Buscar:off the record

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'

.
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.

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.

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.

”Exakt ein Jahr nach dem Erfolgsalbum Blood & Glitter (#1 der Offziellen Deutschen Albumcharts) veröffentlichen LORD OF THE LOST das erste Coveralbum der Bandgeschichte: Weapons Of Mass Seduction erscheint am 29. Dezember 2023 über Napalm Records. Bereits die Tracklist steht als Sinnbild für ihren kreativen Geist und präsentiert eine exklusive Auswahl weltbekannter, generationsübergreifender Hits, die LORD OF THE LOST in knapp 50 Minuten in etwas Eigenes verwandeln. Die Coverversion von Billy Idols „Shock To The System“ gibt die Bühne frei für eine Auswahl an Songs aus verschiedenen Jahrzehnten und Genres, die LORD OF THE LOST mit ihrem eigenen Stil und Charakter versehen. Obwohl die Künstler und Künstlerinnen unterschiedlicher nicht sein könnten, ist Weapons Of Mass Seduction ein stimmiges Gesamtkunstwerk, das Kontrasten nicht aus dem Weg geht. So trifft etwa das Heavy-Metal-Epos „Turbo Lover“ von Judas Priest auf moderne Pop-Nummern wie Sias „Unstoppable”. „Hymn“, im Original von Ultravox, Michael Jacksons legendäres „Give In To Me“ sowie der Britpop-Hit „Somewhere Only We Know” von Keane zeigen weitere Facetten und präsentieren sich im typischen LORD-OF-THE-LOST-Sound.

LORD OF THE LOST bleiben sich weiter treu und agieren einmal mehr fernab jeglicher Genre-Grenzen. Weapons Of Mass Seduction beweist künstlerisches Feingefühl und die Fähigkeit, Songs verschiedenster Interpreten und Interpretinnen respektvoll und glaubhaft in etwas ganz Eigenes zu verwandeln.

This is a very special one-off new special edition of one of the most popular of all the Soul Jazz Records" collections that has been out of print for many years! Featuring great new sleeve design as well as a special coloured vinyl pressing, Studio One Kings is a "who"s who" of the world"s greatest reggae artists. Studio One"s list of singers launched at the famous label reads like a roll call of Jamaican music. Horace Andy, Alton Ellis, Ken Boothe, Freddie McGregor, Johnny Osbourne and more. This album features classic and rare tracks that span the breadth of the legendary Studio One catalogue: Ska, Roots, Rocksteady, Lovers and more from the 1960s and 70s. The album also comes with sleeve-notes by the great writer Chris Salewicz, author of books on Reggae Explosion, Rude Boy as well as books on Bob Marley, The Rolling Stones, Jimmy Page, Joe Strummer and more.

Rescued from defunct formats, prised from dark cupboards and brought to light after two decades in cold storage... OKNOTOK will be issued on June 23rd through XL Recordings, coinciding (roughly) with the original 1997 release date(s) of Radiohead's landmark third album OK COMPUTER.

OKNOTOK features the original OK COMPUTER twelve track album, eight B-sides, and the Radiohead completist's dream: 'I Promise,' 'Lift,' and 'Man Of War.' The original studio recordings of these three previously unreleased and long sought after OK COMPUTER era tracks finally receive their first official issue on OKNOTOK. All material on OKNOTOK is newly remastered from the original analogue tapes.

Top-rated West Coast garage sounds from the vaults of maverick genius Gary S Paxton. Acknowledged classics, tantalising obscurities and several previously unheard gems, all from the original master tapes, including tracks by Limey & The Yanks, The Avengers, The Whatt Four, The Buddhas_ among many others. Vintage garage rock is only one of the many tributaries of popular music that the maverick Gary S Paxton recorded and produced in his 1960s heyday, and compared to other genres, the off-kilter genius behind 'Alley Oop' and 'Monster Mash' was hardly prolific with it. But for a producer-engineer of his repute, it was inevitable that Paxton would cross paths with the sudden surge of teenaged rock groups that emerged in the wake of the British Invasion. We've gathered the best of them on "Lost Innocence", and for any aficionado of the genre, a treat is in store. As well as a brace of acknowledged Californian punk classics present and correct for the first time direct from master tape, this rockin' little disc also shares further booty from the Garpax vaults, including some obscurities well worthy of re-appraisal, along with completely unreleased nuggets of note. Counting among the well-known are the Avengers, Bakersfield's top dogs in the punk bracket thanks to snot-nosed missives such as 'I Told You So' and the controversial 'Be A Cave Man'. Ken & the Forth Dimension and Limey & the Yanks serve up the highly regarded items 'See If I Care' and 'Guaranteed Love' respectively, with a trio of ear-opening unissued tracks from the latter as a bonus. Riverside's Whatt Four weigh in with the popular ear-burners 'Our Love Should Last Forever' and 'You're Wishin' I Was Someone Else'. And the Buddhas' title cut is still the most eloquent ode to carnal knowledge in the entire 60s punk pantheon. Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

