Search:no 19 music

Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever!

Through the years, these four remarkable performances — all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year — have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor!

The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.

Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously.

Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard. 180-gram 45 RPM double LP pressed at Quality Record Pressings.

Features:
• Pioneering Ensemble: Captured the same rare and short-lived alignment of jazz legends including Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb, as heard on the historic Kind of Blue.
• Innovative Sound: The session represented a crucial transition in jazz, blending elements of hard bop with early modal jazz influences, showcasing the ensemble's experimentation and forward-thinking approach.
• Undervalued Legacy: Despite its historical and musical significance, the session's recordings have been historically overlooked, often relegated to being add-ons in compilations rather than recognized as standalone masterpieces.
• Modal Jazz Precursor: Offered early glimpses into the modal jazz that would later be fully realized in Davis's groundbreaking album "Kind of Blue," laying the groundwork for future jazz innovation.
• Impact on Artists: Served as a critical point of development and confidence for the musicians involved, particularly Bill Evans, who noted the significant impact of this experience on his own identity and style.
• Historical Context: Occurred at a peak moment in Miles Davis's career, following his signing with Columbia Records and his critical and commercial successes with albums such as ‘Round About Midnight and Miles Ahead.

Formed in 1994, Belgian power trio Metal Molly quickly built a reputation for their infectious blend of indie rock, grunge energy, and sharp melodies.
Their debut Surgery For Zebra was released in 1995, the album was driven by their single "Orange", which received extensive airplay across Europe.

The album propelled the band onto major stages, including Pinkpop and Torhout Werchter (1996), alongside high profile support shows with Therapy?, Bush, and David Bowie. After a highly successful run, Metal Molly disbanded in 2000.
In 2025 the band reunited to celebrate the 30th anniversary of Surgery For Zebra, it also resulted in this long awaited vinyl pressing, now available for the first time.

Surgery for Zebra is now available as a limited numbered edition of 500 individually numbered copies on turquoise vinyl and it includes an insert.

Deconstructed techno-dub classical piano, by exploratory composer Richard Pike. A suite of pieces for piano and texture loops, focused on real-time composition & an exploration of cassette sound sources, minimalism, harmony and the ghostly acoustic ephemera that emerges from the loop material. Intimate, granular and dust-covered.

After the passing of the late great Ryuchi Sakamoto during winter in early 2023 Richard Pike gravitated towards the piano as a daily ritual of improvisation, or what he prefers to call ‘real-time composition’.
Pike’s initial approach was an interest in a repeated practice, finding earthly textural tape loops against a daily commune with the piano. Very quickly a suite of pieces formed.

The process of collecting loops and beds in his studio the morning, then moving downstairs to a 1950s Eavestaff Minipiano in the living room, to record melodic and harmonic expressions over the bed of textures, with and against the flow. This process was pure and impulsive, leaving editing and scrutiny until later.

The textures are inspired by the likes of Romeo Poirier, Deepchord, early music concrete and a nostalgia for the ‘clicks and pops’ era that inspired Pike’s early experiments in his Warp Records-affiliated band PVT.

SCOTTISH TRUMPETER MALCOLM STRACHAN RETURNS WITH HIS MOST UPLIFTING AND GROOVE-DRIVEN ALBUM YET – “LOOK ON THE BRIGHT SIDE”

On Look On The Bright Side, Malcolm Strachan sounds more open than ever. His third solo album moves effortlessly between soul-jazz, Latin grooves and Afrobeat touches, anchored by the warm, cinematic feel of 1970s jazz but driven by a clear sense of forward motion.

Released on 22 May 2026 via Haggis Records, the album sees Strachan stepping further into his role as a composer and bandleader, drawing together the threads of a career spanning more than two decades at the heart of the UK’s jazz, funk and soul scene.

Where his debut About Time (2020) channelled the spirit of classic Blue Note recordings and Point Of No Return (2023) leaned into the groove-heavy CTI era, Look On The Bright Side feels broader in scope – still rooted in groove, but more open to outside influences and a more consciously uplifting tone.

“I wanted the music to feel upbeat and positive,” says Strachan. “I start at the piano, working through chord ideas until I find something that feels right. Once the harmony is there, the melodies tend to come naturally.” That approach gives the album its fluidity, with tracks evolving from feel as much as structure and arrangements that leave room for interplay and movement.

