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The Paranoid Style album begins with an elegy for the radical, tragic Pop Art titan Barney Bubbles and ends with a revved-up cover of Rosanne Cash's peerless "Seven Year Ache." Throughout the ten songs in-between, Elizabeth Nelson weaves together stories about figures like Steve Cropper, P.G. Wodehouse, and Doug Yule. She visits her hometown and ponders Jack Kerouac's house in her childhood neighborhood. She laments the loss of David Berman and Adam Schlesinger, and duets with Patterson Hood from the Drive-By Truckers on an infectious tribute to John Prine. She ponders the desecration of the music industry and drinks her beer in a tavern and sings the working gal's blues. Loaded with vivid detail and memorable riffs, it proves what in-the-know critics have been saying for years: Elizabeth Nelson is one of our best songwriters. Also Available From The Paranoid Style: Rolling Disclosure LP.

Debut vinyl outing for Valentina Magaletti and Pino Montecalvo's Avvitagalli project. Variegated percussion + wtf jams inspired by an abandoned & torched palazzo somewhere in southern Europe. None Corsa explores presence and absence, purpose and chance. The push-pull between Pino's toys, records, radio & instruments with Valentina's arsenal of percussion and production techniques takes in elements of modern composition, jazz, dub and post punk. The Wire magazine will run a multi-page feature on Valentina Magaletti, mentioning this release, in their May or June '22 issue.

Bleeding Hearts’ Riches to Rags is a remarkably solid collection of rock ’n’ roll songs featuring the guitar work of Bob Stinson, founding member of the Replacements. Upon Stinson’s untimely death, this 1993 recording was shelved (not even a cassette was circulated) and remained the stuff of legend among Replacements fans. The album is upbeat, catchy Minneapolis rock, with hooks galore and Bob’s ever present bright chords shining through. This Record Store Day album is pressed on Red Vinyl with liner notes from Grammy Award Winning journalist Bob Mehr, who wrote the definitive biography Trouble Boys: The True Story of the Replacements. He describes Riches to Rags as “the final piece to the puzzle of Bob Stinson’s musical career”. The remaining members of Bleeding hearts plan to play shows to celebrate the release of Riches to Rags. Cover Photos by Dan Corrigan who took the iconic photo on the cover of The Replacements - Let It Be album.

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

Out of print for almost 30 years. Includes rare never-before-seen vacation photos by Anna Lee Van Cleef who shot the original album cover. 1987's High Priest was the first full length solo record for legendary frontman Alex Chilton (Big Star/ Box Tops) since 1979's ground shaking Like Flies on Sherbert. It shows Chilton in full control of his faculties as both a musician and a musicologist. He leads a solid band of Memphis/ New Orleans studio heavyweights through 4 newly penned originals and a well curated list of covers. What it lacks in polish, it more than makes up in charm, verve and just plain ol’ soul. This could be what rock’n’roll is all about.” Trouser Press

ENVY OF NONE IS THE NEW BAND & DEBUT ALBUM FROM ALEX
LIFESON (RUSH), ANDY CURRAN (CONEY HATCH), ALFIO ANNIBALINI &
SINGER MAIAH WYNNE
The ambient, cinematic darkness that the collective creates evokes a
powerful atmosphere that will excite superfans & new audiences alike
Lifeson & Curran's long-time friendship was the catalyst for the band's inception -
but Envy Of None is not defined by its members resumes - they aren't Rush or
Coney Hatch & far more than the sum of its collective parts.
Above the beautiful cacophony of guitars, synths, bass & drums sits the fragile
melodies of 24- year old vocalist Maiah Wynne - the newest name in Envy Of
None's impressive personnel. Hearing Mariah's voice intertwined with the music
will bring back memories of when you heard Shirley Manson of Garbage or Amy
Lee of Evanescence for the first time. Wynne brings charm & beauty to these
recordings in spades - with floating hooks & emotive lyrics transcending the
oftentimes textural aesthetic.
The Storm Thorgerson- esque visuals that grace the cover may remind fans of
Lifeson's earlier work - Andy Curran explains: "the Hypnosis style artwork of
albums like Pink Floyd & Led Zeppelin & others were so eye catching, surreal &
attention grabbing & we wanted to scratch that itch. We were instantly drawn to
Lebanese photographer Eli Rezkallah at Plastik's photography & design work. We
fell in love with a bunch of his work - we had a hard time choosing something
because he had so many great images". However, the 70s prog/ Rush
comparisons may end with the artwork - the music that this ensemble creates
treads new ground with each track throughout their 42- minute debut, from
industrial/electronic influences to post-progressive soundscapes. Envy Of None
create a sound that will haunt, comfort & ignite.
"If you can picture maybe Massive Attack with a little bit of some electronic stuff
with Nine Inch Nails influences, with this beautiful, fragile, sweet voice & some
very, very dark heavy sounds" - Andy Curran (Envy Of None)

