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The Skints have grown hugely in the past 3 years, climbing from small venues to sold out Academy and Empire shows and winning over many new fans and press along the way

2023 Repress

On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recentsignees to Capitol Records, a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance.

As Byron Coley writes in the liner notes, "Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was) with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!"

Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as "The Pink Album" for its magenta-hued cover design. Frontwoman Penelope Houston's iconic voice and razor-sharp lyrics resonate on anthems "We Are The One" and "The American In Me," while penetrating ballads like "Corpus Christi" reveal a truly out-of-body euphony.

The Pink Album remains The Avengers' definitive statement - collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, "The word I always come back to is mystical, and that remains almost theirs alone."

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Classic set of Lloyd Coxsone produced tracks by Fred Locks & The Creation Stepper. Heavy late 70s roots hammered by the likes of Coxsone and Shaka in their heyday.

2023 Repress

* After three groundbreaking albums over the course of a decade, the internationally acclaimed electronica project Shpongle have returned from what fans feared was the end of the project when 'Nothing Lasts but Nothing is Lost', their third album, was released. Not prepared to leave us hanging, electronic music pioneers Simon Posford and Raja Ram have continued to push the envelope and break boundaries to create yet another sonic masterpiece: the much-awaited fourth Shpongle album, 'Ineffable Mysteries from Shpongleland'.
* There are languages here that Shpongle fans will know and love as much as their previous work, and yet there are some massive leaps forward in terms of production techniques, sonic trickery, structure, and direction compared to all of the previous outings to date. With influences drawn from anywhere from Steve Reich and Mike Oldfield to the Batman movies and beyond, this really is another 'over the top' record in terms of production skills, tonal textures, and original ideas from Shpongle. It is rich in detail and emotion, in worldly and otherworldly samples and inspiration, and in
harmonic and melodic construction.
* Shpongle continues to evolve and inspire and with two sell-out back to back shows at the Roundhouse in London (30th and 31st October) to celebrate the launch, Shpongle prove to be as popular as ever and this album is already in huge demand.

Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record.

The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.

This almost unheard score holds some never before heard Budd gems. Dynamite Cuts release for the first time a 7' 45 with a selection of original cues and dialogue taken from the Film. How, James Coburn as Professor Robert Elliot creates a masterful plan to get four people, who know too much, to kill each other is a fine example of a classic British thriller with a superb twist at the finale. This 45 is a journey through the film that includes some never before heard tracks. A must have!

THE INTERNECINE PROJECT Musicians

Roy Budd - Piano, Clavinet, Rhodes, EMS AKS

Paul Fishman - ARP 2600 Electronic programmed and effects

Daryl Runswick - Double Bass and Bass

Tristian Fry - drums

Frank Riccotti - Percussion

Judd Proctor - Guitar

Ronnie Scott - Alto sax

Tubby Hays - Sax

Kenny Baker - Trumpet

String orchestral parts led by Sidney Sax: 1974 The National philharmonic

John Richards - Sound engineer

Roy Budd - Arranger

Recorded at CTS Wembley

John Holt has one of the finest and most versatile voices to come out of Jamaica.Whether fronting the great vocal group 'The Paragons' which he joined around 1965,singing many of their greatest hits including'Tide is High','On the Beach','Wear You to the Ball' to name but a few or his extensive solo career.A career that saw him covering every musical style from Pop,Lovers,Soul and his much overlooked Roots period.

John Holt (b.1947,Kingston,Jamaica) was a child prodigy he began his career being a regular voice on talent contests run by Vera Johns across the Jamaican Island.He cut his first single in 1963 for Leslie Kong's Beverly's label,'I Cried a Tear/Forever I'll Stay' and sang many duets with various singers of the day including 'Rum Bumper' with Aton Ellis.
In 1965 to 1970 as stated above was John Holts Paragon years in a period which he also ran solo with hits such as 'Fancy Make Up','A Love I Can Feel' and 'Lets Build Our Dreams'.
For this release we are looking at his extremely productive period working with Bunny'Striker'Lee.This reissue of John Holts classic1976 album 'Before The Next Tear Drop' is an album filled with classic after classic sung by Mr.Holt effortlessly.....
Hope you enjoy visiting these tracks....