The Spice of Life, released in November 1969, stands as Marlena Shaw's second--and final--studio album for Cadet Records, produced and arranged by the renowned Richard Evans and Charles Stepney. From the opening, Shaw's voice--both playful and powerful--cuts through the lush yet tight-knit arrangements, weaving together a vibrant tapestry of soul, proto-funk, jazz, gospel, and blues. The album features two defining classics: her deeply resonant original of 'Woman of the Ghetto' and a signature take on Ashford & Simpson's 'California Soul', both staples in sampling culture (you'll probably find that you're more familiar with Shaw's material than you thought.) Evans and Stepney's arrangements are far from mere support--they're panoramic and inventive. You'll hear kalimba flourishes, psych-tinged guitar accents, and bongo-fueled organ textures that elevate each track, keeping the atmosphere rich but never overwhelming. Moments like the Bacharach-styled 'Looking Through the Eyes of Love' or the dramatic flair of 'Stormy Monday' showcase their widescreen sensibility and Shaw's versatility. Beneath its musical elegance, "The Spice of Life" carries a weighty current of social commentary. Tracks such as 'Woman of the Ghetto' and the succinct, fierce 'Liberation Conversation' bring political and feminist themes into a soulful, expressive framework--adding unexpected depth to the sophisticated sonic palette. This album offers an immersive journey through soul-jazz mastery, one that rewarded listeners with sampling gold for decades to come. Reissue on 180g vinyl.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

2ND LP PRESSING

Cosmic Ear is a new group bringing together Christer Bothén, Mats Gustafsson, Goran Kajfeš, Kansan Zetterberg and Juan Romero. Their debut album TRACES is released by We Jazz Records on 23rd of May, 2025. Including 6 deep cuts, TRACES is an album that sees Cosmic Ear tracking down the "traces" of the legendary Don Cherry's legacy while paving their own way in contemporary creative music expression.

Christer Bothén, a collaborator with Don Cherry during his Swedish period in the 1970s, brings depth to the history of the band, while his bandmates each belong at the top of the game in Scandinavian jazz. Their music is meditative and deep, much recommended for fans of the likes of Don Cherry, Alice Coltrane, and Pharoah. That being said, listeners should approach Cosmic Ear only with openness and curiosity, without set stylistic boundaries, as it's the group's natural flow and togetherness that brings their music into a fresh territory of their own.

As John Corbett writes in his liner notes:

"The Cosmic Ear. Five souls, sometimes six, on the same road. The pied piper path of Mr. Cherry. Christer Bothén, one of Cherry's main collaborators in his Swedish period and one of the most beautiful bass clarinetists on planet earth, together with next-gen saxophonist Mats Gustafsson, who has carried so many torches in Cherry's procession, and younger Swedish stars trumpeter Goran Kajfes, bassist Kansan Zetterberg, and percussionist Juan Romero. Together a tempo is set, a path is charted. There are global grooves. A berimbau, a karignan (metal scraper from Guinea), donso n'goni. There are ET grooves. Synth, live-electronics, slide flute. The globe is a glove, a hand warmer that radiates with extraterrestrial power, returning the fingers to their place at the center of the galaxy; the Cherry path is a balm that restores essential moisture to the lips that blow life back into the megacosm. Let us all praise warm fingers and moist mouths."

“Dressed In Black” was curated and annotated by Cathi Unsworth, author of the book Season Of The Witch: The Book of Goth – a woman who considers herself fortunate to have had Siouxsie Sioux, Lydia Lunch and Diamanda Galàs for role models while she was growing up. For further illumination in Cathi’s own words, read on.

“The music gathered here is an aural manifestation of turbulent times, made by women possessed of supernatural abilities. The music I fell in love with emerged from the dark end of the 1970s: The Winter of Discontent of 1978-79, when intractable industrial action left the dead unburied and mountains of rubbish in the streets. All the promise of punk came to a brutal end with the deaths of Sid and Nancy in New York; IRA bombs exploded in central London and a seemingly uncatchable ripper roamed West Yorkshire with 13 murders under his belt. Ill omens that augured badly for the events of 3 May 1979, when Margaret Thatcher became our first woman prime minister. Dressed in blue and ready to whip the country to her heel.