Acid Jazz subsidiary Countdown Records presents a new release from Graham Day: ‘Master of None’.

The former Prisoners front man emerged in the Bill Childish / Medway scene. While not enjoying the recognition and commercial success of some of his contemporaries at the time, he has emerged as one of the most enduring and prolific songwriters of the era.

‘Master of None’ is a unique addition to the Graham Day canon, featuring 12 new songs, with all instruments recorded entirely by the man himself - a measure of the depth of talent on display and his continuing creative vision.

The Prisoners were regarded as one of the best live bands of their time, and they maintain a loyal fanbase, for whom this release can be considered vital.

Repress

Following his highly praised Defining Persuasion EP in 2019, rising French producer Hadone presents on Taapion his very first LP "And Then You Were None".

Navigating effortlessly between hard floor techno, IDM, ambient & jungle, the album expresses Hadone's sonic interpretation & perception of time, reflecting on how we use and consume it through our existence. Thanks to this long-playing format, the artist can finally unveil his full potential and delivers a wonderfully mature journey across 2 records.

Flatland/Spaceland is the debut solo release from renowned pedal steel player, visual artist and composer Joe Harvey-Whyte, who has worked with the likes of Tony Visconti, The Hanging Stars and Susanne Sundfor. Flatland/Spaceland blurs the borderlines between ambient and neoclassical to create an engaging and meditative listening experience.


The first side of the 2 track EP, titled Flatland is a glacial ambient creation made using pedal steel guitar processed through multiple effects together with field recordings and occasional revelatory sounds from Himalayan singing bowls. Spaceland, on side B, takes the composition and refracts it through an orchestral lens. A 26-piece ensemble delicately creep in to the calming world echoed by side A. As the piece develops the result is something more akin to a film soundtrack. Occupying the space between ambient and neoclassical, Flatland / Spaceland by Joe Harvey-Whyte invites us to take a step back from the busyness of our lives for 20 minutes and reflect.

Für Fans von AT THE GATES, DEATH und CARCASS: LIVLØS bringen Melodic Death Metal auf ein
neues Level!
Seit ihrer Bandgründung im Jahr 2014 in Aarhus, Dänemark, haben sich LIVLØS unermüdlich einen Namen
in der europäischen Metalszene gemacht. Ihr Melodic Death Metal, beeinflusst von Bands wie AT THE
GATES und CARCASS, gepaart mit amerikanisch angehauchtem Death Metal im Zeichen von DEATH und
THE BLACK DAHLIA MURDER, brachte dem dänischen Fünfgespann bereits Auftritte bei renommierten
Festivals wie Copenhell, Eurosonic und Spot Festival ein.
Auf ihrem neuen Album ”And Then There Were None” sind LIVLØS spürbar in Topform: Auf neun harten,
kompromisslosen Tracks nimmt die Band keine Abkürzungen und behält gleichzeitig einen dynamischen
Songwriting-Stil bei, der den Hörer während der gesamten Laufzeit des Albums auf Trab hält.
Hervorragend abgemischt von Jacob Bredahl (ex-HATESPHERE) und gemastert von Brad Boatright (u.a.
bekannt für seine Arbeit mit OBITUARY, NAILS und TORCHE), ist ”And Then There Were None”
ein außergewöhnliches Zeugnis der selbstbewussten, modernen Herangehensweise von LIVLØS an Melodic
Death Metal, der von Anfang bis Ende akribisch umgesetzt wurde und mit jedem Hören mehr von dem
offenbart, was die Band zu bieten hat. LIVLØS sind eine der aufregendsten Newcomer im Metal und
beweisen mit ”And Then There Were None”, dass sie hier sind, um zu bleiben

