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This is a very special EP. As many might know Toy Tonics started as a sublabel of now sleeping German indie dance label Gomma records. Gomma, along with DFA, Output Records and a few other was knownn for a very ecclectic, different approach in dance music. On this LOST GOMMA MIXES EP you find 4 now lost tracks that came out ca 10 - 20 years ago on Gomma, but fit very well in today’s zeitgeist again. Pete Herbert, In Flagranti, Jacques Lu Cont are featured. Who knows about modern disco - knows these producers. And there is a very special name here too: Nicky Siano. The now legendary New York DJ used to be resident at Studio 54 and other legendary NYC venues of the 1970ies and 1980ies. One of his are remix works was for the Gomma rcords band The KDMS. Pure disco euphoria.

Splash Blue is proud to present a brand new album borne from the latest collaboration between Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito – ‘The New Guitar Underground Vol 1’.

THE NEW GUITAR UNDERGROUND
The New Guitar Underground are Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito. Neither require introduction – Bluey – founder of the legendary Incognito, Inner Shade, CitrusSun and co-conspirator on the STR4TA project, solo artist, Composer and Record Producer & Francisco Sales, guitarist of Incognito and Citrus Sun, as well as being a solo artist in his own right, have come together to deliver a set of 10 highly crafted and accomplished tracks that lift the spirits and soothe the soul.
Inspired by the inspirational playing of the giants of the guitar world – Tony Mottola, Denis Budimir, George Benson, Bill Jennings & Melvin "Wah Wah" Watson to name but a few, the album reflects the deep love that Bluey and Francisco have for this multi faceted and beautiful instrument.
Guests on this album include bass players Francis Hylton, Hendrik Linder, Rui Pedro Pity and Julian Crampton, keyboardists Matt Cooper, James Berkeley and drummer Francisco Mendolia.
Of course the quality and depth of this musical composition should not be a surprise – given the pedigree of the artists involved, however, as Bluey says himself in the album notes, ‘’This is not a project seeking chart success. Just two guitar buddies having fun chasing musical waterfalls, and not sticking to the rivers and the lakes they’re used to.
We are just making ourselves happy. And if in doing so we make you happy too, then that, as they say, is "the payoff!" The result is an intoxicating fusion of guitars, samba, latin jazz, drum-driven beats, heavy bass lines - with some scratching and sampling thrown in for good measure!

Noon Garden is an exotic psych-pop odyssey from one of the founding members of Flamingods. Drawing on worldly sounds from the likes of Francis Bebey and Dur Dur Band to Shintaro Sakamoto, tearing up the sonic rule book and conjuring up a distant land where you find yourself cutting loose to grooves that meander their way through a wide spectrum of African disco, funk, exotica and psychedelia. Noon Garden has received support from the likes of Clash and The Line Of Best Fit and recent single Decca Divine was playlisted on Amazing Radio. The track also picked up love at DSP playlists including Spotify’s ‘Fresh Finds: Indie’ and Apple’s ‘New in Alternative’. British born with Nigerian & Jamaican heritage, Prest spent his childhood living in Bahrain surrounded by people, like himself, who were all living on an island away from their homeland. Seeing the world from a young age and the experience of 10 years of globe-trotting touring with Flamingods are imprinted on his new project and have been a huge influence on shaping Noon Garden’s tropical adventurism. As a talented multi-instrumentalist Charles has written, self-produced and played all the parts on the single himself. Noon Garden says of the album: "This debut was an experiment to get to know myself better. Taken from the name of an area not too far from my family home in Norwood south London, the literal words ‘Beulah Spa’ conjured up imagery of being a place to contemplate in warmth and complete tranquility. Writing music is a therapeutic process for me and it’s taken about eight years on and off to finish this album by myself, to try understand what it was exactly that I wanted to say lyrically and explore sonically. The album’s lyrics have shape-shifted so much with time but they take a curious look at the human experience; in my case growing up and soaking up a lot of cultures from an early age in the Middle East, the UK and briefly in Singapore. It’s a reflection on what’s past and what’s yet to come, my connection with others over the years and how that inevitably shapes your outlook on what’s around you. All of this told through the lens of psychedelia which has always given me a sense of possibility. Beulah Spa is the first marker of where I’ve gotten to so far in my life, channeling it all into a musical odyssey that lays the foundation for a lot more to come.”

