Grey Marbled Vinyl
The official re-release of the scarce DJ classic. Ralf Nowy produced this unique mix of Krautrock, Space Disco and proto Techno vibes in Berlin in 1980. The collaboration featuring also famous German star producer Jack White and Tom Müller aswell Vicky Brown from UK as singer who worked together also with bands as for example Pink Floyd, Roger Waters, Cerrone and Bryan Ferry.
After a two year wait, we proudly present Deepseries 1.3, the latest installment in our Deep compilation series featuring friends and family of the label. This atmospheric EP showcases the distinct sounds of Deeptrax, bringing together a curated selection of tracks that define the label's sonic universe.
Caim kicks off the journey with an unreleased gem, a calm and atmospheric track with a punchy kick. It sets the stage for an immersive experience, inviting listeners into its ethereal embrace.
Returning to Deeptrax, Mathijs Smit delivers a bass-heavy, emotionally charged track. A sonic return to familiar grounds, his contribution reflects the label's commitment to captivating, bass-driven soundscapes.
Joey Anderson makes a poignant return with a deep, emotionally layered track where instruments guide, inform, and inspire. His unique ability to infuse depth and emotion shines through in this standout contribution.
Rich P & Lee join forces for another V.A. installment, presenting a melodic house journey filled with dub chords. A perfect blend of melody and rhythm, their track is a testament to their signature sound.
Closing the EP is Pim Holthof's debut on Deeptrax with an atmospheric minimal house track. His contribution adds a distinctive touch to Deepseries 1.3, showcasing the label's dedication to sonic exploration.
Deepseries 1.3 is a culmination of artistry, emotion, and sonic innovation. Join us in this exploration of electronic music, where each track is a unique thread in the rich tapestry of Deeptrax Records. Welcome to Deepseries 1.3 - where the journey never ends.
"Ultra-textured arrangements that radiate quiet power, locking listeners into a distorted landscape before evaporating without any fanfare."
Resident Advisor
"Both reflective and rapturous...focuses on altering the DNA of traditional Japanese instruments and building something new from it, without losing the essence."
Bandcamp Daily Acclaimed Japanese musician 99LETTERS joins Phantom Limb for new album Zigoku / 地獄, seamlessly processing traditional Japanese instrumentation into pitch-black techno and quasi-industrial sound design.
“This album is made with the theme of human death,” 99LETTERS (Osaka producer Takahiro Kinoshita) writes of Zigoku / 地獄 Eng: hell, his first album for Phantom Limb. “Even if I eventually end up in hell when I die, it might be a more peaceful place than I had imagined. The whole album may represent the world of death that I desire.”
Though the music of Zigoku / 地獄 is ostensibly programmed with dark, disorientating, disturbing sound design, 99LETTERS continues his now-characteristic practice of sampling, processing and disguising traditional Japanese instrumentation to develop a sound world both organic and unsettling. The very real presence of beauty, culture, and folklore remains throughout the record, in attendance as a kind of heaven to offset the willful hell of Kinoshita’s craft.
Appropriately - and in his typically cryptic language - Kinoshita speaks of human interference with reality and morality as key themes of the album: “Everyone has a good and bad person within them, which can be deceived by misinformation and superstition. The bad side can be ferocious and can easily hurt people. Sometimes I think that the present age is a complicated and difficult era to live in, and that this era may be hell.”
Stolen Body is delighted to be working with Bristol progressive psych and jazz legends The Brackish for their fifth album ‘Donor Zone’. Attempting to capture our live sound and intensity, Donor Zone was recorded live at gig volume without the tyranny of headphones. The album kicks off with an ADHD epic ' Willox for a new Age' , apocalyptic coda morphing into the fuzz bass drone of 'Donor Zone'. Forboding chord sequences set up ' J und J' before a gargantuan riff drops, motorik middle section developing into a highly satisfying ripping fuzz guitar finish. Last tune BUABB has the faved Tortoise/ beefheart stylings around a Kraut- inspired improv section. The single 'J und J' draws the listener in to a false sense of uneasy security with it's pensive and motorik sections before it's gargantuan riff payoff. The track shifts dynamically back to it's uneasy base, developing into an extremely satisfying and belligerent ripping fuzz guitar ending.