“But at night, malcontent youth were united by forces of opposition, whose dissenting voices were aired across the land on John Peel’s Radio 1 show, set to the sound of slasher guitars, swirling fairground keyboards, loping basslines and percussion that recalled the echo of jackhammers or the march of insect feet. Here, punk’s unruly offspring distilled the dissonance of the times into a new kind of music. Flirting with the fetishist and taboo, drawing upon horror and science fiction imagery, they were the outlaw leaders of the greatest style tribe of the decade: the goths. Dressed in black, these kohl-eyed women voiced the alienation of their generation during the decade of the Cold War, the Miners’ Strike, privatisation and AIDS.

“To make sense of the absurd is genius enough. But to then cast the glamour of sublime music around those insights – I come back to my point about supernatural abilities. I hope you will find illumination within. You know the dress code.”

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

Der Score Soundtrack des Oscar-nominierten Komponisten Daniel Pemberton zum Film Project Hail Mary (dt. "Der Astronaut") ist jetzt auf CD und Vinyl erhältlich.Das Doppelalbum enthält beeindruckendes Bildmaterial aus dem Film sowie Pembertons atemberaubenden, cineastischen Score und lässt Fans noch tiefer in die außergewöhnliche Mission von Grace und Rocky zwischen den Sternen eintauchen. Die 2LP-Edition erscheint auf transparenten Schallplatten.Der mit dem Ivor Novello-Award ausgezeichnete und Oscar-nominierte Komponist Daniel Pemberton (Spider-Man: Into/Across the Spider-Verse, The Trial of the Chicago 7) präsentiert mit Project Hail Mary einen kraftvollen und mitreißenden Soundtrack. Episch, modern und emotional: Der Score verbindet treibende Percussion, beeindruckende Chöre, orchestrale Klangwelten sowie Synthesizer und elektronische Elemente zu einem einzigartigen Hörerlebnis.Basierend auf dem New York Times Bestseller von Andy Weir, mit Oscar-nominierten Ryan Gosling in der Hauptrolle und und inszeniert von den Oscar-prämierten Filmemachern Phil Lord und Christopher Miller, erzählt der Film die Geschichte von Ryland Grace: Einem Naturwissenschaftslehrer, der ohne Erinnerung auf einem Raumschiff erwacht - Lichtjahre entfernt von der Erde. Nach und nach kehrt sein Gedächtnis zurück, und er beginnt, seine Mission zu begreifen: das Rätsel um eine mysteriöse Substanz zu lösen, die die Sonne zum Erlöschen bringt. Um die Menschheit vor dem Aussterben zu bewahren, muss er sein wissenschaftliches Wissen und unkonventionelle Ideen einsetzen ... doch eine unerwartete Freundschaft zeigt ihm, dass er diese Aufgabe nicht allein bewältigen muss.

Persistence of Sound releases a new work by Brunhild Ferrari called »L’oreille Voleuse« (The Thieving Ear). The LP features an extraordinary live reinterpretation by Eiko Ishibashi and Jim O’Rourke, recorded in October 2025 in Paris.

»No, without listening at doors, the ear captures noises here and there and unexpected sounds without choice, but remains attentive to the messages of each one picked up over the years. It gathers surprises and impressions, bringing them together in a simple mix. In waking up these ear memories again, which were mostly recorded on magnetic tapes, I am very happy about the collaboration of Eiko Ishibashi and Jim O'Rourke in playing on this mix tape.« Brunhild Ferrari

Eiko Ishibashi is a Japanese composer, singer, and multi-instrumentalist who has developed a unique body of work blending experimental pop, improvisation, and film music. Her work, praised for its expressive intensity and sensitivity to sonic textures, has led her to collaborate with numerous musicians on the international scene, including Jim O'Rourke, with whom she forms a long-standing duo. She is also the composer of several film scores, notably for the films of Ryusuke Hamaguchi (Drive My Car, Evil Does Not Exist), which have helped to bring her work to a wider audience beyond experimental music circles.

Jim O'Rourke is an American composer, producer, and multi-instrumentalist, and has been a major figure in experimental and independent music since the 1990s. His work spans rock, improvised music, electronic music, and contemporary music. A former member of Sonic Youth and a collaborator with Wilco, Gastr del Sol, and Merce Cunningham, he has released numerous solo albums and film scores. Based in Japan since the early 2000s, he continues to pursue a rich and multifaceted musical practice, where formal rigor and freedom of invention coexist.

