Cerca:new world

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

Ring Ring Ring! The dawn of a fresh day brings a new release near. Squid Recordings inks its way into existence with a heavy foot on rave Americana.

With releases on Rush Hour, Velocity and his own Nylon Recordings, James ‘Nylon’ Thomas sees his Nylosphere project reborn, remastered and retouched (over two decades later) for the modern world.

The two widely varying title tracks, backed with equally contrasting mixes, are a microcosm of what late 90s, American-made dance music embodied. That is, a web of genre hopping maximalism, analog driven punchiness and a beautiful uncertainty to a post millennia world.

With her third Gondwana album, "Constellation", Manchester"s Caoilfhionn Rose has come of age as an artist, digging deep to find experimental new ways of expressing her wonder at nature"s beauty, her love of music in all its diversity, and her belief in the restorative powers that both afford in the troubled post-COVID world. The ten tracks on "Constellation" feel rooted in a knowledge of folk, jazz and all the twentieth century"s classic tunesmiths, and yet they seem to create a magical, otherworldly space of her own imagining, blending Caoilfhionn"s core piano with synths, and pitting a live rhythm section and saxophone embellishments against ambient samples and future-facing production techniques.

With her third Gondwana album, "Constellation", Manchester"s Caoilfhionn Rose has come of age as an artist, digging deep to find experimental new ways of expressing her wonder at nature"s beauty, her love of music in all its diversity, and her belief in the restorative powers that both afford in the troubled post-COVID world. The ten tracks on "Constellation" feel rooted in a knowledge of folk, jazz and all the twentieth century"s classic tunesmiths, and yet they seem to create a magical, otherworldly space of her own imagining, blending Caoilfhionn"s core piano with synths, and pitting a live rhythm section and saxophone embellishments against ambient samples and future-facing production techniques.

Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence.

There is a core element to Chelsea Wolfe’s music—a kind of urgent spin on America’s desolation blues—that’s existed throughout the entirety of her career. At the center, there has always been Wolfe’s woeful longing and beguiling gravity, though the framework for compositions has continuously evolved based on whatever resources were available. Her austere beginnings were gradually bolstered by electronics and filled out with full-band arrangements. The music became increasingly dense and more centered around live performances. Her latest album, Birth of Violence, is a return to the reclusive nature of her earlier recordings

“I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people—an incredible time of learning and growing as a musician and performer,” Wolfe says of the era leading up to Birth of Violence. “But after awhile, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.“ Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings—little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs on a makeshift studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola).

The album opens with “The Mother Road,” a harrowing ode to Route 66 that immediately addresses Wolfe’s metaphoric white line fever. It explains the nature of the record—the impact of countless miles and perpetual exhaustion—and the desire to find the road back home, back to one’s roots. Songs like “Deranged for Rock & Roll” and “Highway” offers parallel examinations on the trials and tribulations of her journeys while the ghostly “When Anger Turns to Honey” serves as a rebuttal to self-appointed judges.

While the record touches upon tradition, it also exists in the present, addressing modern tragedies such as school shootings in the minor-key lullaby “Little Grave” and the poisoning of the planet on the dark wind-swept ballad “Erde.” But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. Much like Alan Ginsberg’s hallucinatory long-form poem Howl, the tracks “Dirt Universe” and “Birth of Violence” weave together specific references from her past into an esoteric overview of the state of mankind. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension.

“These songs came to me in a whirlwind and I knew I needed to record them soon, and also really needed a break from the road,” Wolfe says. “I’ve spent the past few years looking for the feeling of home; looking for places that felt like home. The result of that humble approach yields Wolfe’s most devastating work to date.

European Headline tour confirming now for 2020. UK/EU Publicity handled by Lauren Barley at Rarely Unable. Immense support from Press, including coverage with NPR, Pitchfork, FADER, Vice, Revolver, Decibel, Under The Radar.

FIRST OFFICIAL REISSUE OF ONE OF THE MOST SAMPLED TURKISH RECORDS IN 45 YEARS! SAMPLED BY RAP LEGENDS LIKE SCARFACE OF THE GETO BOYS. TURKISH PSYCHEDELIC MASTERPIECE FROM 1980

