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"Stand In The Fire" - Warren Zevon (voc, g, p); Zeke Zirngiebel (g, voc); David Landau (g); Bob Harris (synth, p, voc); Roberto Piñón (b, voc); Marty Stinger (dr)

Warren Zevon had toured for quite some time as a songwriter in the rock scene, released a few singles and landed a flop with his debut LP in 1969 before the tide finally turned. Roughly ten years later, his live album – put together from a five-day residency at the Roxy Theater in West Hollywood – entered the annals of vinyl history as one of the best live albums of all time and was awarded four stars by the magazine Rolling Stone. Ambiguously entitled by the comprehensively educated Zevon, who had been confronted with the tough side of show business, "Stand In The Fire" delivers genial simple pure and straightforward rock right from the start, which hit the public with a vengeance. Full of vim and elation, the band pours out the significant, biting verses with fire ("Jeannie Needs A Shooter") and fuels the emotional inferno with high-speed bursts of rock ("Excitable Boy"). Zevon proves his skills as a singer and songwriter in the ballad-like yet powerful "Mohammed’s Radio". In a direct comparison to this number we have the forthright, no-nonsense hit "Werewolves Of London" with its close harmonies. Just how Zevon manages to succeed in getting his delicate voice and lyrics over to the public is shown in the powerful mix of heavy and honky-tonk ("I’ll Sleep When I’m Dead") and finally in the thunderous final number – "Bo Didley’s A Gunslinger" – with its percussive and metrically complicated antiphony.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: August 1980 live at The Roxy Theatre in West Hollywood, CA., by Billy Youdelman and Greg Ladanyi

Production: Greg Ladanyi & Warren Zevon

Last copies of ultra limited version on half & half black/red vinyl. Only around a 100 available!

“I learned long ago, never to wrestle with a pig” reasoned George Bernard Shaw. “You get dirty, and besides, the pig likes it.” True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on ‘Viscerals’, their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough ‘King Of Cowards’.

Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, ‘Viscerals’ is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of ‘Reducer’, the debauched, Jane’s Addiction-tinged swagger of ‘Rubbernecker’, the Melvins vs Sonic Youth demoltion derby of ‘New Body’ or even the demented MBV-meets-Twisted-Sister party-banger from hell that is ‘Crazy In Blood’.

“We’re a peculiar bunch of people - a precarious balance of passion, intensity and the absurd” notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.

Nach 'Speed Kills' das zweite Album der 5-köpfigen West Londoner Band um Charlie Manning Walker (aka Chubby Charles). Produziert von Jonah Falco von der Band Fucked Up.
Die 15 Songs auf 'The Mutt's Nuts' kombinieren das Tempo und die ungestüme Energie einer Punk- und Hardcore-Band mit einer aufregenden Mischung aus 50er-Jahre-Pop-Sounds, Doo Wop und Blues.
In den Texten geht es neben klassischeren Rock'n'Roll-Themen wie Liebe und Verlust vermehrt um Arbeiterrechte, Ungleichheiten, Polizeibrutalität, Regierungsversagen und Gentrifizierung - Probleme, die in der Struktur des Vereinigten Königreichs verankert sind und in der englischen Hauptstadt noch verstärkt werden.

Jetzt erhältlich auf schwarzem Vinyl.

Lieve is the long-awaited second LP by British electronic music producer Holy Other, the first new music since 2012. Emerging from an extended stay at Bidston Observatory on the Wirral, Lieve was recorded throughout 2020 in the North West of England. Using the acoustics of the observatory — the cavernous basement and the geometrically-perfect wooden domes — Holy Other recorded and resampled material that would become the bedrock of Lieve.

A marker in the sand as his first output since 2012’s critically acclaimed Held, these recordings — including the voice of NYX’s Sian O’Gorman, violin from Simmy Singh and saxophone from Daniel Thorne — were cut, manipulated and pieced together to form Lieve.

“How do you break up with a place?”

Have you ever tried to leave your problems behind? No matter how hard you try to reshape yourself, your past remains. This is an album about L(i)eaving, coming to terms with the past, and trying to live in the present.

Much like his past work, Holy Other leaves the listener to draw their own semantic conclusions from the record. The lyrics are ambiguous — ghostly voices, whispers and stutters interwoven with his signature sound palette.

Still, the expressive mood from prior releases remains intact, even if these intimate textures and deft rhythms pick up more mature questions about false starts and failed escapes.

The title track single Lieve breaks almost a decade of silence, finding the language to articulate painful feelings, exhaling, and moving forward.

A beautifully haunting and plaintive collection of songs, the album stands as a refracted echo of an imagined life as it may have been in an old country of long ago. With songs reaching out through time and space, it captures a fascinating musical and personal journey of a man displaced from his native Dalmatia (now Croatia) during WWII who eventually ended up in Los Angeles in the mid 60s via time in a German labour camp, West Yorkshire and Canada.

Born in 1923 in the coastal town of Bekar, Branko and his family arrived on North Hollywood in 1964. Abandoning his previous profession as a barber, he began to focus on guitar repair and taught himself to fix various related instruments and studio gear.