Persistence of Sound was founded in 2019 by Iain Chambers (Langham Research Centre, Rubbish Music). The label explores the world of electroacoustic music, contemporary global field recordings, and the unclassifiable music spanning these genres.

Repress 2025
The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00’s with his group, Big Bang, that later went on to become one of the world’s biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast’s 100 list, to Forbes’ 30 Under 30 list, it’s apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

Stern Records is proud to announce the first-time reissue of the self-perpetuating plunderphonic classic, Right Into The Sun by Pol Maló.

Originally released on CD-R in 1999 by Cha-Bashira Records Tokyo under the alias "Orange Head," this new 2xLP edition features fully remastered audio and new cover art by Pol. The release also includes a special riso print edition of the original artwork.

Recorded using 3-6 portable record players, plus one MD player on tracks 2 and 4. All records used were melted, warped or broken by briefly placing them on a gas heater. The records were randomly altered this way to allow the styluses to find and stay in their own loops themselves on the wavy record surfaces. No samplers or editing - live aleatoric playback recordings only.

Raw, cacophonous kinetic sound!

Pol's thoughts on the making of the album:

"Difficult to say what it was that made me interested in making music or actually audio art. In comparison, making visual art had always been there for me. But meeting several now generally known musicians as a student certainly left a very deep impact on me. While doing a DIY label and later kind of music store too, I became fascinated in accidental music, experimental sounds and all kinds of improvisations and bricolages. I think I wanted to try to make sound pieces from scratch, with the bare minimum and resulting in a way in found music. Rhythm and repetition seemed to go well with random audio coming from broken things. This way, I thought, I could create new meaning out of something existing by letting it come apart and back together again anew almost by itself. The album "Right into the Sun", I feel, can be listened to and read on various levels and I hope playback of it in all kinds of environments now will add to the original "spark" of it."

Sunday in the Park with George presents the music from the original 1984 Broadway production of Stephen Sondheim and James Lapine’s acclaimed musical. Recorded shortly after the show’s premiere, the album features the original cast performing Sondheim’s layered score, inspired by Georges Seurat’s painting "A Sunday Afternoon on the Island of La Grande Jatte".

The cast of the musical is led by Mandy Patinkin and Bernadette Peters, whose performances tell a story about art, love, and artistic legacy across two time periods. The recording includes notable songs such as “Sunday,” “Finishing the Hat,” and “Move On.” Winner of the Pulitzer Prize for Drama, Sunday in the Park with George is widely regarded as one of Sondheim’s most distinctive works. Produced by Thomas Z. Shepard, the recording won the 1984 Grammy Award for Best Cast Show Album.

The soundtrack of Sunday in the Park with George is available as a limited edition on blue vinyl and includes a 4-page booklet. The 2LP is packaged in a deluxe sleeve with linen laminate finish.

Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.

Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.

These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.

Two Piers proudly announces the upcoming release of Bridges Towards Open Spaces: Circadian Rhythms 1967–2025.

This new collection brings together a wide range of artists and styles, weaving immersive sonic landscapes that explore a connection between natural cycles and the rhythms within.

Featuring artists such as Brian Eno, Moebius, Roedelius, Meat Beat Manifesto, Fun Boy Three, Daniel Avery, and Spectrum, the compilation moves fluidly between shimmering ambient textures and raw, straight-ahead garage rock.

Bridges Towards Open Spaces: Circadian Rhythms 1967–2025 follows in the footsteps of Two Piers acclaimed previous releases, Night Train: Transcontinental Landscapes 1968–2019 and Music for the Stars: Celestial Music 1960–1979, continuing the label’s exploration of expansive, time-spanning musical journeys.

“I wanted once again to shape a compilation around a time period, this collection is a nod to my days behind the counter of a record shop, the people I met and the styles of music that was played and I was introduced to. Some are from that time, some are of the style/feeling, that I can associate & with the friends I met there; from the early shift to the late shifts as the tempo rose throughout the day and the neons of London started to buzz”

The album will be available on Limited Vinyl and CD in May, arriving just in time for the longer, warmer days and the shifting light of the Seasons Sun.