Cut For The Original Analog Tapes At Bernie Grundman’s Mastering. Includes Hi Res Audio Download Card. Black vinyl re-issue For Europe (2000 copies). CURTAINS is the eighth solo album by JOHN FRUSCIANTE. It was originally released on February 1, 2005. The album features contributions from AUTOLUX drummer CARLA AZAR, upright bassist KEN WILD, and THE MARS VOLTA guitarist OMAR RODRÍGUEZ-LÓPEZ. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the former guitarist of the rock band RED HOT CHILI PEPPERS (1988 until 1992 and from 1998 until 2009). He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; JOSH KLINGHOFFER and JOE LALLY, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

From Richmond, Virginia arrives Tempter, a soundtrack for end times hurtling along to the speed of global rage and impending doom. Merging the very best parts of crossover metal and hardcore from the 80s Japan, Sweden and UK, Tempter bring a new voice to a legendary sound. It comes perhaps as no surprise then that the group comprises of veterans of the hardcore scene from bands such as Candy, Division of Mind, Nosebleed, Ekulu and more. Instant bulldozers Sacricide and Pestilence, with their punchy riffs and wild solos bookend the S/T EP, whilst Uniformed Madness and Night Terror run along with at times almost apocalyptic walls of acidic noise. The production provides a dense atmospheric swamp of rage, mixed by Fucked Up’s Jonah Falco, providing a fitting soundtrack for Valentina Lopez’s huge vocal that sounds like 1000s of witches chanting. La Lluvia, with its use of samples and layers of synths, dances around spoken word sections that read out a poem of the same name by Roberto Bolaño, one of Chile’s greatest literary writers. Bolaño’s work fits perfectly with a biting satirical punk mood that Lopez exudes with every breath. He often questioned the privilege of making art whilst the junta would torture people in basements. Hardcore, punk and metal often likes to think of itself as a political act more than music, whether in its DIY ethic or protest lyrics. However, perhaps we find it too easy to fall into its angry embrace and eat each other alive whilst the world outside continues to fall. This music makes hell on earth that little bit more bearable, however ultimately Bolaño, and Lopez, call on counterculture music to have meaning and political action.

Escape Music are pleased to announce the release date for Lonerider’s second studio album titled “Sundown" with 500 limited edition Vinyl “Smokey” colour all will be numbered 1-500 and will include an exclusive hand signed postcard from all members of the band! (limited edition 500 units in “smokey” colour). The Band is: Steve Overland: Vocals / Simon Kirke: Drums / Steve Morris: Guitars, Keyboards and Hammond / Chris Childs: Bass - In 2019 the debut album “Attitude” by Lonerider was released, a band that not only features Steve Overland (FM, Solo, Shadowman), Steve Morris (Heartland, Shadowman) and Chris Childs (Thunder) but legendary drummer Simon Kirke of Free and Bad Company fame. The band come across like Bad Company mixed with Shadowman and their debut “Attitude” was loved by many. Lonerider have the feel of that classic Bad Company that we know and love, yet the songs are modern, fresh and vibrant. Since 2019 the band have been working on a new release and it will be available in early 2022, entitled “Sundown”. This new album boasts 12 new tracks of classic rock in the same vein as “Attitude”, well why change a winning formula? - The vinyl version is a numbered edition of 500 and to make it special it has two different tracks to the CD, namely “Love to Love” and “Long Time Gone”. A great start to 2022.