Notching up their tenth studio album release with Outside Looking In through 100 Percent Records, the 8-piece Midlands-based Soul band Stone Foundation continue their rich vein of form. Their last three albums all charted within the Top 40 and Outside Looking In seems certain to repeat the trick.

Throughout their nearly 25 years together, the band have always been known for their collaborative spirit and inclusive approach. Outside Looking In is true to that. Recorded (as always) at Paul Weller’s Black Barn Studio, and featuring the man himself with a few Backing Vocals and instrumental contributions, the album also features a knockout guest lead vocal from legendary disco diva Melba Moore on ‘Now That You Want Me Back’. The album also boasts slots from Sulene Fleming, Laville, Sheree Dubois and Graziella Affinita; whilst Stone Foundation always bring a fresh new approach to each record, and a point of contrast to what came before, some things just do not need to be altered.

Notching up their tenth studio album release with Outside Looking In through 100 Percent Records, the 8-piece Midlands-based Soul band Stone Foundation continue their rich vein of form. Their last three albums all charted within the Top 40 and Outside Looking In seems certain to repeat the trick.

Throughout their nearly 25 years together, the band have always been known for their collaborative spirit and inclusive approach. Outside Looking In is true to that. Recorded (as always) at Paul Weller’s Black Barn Studio, and featuring the man himself with a few Backing Vocals and instrumental contributions, the album also features a knockout guest lead vocal from legendary disco diva Melba Moore on ‘Now That You Want Me Back’. The album also boasts slots from Sulene Fleming, Laville, Sheree Dubois and Graziella Affinita; whilst Stone Foundation always bring a fresh new approach to each record, and a point of contrast to what came before, some things just do not need to be altered.

Notching up their tenth studio album release with Outside Looking In through 100 Percent Records, the 8-piece Midlands-based Soul band Stone Foundation continue their rich vein of form. Their last three albums all charted within the Top 40 and Outside Looking In seems certain to repeat the trick.

Throughout their nearly 25 years together, the band have always been known for their collaborative spirit and inclusive approach. Outside Looking In is true to that. Recorded (as always) at Paul Weller’s Black Barn Studio, and featuring the man himself with a few Backing Vocals and instrumental contributions, the album also features a knockout guest lead vocal from legendary disco diva Melba Moore on ‘Now That You Want Me Back’. The album also boasts slots from Sulene Fleming, Laville, Sheree Dubois and Graziella Affinita; whilst Stone Foundation always bring a fresh new approach to each record, and a point of contrast to what came before, some things just do not need to be altered.

Ben Ritz has released EPs on Sweat Equity and Merge Layers. He's not afraid of the high bpms, but this isn't all blender no tender. This is futuristic, hard yet funky techno that is undeniably for the freaks. Find him in NYC or on his vinyl debut right here.

A1 "Up And Down" opens up with an ear-worm, repetitive melody that bangs and jacks with the hard kick and hi-hats. Freakish manipulation of the melody, tasteful breakdown and build-up, and a good dose of space throughout the track make this an undeniable sweat-dripper, trippy chugger. A2 "Do Make Me Strange" has a similarly catchy diddy that undulates around the drums. Restraint is the key here. Hard but funky, with distorted and drippy acidic takes on the main simplistic melodic line--this is a cerebral come-up, cooling your sweaty skin and leading your body to the nooks and crannies of the Hyper Groove.

The title track "Easily Disturbed" opens up the B side by ushering in the mood of the later hours. This is titillating, popping, syncopated, subtle, but still raucous techno right here. Perfect for mid-peak and when you're in your head, sending forces of rave rhythm telepathically to the rest of the dance floor. "Crystalline" closes out the EP with a boom and bang. Hypnosis overcomes. The ego-death has won out against your anxieties. This is music for the thrill-seekers of metropolitan dystopias worldwide...executed with nuance and style.

Since their debut 45 back in 2019, Night Owls have consistently taken the bar up a notch re-imagining classic funk & soul with a Jamaican twist. With eight sold out 45’s in a span of three years and regular airplay on BBC6, KCRW and more, we’re happy to announce this much anticipated LP “Versions” comprising all their groove filled singles to date. This all-star production team comprised of Dan Ubick (The Lions, Connie Price and the Keystones, De La Soul) on Guitar & Percussion, Blake Colie (Arise Roots,The Lions, Hollie Cook) on Drum Kit, Dave Wilder (The Lions, Ziggy Marley, Macy Gray) on Bass, and Roger Rivas (The Aggrolites, Jason Mraz, LBDA) on Organ & Piano, team up with many of today’s top soul singers to bring their signature take on beloved chart topping hits and deep cuts. Featuring vocalists Afrodyete (Breakestra),Terin Ector (Orgone), Durand Jones (The Indications), Malik “The Freq” Moore (The Lions),Alex Désert (Hepcat,The Lions), Jesse Wagner (The Aggro- lites), Jamie Allensworth (Jungle Fire), Sy Smith (Macy Gray, Sheila E.), Chris Dowd (Fishbone), John Arthur Bigham (Fishbone, Soul of John Black), Kevin Sandbloom, Kendra Morris and Destani Wolf (Matisyahu,The Pharcyde), each track was carefully selected by producer Dan Ubick to match the featured vocalists strength resulting in a heavy soul and dub infused LP that surely won’t want to leave your turntable!