Marvin Gaye always dreamed of being a smooth crooner, “sitting on a stool, possibly behind a piano,” delivering velvety songs like Nat King Cole. But Motown had other plans. Pushed between raw R&B and polished pop, Gaye fought to find his own voice, eventually rising to become one of the greatest soul singers in history.

Motown Records released the first Marvin Gaye record in 1961 "(I'm Afraid) The Masquerade Is Over", a single intended for (radio) promotion from the singer's debut album. This was followed up by the officially released "Let Your Conscience Be Your Guide" a week later. Gaye scored his first real hit with "Stubborn Kind of Fellow" in 1962, which he had co-written himself, joking about his alleged stubbornness. He found his own unique style with the single released at the end of the year: "Hitch Hike". The foundations were now laid for an enormous series of chart successes: "Pride And Joy", "Can I Get A Witness", "How Sweet It Is (To Be Loved By You)" and "Ain't That Peculiar" are all Motown classics from 1963-1965 which are still being regularly played today after all these years. The duets he recorded with Kim Weston ("It Takes Two"), especially Tammi Terrell and Diana Ross were certainly at least as good.

He scored his biggest ever hit with "I Heard It Through The Grapevine" in 1968. "What's Going On" from the same titled album became a number 1 hit in the USA. The album was received as a masterpiece and is regarded as one of the most important records in pop history. In 1973, the artistically and commercially very successful, "Let's Get It On" album was mainly a musical ode to Marvin's love for his new muse Janis Hunter. His journey continued after a turbulent relationship, addiction and a dramatic creative rebirth in Belgium, where he crafted the global hit “Sexual Healing in 1982.

Marvin Gaye left behind timeless hits, groundbreaking albums, and a legacy that shaped the sound of modern soul. His story, from ambition to artistry, from struggle to brilliance, remains as powerful as the music he created.

Music On Vinyl proudly presents a special coloured vinyl edition of the Marvin Gaye Collected album which is available as a limited edition of 10.000 individually numbered copies on white (LP1) and silver coloured vinyl (LP2) and includes a booklet with liner notes.

Francis Ford Coppola’s coming-of-age drama The Outsiders (1983) adapted S.E. Hinton’s successful 1967 novel of the same name, using a young cast of rising stars (C. Thomas Howell, Tom Cruise, Matt Dillon, Rob Lowe, Emilio Estevez, Patrick Swayze, Ralph Macchio and Diane Lane) many of whom came to be known as the Brat Pack, defining a genre of 80’s films. The plot focuses on the rivalry between two gangs of teenagers in Tulsa, Oklahoma, one poor (Greasers), the other wealthier (Socs).

Coppola’s ambition was to achieve the widescreen scope ‘of a teen Gone with the Wind’, and he asked his father, Carmine Coppola, to score the soundtrack. The result is epic and romantic, a return to a golden age of Hollywood film composing which suits the stylised and epic cinematography, becoming darker as the characters fulfil their tragic destinies. Stevie Wonder co-wrote and performed the song that plays over the credits, ‘Stay Gold’, which is included on this release.

The inner sleeves feature extensive notes by Daniel Schweiger on the history of the film, the soundtrack and an insight into the Coppola father and son partnership.

GER NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern. NOFX were pissed off (possibly still are) and they wanted to let us know! Originally released in 1999,The Decline, was a brave release and marked a huge turning point for NOFX. Widely regarded as their magnum opus, the song is an 18-minute punk rock spectacle that showcases the showmanship, lyrical wit, and musicality of the best punk rock band of all time. Satirizing the state of America and skewering the indifferent masses & politicians alike, the song is eerily relevant in 2026 and continues to critique the powers that be in a way few artists have the courage to do. The vinyl adds first version of "Clams Have Feelings Too" (later resurfacing on the Pump Up The Valuum album) on the flip, the 12" is an essential release for any NOFX fan. Back on black and colored vinyl (ltd), includes insert with lyrics and pics.

Rock 'n Roll With The Modern Lovers is the second album released by The Modern Lovers.