2021 Nachpressung auf weißem Vinyl. ,Truly She None Other" war lange vergriffen. Die aufgewertete "Expanded Edition"-Version erschien 2013 zum zehnjährigen Jubiläum des grandiosesten Albums von HOLLY GOLIGHTLY. Das würdige Re-Issue enthält zwei Bonustracks! Die Sleevenotes stammen von niemand Geringerem als JACK WHITE! Oft als ihr bestes Album beschrieben wurde ,Truly She Is None Other" 2002/03 mit Liam Watson in den Toe-Rag Studioa aufgenommen und beinhaltet mit ,Tell Me Now So I Know" den Song, der als Titeltrack des Jim Jarmush Films ,Broken Flowers" ausgewählt wurde. Zu den neun HOLLY GOLIGHTLY Originalkompositionen gesellen sich zwei RAY DAVIES Songs ("Time Will Tell" & "Tell Me Now So I Know") zusammen mit "There's An End" (geschrieben von ihrem Freund Craig Fox von THE GREENHORNES). Außerdem mit dabei: eine brillante Version des JESSIE MAE ROBINSON Songs ,Black Night", der durch die Version von MUDDY WATERS unsterblich wurde. Unterstützt von der Crème de la Crème der Toe-Rag Hausmusiker zusammen mit den HOLLY GOLIGHTLY Bandeckpfeilern Bruce Brand (THE MILKSHAKES, THEE HEADCOATS) und John Gibbs (KAISERS, MASONICS) ist HOLLY GOLIGHTLY auf diesem Album in absoluter Höchstform.

The Body and BIG|BRAVE are both bands possessed with an
unequalled ability to convey overwhelming weight with
simplicity, repetition and detailed sonic atmospheres; artists who
continue to alter the definition of what it means to be a heavy
band.
The Body are consistently prolific while increasingly ambitious
as untethered producers and collaborators. BIG|BRAVE shape
sound with dense waves of guitar and feedback, minimalist and
hypnotic crashes and emotionally exacting vocal melodies. In
collaboration, The Body and BIG|BRAVE shift the gravity of
their compositions to woven layers of percussion and
unspooling guitars that sprawl through stark frameworks of
earthy folk.
Their debut collaborative album, ‘Leaving None But Small Birds’
distils the two ensembles’ pioneering approach to heavy music
into psalms for the forgotten, threnodies of lost love and odes to
vengeance.
Recorded, mixed and produced by Seth Manchester at
Machines With Magnets (Liturgy, Battles, Mdou Moctar) and
mastered by Heba Kadry (Björk, David Bowie).
“Emotionally coherent but tricky to categorize. BIG|BRAVE are
the sound of the raw unconscious, turned up loud.” - Pitchfork
“The Body have become one of the most interesting and difficult
to pin down groups in extreme music.” - Rolling Stone
CD in gatefold packaging with lyrics.
LP packaged with digital download card and inner sleeve with
lyrics.
Available to independent retailers on ‘LEVON’ (greenish clear)
coloured vinyl.
Cover features artwork by Bo Orr (also created artwork and
videos for Full of Hell and The Body).

When it comes to modern heavy metal there are few bands operating at the same level as Portrait. For a decade and a half the Swedish unit have been forging their own path, and in the process infusing life into a longstanding, well-established genre and taking it in new directions. Following up 2017’s acclaimed Burn The World, they return with the mighty At One With None. While Portrait fans will immediately recognize it as the work of their heroes they are not simply rehashing old ideas and treading where they have before.