Four dazzling, extended engagements with mbalax master-drumming.
The contribution from Holy Tongue is chase-the-devil steppers — thumping, clangorous, reverberating — super-charged with energy and atmosphere. From the off drummer Valentina Magaletti detonates a hard rain of small bombs, rounds of fire, ticking fuses. Musical co-ordinates are somewhere between classic On-U Sound crew like African Head Charge, The Mothmen, and Creation Rebel, and the experimental funk of the Pop Group and 23 Skidoo, at their funkiest. Thrillingly, the two dubs are increasingly deranged.
Adjusting the same wavelengths as her superb Workaround LP, Beatrice Dillon plays spaced-out, abstract synth-work against the bodily physicality of the ancient, shifting mbalax rhythms. The music is poised, mindful, tentative; but also limber, fleet, and magical.
Phantasmagorical and efflorescent, Lamin Fofana’s one-two is simply stunning. Both excursions are wide-open, beautiful, epic, and propulsive — the first mix is banging and headlong, the second more syncopated and serpentine — teeming with freshly sublime, funkdafied updates on Jon Hassell’s Fourth World possible musics.
The two parts of LABOUR’s Etu Keur Gui engage the same sequence of drum patterns (called bakks) from different perspectives. The duo performed portions of this piece at the opening ceremony of the Dakar Biennial in 2022, at the Grand National Theater, with thirty sabar players from the family of Doudou Ndiaye Rose. This Wolof phrase for the inner-court of a home — a meeting-place — doubles here as a metaphor for inner space on a metaphysical level; and Pan Sonic, Muslimgauze, Zoviet France, early Shackleton… all ghost across the threshold.
Prince Fatty's 'Mercedes Benz' with Shniece and Horseman is a rub-a-dub version of a 1970s hit from Janice Joplin that now gets a very special and very limited edition pressing courtesy of Lovedub Limited. The A-side kicks off with the spine-tingling and epic original vocal before disappearing into a world of reverb.
At that point the dubby low end arrives and brings a different vibe to the stunning vocals but one that really makes a mark next to new bars from Horseman, police sirens and funky riffs. It's a tough sound system groove that is backed with a fine version and has been a firm fixture of Prince Fatty's record box for a while now.
The official new edition from this rare and great Afrobeat & Soukous masterpiece from Nigeria !
"Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra.
1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.
Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.
Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.
But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s.
We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top!
At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy.
A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album."
Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.
In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.
The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.
Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.
Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.
Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).
Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.
This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.
The Church’s Starfish is a dreamy, atmospheric masterpiece, guitar-driven alt-rock before alt-rock was a term. It includes the timeless smash hit “Under the Milky Way,” and “Reptile,” both First Wave staples.
Intervention's 2X 180-Gram LP, Artist-Approved Expanded Edition is 18-tracks total, including 8 amazing bonus tracks that were not on the original LP. These bonus tracks kick off with wonderful acoustic versions of “Under the Milky Way” and “Antenna.” The other tracks are so strong that it’s very apparent that Starfish could have been a potent double LP.
Starfish is 100% Analogue Mastered with the original repertoire cut directly from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides opening up the already massive soundstage and presenting this amazing recording with FULL bass extension and dynamic power. All of the 8 bonus tracks are 100% Analog Mastered from separate tape reels assembled by Ryan K. Smith.
The 180-gram LPs are ultra-quiet, pressed at boutique press, RTI in Camarillo, CA. Intervention replaces its stampers every 500 copies so every pressing is is a hot stamper.
Starfish’s album art was lovingly restored by Intervention's Art Director Tom Vadakan, and the original inner sleeve here is printed as the interior of a gorgeous gatefold jacket. The jacket is an “Old Style” gatefold made by wizards at Stoughton printing in LA. It's printed on heavy stock and film-laminated for superior colour depth, beauty and durability. The centre labels are printed by Dorado.