Formed in Oakland in the early 1970s, the Sons and Daughters of Lite recorded Let The Sun Shine In, their only LP, which has now achieved holy grail status among collectors. Let The Sun Shine In is a spiritual recording filled with soul, funk, jazz, and African percussion. The musical collective described themselves as a mix of African rhythms, Latin flavors, and Far Eastern textures. This album was virtually unknown to DJs and collectors until Michael McFadin's discovery in the late 80s. He then scoured the bay area and bought up multiple copies for his record store The Groove Merchant on Haight Street in San Francisco, many of which were bought from flea markets and the dollar bins of other shops. The outrageously funky title track became a jazz dance classic, courtesy of heavy radio and club play by top UK DJ and tastemaker Gilles Peterson.

21-year-old Mikayla Simpson, the artist widely known as Koffee releases her debut album Gifted, a milestone in a brief yet already illustrious career, and with it comes a determination to speak to the times. Koffee is on a mission to bring light and brevity to the stories of now; songs like “Lockdown” expertly articulate the hope many of us have felt during months of isolation (“Where will we go / When di quarantine ting done and everybody touch road,” she sings). The upbeat, punchy rhythms of “Where I’m From” and classic reggae tones of “X10” are her way of scoring the scenes of life. As producer of half of the album’s ten tracks, Koffee crafted the album from bursts of inspiration in hotel rooms whilst on tour and freestyle sessions with her band. It includes collaborations with global renowned producers like JAE5 and Frank Dukes alongside homegrown Jamaican talent such as iotosh, crafting the huge crossover anthems “Pull Up” and “West Indies” along the way.

Reissue of The White Stripes second album (originally released in June 2000), which found the band recording in the comfortable confines of Jack White's Third Man Studios, then housed on the ground floor of his house in Southwest Detroit. The on point covers of Son House and Blind Willie McTell pair wonderfully with both the minimal downtempo somber numbers and the maximum energy explosions of unadulterated power. A 13 track album pressed on 180gm black vinyl and housed in a tip on sleeve. Both releases will have promo/marketing activity.

To celebrate the tenth anniversary of the iconic HELP album a new generation of artists came together to create, at the time, the fastest recorded album ever. They recorded Help! A Day In The Life on Thursday 8th September 2005 which the record available for download just 32 hours later.Help! A Day In The Life is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

Seit 2017 war Donnelly viel auf Tour. Während eines kalten Winters in Westaustralien, kehrte sie im Juni 2018 zurück nach Hause, um ihr Debüt aufzunehmen. Um das Album noch weiter zu verfeinern, rekrutierte sie eine komplette Band bestehend aus ihren besten Freunden - die Bassistin Jennifer Aslett, den Schlagzeuger Talya Valenti und den Gitarristen George Foster - und arbeitete mit dem Produzenten Dean Tuza zusammen, der die Songs auf abenteuerliche Art und Weise unterstützt, ohne ihnen dabei etwas von der Intimität und Herzlichkeit zu nehmen. "Beware of the Dogs" ist von einem sarkastischem Augenzwinkern und vollem Herzen durchzogen, auf dem Stella Donnelly in 13 lebenserhaltenden Liedern die Kraft beweist, für sich selbst, ihre Freunde und ihre Rechte einzustehen.Ihr Debüt ist ein Porträt, in dem sie sich Donnelly als Künstlerin zeigt, die ihre Stimme vollkommen beherrscht und ihren einladenden Charme und ihren messerscharfen Witz in authentisch rohen Songs einsetzen kann.

Was unsure if to do this Modern rarity on 45 due to there being no master tapes and the original pressing is really rough with loads of sibilance, but having had so many requests to put this out I thought fuck it, the end result came out better than the OG but nonetheless ill get crucified by the discogs police but ill take it :) and the rest of us can have this Modern banger in our box without having to sell your car.

What it lacks in audio quality, it makes up for in musicality ten times over, a genuine two-sided 7" of modern soul royalty, rare and good.

In the summer of 1981, The Fall embarked on their second American tour, criss-crossing the States over a two-month period. Featuring the dual guitar of Marc Riley and Craig Scanlon and rhythm section of Stephen Hanley and Karl Burns, A Part Of America Therein, 1981 would document this fabled journey with crucial performances that show the band evolve from noisemaking lout cultists into true post-punk legends.

"From the riot-torn streets of Manchester, England to the scenic sewers of Chicago ..." as the album opens unforgettably with a nameless promoter introducing The Fall, who proceed to tear into a hypnotic take on "The N.W.R.A." stretched into a near stare-down that is wholly different than the studio version on Grotesque. The LP highlights Mark E. Smith's incomparable bite, heard most notably on the adlibbed vitriol of "Totally Wired," where not even the costumed punks were safe from a proper dressing down.

A Part Of America Therein, 1981 proves once again that The Fall's constant rally against complacency was a top-down directive and intrinsic to their wonderful and frightening sound.

Liner notes by Brian Turner.

With ‘Love on My Mind’ - the six-song mini-album, mixed by Claudius
Mittendorfer (Tennis, Parquet Courts, Johnny Marr) - Bambara condense all the energy and darkness that have made them so compelling and rearrange it into something defiantly new.

