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Grammy Award-winning trombonist, composer, arranger, and producer Doug Beavers shares music
from his new release Luna, the follow-up to his recording Sol (Circle 9). Luna proposes a new set of
originally composed music drawing from a range of spontaneity-driven influences -- from salsa to R&B
-- in an intimate chamber setting that spotlights Beavers' formidable skill as composer and arranger.

TaxiCab Verses, Is What You Make It, is a project that was created by Athens musician, Jim Wilson. It’s an international collaborative project between TaxiCab Verses (a name inspired by the phrases
covering the backs of taxis Jim observed during his travels in Ghana) and Ghana’s Kofi Atentenben and the Warriors. The 10-track album is named Is What You Make It, and according to Flagpole Magazine it's "aggressive and propulsive, even on tracks lesser musicians would let devolve into simple swing patterns (like the darkly jazz-tinged “Step By Step”)...my only regret is that I didn’t write about it the moment it came out. It’s righteously excellent." Overall, 22 musicians contributed to this between Athens and West Africa. TaxiCab Verses was originally released on CD only in 2012 and became a sort of hidden gem of Athens. The album was mastered by Greg Calbi (Bob Dylan, Drive-By Truckers, Paul Simon, The National) and was produced by Drew Vandenberg (Faye Webster, S.G. Goodman).

Patterson Hood of the Drive-By Truckers also had a big role in the creation of this album. He says that he is "so filled with love and pride for what Jim, Drew and all of those amazing musicians from two continents have created. Kudos to George Fontaine and the Strolling Bones Records folks for spotlighting this amazing chapter of Athens music history (and beyond) and finally making this record available for the whole world to hear."

Initial Code presents his first EP, - Iteration Of A Dream - released on Brussels based label X/Y/Secret. All tracks are promising to be a thrilling exploration of groovy, loopy, and mental techno, featuring a remix by Raar. The remix pushes the original track into a deeper, more fast-paced universe, with an unique sound design and an abundance of energy. This EP is a true timeless tool that everyone should add to their collection.

Timeless. A voice, once heard, forever recognized. Like Edith Piaf, or Patsy Cline. Not that Jill Barber sounds like them, but she has the kind of voice they had. Unmistakable. Somehow so connected to
the heart, that the song comes clear and true to the listener, naffected, unsullied by fashion, untouched by commercial necessity. It is a voice that stops time. And the songs. Great songs need an
underlying truth, even wisdom. Jill’s songs don’t sound “written”. They sound like standards, like they were always there, waiting for her voice to take full flight. For those that believe they don’t write songs
like they used to, there is new hope for old romantics: On Chances, Jill Barber takes a giant step forward from the typical confines of the singer-songwriter and delivers an album of original, fully orchestrated songs that are often mistaken for classics. The moment the music starts you are taken back to a time where music was romantic, where it dwelled in beauty, and was full of life.

With Chances, Jill has aligned herself with a talented array of performers in capturing the classic sound of a bygone era. Outside Music is proud to reissue Chances for its 15th Anniversary, pressed on limited edition Orchid coloured vinyl.

Ice T's "The Legend of Ice T / Crime Stories Vol 1 iIce T is de originele belichaming van LA Hip-Hop en een cultureel icoon dat gangster rap populair heeft gemaakt. Ice T's Most Incredible Crime Stories bevat enkele van de krachtigste nummers uit zijn catalogus , evenals wat minder bekend en niet eerder uitgebracht materiaal.

Skinny Puppy archives circa 1985! Cevin Key, co-founder of seminal electronic-industrial band Skinny Puppy, dug deep again into the archives to find some of the coolest demos, braps, and other experimental pieces that led to the original Skinny Puppy sound.

Skinny Puppy archives circa 1985! Cevin Key, co-founder of seminal electronic-industrial band Skinny Puppy, dug deep again into the archives to find some of the coolest demos, braps, and other experimental pieces that led to the original Skinny Puppy sound.

One of the most fondly remembered duos in the history of American roots music (and the most widely recognized duo in the annuals of the blues, Sonny Terry and Brownie McGhee worked for decades in the genre of acoustic folk-blues.

Originally released in 1958 on the Folkways label, 'Sings' is one of their finest albums as a duo. "One of the duo's best acoustic folk-blues collaborations" - **** 1/2 AllMusic

Sophie Lloyd is one of the most prolific guitarists on the world wide web,
a trailblazer who is redefining the concept of a "bedroom" guitarist
A talented composer and accomplished musician, Sophie graduated from the
prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music
Performance, honing and refining a talent she has nurtured since childhood.
Since then, she has amassed the kind of following that even the guitar gods she
grew up idolizing would be envious of, with a reach surpassing 3 million followers
across her social channels, built through a steady stream of sharing her talent via
guitar "shredleys", covers and her own original material.
In addition to her own content, Sophie's talent and popularity has led to
collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation
and Harley Davidson, her own Guitar course on Truefire and a stunning
performance at Paris Fashion Week for Redemption Brand Clothing.
She has also released her own signature guitar, becoming the first female artist to
do so for exclusive Californian Guitar maker KIESEL.
Most recently, Sophie could be seen shredding on stage as guitarist for multiplatinum recording artist Machine Gun Kelly on his recent Mainstream Sellout
World Tour, which included sold out shows at legendary venues such Madison
Square Garden in New York and Wembley Arena in London.