Wonderwall-Groove-Experimental-Soul-Expericence - CYRIL CYRIL from Geneva does it! "Another special band name - another easy explanation: Cyril Cyril are a duo consisting of two Cyrils. Cyril Yeterian plays accordion, banjo and myriad other instruments, and Cyril Bondi is an extraordinary drummer/percussionist with an experimental bent whose other bands include the wonderful Plaistow. Describing themselves as "muezzin without frontiers", they are fuelled by an irrepressible desire to travel beyond the obvious routes and find new places only they know exist." (Swiss Music Export) "A single word, a single cry can say a lot, as long as it is soulful. The sound of a duo reduced to its simplest expression - rhythm, a riff, a voice - can bear within itself an infinitely luxuriant musical organism - the double helix of DNA. Cyril Cyril, so real, so rich."

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962),(1) a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME´s Independent Chart in March 1994 and reached number 50 in the UK official album chart.

The track Novelty Waves was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial".

One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of "Startoucher," for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of "Mir" into the low, brooding intro to "The Shield." Not everything is so shadowy, though, Patashnik is primarily a relax and chill listening experience, but not without its gentle high points. "Novelty Waves," which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on "SETI Project" is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation.

Johnny Marr started his career with The Smiths, beginning an amazing history as one of the most influential songwriters and guitarists in British independent music. His subsequent creative journey has seen him at the heart of The The, Electronic, Modest Mouse and The Cribs, as well as working with such names as The Pretenders, Talking Heads, The Avalanches, and the musician and composer Hans Zimmer - with whom he recently recorded the score and soundtrack for the forthcoming James Bond film, No Time To Die, including the title track created with Billie Eilish.

In the wake of his time leading The Healers, Marr’s solo career has given rise to three UK Top Ten albums - The Messenger (2013), Playland (2014) and 2018’s Call The Comet, and he will be returning in February with his most expansive work to date, Fever Dreams Pts 1-4. It was created during the long, uncertain period that followed the arrival of the UK’s first lockdown, when his focus was pushed into both his interior life, and evoking the emotional states of others. “It’s an inspired record, and I couldn’t wait to get in and record every day,” he says. “But I had to go inwards.”

The upcoming album reflects his multi-faceted past, but takes his music somewhere startlingly new. “There’s a set of influences and a very broad sound that I’ve been developing - really since getting out of The Smiths,” he says. “And I hear it in this record. There are so many strands of music in it. I think it’s the most ambitious solo record I’ve done.”

North Carolina producer, Khrysis who is a member of 9th Wonder's Jamla Records music label and Soul Council production team, steps from the shadows of his crew and into the spotlight with his own production compilation album with a star studded cast of features that range to some of the biggest names in Hip Hop (Busta Rhymes, De La Soul) to some of the best new up and comers on the scene (Reuben Vincent, Ian Kelly). If you have been following Khrysis over the years then you would know that he specializes in the classic boom bap style of hip hop production that somehow remains fresh and up-to-date even with the modern soundscape. Simply put, if you love dope beats and dope rhymes, this album is for you!

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Nineties Collected features R.E.M “Man On The Moon”, Freddie Mercury “Living On My Own”, Texas “Say What You Want”, Lenny Kravitz “Always On The Run”, Erykah Badu “Tyrone (Live)” and Blind Melon “No Rain” amongst others.