The band was formed in 1970 by singer, songwriter, and guitarist Jonathan Richman, with Jerry Harrison (keyboards - later went on to join Talking Heads), Ernie Brooks (bass), and David Robinson (drums). Richman's friend John Felice joined them occasionally. Their sound almost totally focuses on the sound from the Fifties. The lo-fi record breathes folky roots music and rock ‘n roll as it would sound ages ago. The albums features the popular tracks "Ice Cream Man", "Roller Coaster By The Sea", and "Egyptian Reggae". The latter was a cover version of Earl Zero "None Shall Escape The Judgement" and became a UK Top 5 hit.

Rock 'n Roll With The Modern Lovers is available as a limited edition of 750 individually numbered copies on silver vinyl.

Vegas is the self-titled album from the one-off collaboration between Terry Hall (The Specials) and Dave Stewart (Eurythmics). Originally released in 1992, the album combines elements of electronic music and pop with alternative rock influences.

The album was recorded in London with additional contributions from drummer and programmer Olle Romö, and showcases a more atmospheric side of both Hall and Stewart. It includes the singles "Possessed", "She", and "Walk into the Wind", the latter featuring vocals by Siobhan Fahey (ex-Bananarama, Shakespears Sister).

Vegas is available as a limited edition on orange vinyl.

Individually, each one is known as a first-call player capable of handling any type of musical situation, and their personal credits are simply too long to list. They've collaborated on a wide range of projects and session work, including recent live, recording, and touring work with jazz-funk globetrotters Incognito and the American guitarist Robben Ford. Every now and again, their packed schedules permit them to take time out to make their own music, drawing on their shared love of the Latin jazz tradition, and whenever this happens, they're collectively known as TRYPL. Recently, they've found themselves with some rarely shared downtime and the opportunity to commandeer the capacious Big Jelly Studios.

The next step was to assemble the tunes and contact their favorite singers and players, including pianists Alex Wilson and Ross Stanley, guitarist Giorgio Serci, bassists Javier Fioramonti and Davide Mantovani, and Roberto Pla, Edwin Sanz and Davide Giovannini on percussion, with newcomer Sophie Stevenson on voice and vibraphone. Family and friends dropped round to provide an informal in-studio audience. Drawing inspiration from their shared love of the classic salsa sound pioneered by Fania Records in 1970s New York, given a twist by their own individual musical personalities, they've created Phantasticus - an album of joyously uplifting music that distils all the conviviality and good humor with which it was created into a heady yet feel-good brew. It's the perfect antidote to our nervous, fragmented times.

Leonard Cohen's appearance on 20th March 1968 in a BBC television special had a huge impact and contrib-uted greatly to his success in this country. We are delighted to present eleven of the songs he played, rec-orded in excellent sound. Backed by a select group of UK musicians including Danny Thompson and Dave Cousins, Cohen performed seven tracks from his debut LP. The remaining tracks appearing on subsequent records, with the exception of There's No Reason You Should Remember Me. Comes with full recording de-tails and extensive sleeve notes.

At the time, Mikio Masuda was frequently mentioned as a Japanese jazz musician on par with the soft-and-mellow crossover sound of artists like Bob James and Ramsey Lewis. With a supple sensibility that moves effortlessly between jazz and rock, he stands as one of the defining figures of the 1970s. Now, one of his essential masterpieces, "Moon Stone", has been confirmed for reissue as the fifth installment from SPIN THIS NOW!

Electric Piano, Organ, Clavinet, Synthesizer - Mikio Masuda
Drums - Hideo Yamaki
Electric Bass - Motohiko Hamase
Electric Guitar - Kazumi Watanabe
Electric Guitar, Vocals - Kazumasa Akiyama

Masao Yagi’s memorable first leader date, by a musician active since the dawn of Japanese jazz and also known as a devoted Monk scholar. This album features Monk’s compositions throughout, including classics such as "’Round Midnight", "Straight, No Chaser", and "Blue Monk".

Masao Yagi (p)
Sadao Watanabe (as)
Akira Nakano (tp)
Masanaga Harada (b)
Teiichi Tabata (dr)

Art Blakey was the new hero on the Paris jazz scene, thanks to his Olympia concert on November 22nd 1958, and his subsequent appearances at the Club St. Germain. People swore by his 'Blues March' and 'Moanin', so why not get him to do the soundtrack for the film Molinaro just finished? The only problem, albeit a major one, was that time was short, so an original score was out of the question: the Jazz Messengers would have to preach the good word by other means. Fortunately, the band's tenor and arranger, Benny Golson, had become an expeet in the art of making somrthing new out of somrthing old, and he did it with equal talent and intelligence.Except for three originals, the musical sequences of the film are actually fragments from the Messengers' book, but in adapted versions; 'Whisper Not', for example, can be discerned underneath 'Ne Chuchote Pas'. It was an extremely hazardous process...but the result turned out to be remarkable!!!