Opening track, ‘Slither in the Rain’, all hissing high-hat and spectral
synthlines, is a true statement of intent. It’s minimal and atmospheric,
foregrounding Bateh’s raw vocals as he introduces one of ‘Love on My Mind’s main characters years after the events of the album are over, a lonely man who throws bottles at airplanes and dances a two-step in the pattern of a figure-8. While Bateh has always been adept at character sketches, tracks like ‘Slither’ introduce a newfound vulnerability that runs true through the entire album and cause the songs to hit on a more human level.

Similarly, ‘Point And Shoot’ - in which each stanza describes the louche, lawless scenes of “rooftop girls / standing shoulder-to-shoulder, naked figures with their hips / cocked,” busted up jaws, and couches full of burnholes captured by the snapshots of ‘Love on My Mind’s female lead - displays an autobiographical intimacy that is not as apparent in Bambara’s previous releases. This tenderness is echoed on ‘Birds’, a rare love song (from which the EP’s title is derived), and album closer ‘Little Wars’, a gripping finale of loneliness and isolation.

But while these songs may display a softer side of Bambara, it’s important to note that they haven’t lost the thrill of what attracted so many people to them in the first place. ‘Mythic Love’ (featuring vocals from Bria Salmena), with its driving bassline and ricocheting guitar lines, brings to mind past rave-ups like ‘Serafina’ and ‘Sunbleached Skulls’ but obliterates them in the process, while ‘Feelin’ Like A Funeral’ - a dangerously oscillating tale of a city knifing - is probably the most thrillingly anthemic song the band have ever recorded.

Taken together, ‘Love on My Mind’ amounts to another massive step forward for Bambara - the boldest thing they’ve ever done - and the sound of yet another breakthrough.
“Engrossing, dark and irresistible… an adventurous group, who just keep getting better all the time.” - CLASH
“Never anything less than captivating.” - Upset
“What Athens, Georgia bunch Bambara do, they do very well… the trio’s commitment to the dark side is never in question.” - DIY
“Bambara are ice cold and sharp as a knife’s edge.” - Loud & Quiet
“Brooklyn based doom-mongers delight… the trio go further than most in their quest to rattle.” - Q (4/5)
For fans of Daughters, Protomartyr, IDLES, King Krule, Ice Age.

Purple with Black Smoke vinyl / New EP from Exeter's Soot Sprite! 6 songs on a one sided 12", purple smoke vinyl limited to 500 copies. The rising trio have seen Soot Sprite grow from a one-woman lo-fi bedroom pop project to a fully-fledged touring alt-indie shoegaze outfit, championed by BBC6 Music’s Steve Lamacq, Gideon Coe and more. After signing with Specialist Subject for their previous EP Sharp Tongue just before the pandemic, they’re set to continue where they left off, with tour dates in the works and a collection of heartfelt songs that see lead singer Elise Cook learn how to find self-acceptance and belief. She says; “I wrote these songs up until and during lockdown, about turbulent relationships with others, how they affected my relationship with myself, and eventually when they broke down; just being able to accept myself, move on, and celebrate the accomplishments I’d made in my life regardless of others.” A vein of hopefulness runs right through the middle of Poltergeists, though encased within an ocean of murky thoughts, fears and doubts; the lack of a sense of self that many of us experience in relationships is balanced thoughtfully by an epiphany that led Elise Cook to find self-love and a newfound joy for life. Within her beautifully personal lyrics, Cook perfectly exemplifies the confusion and anxiety that often accompanies growing into adulthood. Throughout the tracks, Cook consistently calls herself into question, yet thankfully resolves her insecurities with a profound maturity. Soot Sprite may only be at the start of their exciting journey, but their achingly poignant music is already winning them new audiences far and wide, and their relatability clearly resonates with new listeners and fans alike.

EVEN THE CHIMERA is the debut album by Wild Terrier Orchestra, a new project by Dimitris Papadatos, aka Jay Glass Dubs, based on interchangeability and open improvisation. A newer, freer incarnation of Papadatos’ creative intent, the project acts more like an open container of disparate and idiosyncratic contributions from a mutable cast of musicians and artists. Often times not provided according to a pre-planned structure, these contributions are actually more likely to arrive in the form of free improvisations, unconnected musical segments and fragmented splinters of sound. This allows Papadatos to aggregate all the constituent parts according to an intuitive process that bridges between the detailed craft of electronic music production and surrealist techniques such as the Cadavre Exquis and the Cut-Up. It’s both a harmonization of contrasting tones and a research for commonality within difference, although none of the wild terriers are ever nearly tamed. Unsurprisingly, the main inspiration for this new chapter came from a a pinnacle of avantgarde literature: poet Andreas Embirikos’, considered Greece’s first surrealist and all-out paradoxical figure. Specifically, this release is guided and instigated by his poem OKTANA, in which Embirikos inscribes a manifesto for a hedonistic utopia years ahead of any accelerationist theories, bursting with contradicting presences and mutating identities. Written in the aftermath of the Greek civil war, the poem calls for a time of eternal poetry and spiritual intoxication that can only be reached through a painful process of violent deconstruction. Thus, EVEN THE CHIMERA was born: a culmination of Papadatos’ decades long research on traditional Greek and Byzantine music, free jazz and free improvisation. Firmly spread between two side-long tracks, the contributions of American singer and musician Cruel Diagonals on vocal duties as well as Greek artist and musician Fotini Korre on ney suggest the existence of a filament that connects the west and the east through the creation of ‘’possible musics’’. This happens in accordance to Papadatos’ practice of a counterfactual approach to the process of what music history dictates. It is also directly shaped by the musician’s frequent dwellings in the isle of Cyprus, a land in which the clash of worlds and culture has often taken both violent and beautiful shapes. The long drones, acoustic ghosts and unbalanced choirs that form the album seem to call from the Mediterranean itself, not only from its history but also from its possible futures and unreal narrations, invoking it as a nexus of diversity and possibility.