Originally released in 1986, Life Is Hard Then You Die was the debut
album from Liverpudlian indie-pop band It's Immaterial - Now reissued
and repackaged by Last Night From Glasgow, available October 2023
Simon Braithwaite of Smash Hits wrote that Life's Hard and Then You Die shows
that It's Immaterial "write jolly good pop songs - In fact everything else here is just
as inspired and original as their recent hit."
In a retrospective review, Michael Sutton of All Music wrote, "Musically, the LP is
all over the place - new wave country, blues, folk, and synth pop - Somehow the
smorgasbord of styles works, because the band members aren't being eclectic
just for the sake of it; they simply have a wide canvas, keeping the album fresh
from beginning to end."

Heart's Ann Wilson is releasing a new record with Tripsitter, 'Another
Door'
Prior to starting the 2023 tour, Ann Wilson and her band Tripsitter finished
'Another Door', a record of all-original material, which marks the first time since
the '70s that Ann has written a full- length album collectively with a band.
Tripsitter features Tony Lucido (bass), Ryan Wariner (guitars), Sean T. Lane
(drums), and Paul Moak (guitars and keyboards). Tom Bukovac (guitars) was also
a primary contributor.
ANOTHER DOOR marks the first time in her career where Ann was the sole lyricist
and her presence on a record has never been greater. Ann says, "This is an
exciting time in my creative life; so much new and fresh to remind me of why I
love my calling!"
The cover for 'Another Door' was created by Storm Studio which began in the
early 1990s with Storm Thorgerson, Peter Curzon, Rupert Truman, and Dan
Abbott. Storm Thorgerson and Aubrey Powell co- founded Hipgnosis, who
between 1968 and 1983 created artwork for the likes of Pink Floyd, Led Zeppelin,
Paul McCartney & Wings, 10cc, AC/DC, Genesis, Peter Gabriel, and many others.
Following Storm's passing in 2013 Aubrey Powell has worked closely with Storm
Studio on numerous projects since.
** Widely praised as one of the greatest singers in the history of Rock, Ann's
extraordinarily powerful voice has been sending chills down her audience's
collective spine for over five decades, earning record sales of more than 35
million, an induction into the Rock and Roll Hall of Fame, and a Grammy Lifetime
Achievement Award.
** "Barracuda," "Crazy On You," and "Magic Man" are among the many songs she's
written that now reside in the pantheon of Rock's greatest hits. "This Is Now" from
ANOTHER DOOR plays seamlessly alongside the classics in her current live set.
** Last year Ann sang with Disturbed's frontman David Draiman on the duet,
"Don't Tell Me," from their recently released DIVISIVE album, and lent her voice to
Dolly Parton's forthcoming rock record "Rock Star." Ann Wilson defies genre!!

The Tables was an underground/DIY pop group formed in Oslo, Norway,
in 1987, by Bartleby (vocals), Robert Birdeye (bass guitar and drums) and
Reg Trademark (guitar)
Holiday at Wobbledef Grunch was their second full length album originally
released in 1997 and quickly became a cult classic within the norwegian
underground scene.
The music of The Tables is a mixture of psychedelic pop inspired by English
groups of the 1960s (especially the music represented on the Rubble compilation
series on Bam-Caruso Records) and early indie pop a la Television Personalities.

The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album

The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album

In the late 1960s, Antonio Infantino linked his name to the Beat world and to italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of Trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.

Remastered and for the first time on vinyl this incredible 12" EP where the country legend Steve Earle teams up with the Supersuckers.

Originally released in 1997. The Supersuckers tackle an Earle song ("Angel Is the Devil") and Earle covers one of their tunes ("Creepy Jackalope Eye"), then after a joint cover (the Rolling Stones' "Before They Make Me Run," the definitive Keith Richards anthem), the originals are offered up.

Die französisch-irische Alternative-Rock-Metal-Band MOLYBARON ist bekannt für ihren energiegeladenen, harten Sound, der Elemente aus Alt-Rock, Hard Rock und modernem Metal zu einem eklektischen, dynamischen Klangerlebnis verschmelzen lässt. MOLYBARON liefern eine intensiv rohe, originelle musikalische Signatur, welche Fans aller Genres anspricht. Mit "SOMETHING OMINOUS" verschieben MOLYBARON die Grenzen und präsentieren eine einzigartige Mischung aus tiefem Groove, stampfendem Metal und Heavy Rock. Songs voller Charakter, die durch eine donnernde Rhythmussektion, krachende Bässe unter riffgeladenen Gitarren und chilligen Synthies vermittelt werden. Tracks mit eingängigen Refrains, die durch nachdenklich stimmende Texte geprägt sind, nehmen den Hörer mit auf eine Reise voller Überraschungen und neuer Entdeckungen. Das Album ist ein Beweis für MOLYBARONs außergewöhnliches musikalisches Können, das mühelos durch ein breites Spektrum an Emotionen und Musikstilen navigiert und ein wahrhaft eindringliches Erlebnis schafft. Jeder Track ist akribisch ausgearbeitet und geht nahtlos von stampfenden Hymnen zu introspektiven Balladen über. Der unverkennbare Sound von MOLYBARON wird sich tief einprägen. Die Texte von "SOMETHING OMINOUS" befassen sich mit tiefgründigen und manchmal provokanten Themen und erforschen die Komplexität der menschlichen Erfahrung in der heutigen Zeit. Sie ziehen sich wie ein roter Faden durch die 10 bewusst knapp gehaltenen Songs und kommen direkt auf den Punkt, sind aber aktueller denn je: Alterung, Verfall und die Erosion der Gesellschaft. Das Album nähert sich dem akuten Bewusstsein für den Lauf der Zeit, wenn wir älter werden - dem nachklingenden Bedauern über kostbare Zeit, die mit unwichtigen Dingen und Beziehungen verbracht wurde, der Erwartung, die zu verlieren, die man liebt, und der Angst, alt und allein zu sein. Darüber hinaus geht es um den aktuellen Zustand der Politik - die Absprachen zwischen Staat, Medien und großen Unternehmen; die Manipulation der Öffentlichkeit, die systematische Zensur von Andersdenkenden und unabhängigem Journalismus. Dieses Album ist nicht einfach nur Musik; es ist berauschend und macht süchtig und hungrig nach mehr. "SOMETHING OMINOUS" ist ein Muss für Deine Sammlung.