Licensed from "Warner Records Sweden" and remastered from original material in Warner Record's vaults by Shawn Joseph at Optimum Mastering Bristol. 180 gr heavyweight vinyl Manufactured in Optimal Berlin.
Recorded between Istanbul and Stockholm, it captures the era between Okay Temiz's Don Cherry Trio touring and his own band Oriental Wind's sensational debut.
Mentioned distinctive elements have elevated the record to 'cult' status among record collectors, sample enthusiasts, and diggers around the world.
By 1980, Okay Temiz had already embarked on a series of dynamic collaborations and sound experiences with Don Cherry as a member of the Don Cherry Trio. This period included a noteworthy summer in the early '70s at Dartmouth College in New Hampshire, hosted by Jon Appleton, a notable American composer and visionary in electro-acoustic music.
"During that summer, Jon asked me, 'What kind of sound do you have in mind?' I had already given this considerable thought, using a tape recorder to capture sound frequencies influenced by the moon's position. Jon Appleton's question made me think about the extension of 'Organic Music Theory,' which we were exploring with Don Cherry at the time."
In 1982, Okay Temiz recorded the most comprehensive answer to 'What is Turkish Jazz?' at the Montreux Jazz Festival (CAZLP 004) with his band Oriental Wind, featuring Bobo Stenson (of the Jan Garbarek - Bobo Stenson Quartet), Palle Danielsson (of the Peter Erskine European Trio), and Lennart Åberg (of the Scandinavia New Jazz Group).
In 1980, without fully realizing he was navigating between these two worlds, Okay Temiz entered Stockholm's renowned Metronome studios to record the 'sound in his mind' as a solo artist.

`Drummer of Two Worlds` is a star map of Okay Temiz's musical worlds. Blending elements from the grand piano to his handmade drums, and from the amplified Berimbau to his cowbell array, weaving Turkish rhythms like 9/8 and 7/8 with the universality of 4/4, it presents a unique sound narrative that resonates with the dimensions of a well-traveled mind."

Haluk Damar

repressed !

10 Year anniversary edition, recut and remastered from the analogue tape masters from Bazza's Alchemy Mastering in London; focusing and enriching every finite detail. This EP features 2 new pieces of sonic meditation residing somewhere between space and time, somewhere in the cosmos.

With the title track, "Beyond Starlit Sky", vaporous atmospheres emerge from the distance, while ghostly apparitions and analog modulations rise to the surface of a truly hypnotizing rhythm, submerging the mind deep into an analog world. With the "Live" version a mixture of themes from "Fading Lights" and "Beyond Starlit Sky" find an engaging syncopation, resting somewhere in the ether. Those who loved Echospace's "The Coldest Season" on Modern Love will have plenty to adore here, timeless in all senses of the word.

Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.

Radio Support:

Ross Allen - Soup to Nuts NTS

Colleen Cosmo Murphy - NTS

Lauren Laverne - BBC 6 Music

Esk - Rinse FM

District Magazine (Ireland)

Peter Curtin - RTE

New Music Fix on BBC 6Music

Bill Brewster

Making his Dekmantel debut with a flourish of symphonic, transcendental techno, Sepehr takes us into a fictional metaphysical zone he calls the Genesis Domain. Over the past 10 years NYC-based Sepehr Alimagham’s versatile club music practice has taken in techno, D&B, electro, EBM and acid on a suite of scene-leading labels. This new EP builds on the pseudo-spirituality he explored on recent LP Fall From Grace with an exploration of an imagined space “where your reality can be reinvented at any given moment.”

On the A side, the title track sets the pace with a throbbing, sparkling-yet-spooky trip that allows a touch of trance into the mix, while ‘Delicate Senses’ explores snappier broken beat rhythms and edgy atmospherics with a distinctly moody outlook.

The mystical electro shades of ‘Twisted Solstice’ and ‘Planet Lonely’s melancholic 4/4 pastures strike a note between contemplative introspection and anthemic main stage energy. ‘Queen Of Demons’ is the consummate EP closer, leaning on brooding low end and snaking, intricate beats with a healthy dose of shimmering beauty up top.

Consistent with his versatile approach since day one, Sepehr proves any blend of tempos and rhythms can be folded into his vivid, evocative sound world — the results will always draw you in close until his vision becomes yours.

The Selenites Band returns with a Live album ahead of their 3 Studio album, due for release in late 2024. 8 tracks of psychedelic jazz influenced by Ethio-groove, Swinging Addis and pentatonic grooves, recorded in analog on tape recorders during two concerts between 2021 and 2023.

These recordings are an opportunity to discover 5 previously unreleased tracks, as well as live versions from the previous album "Behind The Mask". The Selenites Band are first and foremost a live band, and we've seen them at the New Morning, in Paris, in Belgium, as well as opening for the prestigious group GONG, on their only date in France, and at many other festivals. The Selenites Band's lively style takes us into a world of traditional music, Shamarnic grooves, spicy jazz and bewitching rhythms. A melodic universe, a music of heady modal trance, a cinematic space of energetic jazz punk! . All compositions are by Antoine "Obi Riddim" Laloux, with the exception of two tracks by Seyoum Gèbrèyès and Tlahoun Gèssèssè.