Iiro Rantala plays the piano with “emotional magnetism and musical intelligence.”

He has a “virtuosic prowess as an improviser capable of enormous idiomatic and emotional range.” This praise from the American magazine Downbeat’s review of the Finnish pianist’s third studio-recorded solo album for ACT, ‘My Finnish Calendar’ (2019), sums up the astonishing variety which people who know his playing well might almost start to take for granted.

The citation for the 2016 JTI Jazz Prize in Trier also does well to define the way audiences take him to their heart: “Rantala can sweep listeners off their feet, he can be clown and magician, charmer and virtuoso, maverick and humorist.”

This is the emotional and stylistic versatility which Ranta-la brings to the live solo recital. It is a form he is drawn to strongly; there can be very few pianists who have explored the art of solo playing quite as intensively and consistently as Rantala. A typical recital will contain, among other things, pieces from his previous solo albums for ACT - ‘Lost Heroes’, ‘My Working Class Hero’ and ‘My Finnish Calendar’. As he explains, “I like the form of the solo recital because of the freedom and responsibility I have. Freedom comes from the fact of being alone on stage and responsibility from the fact that I can’t really rely on anything, except myself.”

‘Potsdam’, recorded live in concert at Nikolaisaal in Potsdam on 27 November 2021 is, however, the first time that one of Rantala’s many live solo recitals has been released as an album by ACT. It is a very fine exposition indeed of the contrast and the continuity of which he is capable, not just in the shape of the recital as a whole, but also within individual tunes. After a beautiful and welcoming ‘Twentytwentyone’, Rantala launches into ‘Time for Rag’, which sounds like the accompaniment for a madcap Buster Keaton film. The central section of John Lennon’s ‘Woman’ is quite clearly inspired by the driving R&B style of Richard Tee, a pianist whom Rantala particularly admires, but this leads masterfully into an ending which is at first wistful and calm, but then troubled by the Finn leaning into the piano and creating a dark and discomforting mood by plucking a low string.

There is a beautiful inevitability about the final two tunes on the album. The exuberance and brashness which inflect Bernstein’s ‘Candide’ overture right from the first fanfare are irresistible. Rantala follows this, by way of complete contrast, with ‘Somewhere’ from ‘West Side Story’. Potsdam was recorded the day after the passing of Stephen Sondheim. Rantala explains how deeply this affected
him: “Sondheim was magical. As a writer and composer. ‘West Side Story’ is one of the greatest achievements of mankind. And he was so young, when he wrote all those lines: ‘Say it loud and there’s music playing. Say it soft and it’s almost like praying, Maria’.

Before the very popular thrashy death metal band Legion Of The Damned was formed, with albums out on Massacre and Napalm Records, vocalist Maurice Swinkels and drummer Erik Fleuren played in the more brutal extreme blackened death metal band Occult.

 Hailing from Geldrop, Noord-Brabant, The Netherlands, the already very extreme barking voice of Swinkels was supported by female vocalist Rachel with an even more brutal grunt. After two studio albums on the Dutch label Foundation 2000 they were on the search for an international record deal and they recorded two demos to achieve that goal.

The first four songs on this album come from a rehearsal room session in 1997, and the last five songs were recorded in the small Harrow Studios in 1998. It resulted in a deal with the German Massacre Records label, and Occult’s third studioalbum, ‘Of Flesh And Blood’, saw the light in 1999.

Now you can finally hear, for the first time, most of these songs in their original, raw and rough demoversions.
For fans of Desaster, Absu, Deicide, Usurper, Vader, Sinister, Skeletonwitch, Goatwhore, Destroyer 666.

They say the best thing for a new band to really find out who they are is to go out and play as much as possible. They see what works and what doesn’t with the crowd as well as watch their peers perform and can learn from the best. For the past 2 years, WORMWITCH, has done just that. Having toured North America with The Black Dahlia Murder, Numenorean and appeared at last year’s prestigious Psycho Las Vegas Festival with Danzig, Dimmu Borgir and many more, the Vancouver 3-piece took it all in and regrouped in the Fall of 2018 to start writing their new album. Heaven That Dwells Within is the follow up to 2016’s Decibel Magazine Year End charting, Strike Mortal Soil. The riffs are stronger, the overall feel the album darker and their love of black metal dimly shines through much more on their past release. The album was mixed and mastered by V. Santura (Triptykon, Schammasch), giving it that much of a gloomier touch. With a tour right out of the gate with Cloak and Uada followed by a European run, the future, though dark in music, can only be bright.