Teakup is Lauri Reponen, the Columbus, Ohio DJ, producer and torch-bearer for the city’s proud Techno heritage. Following in the footsteps of Columbus originators, Titonton Duvanté, Archetype and Todd Sines, Teakup has spent the past decade forging a sound of his own via a genre alchemy that embraces genres past and present. Hardcore’s staccato samples and chopped breakbeats, UKG’s crunchy triplet hi hats and mellifluous House melodies combine in novel forms. Titonton’s wonky Tech House takes, Todd Sines’ stripped minimalism and Archetype’s broken rhythmic exploration are more key ingredients in the Teakup stew. This recipe has cooked up a massive cache of unreleased tunes as well as previous 12”s on is / was, Residual, Shut Off Notice and Lauri’s recently-minted TKP imprint.

Compiled from over 200 demos, Signal 23 has Lauri flexing a new level of genre-mastery. The title track explores Spiral Tribe’s ripping, psychedelic Freetekno. ‘Valve’ is cutting-edge rhythm hypnotism. ‘Felopzd’ loops into ecstatic trippy crescendo and ‘Pad Thai Mystic’ takes you on the spiritual voyage of late-night food delivery in middle America. Four modes, four hitters – to warm floors, open hearts or split psyches.

It's the one you've been searching for....new white label action from Klasse Wrecks in the form of BOY1. The boy-wonder behind the music is none other than Seoul's favourite soulful son, Mogwaa. It's dubbed out pianos, forget-me-not vocal hooks and classic breaky House with a sprinkle of acid to sweeten the pot.

Marcus Belgrave's Gemini II album has never been reissued before with the original artwork, but here it comes with a Japanese Obi-strip and featuring prominent musicians and legends like Wendell Harrison, Phil Ranelin, Roy Brooks and Harold McKinney. This is a diverse record with plenty of spirituality and a loud and proud sense of blackness. The standout tune 'Space Odyssey' is the best known, not least because it was later covered by pioneering Detroit techno talent Carl Craig. Next to that tense cosmic workout are two parts of 'Gun Finger' which are both horn led and upbeat grooves, the seductive sounds of the title tune and free-bop jam 'Marcia's Opal'. 'Odoms Cave' is a tender and introverted closer.

IULY.B joins the Modvlar Project also on the release section.

For MOD003 he delivers three original tracks plus a remix by Nobodi.

The three releases Traffic Jam, Vital Expansion and Crystal Cave totally reflect Iuly's style - cutting, hypnotic, percussive. All the three tracks are perfectly suited for the dancefloor and for DJ sets. Iuliy's talent and attention to detail shine through in the melodic part, a great complement to these three bangers.

Closing the project is Nobodi with a remix of Traffic Jam. Delicate and respectful of the original track, it increases, as much as possible, the dancefloor orientation of the record with a killer bass line.

“Cinematic electronica embraces intelligent Indian infused beat making”.

Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.

"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."

Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.

Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.

The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.

"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.

OVERVIEW: This is essential. We don't just refer to the album title: this new record by multi-instrumentalist and producer Thysenterprise is essential material for lovers of spiritual jazz with a hip-hop edge. As described in the liner notes: "The spirit of Pharoah Sanders, Archie Shepp, and Coltrane permeate the music here. At times, Thysenterprise and his guests meld the influence of the great jazz cannon with the rhythms of hip-hop."

'ESSENTIAL' moves with ease from spiritual sounds to hip-hop-infused head nods. The liner notes by writer John Morrison perfectly encapsulate the type of sonic trip you're in for: "While the improvisational heights that Thysenterprise and crew reach throughout the album owe a debt to hardbop and the avant-garde, there are beats and textures here akin to the work of Karriem Riggins or A Tribe Called Quest. The result is a truly contemporary sound that plays freely within the depths of human feeling."

'ESSENTIAL' is by far Thysenterprise's most personal album to date. From beginning to end, he pays a heartfelt tribute to his late father. The artist revisits and rearranges melodies from iconic jazz records that formed a profound connection between the two of them. Throughout the album, there are nods to songs that were essential for Reinier's musical upbringing. It shows that the saxophonist plays with heart and doesn't shy away from expressing grief and loss. Or as stated in the liner notes: "We play for pleasure, we play to understand ourselves and the world around us, we play to celebrate and remember our loved ones."

Renowned Dutch alto saxophonist Benjamin Herman joins Thysenterprise for intimate call-and-response on "Feedback of Silence." Next to that, Michael Moore graces "Happiness Is a Memory" with a heartfelt bass clarinet solo. Moore is part of the Han Bennink-founded ICP Orchestra. It's safe to say that Thysenterprise builds on that rich lineage of improvisation, playfulness, and distinct originality. On 'ESSENTIAL,' he takes that to new heights. The album comes beautifully packaged as a gatefold 2LP with vinyl-exclusive alternate takes on the D-side.