Dead Head wurde 1989 in der Region Zwolle/Kampen in den Niederlanden gegründet. Von Anfang an zeigte die Band eine harte Arbeitsmoral
und veröffentlichte mehrere Demos und gab eine Menge Live-Shows. Die Band veröffentlichte außerdem drei Alben in voller Länge und eine EP,
bevor sie mit der Arbeit an ihrem vierten Album „Haatland“ begannen. Mit sechs Jahren zwischen „Kill Division“ und „Haatland“ perfektionierte
die Band ihren rohen, aggressiven Thrash Metal-Sound noch mehr. Die Produktion verbesserte sich erneut und die Band zeigte, dass ihr Potenzial
dem vieler etablierter Namen im Thrash Metal-Genre ebenbürtig war. Glücklicherweise wird „Haatland“ 2021 von Petrichor auf 2-CD und LP neu
aufgelegt, damit die Welt dieses Meisterwerk schierer Brutalität und raffinierter, eindringlicher Melodien wiedererkennen kann. Petrichor hat
der CD-Version dieser Neuauflage wieder eine Menge Bonusmaterial hinzugefügt. Dead Head ist keineswegs ein Knaller aus der Vergangenheit,
denn 2022 wird die Band ein neues Album veröffentlichen. Ein rasendes Stück Thrash vom Feinsten. Großartige Produktion, wahnsinnige Riffs
und wahnsinnige Vocals kombiniert, um dir den Schädel zu zerschmettern.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on double 140g translucent blue vinyl.
Blue Rondo A La Turk were a lively 6 piece British latin/jazz/pop group, formed in 1981 by singer/lyricist Chris
Sullivan, and disbanded in 1984 when several members moved on to form the hit-making band Matt Bianco.
‘Chewing The Fat ‘ is the debut album, originally released in 1982 and includes the charting singles ‘Me And
Mr. Sanchez’ and ‘Klacto Vee Sedstein’
Included in the release is a bonus LP of official remixes on vinyl for the first time.
“If there was one band I wanted to be in back in 1982 it was Blue Rondo A La Turk. Named after the classic
Dave Brubeck song, they were a bunch of sharp suited hedonists with a philosophy straight out of Spinal Tap,
have a good time, all the time! Thinking about it though they probably would have left a lightweight like me
for dead in some Soho gutter after the first couple of drinks on a night out. Known and loved for their
infectious blend of salsa, funk, pop and cool bop and swing as well as their renowned live performances, why
they didn't break through to the nations charts remains one of pop's great conundrums. But those who
knew, knew and for energy and sonic pleasure this, their debut album "Chewing The Fat" takes some beating
and I'm thrilled it's available once again on vinyl under our GC Lost 80s moniker. It really is a wonderful
reminder of their collective talent that was sadly never given time to flourish.

In Detroit in 1969 the city was still rebuilding from the 1967 riots, there was still hope and a drive for the future and the good times that were just around the corner. Young people in America had an excitement for what they perceived was possible for them. Cue one such person – Larkin Yewell.

Many of you will likely not have heard of Larkin, or Fourth Level, Richard Martin, George Burnette or even Larkins record label U-Larc. But it exists as a moment captured in time, the 45 capturing the full extent of hope and ambition, the excitement and drive to capture the attention of people through music, aiming for the star and coming to Detroit – Motor city and the home of Motown. Larkin also came North to get a job in the Chrysler factory while hustling to make his name in the music business.

But here are the two tracks they recorded and released, so turn the volume up and hit play on both sides.

Night Cobra aus Texas, USA sind die neue, geschmackssichere Entdeckung auf High Roller Records - hier vermischt sich Heavy Metal mit Punk, Darkwave, Thrash Metal und einer gehörigen Portion Science Fiction!

Night Cobra sind eine neue traditionelle Metal-Band aus Houston in Texas, bestehend aus Christian Larson (Vocals), Brandon Barger (Gitarre), Bill Fool (Gitarre), Trevi Biles (Bass) und Cheech (drums). Im Jahre 2020 legten sie ihre selbst finanzierte EP namens "Praise Of The Shadow" vor, die sich im Nu ausverkaufte und letztendlich zu einem Vertrag mit High Roller Records führte, wo jetzt das Debütalbum "Dawn Of The Serpent" in den Startlöchern steht. Ganz bewusst hat die Band darauf verzichtet, Tracks von der EP noch einmal neu aufzunehmen und präsentiert stattdessen neun brandneue Kompositionen.