All sleeves are hand-silk-screened and numbered / limited edition

The punk movement also came fully clothed. Mal-One’s new single talks about the fashion side of Punk that ran parallel to the music. These clothes were supplied from Malcolm McLaren and Vivienne Westwoods emporium situated at 430 King’s Road, the epicentre of the Punk Movement itself. The clothes were not cheap and you needed deep pockets to buy them. But you also needed an attitude to wear them, as many factions were not so appreciative of them, especially the ‘Teddy Boys’. You had to run the gauntlet of the King’s Road on a Saturday from Sloane Square to the Worlds End. A tricky mile, in which you always had to keep your eyes open from enemy attack.

A Paris resident of Minsk origin, Lina Filipovich’s ‘Music for an imaginary dancefloor’ explores the liminal space between club music and something altogether weirder, elusive, and abstract. Nervous, varied and amplified by various delays, the LP was written from improvisations on analogue synthesizers between June and December in 2022.

Atonal drones and atmospheric textures convey imagery of charcoal skies and silk tapestries; an idealised parallel world untethered from reality and bodies, towards something more ethereal – floating freely in red carpet lined corridors.

“In my previous works, I used pre-existing sounds to create new pieces. I was interested in the appropriation and decontextualization of materials from various traditions and contexts. However, in this album, I don't deconstruct; instead, I attempt to co-write with the machines, relying on their aesthetics and my imagination.”

Lina's LP trickles down the spine, pulse-raising and gooseflesh on tender skin, analogous to the aftermath of a sweaty fever dream. Speaking the language of spirits in the allure of the dark.

Press release by Asmi Shetty

An enormous production with musicians of the highest calibre combine to create a bombastic spectacle. The show's infrequencies make it evermore unique. In September 2023, Arjen Lucassen sold out five performances of '01011001 - Live Beneath the Waves' at the Poppodium 013 in Tilburg, The Netherlands. Talking about the show Arjen Lucassen says: "When I wrote the 01011001 album back in 2007, it was never meant to be played live.

So I could make it as complicated as I wanted with countless instrumentalists and no less than 17 singers!" Ayreon mastermind Arjen Lucassen and keyboardist Joost van den Broek managed to gather a large number of the original cast of the 01011001 album and many special guests, including Simone Simons (Epica), Damian Wilson (Threshold), Anneke van Giersbergen, Jonas Renkse (Katatonia), Tom Englund (Evergrey), Daniel Gildenlow (Pain of Salvation), Marcela Bovio (MaYan), Brittney Slayes (Unleash the Archers), Hansi Kursch (Blind Guardian), John Jaycee Cuijpers (Praying Mantis). Maggy Luyten (Beautiful Sin), Michael Mills (Toehider) and Wudstik are among other incredible musicians.

With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy.

It’s 1 year since JFB’s incredible ‘Jammy Fader Breaks’ sold out almost instantly! To celebrate we give you a super limited (200 copies Worldwide) Silver vinyl repress with alternative colourway sleeve! JFB needs no introduction, an absolute MONSTER on the turntables and 3 times DMC World Champion, he has nothing left to prove on the battle scene or club circuit. However Woodwurk are very proud to bring you a first from this legend in the game, JFB’s first ever battle break record - JAMMY FADER BREAKS
Side A contains a huge library of JFB’s personal scratch sample collection including original and hilarious vocals from beatbox innovator Beardyman. There are 9 skip-proof vocal phrases perfect for scratch jams, practice and battle sets plus a large selection skip-proof beats and drum phrases ideal for beat-juggle and drumming practice. The side ends with a never ending locked groove electro beat for scratch sessions. Side B contains another 2 huge sections of scratch samples from the JFB volts plus a selection of beats and sounds from some of JFB’s

World conquering routines, allowing you to try them out for yourself or create something new. This side again finishes with an electro beat lock groove to jam over. Buy 2 copies for twice the fun, this record is a must for beat jugglers and scratchers alike! Much like the man himself, Jammy Fader Breaks is a beast with something for everyone!

Artwork comes courtesy of Woodwurk Records head honcho DJ Woody, bringing to life some of the suggestions made by JFB fans as to what the letters of his name really stand for.