Quantize Recordings proudly present a special 12-inch release from the master John Morales, as he remakes two of Curtis Hairston’s biggest tracks ‘I Want Your Lovin’ and ‘I Want You All Tonight’, to bring that mid ‘80s brilliance to the modern dancefloor.

Master of the boogie sound, Hairston had many a hit both as a solo artist and as part of the legendary BB&Q Band. Mid-tempo groovers, laced with funk-fuelled basslines, cosmic synths and strutting guitars, tied together with Hairston’s luscious vocals, ‘I Want Your Lovin’ and ‘I Want You All Tonight’ are shining examples of boogie at it’s best.

Fast forward to 2023 and the masterful John Morales, who originally mixed ‘I Want You (All Tonight)’ alongside Sergio Munzibai, unlocks the vaults to the multitracks, creating four brand new mixes. Teaming up with one of the original writers and producer of both tracks Greg Radford to replay and reconstruct elements that have been lost over time. The result, a wondrously weighty vocal and dub mix of each of these certified classics that retain all that disco-channelling greatness whilst adding an extra punch and brightness that will rock any modern dance floor they’re put before.

Sophie Lloyd returns to Luke Solomon’s imprint alongside the effervescent singer songwriter Amy Douglas for a wax release of ‘Sweet Love’, an anthemic disco release bursting with sensuality. The pair are well known to Classic fans; Sophie for her debut release, ‘Calling Out’ with Detroit trio Dames Brown, and her subsequent release ‘Angels By My Side’ which received a soulful remix package from Floorplan.

Additionally, nostalgic house vocals from Brooklyn’s Amy Douglas have appeared on tracks from Luke Solomon’s ‘Love. Hope. Happiness’ to Horse Meat Disco’s ‘Message To The People’, also featuring the Dames. For the Love Hangover mix of ‘Sweet Love’, a slow, intoxicating intro erupts in a burst of energy as Amy’s vocals and Sophie’s production come together for an ambitious, driving composition.

The vinyl also features a remix from the label boss himself; Luke Solomon’s Always Love Revision of this modern disco anthem ups the ante, adding huge swathes of energy to the previously sensual record. Similarly, the Sweet Lovin’ Mix capitalises on the raucous finale from the original Love Hangover Mix.

Kreuzbergkillers let loose their first release, a double dose of peak-time, club-ready heat for the dancefloor from Sven Von Thulen and Spencer Parker, complete with a remix from the highest of heads, Shed.

Take to the A side for a rolling house/techno hybrid from Berlin native Sven Von Thülen, backed with a totally on form remix from the one and only Shed.

On the flip you’ll find a bassline heavy, peak time house jam from Spencer Parker, in original and dub form.

Now this 45 release is a real treat, featuring both the original and Kenny Dope remix of Tyrone Washington’s timeless gem, ‘Submission’.

A mysterious artist who seemingly disappeared from the scene after his last release in the mid 70’s, Washington created forward-thinking Jazz magic which has been loved ever since its original release - and sampled multiple times by the likes of A Tribe Called Quest and Pete Rock.

On the Kenny Dope remix, we are served some heavy hip-hop breaks which pump underneath the inimitable brass of the original, chopped up to add some extra

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

This is part two. From the original master tapes. Unmissable!

Dan Lacksman is a Belgian electronic music pioneer who co-founded the Electro Pop Dance formation Telex and is credited for their classic 'Moskow Diskow.' He also worked under the Transvolta name but put out only one single, 1978's impossibly hard-to-find classic 'Disco Computer.' Dan himself has carefully remastered the original for this special 12" reissue. It's still a retro-future sound all these years later with the signature talk box vocals and sleek drum machines under cosmic synths. On the flip is a long version of 'You Are Disco' which is a similar vibe but with a slightly more lively groove and vocal. Two serene dancefloor gems by any standards.

Reissue of Front 242’s 5th Album Featuring The Singles ‘Tragedy >For You<’, ‘Rhythm Of Time And ‘Mixed By Fear’. This Is The First Time It Has Been Reissued On Vinyl Since Its’ Original Release In 1991.

This release has a mythical status as it was only released on a white label back in the day and for the past 30 years it was assumed that the release was by Liquid Aliens. But now the internet has been set straight after all these years, these two tracks were actually created by DJ Phantasy himself, who had a habit of changing his catalogue numbers around on his label back in the day, possibly helping to fuel the rumour that they were made by Liquid Aliens.

Recorded at Jack Smooth’s studio with Alex release as the engineer, the original pressing has been going to crazy money on Discogs. But now is your chance to own a copy at a small fraction of the price.

Released in a high quality gloss Liquid Wax housebag and white inner sleeve. Available on either red, white or blue 180g heavyweight vinyl.
LIMITED PRESSING.

We have known Big Bug for many years… 29 in fact! He lives near to us here on the South Coast and he has been a big inspiration. A truly authentic sound that was years ahead of the competition.

This release was originally put out by Bournemouth based Underdog Recordings, run by Olly Underdog, back in 1995. Around this time the musical landscape of drum and bass changed dramatically and the ‘intelligent’ sound of Bukem and Fabio lead the way. Big Bud ended up recording for both back then, he was just embarking upon his musical voyage.