"Im Kern spielen wir Heavy Metal", beschreibt Sänger Christian Larson den Stil von Night Cobra. "Aber es sind auch ein paar Einflüsse dabei, die nicht ganz so offensichtlich sind, eben auch aus den Bereichen Punk, Darkwave und Thrash Metal. Ich bin gespannt, was die Leute daraus machen ..." Laut Larson handelt es sich bei "Dawn Of The Serpent" nicht um ein Konzeptalbum: "Aber viele Stücke setzen sich mit einer dystopischen Zukunft auseinander, auf die sich unsere Welt hinzu zubewegen scheint. Das Stück 'Run The Blade' ist beispielsweise vom Film "Blade Runner" inspiriert, und auch ansonsten atmet die Platte eine Menge Science Fiction. Einige Songs, die ich herausheben würde, sind 'The Serpent's Kiss', 'In Mortal Danger' und das bereits erwähnte 'Run The Blade'. Ansonsten denke ich allerdings, dass "Dawn Of The Serpent" seine volle Wirkung erst als Ganzes entfaltet."

Wenn man sich "Dawn Of The Serpent" aufmerksam anhört, wird schnell deutlich, dass das Material von seiner Struktur her doch einigermaßen europäisch klingt und zudem deutliche Einflüsse aus der NWOBHM erkennen lässt. "Da haben dich deine Ohren nicht getäuscht", lacht Sänger Christian Larson. "Ich würde sagen, dass ein Großteil unserer Einflüsse europäisch ist, ganz oben auf der Liste stehen Angel Witch, zusammen mit Mercyful Fate und den frühen Iron Maiden."

Almost exactly a year after Tower Block Dreams' Time Is Now debut and the launch of our white label series, the UK-born, Madrid-based producer returns with a club-ready 5 tracker which fuses together the most danceable facets of UKG, grime and breaks.

The opening track "Bare Dubs" pays tribute to UKG's antecedents in pirate radio with sporadic MC vocal samples and a womping bassline. The product: a soundsystem banger with a disjointed, yet fiercely controlled two-step rhythm and grimey, extended basslines a la So Solid Crew and early Scratcha. Flip over the record and the A-side's cold rigour is swapped out for a sultry groove.

Euphoric piano stabs and playful R'n'B vocal chops energise "If You Want The Reload" and video-game-esque bleeps lend "Last One From Me" its blissed-out melody. But don't get too comfortable. The aptly-named "From The Top" sees a return of the opening tracks' grime sensibilities and introduces an FM static atmospheric to take things back to the old school.

Time Is Now White Vol.12 drops 25th February 2022 via Time Is Now.

A Letter from TreeTops is the debut album from Pneumatic Tubes, the solo project of multi-instrumentalist Jesse Chandler. Grounded here in his own bucolic makings, Chandler opens his imagination to the world with this very personal and contemplative album. It’s a kind of American Kosmiche Music, a paean to the wild landscapes of the Adirondacks and Catskills of Upstate New York where he grew up. (TreeTops is the name of a summer camp, fondly remembered by several generations of the Chandler family.)

The album came to Chandler almost as an automatic transmission. Shortly after the death of his father, he holed up alone in the old family home with a few synths, a couple of vintage keyboards, percussion instruments and of course his beloved flutes and clarinets - the “pneumatic tubes” of his nom de plume. Channelling raw memory and landscape, Chandler laid down most of the material for this mystical and elegiac suite of music in just a few days. He later called on some talented friends to flesh out the final recordings; Paul Alexander on bass, Bill Campbell on drums, Marissa Nadler backing vocals and Robert Gomez on electric guitar.

The result is a series of beautifully faded musical photographs. Gentle melodies are propelled along by synth arpeggiators or laidback sidestick and felt beater drums. Chandler’s wind instruments are woven throughout like wild vines binding the elements together. Towards the end of the album an underlying note of melancholy swells into grief during the very moving Witch Water, which is subtly underpinned with Marissa Nadler’s haunting voice. The clouds soon clear, the mountains reappear, and the wheel of the year and of the generations turns again as A Letter from TreeTops signs off with the same lilting melody on which it began.

Originally hailing from Woodstock, New York and now living in Denton, Texas, Jesse Chandler is the keyboard and woodwinds player for the bands Midlake and Mercury Rev. His particular warmth as a composer and improviser is informed by a childhood ensconced in the mystical Catskill mountains, where he absorbed the area’s rich musical history and developed a fascination with keyboard and woodwind instruments.