Listen Here Limited-edition double green/ red vinyl. 12 tracks spread across three sides and a screen-printed fourth side. We are very pleased to announce a special 10th anniversary vinyl version of this classic Dean Wareham live album, recorded over two nights in London back in December 2013 and featuring a mix of songs by Galaxie 500 and Luna as well as solo material. It is pressed on double red and green vinyl, with the 12 tracks spread across three sides and a screen-printed fourth side. The recordings were mixed by Britta Phillips and have been remastered especially for this release by Mikey Young (of Eddy Current Suppression Ring, Total Control and others). The new artwork by Marc Jones includes a printed insert featuring photos from the shows, which almost didn’t happen at all after Dean and his band got stuck on a train between Manchester and London. “We left Piccadilly Station at 12:15 but stopped rolling after just 20 minutes,” he recalls. “A voice informed us that a tree had fallen on the track somewhere up ahead, and this tree was on fire. We sat there for a couple of hours and started to think about alternate ways to get down to London, someone sent out a plea on Twitter and one kind fan did offer to drive us, if only there was a way to get off the train. But at around 3 o’clock the train lurched forward at last, we made it to Euston and cabbed it straight to St Pancras Old Church. “I’m not a believer but there’s something special about playing in churches, especially one that dates to the 12th century; the cavernous spaces and wooden pews make you speak softly and play quietly too – if you play too loud the sounds will just bounce all over the place. And the engineer doesn’t need to add reverb to your vocals – it is there already. “Nat from Sonic Cathedral promoted the shows and had the presence of mind to record them to multi-tracks, and I’m so glad he did. When we got back to Los Angeles, Britta mixed the live tracks, and the result is this record

A collaboration between two prestigious Italian bands, the wizards of dub and the masters of big-band ska-jazz, in perfect symbiosis. An album full of dub atmospheres mixed with orchestral patterns; compelling rhythms of the ska and reggae traditions together with dilated and hypnotic electronic sounds. A recording fruit of a challenge and a celebration of music, something that is undoubtedly reflected in the spectacular outcome. 22 musicians locked in a large studio to rediscover the beauty of sharing after months away from the stage due to the pandemic, without even being able to rehearse.

The decision to record a live album was instantaneous, it was just about enjoying the energy of the moment. All tracks were recorded strictly live in the studio, without overdubs, with the aim of apprehending something unrepeatable.

The electronics, the melodies of the wind section and the vocal power come together in this work, recorded live at Deep Studio in Treviso (Italy) and mastered by Ibon Larruzea (Bilbao), full of dub atmospheres mixed with orchestral patterns.

All this merges into a unique and explosive sound in which the strength of the big band meets the deep and hypnotic beats of dub music. The instrumental "Cascade Dub" opens the album with a rootsy, majestic brass-led track.

From there on, Michela Grena, Rosa Mussin and Freddy Frenzy jump into their vocal games, inducing a trance-like state from which you can't (don’t want to) get out. A succession of untamed riddims and expansive sounds in which, in many cases, the wind section remains crouched in the background leaving the creative element in the hands of the dubmaster unit. As small depth charges "You Can Fly", "Lion", "Moon", "Beating Heart", generate submission to the beat and texture. "Mama", the successful first collaboration between the two bands, celebrates the bright sounds and colours of mother earth, a glorious song to our home. In the face of inequality, the senselessness of war, injustice, it becomes necessary to "Shine a Light" that offers hope and, at the same time, to "Give Thanks" for what we are fortunate enough to enjoy. The power of the big band merges with the heavy and deep step of the dub.