Interesting fact – the B-Side was never supposed to be called New Vision. Keiron from Aquasky was recording under that name in 1994, also for Underdog, and Olly got the names muddled up when making the labels… so the track was accidently renamed and ‘New Vision’, the track name, was born!

The great sound of the sixties has been collected on this album. Featuring big international hits from Shocking Blue, Golden Earring, Petula Clark, The Shangri-Las and Demis Roussos. Go back in time with this great compilation, released on turquoise coloured vinyl. Original artists! Original versions!

The great sound of the seventies is collected on this album. With big international hits from a.o. Brotherhood Of Man, Golden Earring, Jesse Green, Jimmy 'Bo' Horne, Shocking Blue and Karen Young. Get back in time with this great compilation on yellow coloured 180 grams vinyl. Original artists! Original versions!

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

The classic (anti) Britpop album issued on vinyl for the first time since its original 1996 release. Contains 4 UK top 40 singles: Candy Girl, Goodnight, Cornershop and the massive top 3 hit and radio favourite, You’re Gorgeous. The LP will be included in National Album Day in October which this year is 90s themed and the album will be featured across NAD promo including the BBC.

Hole released their second album ‘Live Through This’ in 1994, with Courtney Love revamping the original group members from their debut album. The title is taken from ‘Gone With the Wind‘ and has been met with critical acclaim, featuring in Rolling Stone’s ‘500 Greatest Albums of All Time’. This release comes as a a limited edition 140-gram Light Rosé vinyl.

Originally released in 1993, this Brian Eno produced album would include the worldwide hit, Laid that became the “theme” to the American Pie series of films. It also included the tracks Sometimes and Say Something. Issued on trans red 2LP vinyl.

Wild Wood is the second studio album by Paul Weller. Originally released in 1993 the album hit the #2 spot in the UK album chart. The album contains 3 top 20 hits in Wild Wood, Sunflower and The Weaver. The release marks the 30th Anniversary of the album and comes as a limited edition 140-gram coloured vinyl.

The 11th and final studio album from Siouxsie and the Banshees - The Rapture was also as fresh and innovative as the first.
How the Banshees are able to remain vital and celebrated after almost two decades is down to their ever evolving and metamorphic spirit.
Only ever released on gatefold 2xLP vinyl outside of the UK, The Rapture's artwork has been reimagined and designed to rightly reflect this final Banshees offering.
Remastered from the original ¼' tapes and cut at half speed at Abbey Road studios, London.
Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

The MERCYFUL FATE vinyl re-issues continue! After re-releasing 'Time' and 'In The Shadows' in August - the three remaining Metal Blade classics will get the 'Original Series' treatment: original layout, 400g spine sleeves (inside-out print), 250g insert, large artwork poster ('Into The Unknown', '9') or 350g Gatefold-sleeve + large poster ('Dead Again'). *2023 new vinyl pressing *Original Release Date: June 15th, 1999. * Format Details: Single LP + poster. Mastered for vinyl by Patrick W. Engel BAND LINE-UP: King Diamond: Vocals Hank Sherman: Guitar Mike Wead: Guitar Sharlee D’Angelo: Bass Bjarne T. Holm: Drums Recorded and mixed at Nomad Recording Studio, Carrollton, Texas, USA February – March 1999 Produced by Kol Marshall and Mercyful Fate Mixed by Kol Marshall and Mercyful Fate Engineered by Kol Marshall 2nd Engineer Vince Rossi

Nicky Prince has never been bound by musical genre. The Milton Keyes born and raised. Vocalist has the versatility to fit any vibe while not compromising her signature sound. Although best known for her Garage hits with Zed Bias in the early 2000s, Nicky was performing and recording with various acts well before the height of Garage’s popularity. She started her career singing in Soul and Funk bands, and over the last two decades has lent her voice to Electro, Hip-Hop, Drum & Bass, House, and Ska tracks.
In 2009 Nicky graced listeners with her debut solo EP “See What You Mean.” Within only five tracks the singer-songwriter displays impressive range, from the up-tempo, energetic funk of “I’m Hearing You” to a bluesy rendition of Nina Simone’s “Don’t Let Me Be Misunderstood,” to the hushed tones of the EP’s sole acoustic number, “Balancing Scales.” She is backed on this effort by her band Soul Selecta, which includes renowned UK session players Dave Baldwin on Hammond organ and Robert ‘Skins’ Anderson on drums/percussion. Sadly, the release was criminally slept-on.

While “See What You Mean” was available on streaming services and CD, the EP
never received the vinyl treatment. So, rather than simply reissuing the project, Nicky has teamed with KU to offer what she calls a “reincarnation” of her debut on wax.

Now retitled “Listen Up,” this underrated affair has had new life breathed into it. To bring out the best in the original recordings, each song has been meticulously remastered by Christian Obermayer at Strype Audio. Then to fill out the 12”, Nicky has added a handful of unreleased songs, including a heavy groove cover of Michael Jackson’s “I Can’t Help It,” which sees her reconnect with Zed Bias; a punchy, funked up tune titled “Listen Up;” and the original version of “Balancing Scales” that reveals what the track sounded like before it was stripped down to just guitar and vocals. This offering perfectly captures Nicky’s distinct tastes and inspirations. Further, it fills a hole in your record collection that you didn’t know was there until now.