Robert Johnson was an American blues musician whose 1936 and 1937 recordings heavily influenced many, many future generations of artists. Despite the fact his recording career spanned a mere seven months, he is universally recognized as a master of the Delta blues style, one of the earliest-known styles of blues emerging from the Mississippi delta in the early twentieth century.

This second compilation of the King of the Delta Blues collects sixteen recordings previously available on the 78 rpm format and includes recordings of two Johnson songs that have since become blues standards: "Sweet Home Chicago" and "I Believe I'll Dust My Broom." In contrast to the deeply emotive songs released on the 1961 album, many of the tracks on this volume display Johnson's lighter side. In 2003 the record was ranked #424 on Rolling Stone's list of 500 Greatest Albums of All Time.

Whether he really needed to sell his soul to the devil at the crossroads to reach these great heights, we'll never know...

King Of The Delta Blues Singers, Vol.2 is available as a limited edition of 1000 individually numbered copies on yellow vinyl and includes an insert with liner notes by Pete Welding.

An improvisational musician, composer and poet, Titi Robin has travelled extensively since the early 1980s – from Brittany to Catalonia, India to Morocco – crafting his own musical aesthetic. Throughout his journey, he has built bridges between his native Anjou, where he still resides, and the Gypsy cultures of many lands. Neither a compilation nor a mere summary, this selection offers a certain perspective on his body of work, which has earned him praises by luminaries like Peter Gabriel or Brian Eno.

Despite his many travels, it would be a mistake to view Titi Robin as an explorer of the "elsewhere". While he plays the guitar, the bouzouq, or the oud, he does not seek to imitate a Gypsy, Syrian, or Greek style; rather, he plays in a voice that is uniquely his own—a syncretism of his personal journey, from his teenage years playing at Moroccan community celebrations to his collaborations with Gypsy musicians from Southeast France and India. In Angers, in the Roseraie neighbourhood, he was immersed in the rhythms of Moroccan chaabi from an early age. Later, he frequented the gypsy neighbourhood of Saint-Jacques in Perpignan. These encounters nourished an aesthetic territory he likes to call ‘Titistan’, which includes Perpignan and Rajasthan. He views Mediterranean culture as "a bridge, a crossroads, a network of long-standing links woven between North and South, East and West." In this selection, you will hear the palmas marking the compas of the Catalan rumba; strings enveloping the melody of the bouzouq, answered at times by the clarinet or the kaval flute popular in the Balkans and Anatolia.

Produced between 1993 and 2011 these songs have been fully remastered and are presented here for the first time on vinyl, with extensive liner notes.

Wer hat die Bibliothek von Mr Lehmann verwüstet? Die drei ??? stehen vor einem Rätsel, das sie zu einem Nobelpreisträger führt.
Bei Mr Lehmann wurde eingebrochen, doch nicht nur ein wertvolles Buch wurde gestohlen, auch alte Briefe seiner Eltern sind verschwunden. Als wenig später auch bei Lehmanns Bruder eingebrochen wird, werden die Detektive hellhörig. Die Ermittlungen führen Justus, Peter und Bob nach Seven Palms, dem Haus von Thomas Mann in Kalifornien. Was hat die Familie Lehmann mit dem Schriftsteller zu tun?

For decades, Dan Penn’s mid 60s Muscle Shoals demos were the Holy Grail among southern soul fans, feted by the likes of Rick Hall and Jerry Wexler as being better than the hit versions. When they finally became accessible to all, 40-plus years after they were recorded, they turned out to be just as good as had been stated.

Further acclaim awaits the recent discovery by Soul-4-Real of two more demo masterpieces, written and performed by Dan and Spooner Oldham while working in Memphis at American Studio in 1967-68. The tape box shows who they were intended for, and it’s a real shame that James Carr never recorded either as both would have been perfect for him. At least we got to hear fine versions of “Cheaters Never Win” from Tony Borders and Bobby Boseman in due course. The lovely “I’m Believing In You” seems to exist only in the version you hear here.