A beautifully haunting and plaintive collection of songs, the album stands as a refracted echo of an imagined life as it may have been in an old country of long ago. With songs reaching out through time and space, it captures a fascinating musical and personal journey of a man displaced from his native Dalmatia (now Croatia) during WWII who eventually ended up in Los Angeles in the mid 60s via time in a German labour camp, West Yorkshire and Canada.

Born in 1923 in the coastal town of Bekar, Branko and his family arrived on North Hollywood in 1964. Abandoning his previous profession as a barber, he began to focus on guitar repair and taught himself to fix various related instruments and studio gear.

Kavinsky is a zombie who came back from the dead after his Testarossa crashed in 1986.

His first song, "Testarossa Autodrive", was an instant success, and was followed by two singles. In 2007, he was chosen by Daft Punk to open their now legendary "Alive" tour.

In 2011, his track "Nightcall", produced with Guy-Manuel de Homem-Christo, became the theme song for the film "Drive", and consequently a worldwide success.

Kavinsky's first album, "Outrun", was released in 2013, followed by a collaboration with The Weeknd on the song "Odd Look".

In 2022, Kavinsky is back with "Reborn", his second album recorded at the famous Motorbass studio in Paris. The first single "Renegade" has an impactful sound and a powerful chorus, whilst the second single "Zenith” has a more muted and futuristic feel. On "Reborn", Kavinsky amplifies these sounds without deviating from his relentless trajectory.

This special Record Store Day 5 x 45s collection comes packaged in a limited-edition Brazil 45 clamshell collector’s box.

The long-running relationship between Masters At Work and Mr Bongo has been a fruitful affair. Beginning in the 90s, it has included releases such as their seminal 'Brazilian Beat' 12" featuring Liliana, their magnificent rework of Atmosphere’s ‘Dancing In Outer Space’, and their recent hit Surprise Chef remixes 12". The influences of Brazilian music is evident in their DJ sets and productions, take the poly-rhythms of the 'Nervous Track’ as a prime example. We couldn't think of anyone more fitting to curate the third volume in our "Brazil 45 Boxset Curated by" series than one half of the MAW duo, the mighty Kenny Dope.

For his volume of the series, Kenny selected 10 knockout tracks from the golden era of Brazilian music. As you would expect from such a legend, he surpassed the brief of simply compiling the tracks, as he re-edited and remixed a number of his favourites especially for this boxset. Amongst these exclusives is a blazing, heavy psych-funk remix of Antonio Carlos & Jocafi's 'Quem Vem Lá’, and a hip-hop breakbeat bounce woven into Luli Lucinha E O Bando's folky-MPB beauty 'Flor Lilás’. Di Melo and Miguel De Deus are also given the Dopeman remix and edit treatment.

Kenny's selections pull out some forgotten classics and recently overlooked gems, many of which were once top of the want-lists for collectors in the 90s. These include Milton Banana Trio and the irresistible version of 'Berimbao' by Jayme Marques. Along with the Brazilian funk and jazzy-bossa dancefloor-oriented tracks, Kenny has also chosen the leftfield, deeper, trippy psychedelic folk sounds of Papete.

As with previous volumes, the selections are very personal and represent the individual sound and taste of the selector digging from the rich tapestry of Brazilian music. Its unique palate and stamp are exactly what you would expect from a Master At Work.

Colorado-based RUMTUM (aka John Hastings), an acclaimed visual artist and up-and-coming producer returns to Bastard Jazz with his first full-length offering: "Isles In Indigo." Arriving after a slew of successful singles (many of which can be found on the album) and EPs, "Isles In Indigo" both stays true to his established sound, and expands on the artistic vision; a luscious combination of aquatic ambient, lo-fi hip-hop, and mellow, melodic electronic, the record traverses the depths of the ocean to the outer reaches of the cosmos.

New offerings on the album include "Lost My Heart In Space" - an ethereal, downtempo cut - "Half Set Valley," which explores instrumental lo-fi replete with distant, chopped and edited spoken word samples, "Coastal Ruins" with nods to breakbeat, "Mystic Symbols," a trippy minimal track, and the album closer, "Commit Way," which journeys from washed-out ambient to spacey hip-hop. Of course the LP also includes many RUMTUM mainstay singles, including "Shade Fader," "Tropic Air," and "Borealis."

Electronic producer and instrumental enthusiast RUMTUM has a unique approach to crafting his melodic melodies. May it be his love for native spirits, mystic symbols or even sea life, sampling the natural world plays the biggest part in the dynamics of his writing. Ambient loops and saturated synth lines set the tone while the bass and drums do most of the story telling.

"Isles In Indigo" is a stunning freshman release from a budding artist on the rise. Stay tuned for the physical LP arriving March 2022, complete with an original art insert.

For more than a decade now, Fleck E.S.C. has marked himself out as one of the most playful and prolific producers in the electro game. Across dozens of releases for labels including Bass Agenda and Science Cult, the France-born, Japan-based artist has made his name through a production style which balances limber beats with exploratory textural work.