A Letter from TreeTops is not his first appearance on Ghost Box, he also contributed organ and flute on the Soundcarriers’ incredible Entropicalia album.

Evocative liner notes are provided by Justin Hopper, author of Old Weird Albion and writer of the Ghost Box spoken word album Chanctonbury Rings. By happy coincidence Hopper also grew up in New York State and has his own deep connection to the landscapes there.

FFO: Arthur Russell, Stealing Sheep, Neu!, Agar Agar, Galaxians
Holodrum are a new disco-infused synth-pop group, who feature members of Hookworms, Yard Act, Cowtown, Virginia Wing, Drahla and more.

Maybe Holodrum were destined to start at this point. This might be the first time they’ve all officially worked together, but between Emily Garner (vocals), Matthew Benn (synth/bass/production), Jonathan Nash (drums), Jonathan Wilkinson (guitar), Sam Shjipstone (guitar/vocals), Christopher Duffin (sax/synth) and Steve Nuttall (percussion) they’ve shared bands, mixed each other’s records, promoted live shows and made music videos together in and around Leeds. As Holodrum, this is the 7 piece’s debut album, but the interlocking grooves and hot headiness of their repeato-rock-via-CBGBs dopamine hits have in one way or other been fermenting for years.

“When it comes to doing music most bands fall between two extremes of doing it for some goal or as an end to itself” says Shjipstone. “I think Holodrum is about the joy and complexity of living, and I just hope to god everyone gets to have a good time doing it.”

Ultimately the core of the group comes from Shjipstone and his former Hookworms bandmates Benn, Nash and Wilkinson. After their abrupt dissolution in late 2018, the four of them spent six months apart; Benn still had Xam Duo, his ongoing project with Virginia Wing and some-time James Holden & The Animal Spirits live member Duffin, Nash remains vocalist and guitarist of long-running DIY rockers Cowtown and helms his solo project Game_Program; and Shjipstone plays guitar with Yard Act. However, the four of them missed the sixth sense synergy they’d built-up playing together over a decade and soon enough demos were being swapped and new ideas were discussed.

The vision of a large live electronic ensemble formed quickly. Friends were added: Duffin and Nuttall – who was keen to resurrect the double percussion interplay that he and Nash had been exploring as part of motorik trio Nope joined first. Then animator and VIDE0 singer Garner crystallised the line-up by joining on vocals.

“Apart from Emily, all of us had actually played together before in a covers band at a New Year’s Eve party at the Brudenell Social Club a couple of years ago, so we knew we could have fun together” says Benn. “So we set up to be a live party band early on. We wanted lots of people on stage having fun, playing for people that also wanted to have fun. It makes sense we take inspiration from bands like Tom Tom Club and Liquid Liquid; they were trying to help people to party at a point when New York was quite a scary and dangerous place we’re doing the same, albeit in the face of a decaying world and a global pandemic.”

Covid-19 hasn’t given them much opportunity to do that yet, with two fledgling shows in late 2019 to their name before festival appearances at the likes of Bluedot, Sounds From The Other City and Gold Sounds were scuppered last year. However, the 6 tracks on Holodrum crackle with the energy of the dancefloor. Opening cut 'Lemon Chic' described by Garner as her “workout track” starts out sparsely, with tight drum claps and burbling synths holding a teetering suspense before the whole thing’s prised open, allowing beaming saxophone skronk to shine in. Garner’s vocals bob and weave around the syncopations of the track’s building cacophony.

It sets the stall for an album heavy on euphoria, built atop crisp interplaying percussion and acid-flecked grooves. At times Shjipstone provides a raw counterpoint on vocals, while elsewhere - like on the strutting, swirling disco of 'Free Advice' and 'Low Light'’s late night ping pong synths - the pair indulge in playful call and response as the instrumentation builds and contorts around them. 'Stage Echo' provides a respite of sorts halfway through, a swirling, fever dream of a track that peaks with big squelchy frequencies and cavernous reverb, before the album returns to its repetitious exercises in body-moving catharsis underpinned at all times by a relentlessly propulsive rhythm section.