New ‘old’ music from Dan is always worth hearing and having. These wonderful performances are no exception…

For decades, Dan Penn’s mid 60s Muscle Shoals demos were the Holy Grail among southern soul fans, feted by the likes of Rick Hall and Jerry Wexler as being better than the hit versions. When they finally became accessible to all, 40-plus years after they were recorded, they turned out to be just as good as had been stated.

Further acclaim awaits the recent discovery by Soul-4-Real of two more demo masterpieces, written and performed by Dan and Spooner Oldham while working in Memphis at American Studio in 1967-68. The tape box shows who they were intended for, and it’s a real shame that James Carr never recorded either as both would have been perfect for him. At least we got to hear fine versions of “Cheaters Never Win” from Tony Borders and Bobby Boseman in due course. The lovely “I’m Believing In You” seems to exist only in the version you hear here.

New ‘old’ music from Dan is always worth hearing and having. These wonderful performances are no exception…

He knew now that this was the only way with life. He knew now that fear and pleasure go together like the nut and the shell. - Vicki Baum, Grand Hotel (1929)

Five years after his debut Music For Video Stores (2020), Squama co-founder Martin Brugger is back on the label with his new album The Shell.
It's an introspective record on which field recordings, noisy synths and lo-fi folk guitars yield contemplative emotions with a veiled dream-pop sensibility, the sparse instrumentation and an eerie atmosphere mirroring the quarrels of the inner self.
Otherwise created in solitude in his Munich studio, the record features two contributions from label mate Lilian Mikorey (aka PILLBERT).

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Vita Noctis is a curious Belgian formation that, in a more experimental vein, recorded two cassette tapes featuring a dark and distorted sound blending industrial with minimal, darkwave, and synthpop. Active during the 1980s, they remained inactive for many years until Dark Entries Records revived their work in 2011, releasing recordings created between 1984 and 1986. This encouraged Kris and Martine, the current members of the band, to continue the legacy of Vita Noctis by creating new music.

This EP is a selection of tracks created by Vita Noctis from the 2000s onwards. It includes songs that have never been released before, such as “Betrail,” an extended version of the song “Engaged,” along with other tracks that will appear on vinyl for the first time, marking the first release of Casual Strippers Rubicon Records. Also the EP comes with an insert featuring an image of Vita Noctis printed on yellow paper.

Hope you enjoy!

Basement Jaxx greifen ihre Hymne "Where"s Your Head At" erneut auf - mit einem 2026-tauglichen Remix von Steve Angello. Der Track lädt die Big-Beat-Energie des Originals neu auf und passt sie an die wiederbelebte britische UK-Bassline-Clubkultur von heute an - nostalgisch, aber zugleich nach vorn gerichtet. Die Veröffentlichung folgt auf Angellos Auftritt beim Ultra Music Festival in Miami und geht einem Sommer voller Tourtermine für Basement Jaxx voraus, darunter ein großes Headline-Set beim Boiler Room Festival in London.

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

Constructive is pleased to announce, 'Utopia or Oblivion', a new compilation featuring ten artists inspired by the pioneering work of R. Buckminster Fuller, with each track inspired and in response to Fuller's work specifically Utopia or Oblivion', first published in 1963.

From the irregular glitch pop scintillation of 'How Would I Be? What Would I Do' by German artist & founding member of To Rococo Rot, Robert Lippok, to the heartfelt ambient and seraphic voices of 'Afterimage' by Japanese artist Tujiko Noriko (Editions Mego, PAN, Room40), through to the tensile, eruptive, dub-contoured emittances of 'Tensegrity Rhythms' by Peruvian experimental composer Ale Hop (Karlrecords).

Elsewhere, there are appearances from the Bafta-nominated composer Adam Janota Bjowski (Saint Maud OST), musician & Constructive co-founder Adrian Corker, London-based experimentalist No Home, Italian artist & NTS Radio resident Silvia Kastel (Blackest Ever Black, Palto Flats, Youth), British sound artist David Prior, and a unique collaboration between the British DIY experimental musician Richard Skelton & Corey Fuller, a descendant of R. Buckminster Fuller.