Mastering Notes
Starfish is 100% Analog Mastered from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides for maximum bass and dynamics. Even the bonus tracks were mastered 100% Analogue from tapes assembled by Ryan K. Smith.
All the music from the iconic Mr Benn cartoons, available for the only time. Recorded in two sessions - Olympic Studios in 1969, and Gateway Studios in 2004. All the music was written by Duncan Lamont, and featured some iconic session musicians including
Kenny Wheeler, Ray Swinfield and Duncan Lamont himself. Ray Swinfield used the same instruments as he used on The Beatles Penny Lane on these recordings. Mr Benn has an enduring popularity, and was shown on The BBC every year from 1971 - 1999, then on Nick Jnr till 2010. The sessions have ben fully remastered, and sound fabulous! It was due to Nick Jnr that a 14th Mr Benn cartoon was made, and the second session features re-working of some of the original tunes as well as lots of new tunes for Gladiator.
The packaging features an insert with Mr Benn dressed in all his adventure outfits, and a game to match all the souvenirs to each adventure. Not to be missed. A must for everybody that grew up with Mr Benn. All the sleeve notes have been written by The Mr Benn cartoon producer Clive Juster, and are full of insights from the recording sessions.
THE CULT 1992 DEBUT OF DOOM-TINGED DEATH METAL SAVAGERY -
PRESENTED ON CD FORMAT WITH ORIGINAL COVER ARTWORK & FULL
LYRICS
Formed in 1989 in Milwaukee, Wisconsin USA & among the group of earlier death
metal acts to grace the label roster, Accidental Suicide released their one, sole
album in 1992, originally through Peaceville's Deaf Records imprint, which was
the initial home of other notable acts such as 'At The Gates' & 'Morta Skuld'. Being
much more than a pure "blast" styled death metal outfit, Accidental Suicide
introduced & utilised a doomier presence also, even recalling other classic
pioneers of the genre such as 'Paradise Lost', to lend a twisted & at times sombre
dynamic to the tracks, with this effective diversity to the compositions through
the tempo variations & deranged melodic passages scattered throughout the
album. The tortured & sinister vocals of Ed Jackson narrate tales of morbid
brutality & murder behind a wall of punishing riffs, for what stands as a prime
example of classic early 90's death metal execution.
'Deceased' was engineered & mixed at Mauer Brothers Recording Studio in
Milwaukee, with production work handled by Eric "Griffy" Greif.
Cover artwork was created by Chris Drew, also responsible for other early
Peaceville artwork on Impaler's 'Charnel Deity' & Baphomet's 'The Dead Shall
Inherit'.
This edition of 'Deceased' marks 30 years since the original release & is
presented officially on CD for the first time since the original 1992 pressing,
including the original artwork & full lyrics.
Repress!
Following his first ep for Accidental Jnr in the summer Bambooman is now back with something entirely different. The downtempo experimental designs of the 'Feel EP' give way to his latest offering 'Shudder'. Available on 12' and digital the 4 tracks of Shudder weave through a club music tapestry like a chainsaw through custard. The opening and title track is hard to describe, a mix of off kilter synth stabs and hammering snare that routes you to the floor - it's one of those tracks to whip out of your bag to remind the crowd they have no idea what is coming next. Track 2 'Grasp' with a blissful Detroit groove under deep rich melting chords is a perfect blend of early funk house style and super crisp new production.Side B opens with 'M1' a lazy floor track with washes of bells, static and detuned synth above a bed of solid kick and shuffling bass. Finally 'Kyrian' closes proceedings, another club friendly slice (despite being in a 7/8 time signature), the track could have led the EP in its own right but feels like the perfect bookend with its shifting almost garage like 2-step feel and glancing vocal hook.Bambooman wields refined live recordings, warm exquisite melodies and a silvery vocal into the track's rich musical fabric. It's hard to suppress the emotions with this one' - Boiler Room on 'Feel EP'
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At one time participating in ground-breaking medical scientific research, in another a relentless road-trip, hoovering up rare records and tapes, in the nooks and crannies of France, Algeria, or any country that he happens to land in. And then there’s his long standing show for Rinse France.