Stopped in the middle of a French and English tour by the Covid epidemic,
THE CELTIC SOCIAL CLUB immediately threw itself into the writing and
recording of what will become its fourth album - Combining absence and
distance, the seven Franco-Irish have patiently built, through the Channel
and from their respective home studios, these twelve titles which are
certainly, to this day, the most free, elegant and successful in their
discography
With great bursts of rock energy, pop melody and folk magic, DANCING OR
DYING? is simply a great record made by a band imposing a sound, a style and a
name.
The Times running a full page feature, mid February - (band are flying out
journalist to a big show they have in France). UK Full band show at Nell's, London
on 24th Feb. Festival confirmed Wickham, Beautiful Days, Glastonbury, Tolpuddle
Martyrs, Little Orchard. Julian Spear PR Andy Prevezer Plugging Mdnight Mango
Agent

Brand new album by the legendary Swamp Dogg.In 1954, 12 year old
Jerry Williams, then performing under the name Little Jerry Williams,
made his first recording for Mechanic Records, a blues stomp with a
shockingly mature vocal performance - Through the 60"s Williams' career
developed with a number of successful singles, including 'I'm the Lover
Man' and 'Baby You're My Everything', as well as writing and producing
hits for Dee Dee Warwick, Doris Duke, and Patti LaBelle and the Blue
Belles. It was in 1970, however, that the full extent of Williams' eccentric
creative genius was unleashed on the world for the first time, with the
birth of his musical alter-ego, Swamp Dogg
Created to 'occupy the body while the search party was out looking for Jerry
Williams, who was mentally missing in action due to certain pressures, maltreatments and failure to get paid royalties on over fifty single records,' the
Swamp Dogg alias, still in use today, allowed Williams to create music that was
bolder, raunchier, and more honest to his creative instincts. The Dogg's cult
classic debut 'Total Destruction to Your Mind' struck a powerful blend of Williams
classic soulful sensibilities and the blooming psychedelia of the time. Infused in
the swirling brew is Swamp's blink- and- you'll- miss- it humor, a number of acid
odes, and a heavy dose of sharp political insight. Though the psychedelic
strangeness alienated R&B fans of the time, and the authentic R&B infrastructure
prevented it from clicking with hippie audiences, it has retroactively received
legendary status in cult music circles.Now, 50 years after Total Destruction
introduced Swamp Dogg to an unprepared world, and nearly 70 since Little Jerry
Williams went into the studio for Mechanic, Williams brings us I Need A Job' So I
Can Buy More Autotune. A spiritual successor to 2018"s hit Love, Loss and
Autotune, this album continues to push Swamp's sonic exploration of the effect
as one of his many creative weapons. In the extended tradition of Total
Destruction, Swamp Dogg's 2021 LP neatly balances sleek modern production
techniques with that classic Dogg sound that has anchored William's music since
the 70s. Subtle yet soulful drumming, skin- tight horn grooves and meandering
funk guitar leads create a sonic landscape fitting Swamp Dogg's iconic croon,
occasionally drenched in the titular autotune. At 78, Swamp Dogg is as sharp of a
singer and songwriter as ever. His raunchy yet charismatic sense of humor takes
a more forward role on I Need a Job' So I Can Buy More Autotune, with earnestly
delivered lyrics about all day sex and an entire song dedicated to the perils of
'Cheating in the Daylight.' Many of the record's most charming moments emerge
from the juxtaposition of Swamp's left field humor with genuine messages of
love, such as 'She Got That Fire', which weaves descriptions of imagined sex acts,
including but not limited to an encounter involving edible underwear, in between
relatively wholesome proclamations like 'she must be an angel on earth,' and
'when she looks at you, it's like sunshine from her eyes'. I Need a Job does more
than prove that Swamp's still got it, it proves he's still getting better.