Fleck E.S.C. debuted on Central Processing Unit in 2018 with the Discrete Opinion EP. Now, after stopping by the Sheffield label last year on a Silicon Scally remix job, Fleck E.S.C. delivers his second EP for CPU in the form of Rough Silk. The record's intriguing title proves an apt introduction to this four-track affair. These cuts are at once sleek and abrasive, anchored by robotechnic machine-funk grooves yet also full of strange, shifting shapes.

The opening title-track expertly sets out Rough Silk's stall. Heralded by gurgling synths and all manner of whirring percussive tones, 'Rough Silk' blossoms around the minute mark with the introduction of a wickedly buoyant lead synth. This is music at once visceral and full of mystery, the sound of wending through the back alleys, and the feeling carries through to the following cut 'Hat in the Cat' - as the synth pads spool out overhead, the machine-funk snap of the beat has an almost aquatic quality that links it back to Drexciya.

Much like 'Rough Silk', the record's first B-side 'Faking Sweet' also shifts gears. The opening strains of the track seem to be preparing for another insistent, expansive broken-beat pulse, but it stiffens its neck around ninety seconds in. Programmed drums whirr around a jittery machine-gun bass while discordant synths pull at the edges of the track, all of which brings a strong dystopian energy that increases further as the percussion sounds become increasingly bug-eyed.

After so much excitement, 'Digger Play' closes out the EP with a softer touch. There's still plenty of low-slung bounce to the beat, but the track runs a little slower, and there's a warm wistfulness in the synths which gives 'Digger Play' a painterly, almost poetic feel. However, while it may take its foot off the gas, the production here is as deft as it is everywhere else on Rough Silk.

With new EP Rough Silk, electro whizz Fleck E.S.C. brings the sort of casual mastery to proceedings that has characterised his career to date.

RIYL: Silicon Scally, Jensen Interceptor, Annie Hall

Live radio broadcast recording of their 1991concert from the legendary Quartier Latin Club during The Berlin Independence Days.
This 300 limited edition vinyl only release with double sided A3 poster captures BOB at the peak of their powers.
Includes tracks from their Indie top 10 album ‘Leave The Straight Life Behind’ , Singles, and the previously unreleased ‘You Can Stop That For A Start’.
When BOB hit the stage at the legendary Quartier Latin club during the Berlin Independence Days on October 21 1991, they were talking loud and saying something.
BOB had been touring relentlessly for five years. All over the UK and Europe. Headlining their own shows and supporting some of the biggest names in indie rock, but this gig was something else. It couldn’t have happened in any other place, or, at any other time.
In Berlin, the wall had come down two years previous.Things were changing. There was a freedom of movement, unknown for many decades. You could grasp the spirit of creativity.
In London, the underground indie scene of the mid to late 80’s was being replaced by the corporate music marketing machine they called Britpop.
On this recording we capture a milestone moment of this time.

Studio Electrophonique is James Leesley: a young songwriter and musician from Sheffield.

Since the critical acclaim accompanying his sought-after debut 10" album "Buxton Palace Hotel" in 2019, James has captivated audiences performing at his own curated events in Sheffield, Liverpool, London and Paris as well as at The Green Man and End Of The Road festivals.

In 2020 Studio Electrophonique performed at L'Olympia in Paris at the personal invite of the legendary Étienne Daho as well as across the UK and Ireland with Richard Hawley - both are long-time supporters and admirers of James's work.

James is currently putting the finishing touches to a film featuring Jarvis Cocker and Sean Bean which retraces the fascinating history of Ken Patton's original Studio Electrophonique home recording studio in Sheffield.

Songs come to James Leesley in airless attics, dinner time chippies and late afternoon bookies shops; on long walks through town with a sandwich in each pocket, on morning runs through the park in lost-property trainers or on the top deck of the 52A with rain-laced windows and wet toe-ends.

He records on an old four-track machine using deadstock Metal Maxima cassettes sourced from an unnamed charity shop close to Bramall Lane. This machine kills flashiness. There is no room for garnish. Choice is minimised to serve the song, intimacy is maximised to serve the ache.

Studio Electrophonique is a semi-fictional collective of analogue romantics sent to reassure us that art is not some far off place, that sadness can be enjoyed like happiness and that glamour can descend like a minor key melody on the shoulders of anyone willing to pay their subs and the price of a day-return to Ballifield shops.


Studio Electrophonique's latest 5- song record is a plaintive symphony of love and hope, yearning and hopelessness.

Bristol's jazz daddies The Jazz Defenders drop their second album for Haggis Records (home of UK funk kings The Haggis Horns), in March 2022 and it's a real departure from their debut release "Scheming" (released in 2020). Whereas that album was a homage to the late 1950s/early 1960s classic jazz style known as hard bop, this release moves into new territory with hip-hop/jazz, cinema soundtrack flavours, Latin rhythms and soul-jazz all upfront in the mix. Three taster singles from the album released in mid/late 2021 and march 2022, "The Big Man/Love's Vestige, "Live Slow" (featuring US rapper Herbal T), and "Perfectly Imperfect" (feat Doc Brown) received great radio support from the likes of Craig Charles (BBC 6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), Ashley Beedle (Worldwide FM), Colin Curtis (Worldwide FM) amongst many others, all loving the Jazz Defenders' musical fusion of retro meets modern.