• Produced by 3x World DMC Champion turntablist JFB.
• Skip-proof scratch phrases, drumming phrases, 133.33bpm juggle beats, full sentences, instrumentals, routines and lock grooves.
• Unique battle samples from JFB’s own collection, including vocals by Beardyman.
• Perfect for battle routines, freestyle scratching and juggle practice.
• Artwork by DJ Woody

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

Donny McCaslin is an artist consistently at the forefront of musical innovation. Building on the foundation laid by his critically acclaimed 2023 album "I Want More," described by Mojo Magazine as an "emotive electro-jazz" masterpiece and celebrated for its adventurous spirit by De Volkskrant, Donny McCaslin continues to chart new territories in sound with his latest 7in vinyl and digital release, "Kid." This new project, encompassing the tracks "Kid" and "Maxine," which not only encapsulates the direct, bold, and charismatic essence of McCaslin's sound but also signals his relentless pursuit of artistic growth, refusing to rest on the laurels of past achievements.

"Kid" is a testament to the fruitful collaboration between McCaslin and Tim Lefebvre, reflecting a deepening of their artistic development as collaborators, writers, and bandmates. This instrumental track, enriched by David Fridmann's visionary production, explores the complexities of musical narrative through its intricate harmony and dynamic saxophone lines. The bass subs introducing an electronic vibe into the track signify the duo's forward-thinking approach, blending genres and sounds into a cohesive whole. The saxophone, treated with effects of delays and reverb, veers away from traditional jazz solos, creating textures that support an overarching sound world, inviting listeners to immerse themselves in the music rather than focusing on individual performances. "Maxine", on the other hand, presents a more introspective journey. Originating from a track sent by Colby Keyz, McCaslin develops this piece into a poignant love song, layered with saxophone melodies and solos that evoke a deep sense of longing and emotional depth.

The production, handled masterfully by Steve Wall, enhances the track's unique sounds, demonstrating McCaslin's ability to create profound musical experiences even in the absence of live band interaction. Together, "Kid" and "Maxine" highlight McCaslin's virtuosity and innovation as a musician. His commitment to evolving his sound and the depth of his collaborations exemplify why he remains a progressive force in the music world. With "Kid", Donny McCaslin reaffirms his position as an artist unafraid to explore, develop, and redefine the boundaries of contemporary music, making this release an essential addition to the collections of aficionados and newcomers alike.

Remastered and expanded release of Toyah’s 1982 Top 20 album. Originally released as a live double album in October 1982, ‘Warrior Rock’ was recorded at Hammersmith Odeon, London across the final two nights of the tour.

The album presents 15 songs centred around material from the band’s Top Ten albums ‘Anthem’ and ‘The Changeling’. The album is named after ‘Warrior Rock’, the B-Side of Toyah’s 1982 single ‘Brave New World’. The band’s hit singles ‘It’s A Mystery’, ‘I Want To Be Free’ and ‘Thunder In The Mountains’ all feature on the album alongside fan
favourites ‘Ieya’, ‘Danced’ and ‘War Boys’. This expanded re-issue now documents ‘The Changeling Tour’, Toyah’s highly successful run of 25 UK concert dates in June/July 1982 in a more comprehensive fashion.

The 3CD set was compiled by Craig Astley and Joel Bogen and presents 41 remastered tracks from master tapes/archive sources
featuring 26 previously unreleased bonus tracks. A total of 19 different songs feature from 11 different gigs, recorded at nine different locations. For the first time ever, the “four sides” of the original live double album are included on CD - unabridged and uncut. Nick Watson/Fluid Mastering has remastered the package from the original master tapes and archive sources, overseen by Joel Bogen. A wealth of bonus tracks have been unearthed from the archives to provide both a glimpse backstage at concert preparations, and act as a definitive souvenir of the tour’s journey across the UK

Technical death metal troupe Cognitive are back with Abhorrence, their fifth full length album and a tremendously worthy successor to 2021’s Malevolent Thoughts of a Hastened Extinction. This is the New Jersey powerhouse quintet at its brutal best – unrelenting riffs leave the listener stunned, while a wave of thoughtful, devastating lyrics washes over. The album is a turbulent, draining but ultimately fulfilling experience. Cognitive started work on Abhorrence while touring Malevolent Thoughts of a Hastened Extinction, sending tracks back and forth to each other while trekking from one intense gig to another. This promises to be a big year for Cognitive, as they take Abhorrence on the road and bring more people into their vile new world. 13 years after the release of their debut EP, the band’s fifth full-lengther sees them continue to make giant strides forward while retaining the elements of their past efforts that got them this far. Abhorrence may provide therapeutic commentary about how messed up the world currently is, but also, ironically, provides a breath of fresh air. We’re all in this together, so catch Cognitive on the road this year.