2022 Repress

The legendary gig that Joe Strummer, singer from the Punk Rock band 'The Clash' attended and inspired his writing their classic 'White Man In Hammersmith Palais' took place on the 05th June 1977.
At the Hammersmith Palais venue on Shepherd's Bush Road W6, London during the height of Punk Mania. The full line up for the show were all Jamaican artists Dillinger, Leroy Smart, Delroy Wilson (all the first time from Jamaica) and Ken Boothe.
'Ken Boothe for UK pop reggae' who had already scored some hits with 'Everything I own' and 'Crying Over You' in 1974. Joe Strummer was expecting Roots, Rock, Reggae but the Sound System this evening 'Admiral Ken Sound' was playing 'Four Tops all night' as in soul and northern soul that were staple crowd pleasers at the time to warm up the audience, but in Joe's eyes the music should have reflected more Jamaican roots based music. The song also deals with bigger issues of black and white unity, but some people including the Punk Rockers.
'They're all too busy fighting, for a good place under the lighting'. Joe Strummer himself was looking for fun. 'I'm the Whiteman in the Palais....Just Looking for Fun'

The artwork supplied by Punk Artist MAL-ONE has used the two posters that were made for this gig, the reggae promoters 'Star Promotions' poster, that contained a picture of Ken Boothe and the venue's own poster that used text to announce it's line up for that evenings performance. Alongside these lost relics he has also combined the groups own poster for the 'White Man In Hammersmith Palais' single that incorporated the use of rifle target sights, perhaps enhancing the air of violence contained in the songs message.
MAL-ONE has collaged these together joining the two stories as indeed the song lyrics reflected. People often forget that the songs release was in fact as year after the actual gig, we have tied this release to the 40th anniversary of the song's release. Joe Strummer was one of the few voices from the Punk Era that used his lyrics as a weapon to tell the events that were happening around him and their relevance to those times.
The song itsel a Clash Classic and also a Punk Anthem, released on the 16th June 1978. We have compiled this album with songs by these artists, most of which you would have heard that night. As a post script to this story when the Hammersmith Palais sadly closed its doors for the last time after 82 years' service in 1999, the owners thought it fitting to present Joe Strummer with a sign from the venue's entrance. Mr Strummer's understated reply 'I guess I'll have to send a man with a van round to pick it up'.
Hope you Enjoy the set....

More 'hard hitting guitar soul' from East London band New Street Adventure who are back on Acid Jazz with their new album No Hard Feelings.

Depeche Mode have released their much anticipated new single Where's The Revolution' today. A powerful and timely track, the song vibrates with a drum laden, menacing energy, anchored in frontman Dave Gahan's vocals demanding, Where's The Revolution / Come on people you're letting me down.'

Studio One legend releases a brand new album backed by Dutch masters THE HIGH NOTES. 17 ska/reggae hits including "OIL IN MY LAMP", "DANCING MOOD", "YOU'RE NO GOOD", "LOVE & AFFECTION", "MY JAMAICAN GIRL", "ON THE BEACH", "GIRL I GOT A DATE", "TURN YOUR LAMP DOWN LOW" & more.

Comes with CD.

WELCOME to the third volume in our Wigan Casino mini-series exploring the diverse playlist of the world's No.1 Northern Soul venue. The 23rd September 2018 marks the 45th Anniversary of the super club and we have selected 18 tracks that we hope capture the unique atmosphere of the huge ballroom and the mesmerizing dance moves that held us spellbound all those years ago.
WIGAN CASINO finally closed its doors in December 1981 after eight long years of weekly All-Nighters, during which time it came to define Northern Soul. The term had, of course, been coined years earlier, but it was the Casino Soul Club that established the style of music and the scene to the wider public.
The Casino transformed the Northern Soul scene into a mass youth movement with its own sound track, uniform, cultural icons and a 100,000 strong membership. In reality, the stereotype of moustachioed young men in baggy trousers and vest tops, festooned with sew-on patches, was actually quite short lived. Northern Soul was ever evolving and as the Seventies progressed so did the music and the fashion, embracing soulful-disco and jazz-funk. Today, 45 years on, it is still evolving and attracts followers from all over the globe to its international Weekenders and Festivals. Right On!