Bell Curve's new EP Obelisk for Berlin's SSPB provides a daring evolution of her soundworld, channeling the bristling intensity of her previous work into a more expansive headspace. Alongside six mesmerising new tracks from Bell Curve, the EP features a remix from Hessle Audio rising star Toumba. Obelisk compiles Bell Curve's most compelling and enthralling work to date. Reveling in dazzling repetition and delicate sonic nuance, it is a cathartic and defiant statement in an industry that increasingly demands hollow immediacy and caters to short attention spans - an homage to struggles and affirmation of strength and self-belief, while equally offering euphoric escape for those willing to spend time inside its mystic whorl. Club sonics are here plucked from their original contexts and expanded outwards - icy rave stabs on "Staircase" ascending into the heavens or the astral breaks and springy bass of "Hope It Gets Better".

Subtle shifts in tone and texture guide the listener through the trip, reverb tails slowly extending into lysergic drift or rippling grain and feedback rising from pulsing bass tones. Jordanian producer Toumba amps up the tempo on his remix of "Staircase" while maintaining the original's emotional core, bolstering the track's dextrous rhythms with distinctive Levantine timbres. Obelisk captures a constant push and pull between emotional states - from anxiety and melancholy to joy and euphoria, working through turmoil to find transcendence.

Tracks like "Dance Skeleton Dance" particularly invoke this duality, drawing catharsis from darker sonics, reconfiguring bass pressure and anxious percussion into a humid dancehall stepper. "Without U" contains emotional struggle as part of the very circumstances of its making - written while working through heartbreak, its delicate repetitions and searching tone reflecting the process of reconnecting with oneself. Title track "Obelisk" forms the emotional core of the EP, coalescing from weightless vapors into dramatic synthesizer motifs, evoking euphoric memories of complete immersion on the dancefloor and our ability to find ecstatic experience even in the contemporary hellscape.

Originally released in September 1997 on Eternal Records and includes writing and production work from Ian Masterson and David Green, Xenomania (Matt Gray, Brian Higgins, Stuart McLennan, Tim Powell), Metro (Paul Barry, Graham Stack, Mark Taylor, Steve Torch) and DNA (Nick Batt, Neal Slateford).

This Special Edition 2LP pressed on clear vinyl, boasting the original cover design (originally by Gerard Saint), with photography by Steve Shaw. The original ten track album is presented over side A/B, while the three contemporaneous non-album cuts 'Someone New', 'Keep Up With The Good Times' and 'Coconut' are featured on the bonus 12" single sides C/D.

Packaged in a lavish gatefold sleeve with deluxe finish printing, each record is housed in a beautiful inner bag, featuring rare photographs and full album lyrics.

The eponymous debut disc from German-Swedish supergroup 4
Wheel Drive went straight to the top spot as Best-Selling Jazz Album
In Germany For 2019. And the media didn’t hold back with their
praise either: “Four first-league jazz musicians with pure joy of playing
and a love of good pop music,” said ZDF’s ‘heute-journal’ about this
spirited and enjoyable group that combines trombonist / singer Nils
Landgren, pianist Michael Wollny, bassist / cellist Lars Danielsson
and drummer Wolfgang Haffner.
 For ‘4 Wheel Drive II’, it is evident that things have shifted up a gear
right from the start, with the rocky, pulsating opening track, ‘Chapter
II’, straight from Wollny’s compositional workbench. Landgren likes to
let his trombone roar like a sports car engine. In similarly dynamic
vein are pieces like Danielsson’s final track of the album, ‘The
Wheelers’, which, thanks to Haffner’s nimble brushwork, makes you
think you’re on a high speed train.
 Compared to the first album, there has been another change, an
increase in the proportion of original compositions written by all of the
participants, as Lars Danielsson, who has contributed a sensitive,
poppy ballad to the new album, ‘Just Another Hour’, remarks.
“Interpretations of worldwide hit songs were a factor behind the huge
success of the debut album, but the ratio to original compositions
here is getting closer to 50:50. That said, the fuel powering 4 Wheel
Drive has remained the same: this band is all about creating music
from deep within, and with like-minded people whom you can
absolutely and implicitly trust to be in the driving seat.”
 “It just flows,” enthuses drummer Haffner, “we’re a group of close
friends with nothing we need to prove, we can just go for it. I've had
so many magic moments with this band, it really is incredible!”
 On the new album, listeners are treated to several new moments of
pure magic, continuing 4 Wheel drive’s illustrious story. For example,
their new instrumental version of the Simon & Garfunkel classic,
‘Sound of Silence’, has something mysteriously Nordic about it. Or
their newly-cast version of the surprisingly infrequently covered
Genesis ballad, ‘Hold On My Heart’, putting it into a jazz context. The
courage to approach pop tunes that have become so ingrained in
many people’s minds from a completely different perspective pays off
in full. Within 4 Wheel Drive are four originals at work, each of whom
can be recognised from the very first note they play or sing.

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

MONSTER HOUSE Original Motion Picture Soundtrack by Douglas Pipes! Monster House is a 2006 animated Horror film directed by Gil Kenan (Scream, Ghostbusters: Afterlife). The plot tells the story of
a neighborhood that is terrorized by a haunted house during Halloween. The movie features the voices of Steve Buscemi (Reservoir Dogs), Maggie Gyllenhaal (Donnie Darko, The Secretary), Mitchell Musso (Hannah Montana), Sam Lerner, Spencer Locke, Kevin James (The King of Queens), Nick Cannon, Jason Lee, Fred Willard (Spinal Tap), Jon Heder (Napoleon Dynamite), Catherine O-Hara
(Beetlejuice), and Kathleen Turner (Jessica Rabbit in Who Framed Roger Rabbit).

