first two tracks, Reflexion a club oriented break-techno track, combining dark ethereal textures with driving beats and sharp synths. Before Midnight, an elegant yet powerful gem with tribal reminiscences, Roland drums and light pads.

On the B side we have New Horizon, delivering melodic ambient rooted pads and the usual 909 broken beats. Furthermore we have a special drum and bass rooted remix of the same track from Answer Code Request, exploring Idm and d’n’b, combing dreamy moments with strong breakdowns.

New for 2023! Kitty, Daisy & Lewis' iconic debut album reissued on Half Black and White vinyl. Originally released in 2008 when the band were still only teenagers, their self titled debut catapulted them into rock n' roll favourites and the album has since been regarded as a cult classic. With a sound deep rooted in the past, the sibling trio pay homage to those who inspired them from Charlie Rich to Muddy waters and released an album truly like no other.

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics.

After 6 long-awaited years, DEVOURMENT return to form, embodying brutality with their ferocious new album, Obscene Majesty. Featuring drummer Brad Fincher and Ruben Rosas back on vocal duties - a lineup previously only heard on the band's 1999 landmark album Molesting the Decapitated, the pioneers of brutal death metal sharpen their blades once again, and unleash some of the most disgustingly heavy slam ever! Clubbing blows from tracks such as "Cognitive Sedation Butchery", "Narcissistic Paraphilia", and "Dysmorphic Autophagia" see the veterans as imposing and menacing as ever. Buzzsaw guitars shred through limbs against head-caving, hammering drums. Deathly, blood-soaked vocals personify pain and torture. Obscene Majesty is the epitome of uncontrollable destruction from beginning to end, as DEVOURMENT crush through break-neck speeds, deafening ears and melting faces along the way. Honing in on the very elements of gore, death, and mutilation that have crowned the band as kings of the scene for over 24 years, DEVOURMENT force you to bare witness to the Obscene Majesty!

The career defining fourth full length album from US Brutal Death legends CONDEMNED. 5 years in the making, 'Daemonium' is the album everyone was hoping for - with razor sharp production and an elevated sense of heaviness throughout, it proves a perfect follow up to 2017's critically acclaimed 'His Divine Shadow'. Essential listening for all fans of classic Californian Brutal Death Metal.

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk. Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury. Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders. Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt. Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone. Guitarist and vocalist Tim Rosenquist says: “Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”. Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of. Harmagedon is: Tim Rosenquist - Guitars & Vocals Magnus Berglund - Bass Jens Bäckelin - Drums