LP reissue. Pressed on 180gm black vinyl. Boney M's 1976 debut LP, which contained the hits "Daddy Cool" and "Sunny"

New York trio Sunflower Bean announce their second record Twentytwo in Blue. The album will be released on March 23rd when all members of the band - Julia Cumming, Jacob Faber and Nick Kivlen - will be 22 years old. The album comes almost two years and two months after the release of their critically acclaimed 2016 debut album Human Ceremony.

Co-produced by Unknown Mortal Orchestra's Jacob Portrait (who also mixed the record) and HC-producer Matt Molnar of Friends, Twentytwo in Blue shows Sunflower Bean stay true to their guitar band core and classic rock-inspired roots, while exploring new sonic textures with more direct and progressive themes. Unlike their debut, which was essentially a compilation of songs Sunflower Bean wrote while still in their teens, Twentytwo in Blue was made in the year between December 2016 and December 2017 and showcases how far the band has come since playing together in their high school days.

To celebrate the album announce, Sunflower Bean share a new single and follow up to I Was A Fool' entitled Crisis Fest.' 2017—we know/ Reality's one big sick show/ Every day's a crisis fest,' vocalist and bassist Cumming sings. This last year was extremely alarming, traumatic, and politically volatile,' explains the band about the track. While writing this album, we often reflected back on the people we met while on tour. We felt a strong kinship with the audiences that came to see us all over the country, and we wanted to write a song for them - something to capture the anxieties of an uncertain future. 'Crisis Fest' is less about politics and more about the power of us, the young people in this country.'

Sunflower Bean find a sublime maturity and progression to their sound and songwriting on Twentytwo in Blue. If there was a ragged beauty in the gauzy, groovy wall of sound of Human Ceremony, there's a new directness to these songs, a product of the band's growth and the insanity of the times we're in. Sunflower Bean have gained a newly confident voice that they bring to the second album, one that doesn't shy away from addressing the other events of those two years—political changes and cultural shifts that have left America and the world stupefied. This has been such an unbelievable time,' says Kivlen. I can't imagine any artist of our ilk making a record and not have it be seen through the lens of the political climate of 2016 and 2017. So I think there's a few songs on the record that are definitely heavily influenced by this sort of—whatever you want to say what the Trump administration has been.' A shit show,' offers a helpful Faber.

Ultimately, this record is much more than a political statement or piece of commentary on today's political climate. I think one word that always comes to mind when I think about this record is lovable,' says Cumming. We want the songs to be something that someone can get attached to, and have be a part of them. Because that's what I look for in songs myself, and that's the kind of experience we want to give to others.'

During the mid-1970s, the Aggrovators could do no wrong. This ace team of session musicians that was forged as an off-shoot of the Soul Syndicate were responsible for some of the biggest hits of the decade, recorded with Bunny Lee's rising stars, such as Johnnie Clarke and his rival, Cornell Campbell. Following on from the great Shalom Dub set of 1975, Rasta Dub '76 is another truly magnificent dub set culled from Aggrovators hits (by Johnny Clarke, Cornell Campbell and others), this time, the entire album was given a scintillating mix-down at King Tubby's studio by the great Prince Jammy, and the sonic excellence has stood the test of time. Another must-have for all connoisseurs of dub.

King Tubby's Hometown Hi-Fi was one the great Sound Systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out and to intice the dance's audience. The tracks at the time were mainly cut over producer Bunny 'Striker' Lee rhythms, that Bunny stored at Tubby's studio which was in fact his home, 18 Drumilly Avenue,Kingston, Jamaica.The versions were given exclusive plays at Tubby's sound
before some finding their way on to vinyl, as the b-side version cut to it's a-side vocal, proving so popular that the records were often brought for its version side over its vocal counterpart. King Tubby and Producer Bunny 'Striker' Lee are intertwined in the birth of Dub Music, after discovering a mistake that made a 'serious joke' (more of which later...) they went on to release the first pressings of this new musical genre namely 'Dub Music'. Tubby's vast knowledge of electronics and Bunny's vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune. Osbourne 'King Tubby' Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up n the High Holborn Street area of downtown Kingston. He studied electronics at Kingston's