Monster House marks Sony's first computer animated film produed by Sony Pictures Imageworks. Produced by Roger Zemeckis (Back to the Future Trilogy) and Steven Spielberg's Amblin Entertainment, the film was released in 2006 and was met with praise from fans and critics for its blending of horror and accessibility to a broad audience as a feature animated film.

Roger Ebert gave the film his highest ranking of four stars calling it "one of the most original and exciting animated movies I've seen in a long time" and compared it to the work of Tim Burton. Douglas Pipes is an award winning American film score composer whose feature films include the Academy Award nominated Monster House, the Halloween horror anthology classic TRICK 'r TREAT, and the Christmas comedy-horror film Krampus.

Still one of the most highly regarded horror films of all time, F.W. Murnau's unauthorised adaptation of Bram Stoker's Dracula, Nosferatu (1922), is an Expressionist masterpiece of the silent era. Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997.
The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.

In celebration of the 25th Anniversary of this seminal album, Belle & Sebastian are releasing If You’re Feeling Sinister on coloured vinyl for the first time. Originally released on November 18th 1996, it will be available on transparent red vinyl through Jeepster on November 26th 2021 and included as part of the Black Friday sales event. The album is released on gatefold vinyl and is distributed by Republic of Music

The album was recorded in Glasgow at CaVa Studios in August 1996 over just 10 days and was the first album released by Jeepster. There were no singles released from the album which was a famous Belle & Sebastian trait of the time. In line with this, there were also no interviews given and promotion involved a three gig tour over London, Manchester and Glasgow.

For the recording of this album, the band consisted of the six original members but this time also included Sarah Martin as the seventh member in her debut for the band. This was the second album released by Belle & Sebastian and all songs were written by Stuart Murdoch. The session produced 11 songs of which 10 made it to the album and the other became the single ‘This Is Just A Modern Rock Song’. Although there were no videos made for any of the album tracks, Sarah Martin recorded a video for this eleventh track.

The album cover features Ciara MacLaverty, a great friend of Stuart’s, beside a copy of Franz Kafka’s ‘The Trial’. The inside cover features some members of the band with friends in their impression of The Last Supper.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Viertes Album der griechischen Power/Prog Metal Band. Mitte der 90er Jahre gegründet, liefern Fortress Under Siege aus Athen Power/Prog Metal, der traditionellen Heavy Metal mit technischer und melodischer Power auf höchstem Niveau verbindet. 1996 gehörten FUS zu den ersten griechischen Bands die Power Metal mit Prog verbanden. Seitdem wurden 3 Alben veröffentlicht: "The Mortal Flesh of Love" (2011), "Phoenix Rising" (2014), "Atlantis" (2020). . "Envy", ihr bisher kraftvollstes Album, bietet modernen Power Metall, ohne die Verbindung zu ihrer Vergangenheit zu verlieren. Der Lyrics bieten wieder eine große Vielfalt, die sich mit sozialen, historischen, Science-Fiction- und mythologischen Themen befasst. Ein Original-Meisterwerk von Ioannis Koutrikas ziert das Cover der neuen Platte, eine Allegorie des Neids. Nachdem sie die Bühne mit Bands wie Accept, Hammerfall, Guano Apes, Serious Black und anderen geteilt haben, werden sie bald wieder auf Tour gehen. Das Power-Prog-Metal-Abenteuer geht weiter.

The classic ‘Continuo’ album from 2006 by Avishai Cohen, available on vinyl for the first time ever.

Includes previously unreleased track, ‘Numi Numi’, from the original recording sessions.

‘Continuo’ shows more of the ethnic side of Avishai Cohen in his composition and sounds.

Cohen is joined by his established trio of Mark Guiliana and Sam Barsh.

Gatefold 180g vinyl.

Label head and founder of Kvalia Records, Linny Hex, invites dub techno legend Andreas Tilliander for his first appearance on the label. Kronotop delivers two snappy, playful originals by Tilliander as well as remixes by mighty Luigi Tozzi and Svreca.

Caution Alert ! The Brilliant Italian producer made in peruggia Simoncino is back on Skylax records again with a remix featuring the great Larry Heard aka Mr Fingers. You already know his ability to create sounds that are deeply imbued with the Chicago sound, you sometimes might think you 're hearing some lost gems from the great Armando. In short, no need to add more, this item is essential for any normally constitued dj. Pure Gold.

Ático Corp. presents his third EP on his own label UFC, co-owned with also producer R.I.P Bestia. Simulación Ep is the name where you will find four cuts with breaks, electro and trance grooves in an always cyberdelic way. On the A side you have two versions of the same track, AT68. First original version with electro style and big bass leading the track and a second version remixed by german duo Not Even Noticed with a trance vibe oriented remix.

On the flip side, AT70 explores a more upfront breakbeat groove, with big drums, big pads and dreamy melodies. To close the Ep we have AT69, which provides a more trance-breakbeat track

TufStuf Records is a Jungle, Hardcore & Jungle Techno vinyl and digital record label from London UK. Run by head honcho Arkyn. The sounds of the label are heavily influenced by the authentic 1992 - 1994 rave vibes. But have a modern and cutting edge take on the original energy of the early 90's. Expect raw and hard hitting drum breaks, low pressing sub bass and ravey and emotive synths.