Following his slamming mix for the Japan Blues show on NTS last year, he kindly offered up a selection for Japan Blues’ first tape release. Algeria is the focus of this tape, taking a brief dip into Sameer’s broad collection, coinciding with his research for his documentary film about the social history of Rai music, "Rai is not Dead" for Arte.
Words from the Hadj: “The medehates are traditional vocal formations of women from western Algeria. Their main role is to give some compliments to the future wife during a wedding, and pray to all the saints through long songs which could last for hours, until reaching a sort of transcendental state amplified by looped percussions, traditional flute, and violon notes. Exclusively for women, no men (including young boys) admitted. This ceremonial tradition gave an intimate space for women to speak out about taboo topics like men-women relationships, love, sins like alcohol consumption etc. Since then, some of them started freely to mention all of that in this small circle and some of them have been recorded live for release on 7″. I picked up a few from my collection in order to make this mix. They represent one of the most powerful and wildest roots of the raw traditional form of rai which appeared in the 50/60s in Algeri
Hot Apple Band’s long-awaited debut album, So Long, Noodle House is a collection of 11 tracks recorded between 2019-2022, mostly at Jack Kinder’s home studio in Strathfield, Sydney. Once the pandemic hit, Jack and Lewis Mosley had ample time to give birth to the songs, allowing for this body of work so it could become all that it deserved to be. The resulting album will no doubt please long-time fans, with a number of songs being staples from the band’s live repertoire. So Long, Noodle House is symbolic sign-off on the band’s past and an exciting peek into what’s to come. The record covers broad ground, from 70s imbued alt-country and catchy Beatles-era pop, through to emotive folk and soft rock. Coming-of-age themes run deep in the album, as Jack Kinder's lyrics touch on life changes, friendship, shitty jobs and of course, love. With Kinder's smooth vocals, clever arrangements and gorgeous vintage production, and Lewis Mosley’s unforgettable lead guitar, slide and keyboard performance, Hot Apple Band’s debut has the same charm of some of the best records from the early 1970s, radiating George Harrison, Crosby, Stills, Nash & Young, Harry Nilsson and Fanny in a similar style to modern counterparts such as Drugdealer, Weyes Blood, Daniel Romano and The Lemon Twigs.
cassette[23,11 €]
Upstate NY heavyweights 38 Spesh and Conway The Machine have joined forces for a collaboration album fans did not see coming. Having recorded with each other for well over a decade, these two lyrical powerhousesstyles mesh effortlessly on this 10-track offering. The soundbeds for the illustrious affair are provided by Spesh himself with the help of a producer he has championed for years, Jimmy Dukes. Instead of continuing to mine the '90s like their contemporaries, the duo bring a sound that calls back to early '00s Hip-Hop. On top of verses that will etch themselves in your mind courtesy of Spesh and Conway, the project includes standout bars and hooks by the likes Lloyd Banks, Pharoahe Monch, Benny The Butcher, Che Noir, ElCamino, and Emanny.
LP[28,36 €]
Upstate NY heavyweights 38 Spesh and Conway The Machine have joined forces for a collaboration album fans did not see coming. Having recorded with each other for well over a decade, these two lyrical powerhousesstyles mesh effortlessly on this 10-track offering. The soundbeds for the illustrious affair are provided by Spesh himself with the help of a producer he has championed for years, Jimmy Dukes. Instead of continuing to mine the '90s like their contemporaries, the duo bring a sound that calls back to early '00s Hip-Hop. On top of verses that will etch themselves in your mind courtesy of Spesh and Conway, the project includes standout bars and hooks by the likes Lloyd Banks, Pharoahe Monch, Benny The Butcher, Che Noir, ElCamino, and Emanny.
A real soul gem from 1970 on the James Brown affiliated Deluxe label, the first and only album by this mysterious singer: Marie Queenie Lyons.