Source: Declaration of Rights / Johnny Clarke

Source: Top Ranking / Johnny Clarke

Source: The Stal-O-Watt / Cornell Campbell

Source: Power Of Love / Ronnie Davis

Source: African People / Johnny Clarke

Source: Pumps And Pride / Leroy Smart

Source: Girl I Love You / Johnny Clarke

Source: King Of The Arena / Johnny Clarke

Source: Stealing Stealing / Johnny Clarke

Source: Satta Dread Wayne Jarrett

Source: Crazy Baldhead / Johnny Clarke

Source: Dread A Dread / Johnny Clarke

Source: No Love / Leroy Smart

In 1988, on a break from his band the Rolling Stones, Keith Richards released his first ever solo album, Talk Is Cheap. This universally respected debut is an eleven track masterclass in everything that's good about rock 'n roll and features guest appearances from an all-star cast including Sarah Dash, Bootsy Collins, Maceo Parker, the Memphis Horns, Patti Sciafia and Mick Taylor.

Remastered from the original tapes by Richards' collaborator, Steve Jordan, the album's joyous swagger is re-energised and permeates through each and every song.

Talk Is Cheap sounds as good today as it did thirty years ago; in Keith's words: 'As fresh as the day it was made.

As the grandson of the late trumpeter Doc Cheatham, and former student of legendary jazz trumpeter Donald Byrd, trumpeter Theo Croker is an artist steeped in jazz tradition and he is rapidly becoming one of the hottest jazz artists of this era.

Croker's own music reveals a love of organic funk, soul, and groove-oriented hip-hop. Helping to raise Croker's musical vibrations is his ensemble, featuring saxophonist Anthony Ware, keyboardist Michael King, guitarist Ben Eunson, bassist Eric Wheeler, and drummer Kassa Overall. Also adding color to the proceedings are guitarist Femi Temowo and saxophonist Irwin Hall. Dee Dee Bridgewater appears on the classic tune 'Love From The Sun'. Croker proves he's got deep ideas about life, spirituality, and how music connects us all. It's an ebullient, groove-conscious message perhaps best expressed on the bass-heavy 'It's Gonna Be Alright.' Trading the song's title phrase back and forth like old friends high-fiving on the street, you can hear Croker and his band smiling.

On the 11th May 2018 USM will release a vinyl (180 gram) and CD reissue of the Jay-Z's In My Lifetime, Vol. 1' and Vol. 2...Hard Knock Life' on 2LP.
- In My Lifetime, Vol. 1 is the second studio album by American rapper Jay-Z, released on November 4, 1997, by Roc-A-Fella Records and Def Jam Recordings. The majority of the production is handled by Puff Daddy's production team The Hitmen from the Bad Boy label, giving the album a generally glossier sound than its predecessor.
- Vol. 2... Hard Knock Life is the third studio album by American rapper Jay-Z. It went on to become his most commercially successful album, selling over 5 million copies in the United States. Vol. 2... became Jay-Z's first album to debut at #1 on the Billboard 200. The album won Grammy Award for Best Rap Album at the 41st Annual Grammy Awards.

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repress black Vinyl!

ye will be the first Kanye West album to receive an official vinyl release since 2011's Watch The Throne with Jay-Z, with both The Life of Pablo (2016) and 2013's Yeezus heavily bootlegged

The Badasonics mixes soul and funk together with Jamaican riddims and horns with the soulful rock and reggae voice of Caz Gardiner to deliver a pulsating party of soul steady beats. Caz has performed with the BandHouse Gigs, Newmeyer Fyler productions and The Beat Hotel. She was the lead singer for The Ambitions, a 60's influenced soul/rock band which in 2008 was nominated for a Wammie (Washington Area Music Association) in the best new band category; and the rock steady/reggae band Caz and The Day Laborers. In 2010, she was nominated for a Wammie in the best traditional blues/RnB vocalist category for her work with Caz and The Commotions. The Badasonics, consisting of former members of The Moon Invaders & The Caroloregians, were also known as the busiest backing band for Jamaican artists in Europe and have played with Lee 'Scratch' Perry, Ken Boothe, Alton Ellis, Dave & Ansel Collins, Rico Rodriguez, Doreen Shaffer, Pat Kelly, Derrick Harriott & many more.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE

Death Walks Behind You is the second studio album by British rock band Atomic Rooster. It is commonly thought of as the archetypal Atomic Rooster album, recorded by the 'classic' line-up of Vincent Crane, John Du Cann and Paul Hammond.