After making a name for herself in the Phoenix indie scene, Kristina Moore aka kolezanka spent 2 years touring as a member of Triathalon and ROAR. Life on the road defined her relationship with "place" and on her new album she considers just what "Place is." The album explores emotional space, places visited and the people you meet and leave along the way. For fans of: Broadcast, Stereolab, Cate Le Bon, Cocteau Twins. "The production on this Kolezanka is UNREAL and the songs are great."-Emperor X

Caravela's debut full length LP 'Orla' is an intoxicating mix of Afro-Brazillian rhythms and contemporary London jazz drenched in modern psychedelic and progressive textures. The band's deep and infectious grooves form the basis from which they can showcase their beautiful and mature songwriting craft. Lyrics touching on social and environmental issues in both Brazil and Cape Verde, as well as reflections on modern life, weave between the songs in Loubet's native Portuguese.

Lead single 'A Macieira' garnered airplay on NTS, Worldwide FM and Soho Radio, with Music Is My Sanctuary describing it as an "uplifting and graceful lead single" in their premiere of the track.

Imagine a blend of Frank Zappa, Creedence Clearwater Revival and The Doors?
Here's a quite accurate result: Kk's Projet.
Amazing psychedelic rock made in Spain!

Limited release, dubplate style. Side A is a vocal/dub extended mix, side B is an amazing extended dub mix from the one and only Dub Organiser.

This is the first ever vinyl release of the now defunct Parisian formation None, whom have left very few traces of their recordings apart from a furtive tape appearance; keeping true to their name by favoring the intensity of their live performances to conventional sound fixations. Although only one single recording remained following the band’s dissolution back in 2019, the oddly titled Khneï Khneï Thnacapata Thnacapata is a compelling demonstration in self-restraint as well as one of the very few relics left to cherish of the short lived group. Arranged as a forty minute long movement, the posthumous album swallows us through free improvisation, jazz and post-punk in a composed mayhem that echoes their equally intense live conduct where steadfast drums and far out cassette manipulation meet head-on with troubled saxophone blows, lonesome crippled guitar action and unintelligible vocals in which to lose one’s mind.

Time Lapse is the debut EP from Monzanto Sound, scheduled for release on September 4th 2020 on None More Records. Across the 5 tracks, the four piece journey through krautrock inflected funk, psychedelic trip hop and cosmic neo-soul.

This release follows on from their Moses Boyd produced track 'Open Flower' being included on Rhythm Section's 'Shouts' compilation celebrating 5 years of Rhythm Section, which dropped in April.

Behold, we've got a new modular freak on board: Dhyan Moller. The Californian original of "Megadon" is here remixed by Heiko Laux for our 25th Anniversary. Followed by the massive production of "French Quiz" of Joel Mull & Heiko Laux. And to conclude our pack of productions which otherwise would have fallen into the cracks: Ray Kajioka & Heiko Laux show how happy mild cases of autism can turn out.

Lunch Money Is A New Breed Of Psychedelic Jazz. Adventurous Compositions That Keep Both Body And Mind Fully Engaged, The Music Juxtaposes Expansive Textures With Off-kilter Hooks And Rhythms. Deep Basslines Rub Shoulders With Angular Post-punk Guitar Riffs, Floating Synths And Horns, All Blending Onto A Head Nodding Syncopated Drum Beat. A Heady Brew Of Dilla, Davis And Kraut Marks The Arrival Of London's Newest Jazz Deviants.

The Run Of 300 7" Singles Will Be The First Release From New Label None More Records. The Record Will Also Be Available Digitally.

Project Karnak is the production duo brainchild of keyboardist Dominic Canning and drummer Sam Ouissellat. 'Equinox' is their debut EP released on London label None More Records.

The whole idea behind the band is that they make synthesised, electronic sounds and bring them into a "jazz" realm accompanied by tight, energetic and fresh drums.

The duo meld influences from drum & bass, jazz, funk and the "Final Fantasy" soundtrack into their fresh new sound.

Outstanding and miraculous, this record is an international effort, resulting in a great combination, relevant for both bagging it or playing out on a soundsystem. The original music is by one of Russia's most prolific and gifted reggae musicians - Rebelsteppa. Melodic instrumental music, a swing-stepper with a saxophone.