It is perhaps apropos that Queenie Marie Lyons’s best known song is titled ‘See And Don’t See.’ For all the acclaim that song has accrued, and all the times it has been compiled, reissued and, yes, bootlegged — for all the times it has been seen — Queenie herself has somehow remained unseen. How did a singer from Ashtabula, Ohio record one of the great female-led soul albums and then simply fall off the map, never to record or perform again? Queenie was a natural performer and a gifted singer. At the age of fifteen, she was doing three shows a week at a local venue. In early 1962, Queenie moved to Queens and was soon playing gigs across the city — an early engagement was with Gene Krupa at the famous Metropole Café in Times Square — as well as touring with established acts like Fats Domino and Ray Charles. The following year, Queenie made her debut recording, for a subsidiary of RCA called Groove, credited to an entirely fictitious “Shelley Shoop and the Shakers.” It remained Queenie’s only presence on wax until early 1968, when a Nashville-based label called Sims gave her her first accurately attributed single, “A Minute Of His Goodtime / Good Soul Lovin’.” Although the 45 is now a highly collectible part of the Northern Soul and Lowrider Oldies pantheons, it made no impact at the time, as Sims was focused on more typical Nashville sounds. A few months later Queenie was back in New York City, performing R&B and pop covers with her band when a man passed her his business card at a performance. The card read James Brown Enterprises. James Brown “was my idol,” she says, and someone whose business acumen and stage presence she strove to emulate. Although Queenie ended up on tour with James Brown for only a month or so, when the group reached Cincinnati in mid-’68 she entered the King Records studio there to record what would become the
album you hold in your hands. The songs were a combination of covers, some of which she’d been doing in her live shows, like ‘Fever’ and ‘Try Me,’ and originals written by producer Henry Glover and pianist Don Pullen, who was the bandleader on the session. The album opener, ‘See And Don’t See,’ was also recorded by the veteran R&B singer Maxine Brown, but Queenie’s version blows hers away. “Soul Fever” is a supremely funky and soulful affair, with Queenie’s powerful and captivating voice magnetically attractive, with an urgency that is impossible to ignore. ‘Your Thing Ain’t No Good Without My Thing,’ ‘Your Key Don’t Fit It Anymore,’ and ‘I Don’t Want Nobody To Have It But You’ are as funky and soulful as the best of Tina Turner and Aretha — a statement not to be made lightly!
The album was critically acclaimed — the October 10, 1970, issue of Billboard listed it as their sole “four star” pick in the Soul category — but perhaps due to the tumult at Starday-King, whose stewardship had turned over several times in only a few years, it never seemed to be able to break through to a larger audience.
The second incarnation of the mythical band of the eighties mod revival, active since 2013 under the leadership of Chris Pope. The English band offers us 4 tracks full of power-pop, punk 77 rage and classic melodies. The Chords UK are back in action with a new EP that keeps the bar high when it comes to punk-influenced power pop. The title track of the EP was originally composed and worked on in 1985 for the Arista label, with the collaboration in production of Tony James (Generation X, Chelsea...). It finally remained unreleased and is now, at last, seeing the light of day once re-imagined, re-arranged and re-recorded in April 2023. It's a fearsome shock of rock'n'roll rhythm and sharp, angular guitars with more than a nod to late 70's The Clash, all wrapped up in infectious vocal harmonies and anthemic choruses. "Veronica Jones" is a new mix of the celebrated cut from the band's 2022 album "Big City Dreams". This track was born as a punchy modern folk song, as it tells the story of a girl who is clearly out to have a good time, but this version is elevated with a garage rock approach, ably assisted by the keyboard talents of Mick Talbot, formerly of The Style Council and Merton Parkas. "Before Elvis" has its origins in a 2014 demo that eventually remained unreleased and is a raging rock track with a Stones-style beat and amps pushed to the limit. The EP closes with "All I Want is Everything" a high-tempo rock'n'roll reworking of the song that previously appeared on their 2018 album "Nowhere Land", with the bass-driven beat rising several notches as the guitar screams and wails.