It is, critically and commercially, their most successful album and often hailed as a classic of the progressive rock genre. It also produced the hit single Tomorrow Night' (UK #11), which became one of the band's best-known songs. The album's cover features the William Blake monotype Nebuchadnezzar.

The title track was covered on record in 1992 by Paradise Lost, in 2000 by Bigelf (on their album Money Machine) and in 2012 by Swedish death metal band NonExist.

A repackaging and remastering job restores the original artwork in all its gatefold glory.

While Soul Togetherness' on Expansion continues to feature the best new floor fillers of each year, Soul Festival' is here now with a collection of music reflecting the label's love of 70s soul.
    
Soul Festival' spans the period from when new soul music took influence from the Northern soul we enjoy here at UK clubs and events. As the decade progressed, records became more lavish in their arrangement and grander in production, always with that essential soul feel, and that's what you will find here on this compilation.

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

Come Away With "ESG". 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that's the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it's for the dance floor but it's not funk, there's no horns, no driving organ; it's the opposite of Sly And The Family Stone but no less cool and no less groovy. 'A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, 'Come Away' confirms the notion that the real rhythm is what happens between the beats. - AllMusic // 'This is dub disco with a punk edge.' Paste // 'Uncut punk-funk straight off the streets of the South Bronx.' Record Collector // 'ESG are that rare thing' Guardian // 'Come Away with ESG sounds so shockingly current.' Paste // 'A musical snapshot of New York City at the beginning of the '80s.' - Allmusic.

French superstar, D.ko Label bossman and all-round bemasked mystery Mézigue brings the heat on this special release for skylax records. His style is uncommon & raw, mézigue is doing mézigue style, take it or leave it. If you're listening carfeully to his music you can imagine a dream mix between the absurd poetry of the pixies crossed with the craziness of Mr Oizo.This is one of the weirdest release we have ever signed and we are so proud of, unusual & unique. Mézigue is here to stay.

The return of A Turntable Friend Records starts with an opulent 40 track retrospective compilation of their heydays in the 1909s. Peers of Sarah Records and Slumberland Records but far from copying their style, ATF Records always had their own musical identity allowing for a roster as diverse as Boyracer (with Even As We Speak), Secret Shine, The Claim, The Ropers, the Hellfire Sermons + Lorelei.

This compilation is a feast of highlights from the long-deleted back catalogue plus 8 unreleased tracks from the period. Many of the original 7s & 12s are much sought after collector items and several tracks appear on cd for the first time.
Indie guitar popof the best variety delivered by bands from the UK< USA, Australia + Japan.
The release is luxuriously packaged in a tri-fold sleeve for the triple vinyl, strictly limited to 500 for the world. It includes a 12 x 12 full colour booklet and a download code.
The double cd comes with the same tracks also in a gatefold sleeve with full colour booklet.
This compilation is a fundraiser for the William Wates Memorial Trust in the UK with all profits being donated.

* Back on vinyl officially for the first time since 1973

* Reissue of this RARE Nigerian landmark Psy-funk album

* Comes with insert containing exclusive liner notes

* Strictly limited to 500 copies worldwide, comes with obi-strip


Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege's founding member 'Melvin Ukachi' who also supervised this reissue.



Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory's College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of 'BLO' (Berkley Jones, Laolu Akins and Mike Odumosu), 'Monomono' (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their first album was recorded while the band members were still in high school (average age of 16), Ofege's debut album 'Try And Love' was originally recorded and released in 1973 on EMI Nigeria.

'Try And Love' is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It's a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure.

DELUXE VINYL EDITION!!!By the time this performance was recorded on the final night of her NYC debut in 1977, this show had become the hottest ticket in town and the Bottom Line was deluged with celebrity ticket requests, including from other iconic performers like Bruce Springsteen and Mick Jagger, who both attended. This three night engagement at the legendary music room was essentially Parton's New York City coming out party, and even those not necessarily country fans can surely appreciate this show for its pure entertainment appeal and Dolly's undeniable charisma.