The classic sound that has inspired the band this time is very much from the mid-late 1960s era and the merging of soul and funk beats with jazz solos/improvisation. Tracks like "Wagger Jaunt" and "Munch" nod to the piano and organ-led soul-jazz of artists like Ramsey Lewis, Herbie Hancock, Reuben Wilson, and Jimmy Smith. Meanwhile "Saudade" and "Love's Vestige" feature Brazilian bossa rhythms but with some added film soundtrack overtones. Speaking of movie soundtracks, "The Oracle'' is a pure homage to the classic cinematic compositions of maestros like John Barry(James Bond, The Ipcress File) or Lalo Schifrin (Mission Impossible, Bullitt) right down to the very impressive string arrangement, beautifully scored and orchestrated by band leader George Cooper.

A big departure from the previous album comes via the two hip-hop/jazz tracks, both of which feature guest MCs. "Live Slow" has US rapper Herbal T blessing the mic over an uptempo soul-jazz number whilst "Perfectly Imperfect" features London MC/actor Doc Brown rapping on a nice and slow 90's style head-nodding hip-hop groove. Both compositions show George Cooper's love for old-school boom-bap hip-hop (by the way, he also plays keys with renowned UK hip-hop big band Abstract Orchestra). For classic jazz lovers who dug the first album, there are two pure jazz tracks that join the dots between that debut release and this sophomore one - "Twilight" and "From The Ashes" - with plenty of vibrant solos for the discerning listener.

"King Phoenix" is a statement in itself from The Jazz Defenders. After 2 years of music being destroyed by the pandemic and many musicians inactive, the band has risen from the ashes with new vigour, energy and vision to try something new and not just repeat past musical glories. A band that sticks to the same script every release might just end up having a short shelf life but the Jazz Defenders are planning on being around for a long time.










j Live Slow (Album Version) feat. Herbal T

Amassakoul’: Tinariwen’s breakthrough album originally released in 2004, now remastered and repackaged with a bonus unreleased track, exclusive photos and brand-new liner notes. The first vinyl pressing is on indigo vinyl, with digital download card. ‘Amassakoul’ features songs from Ibrahim Ag Alhabib, Abdallah Ag Alhousseyni, Touhami Ag Alhassane. Indigo vinyl 2LP.

Tinariwen are Tuaregs, children of a nomadic Berber tribe who have roamed the Saharan desert for thousands of years. Over recent centuries, colonialism has seen the Tuareg’s ancestral territory partitioned into distinct countries - Mali, Algeria, Libya, Niger. This drawing of borders has turned the Tuareg into ishumar, a displaced people in search of a homeland lost to them. Tinariwen’s music - a blend of West African traditional music and electrified rock ‘n’roll - speaks directly to this feeling of longing: a sound that critics have called ‘desert blues’.

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!

Rearviewmirror (Greatest Hits 1991–2003) is a two-part compilation album by American rock band Pearl Jam, originally released on November 16, 2004 through Epic Records.
The album's two discs are both devoted to different sides of the band's catalogue: the first disc, or "Up Side", contains heavier rock songs while the second disc or "Down Side" consists of slower songs and ballads. Both discs are in chronological order, with the exception of the last song on the "Down Side", regular show closer "Yellow Ledbetter".

WAREHOUSE FIND!: OZY is an electronic musician and dj from Reykjavik. In the early years of his career, OZY released a series of influential records on the Icelandic dub techno label Thule Records, paying homage to the Berlin dub sounds and the abstract shuffle rhythms of Cologne techno. In 2002, the legendary Force Inc./Mille Plateaux label released OZY's debut album Tokei, bringing Ozy to the attention of a wide international audience. Orignialy released in 2000 The release "No Undo" is yet another step further, in fusing techno with new and fresh elements of drum&bass music, making the music incredibly dark and funky. The outcome is a wicked concept of futuristic tribal techno, designed strictly for the dancefloor:

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Repress !

Max Roach's 1960 masterwork, We Insist!, is a suite based on the Civil Rights Movement, and involves variations on the theme of the struggle for African Americans to achieve equality in the United States, a struggle that is still all too relevant still. Roach began composing with lyricst Oscar Brown Jr. in 1959, with the initial intention of having the suite performed in 1963, on the 100th anniversary of The Emancipation Proclamation. Featuring the wonderful Abbey Lincoln on vocals, as well as Booker Little, Julian Priester, Coleman Hawkins, Olatunji, and more, We Insist! is a truly stunning album, one that knows no equal from that time or since, reissued on 180 gram LP with download code.

“THE BEAUTIFUL NIGHT”, for many UK Northern Soul fans, epitomises the sound of the Seventies All-Night clubs. Originally spun at The Torch in Stoke and then in every club and soul night in the land. It was written and independently produced by Jimmy Thomas and released on EMI’s ‘Parlophone’ label in 1969. It has remained a rare and collectable 45 on the green promo and even more so on the scarce black stock copy.

In more recent times the original B-side, “Above A Whisper”, has found favour on the crossover scene with it’s more subdued modern soul flavour. Both sides have been remastered for this prestiguous 2022 release.