None Shall Escape the Judgement', vocals by Stikki Tantafari from Jamaica is on the A side of the record. This song is rough and tough, dynamic and persistent. Stikki Tantafari has previously released music with Paul Lush on Nucleus Roots Records.

On the B side "Give Unto Jah' by Sista Sherin, the German singer. Compared to the record's first side, this one is smoother, the voice of this young lady is glorious and captivating - positive vibrations.

Both sides feature Rebelsteppa's dub-mixes - His style is always a mixture of classical energy combined with peculiar intelligence of sound given by restrained echoes, created for the soundsystem.

Repress!

Last year's release of "The Midlands Roots Explosion Volume One", saw the culmination of many years work spent tracking down artists and tapes to shine a light on one of England's greatest, yet most overlooked musical scenes, the home grown take on reggae that briefly flourished from the mid-seventies and had almost disappeared little more than a decade later.

Volume Two starts off in exactly the same way as its predecessor with Handsworth's biggest musical exports, the legendary Steel Pulse and "Bun Dem produced by the legendary Dennis Bovell. Our first act new to the series are Natural Mystique with their 1982 single "Generals" whilst tracks 3, 4 and 5 round off the missing A and B sides from some of the most popular artists we included last time with Iganda's "Mark Of Slavery", Carnastoan's "Sweet Melody" and yet another Generals, this one from Musical Youth featuring the same line up that caused so much surprise and positive feedback with their inclusion on Volume One.

"Africans" from Bass Dance featuring a second appearance from former Steel Pulse guitarist/vocalist Basil Gabbidon, is the first of four previously unreleased tracks. The other three that we've managed to track down on long forgotten tapes, are Leicester's Groundation with "Rebel" recorded a few years before "Fa Ward" which we included last time, "Cannot Take It Away", another lost gem from Handsworth's Mystic Foundation and "Equalisation" another lost slice of early eighties roots from Wolverhampton's Capital Letters.
The late Linton Haughton is another new name with his scarce Shield label 12" cut "Hustling Man". Also making their first appearances, are Afrikan Star with "Run And Hide" originally issued in 1980 on Black Vinyl Records and from the Crucial Music stable, Sledge Hammer with "Ruled By The Stone" released as a 7" single on the Crucial Music Inc. label. The remaining three tracks are provided by label favourites and key players in the Birmingham scene, Black Symbol, Sceptre and Eclipse and showcase songs from the individual albums we've previously released by each band.
British roots reggae at its finest.

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."

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.

Johnny Clarke is one of the great vocalists that ruled the Jamaican Dancehall scene from the mid – 1970’s to the early 1980’s. While Bob Marley was out conquering the world, Dennis Brown, Gregory Issacs and Johnny Clarke were winning the hearts of the Jamaican people .Johnny Clarke’s use of the ‘Flying Cymbal‘ sound took the Island by storm and produced a run of hit singles few could match.
Johnny Clarke (b.1955, Jamaica, West Indies) cut his first record ‘God Made The Sea and Sun’, after winning a local singing contest in the Bull Bay area of Jamaica. Although the single was not a hit, it led to two follow up tracks for producer Rupie Edwards, ’Everyday Wandering’ and ‘Julie’ that fared much better, both on the island and oversees in England and Canada. These tracks also brought the singer to the attention of producer Bunny Lee and a working relationship that would go on to produce a prolific catalogue of music. Johnny Clarke’s Dread Conscious / Love Song style were to grace many hits around this time in 1974. Such tunes as ‘None Shall Escape The Judgement’, ‘Move Out of Babylon’, ‘Rock With Me Baby’, ‘Enter The Gates With Praise’ to name but a few. All new songs added to a host of cover tunes, recommended by Bunny Lee, many taken from the singer John Holt’s catalogue, that suited Clarke’s vocal style. The rhythms were cut at various studios around the Island. Randy’s Studio 17, Channel 1, Treasure Isle, Dynamic Sounds and Harry J’s, by a group of musicians loosely called the Aggrovators and some tunes incorporating the ‘Flying Cymbal’ sound again introduced by Bunny Lee, working the Hi-Hat in fine style. The tracks were then taken to King Tubby’s studio where Johnny Clarke’s vocals would be voiced.
Another phenomenon that was happening in the early 1970’s, was the version cuts to vocal tracks. This is when the tunes were cut back to the bass and drums and the vocals were dropped in and out in a dubbed style, and reverb and echo and various effects were added to these tracks. The main exponent to this style was King Tubby himself, and as was the fashion at the time, each vocal track would carry a version as its B-Side. Producer Bunny Lee lead this style working closely with King Tubby and all of his singles from then on would carry a Dub cut on its flipside. As Johnny Clarke was one of Bunny’s main singers at the time, we would hear a great selection of popular songs getting the dub treatment and in many cases the single was purchased for its more exciting dub cut, again made popular at the various dances where the dubplates were played out. We have compiled some of the best of these dubs from the time and put them together for this release, hope you enjoy the great voice of Johnny Clarke alongside the productions of Bunny Lee and the creative genius of King Tubby, a great combination we hope you will agree….