With more than 220 million cumulated streams in 2013, Poldoore is far to be unknown from international future-beat and hip-hop scenes. His new record, Mosaïc, comes back confirming to be the spearhead of a booming music genre, where beatmakers emerge from the shadows to the light, to assert themselves as artists in their own rights. Coming from Belgium, more precisely Louvain near Bruxelles, Thomas Schillebeeckx began to explore his parents record collection at age 5, when the family moved to the US. Since, the will to combine this musical heritage to his more modern surrounding sounds never left. Because Poldoore music has a credo: assembly the era with sampling, mixing the genres to create a new musical touch.

Since his beginning in 2013, with the album The Days Off, the young musician talents gave him the opportunity to perform for an international tour with famous venues such as Gilles Peterson's Worldwide Festival, Dour Festival, or the giant Tomorrowland. Everything you need to create a huge fanbase, one that never let you down through your musical evolutions. At this stage, Poldoore is already ahead of his time, playing a music focused on the future, making his place among lasting artists by getting to the top sales on Beatport. Six years after, he's still here, more than ever.
The following of his career brings him to Bulgaria, Spain, Turkey, Germany, Greece, and developing remixes for international artists such as Selah Sue, Wax Tailor, Declaime or Talib Kweli.
He is also nominated at the Red Bull Elektropedia Awards in Belgium, for both Album of the Year and Best Newcomer of the year, mostly thanks to the hit: the remix of the classic Fugees song, Fu-Gee-La. Everything to set the stage for his second album, The Days Off in 2016. The natural identity of Poldoore music rings out more than ever, and allows him to sign several projects and EPs on prestigious labels: Chinese Man Records, Nowadays, Cold Busted or Darker Than Wax.
His forthcoming album Mosaïc is a pure exploration of genres. The offbeat hip-hop, beautifully embodied by the track Lessons About Life, the electro-funk with Darts Is Not A Sport, his beloved jamaïcan sounds on A Brand New Day (featuring ASM and Balkan Bump), or the break-electronic on Solace. But it's mainly his unusual ability to give a second groove to 70s soul samples and epic strings, that makes this record truly essential. The whole tracklist is haunted, whether on the excellent Walking Through A Sunlit Forest or on Melatonin, last of the 13 tracks. Always seeking to marry different musical periods, always linking the past and the future. With Mosaïc, Poldoore is not only showing us his talent, but takes the listener through out Time. And isn't it what the music is supposed to do














 

Statik Selektah is a renowned DJ and Producer based in NYC, born and raised in Boston.
Statik hosts a weekly radio show on Sirius / XM Shade 45 every Thursday from 7PM to 9PM.
Statik has produced recent tracks for Eminem, Joey Bada$$, Action Bronson, Danny Brown, Royce Da 5'9' and Dej Loaf.
In 2014, Statik Selektah released his album, 'What Goes Around' (DDM CD 2375), and in 2015, Statik Selektah put out his 7th studio album, Lucky 7 (DDM CD 2430). He is now prepping his 8th album, '8,' for a December 8th release date.

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

In 2011 composer Ramin Djawadi was first asked to score a new TV series called Game of Thrones. In its first season much of the music was written for a small string ensemble, and filled out with synthetic pads and percussion. Over the course of the next six seasons the music budget got bigger and bigger to match the ever-increasing viewing figures the show was enjoying. This release celebrates the rich tapestry of music over the six series with the full firepower of an 80-piece symphony orchestra and choir.

Game of Thrones really is a television phenomenon. HBO's epic small screen adaptation of George R.R. Martin's series of fantasy tomes continues to draw in record audiences around the world and shows no signs of slowing down. Indeed some 8.9m people tuned in to the Season Six finale in the US and with repeats, recordings and on-demand viewings taken into consideration, it is estimated that Game of Thrones enjoys an average of 23m viewers per instalment. With a whopping thirty-eight Emmy Awards (and counting), this series remains the darling of prime-time pay TV.

With so much music created for the sixty episodes so far broadcast, this album can of course only take in so much. The particular cues and themes it does highlight, though, lend themselves beautifully to this symphonic re-imagining.