A progression of organic, pressing cadences, as in the solidest of the ska and reggae traditions and, at the same time, electronic resonances, dilated and deep. "Sinking Sand" closes the album in a sort of sonorous fencing of styles that makes us guess (as well as the title of the album itself) that WDD and NESJO still have a lot to debate. WDD began their journey as a quartet in 2014 and prior to Studio Session #1 they had already released two albums and several singles. NESJO formed in 2012 and have previously released two albums (both available on Brixton Records) and are working on what will be the recording of their next full-length.

Northeast Italy is a border area and it's easy to connect with each other in those territories made of enchanted landscapes. That energy, that desire to experiment and get involved, have made possible this ambitious project in which a ska-jazz orchestra and a dub band, each with its own language, are assembled in an amazing sonority

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

The entity known as ALTERNATIVE TENTACLES, would like to express its excitement to be working with the Seattle, WA based BAND Sandrider, and enjoyed the previous relationship of Damm and Weisnewski in their former entity known as AKIMBO. ALTERNATIVE TENTACLES is very much a fan of previous work from the BAND on Satanik Royalty Records and highly recommend new listeners investigate the discography further. The upcoming 2-song single by BAND, hereafter referred to as AVIARY/BALEEN has a limited-edition initial pressing on blue and white splatter vinyl pressing of 300 copies, and successive runs will not be as colorful. Immediate orders are encouraged. This cheeky duality of Sandrider is also captured perfectly in the subject matter of the EP’s two tracks: The explosive first track, “Aviary,” portrays the modern hellscape of social media as sinister, soulless mama bird, willfully vomiting disinformation into the eager mouths of enthusiastically consenting participants. “PLEASE MOTHER, FEED THEM YOUR BILE. DOUSE THE BABES WITH YOUR WHOLESOME RETCH,” vocalist/guitarist Jon Weisnewski wails over massive, frenetic riffs, rounded out by bassist Jesse Roberts’ warm low end and drummer Nat Damm’s ultra-hard, punch-like beats. The song concludes in a frenzy of danceable beats, with Weisnewski doing his best Painkiller-era Halford screams as he commands you to flood the whole damn thing – drown those who wish to destroy us. As pissed off as the song is, you’ll feel triumphant by the end anyway. Side B’s “Baleen” on the other hand (while ironically the angrier-sounding song of the two), is about a lighter thought that keeps Weisnewski up at night: Do you ever think about how fucking weird whales are? They’re enormous floating creatures that can't handle gravity, and they hang out in the deepest oceans. Yet they can’t breathe underwater, so they have to stay near the top and come up for air all the time. Seems inconvenient. And you’d think that the biggest mammal that ever lived would be a brutal carnivore, right? But no. They eat the tiniest creatures, through a bunch of hair in their mouths. What the fuck? Anyway, ponder on that while you bang your head along with Sandrider’s signature primal, hypnotizingly heavy riffs.

2023 Repress

New York, early 90's, the haydays of the New York and Jersey clubhouse! With labels such as NuGroove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident Dj Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music! We are happy to offer this selection of his hard to find early works remastered by Alden Tyrell and pressed on fresh clean high quality vinyl.

"Dance My Hurt Away" is the first single from the debut album by The Faithful Brothers from Tel Aviv/Israel.

Is there a Northern Soul scene in Tel Aviv? The surprising answer is – yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds.

Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul. Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together now.

Volume 4 of Krust's career spanning collection is here, boasting some serious deep dives into his archives alongside some serious classics that every DJ and listener should own! Once again, this collection shows the breadth of Krust's anachronistic style and original flavour. Often imitated, but never bettered, this latest instalment once again shows it should be done. Truly original and engaging music from the streets of Bristol.

'Irrational Numbers' is a meticulously curated collection of five parts, available on both vinyl and digital formats. The compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 4 offers up the dubplate only mix of 'Asian Love Dance' for example, the anthemic 'Jazz Note II' for the heads and futuristic roller '21st Century' as well the groundbreaking 'Coded Language' featuring the stellar vocal talents of NYC poet and MC Saul Williams.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.