perfectly merging Detroit & UK Techno heritage

'learning To Cope With Cowardice', The Groundbreaking Debut
Solo Album By Visionary Post Punk Iconoclast Mark Stewart, Is To Be Given A Definitive Reissue Alongside 'the Lost Tapes', A Newly Discovered Cache Of Unreleased Material.
'learning To Cope With Cowardice' Is Released On Double Cd,
Double Vinyl With Digital Download Code And Separately As
Digital Download Albums. 'learning To Cope With Cowardice' Is A Vital Chapter In The Legacy Of Mark Stewart & The Maffia, A Project That Would Prove To Be A Revolutionary Benchmark For Many, From The Innovators Of The 'bristol Sound' (the Wild Bunch, Smith & Mighty, Tricky, Massive Attack) Through To The Likes Of Trent Reznor And Nine Inch Nails. Collected Together This Set Realizes An Expansive Restoration Of One Of Stewart's Most Audacious Statements. As It Was In The Early 1980s So It Is Now, 'learning To Cope With Cowardice' Is A Masterwork Of Mutant Design And A Rude Awakening Of Extraordinary Bite.
Mark Stewart Himself Perceives 'the Lost Tapes' As A Document
That Now Possesses A Storied Significance: it Was A Real
Adventure Discovering This Forbidden History, A Twisted Tale Of
Muswell Hillbillies, French Pirates And A Dutch Schizophrenic
Doctor Doing Psychic Archaeology.' Whilst Adrian Sherwood
Describes These Works As Characteristic Of A Distinct Primitivism: ('the Lost Tapes' Represent) The Early Childhood Of The Songs Before Mark And Me Conducted Frenzied, Scorched Earth, Slash And-burn, Twenty Hour Mental, Manic Editing Sessions At Crass' Studios That Led To Birthing The Finished Album.'

Always Seen With A Smile On His Face, Inja The Poet, Lyricist, Storyteller And Unparalleled Master Of Ceremonies Presents His Debut Album On Hospital Records. His First Drum & Bass Focussed Long-player 'blank Pages' Flexes His Lyrical Style With Heartfelt Sentiment, Roughneck Flows And Quick-fire Wordsmith Wizardry. All Partnered With Heavyweight Productions From Pete Cannon, Nu:tone, Logistics, Serum, Whiney And Anile.
Inja's Back With Partner-in-crime Pete Cannon On 'war Games'. A Funky Bassline Lays The Foundations For This Fear-fighting Tale. As The Breaks Roll Out Inja's Militant And Deep Rhetoric Puts This Track On A New Level, With Signature Percussive Flair From The Sought After Hip-hop Beatmaker.
Inja's Spoken-word Piece For Amnesty International 'she Just Wanna Dance' Was A Viral Online Hit In 2017. It's Now Been Given A Turbo-charged Re-work By Med School Young-gun Whiney. Inja's Poignant Commentary On The Prolific Problem Of Harassment In Club Culture Sits Atop A Grimey Half-time Stepper That Switches Up Into A Lethal Upfront Roller.
Inja Proves He Can 'juk' Any Riddim In 'samurai'. Serum's Steppy Beat And Woofing Bassline Balances Inja's Story Of The Samurai, Slicing Through The Tune Like The Lyrical Sensei He Is.
even With A White Page And Black Ink, You Can Spell Out More Colour Than The Eye Can See.' - Inja