Special Remarks: 1 colored pink LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s fifth album "Pop Life" was released in 1991. It is the only album released which features Jacquie O"Sullivan who replaced Siobhan Faley in Bananarama upon her departure in 1988
The album includes the singles: "Preacher Man", "Long Train Running", "Only Your Love", "Tripping On Your Love".
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which sound tracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

The Sickness continues

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide.
To coincide with Leo's forthcoming return to the UK for his 22-date 'Just A Boy At 70' tour, 'The Hollywood Years
1976-1978' is the second of a series of three Vinyl LP box sets.
'The Hollywood Years 1976-1978' comprises Leo's three studio albums. 'Endless Flight' (released 1976/UK
#4) 'Thunder In My Heart' (released 1977/UK #8) and 'Another Year' (released 1978/UK #15) and marked a
clear departure from his early albums.
Leo recorded these three albums with legendary producer Richard Perry, who brought in a variety of songwriters
and collaborators to work on the projects with Leo; it was a venerable Who's Who of the record industry.
Each vinyl LP Box set in this Limited Edition release, will be pressed on heavyweight 180g clear vinyl and contain
a signed 12'x12' print.
This project has been overseen by Leo Sayer, who remains one of the UK's great singer/songwriters of all time.

Too $hort's legendary 1992 effort 'Shorty The Pimp' is back in effect on vinyl thanks to the hip hop preservationist at Get On Down. Though many don't consider this to be one of Too $hort's strongest releases, the project did move well over 80,000 in its first week of release landing at Number 6 on the Billboard Top 200. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. 'Shorty The Pimp' is also a stand out project for producer Ant Banks who did many of the beats for the project, his first works with Too $hort with many more to follow over the next decade. Oddly enough, one of the best comments on 'Shorty The Pimp' comes from a random guy on the internet who commented on his experience listening to the release, 'I ran my car into a tree after listening to 'It Don't Stop' Definitely made for cars with the booming systems!'

Stanislav Tolkachev is releasing a new double-LP through Krill Music called It Will Be Too Late Then.

The Ukrainian techno artist says he made the album by assembling tracks recorded over a three-year period, and he notes somewhat cryptically, "I think this record represents a phase."

As with most of Tolkachev's releases, the album will feature his own visual art on the cover. Krill Music, a Berlin-based label originally founded six years ago in Buenos Aires, is having it pressed in Argentina to support "the growth of the Latin American vinyl industry."

Tolkachev, who previously appeared on Krill Music with a track on a sampler 12-inch nearly two years ago, just put out a new EP on Mord. Rivet's Pohjola outlet repressed his 2011 ten-inch Why Are You So Frightened. He also recently shared a stream of an electro tune that's apparently coming out Umwelt's New Flesh label next year.

Mit - They`ve Given Me Schrott! - Die Outtakes' erscheint nun zusätzlich eine Edition als 3er CD und
5er LP mit den bisher nur in der Seitenhirsch-Box veröffentlichten Outtakes. Vom allerersten
Cassettenrecorder-Demo - Der lustige Astronaut' (1978), über bislang nur auf Vinyl erhältliche Songs
aus der Frühphase der Band, mit - Helgoland' die Demo Ur-Fassung von - Westerland', sowie zig
weitere seltene und kuriose Demos, Radiotracks und Gimmicks, und das oft erwähnte und nie
veröffentliche englische Album.
Anmerkung: Bitte erwarten Sie hier keine durchgängig hochwertige Audioqualität: Diese Raritäten sind
zum Teil Kellerfunde auf Basis von alten Audiocassetten oder Vinylplatten, die aufwendig restauriert
und neu gemastert wurden. Allerdings kann man aus einem Toaster kein Rennrad machen.





















































[ZZA] I5 | Smash the System, fuck the Police
[ZZB] I6 | Nie wieder Krieg, nie mehr Las Vegas! 
[ZZC] I7 | Eine Botschaft von Die Ärzte 
[ZZD] J1 | I laugh if you die 
[ZZE] J2 | Herrliche Jahre (Das Leben ist `ne Party) 
[ZZF] J3 | Yoko Ono 
[ZZG] J4 | Techno ist die Hölle, mein Sohn 
[ZZH] J5 | Worum es geht