Gitanes is Olde Gods' new EP and longest output to date. Following a series of singles on the Minor Planets label, the Barcelona duo are up to a 12 four-tracker on Amsterdams' Atomnation. Gitanes brings echoes from Spains' not-long gone golden club era. Its cover depicts an abandoned club from the 90's in a coastal town in the Mediterranean, could be anywhere from Valencia to Barcelona. All four tracks are trippy yet solid-grounded, spacey voices and strings leads all flying up and magically suspended over gross rhythmical foundations. Dear CZ, a fetiche track, built around a moody Casio CZ synth stab topped up with acid videogame-like crazyness. Gitanes brings entrancing vocals intertwined with more CZ pad action. All Around is a foggy and paranoid late-night drive, and None of these Bitches, a homesick folks' walk around Tokyo's Daikanyama area. Olde Gods are JMII and Guillamino.

3 minimalistic techno tracks and 2 ambient works from Stockholm producer and Arsenik label boss Dold.

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

ROD, aka respected long-term Dutch activist Benny Rodrigues, hands in another burning 4 track EP for Figure SPC. As the series approaches the zenith of its 26 chapter A-Z journey, the quality shows no sign of dropping, with RODs crisp and characterful techno trips inspired by classic minimalist traditions. Over four, bleep infused, tracky and positively charged cuts, ROD opens the doors for us into his latest hardware-driven studio sessions. Each track is a carefully carved snapshot, a different specific moment for the floor, the producers talent for creating elegant moments of tense and playful Techno is clear to hear.

So it seems that 2013 was the year Skudge team decided to camp by the pressing plant! The Skudge imprint is indeed growing along its artists as we're now ready to embrace longer formats, a testimony to the future and most than anything a continuous effort to grasp the present's relevancy.
After their wonderful EP from a year ago, the Fishermen are ready to take you on a diving trip with their very first album, an accomplishment in itself With 'Patterns and Paths', Thomas Jaldemark (YTA) and Martin Skoggehall (MRSK, Smell The Flesh) have crafted a rather mesmerizing story of abstract and figurative tropes altogether, and eerie is probably the best word to describe the general mood of this, but hard and raw eeriness! The affair starts with 'Green Horn', a gentle foreplay setting the tone for an imminent journey into the lightless abysses. 'Hope Is gone' further enhances the incoming grim turn of events in a coil-like fashion before 'Serpents' makes our feet and hips take over our fear of the unknown. The trance has indeed begun and we're soon entering a hidden warehouse rave cave of un-earthy shamanism, the unforgiving stomp of 'Get None'. 'Dyspnea' manages to find a path into deeper regions the groove shift towards a darker funk with 'Lost Teeth', a caribbean techno banger that'd wake any zombie in the making! 'The Four Skulls' suddenly hints of a safer journey with healing percs and melancholic pads, but 'Rise' soon shatters those false hopes with an evil lurking motoric groove. Then, you hit 'Scurvy' where the pace slows down a little only to introduce the seductive side of this gloomy adventure, a challenge to you feet inducing lascivious moves. Keeping you in trance, 'In Solitude' kind of combines both previous tracks strengths with an added Twin Peaks value. Now finally reaching the far bottom of the ocean, the mood gets even more claustrophobic with 'Sunken Mosque', the last stage of this trance before maybe getting back to the surface. Indeed, if 'Torments' might let you catch a breath of air, it is filled with minerals, the world above has changed, and you might very well feel safer back under the water, a reverse mirror to Mike Ink's old Gas project. While this tour guide concludes his narration, the Skudge camp proudly hopes to see you embark on it very soon!