SULPHUR AEONs neuestes Werk ist gesegnet mit Kontrasten, klanglicher Ebbe und Flut. Ein Taifun kantiger Riffs und wilder Blastbeats, raffinierte Melodieschichten, dichte Atmosphäre und triumphal gesungene Refrains reißen dich mit. Ätherische Akustikgitarren, subtile Synthesizer, einen Hauch von Gothic ('The Yearning Abyss Devours Us'), satte Leads, E-Bow-Parts, heftige Aggression ('Arcane Cambrian Sorcery'), monumentale Schwere, die in hypnotische Gesangsmuster übergeht ('Seven Crowns And Seven Seals'), und ein großes Finale ('Beneath The Ziqqurrats') - "Seven Crowns And Seven Seals" überschreitet Genres; es wütet und zerstört, lullt dich im nächsten Moment in gefährlich täuschende Ruhe, nur um dich unwiderbringlich in den dunklen Strudel des Ozeans zu reißen. SULPHUR AEON meistern ihren durchdringenden Cinematic Death Metal der Extraklasse, gehen über sich hinaus und klingen dabei doch unverkennbar kohärent - perfekt eingefangen und verfeinert von den langjährigen Mitarbeitern Simon Werner und Michael Zech (Secrets Of The Moon, Bølzer etc.), während das Mastering von V. Santura (Triptykon, Dark Fortress) übernommen wurde. Was das Artwork betrifft, so haben SULPHUR AEON diesmal mit der Tradition gebrochen, wieder mit Ola Larsson zu arbeiten, und sich mit dem Italiener Paolo Girardi zusammengetan, um eine Lovecraft'sche Apokalypse darzustellen, die der Opulenz und Dynamik des Albums einen raueren Stil entgegensetzt.

SULPHUR AEONs "Seven Crowns And Seven Seals" ist der offensichtliche und - zumindest im Moment - möglicherweise auch der Höhepunkt einer Band, die besessen von ihrer Kreativität ist und sich leidenschaftlich und bereitwillig der Herausforderung stellt, Musik zu produzieren, die so zeitlos und originell ist wie das literarische Vermächtnis von H.P. Lovecraft. Stürzen Sie sich in die dunklen Gewässer und lassen Sie sich von der Flut des Ozeans verschlingen...

Introducing a super charged split LP featuring the talents of Cameron Stallones aka Sun Araw and Spencer Clark’s duo with Jan Andersen, Tarzana.
What originally started as an Aquapelago inspired residency in the summer of 2021 quickly developed into its own thing. Truth be told, both artists always surfed their own personal waves of musical freedom, so Aquapelagos Vol.2 album became AQUA X, a split offshoot work featuring rehashed Tarzana compositions on one side and a live presentation form Cameron’s residency in the island of Tenerife around Keroxen festival’s 13th Edition. With two artists very dear to us this split LP picks up perfectly on the aquapelagic concept and twists inside out into worlds high and below creating a further testament to both’s artists oeuvres. Here’s an extract of Professor Haywards original liner notes regarding the music:
‘’The tracks on this album reflect the geo-cultural position of Californian-based musicians, Cameron Stallones, (who records here under the Sun Araw moniker), and Spencer Clark and Jan Andersen’s (performing as Tarzana) with oceanic atmospheres and structures of feeling.
Sun Araw’s dedication to producing subtle, flowing, psychotropic compositions can be read as an attunement to the oceanic sublime. Recorded within the disused Keroxen tank in Santa Cruz harbour in Tenerife, The Canary Suite is an extended piece that features a mix of electronic pulses, short synthesizer fragments and distorted guitar bursts. The textures are relatively sparse throughout, with a linear emotional contour sustained by an ongoing melodic play within a defined band of possibilities before settling into a calmer, soothing and floating mood, like an aural floatation tank.
Tarzana’s tracks artfully blend simple synthesizer tones, vocal exhortations, and an assortment of treated instrument sounds to create a pulsing, wandering and restless music. Short rhythmic ostinato fragments push and pull against bold blown pipes and horns while subtle darker colours and shades intermittently move through the soundscape to intensify the mood. This is busy and dense music but with an orderly flow and internal sense of motion that sweeps up the listener in its wake, like a sailing ship propelled through tropical seas.’’

First Vinyl Release for 1994 Britpop outfit Salad, fronted by Dutch vocalist and former MTV VJ Marijne Van Der Vugt (vocals and keyboards). Originally released on Island records as a compilation made up of their early singles , b-sides and EP material.

Comes with an exclusive hand-signed insert from Marijne.

Paul Kennedy (Guitar, Vocals), Pete Brown (Bass) and Rob Wakeman (Drums).

Supported Blur back in 1993 where they rose to prominence after a couple of EP releases. This compilation takes the best of their early years material. A must have for fans of Brit-Pop, British Alternative Rock and 90’s Indie.

140g Black Vinyl with exclusive signed print.
Features the tracks ‘Diminished Clothes’, ‘Kent’ and ‘On A Leash’.

Requiem for the Indifferent ist das fünfte Studioalbum der niederländischen Symphonic-Metal-Band Epica. Es wurde am 9. März 2012 veröffentlicht.
Das Album war das erste, das Soli des Keyboarders Coen Janssen enthielt, die auf den anderen Veröffentlichungen der Band sehr selten vorkommen,
und es war das letzte Album, auf dem Originalmitglied Yves Huts am Bass zu hören war.

A 10-year anniversary product suite of Chvrche’s 2013 debut album including 2LP edition with bespoke die-cut sleeve & 2CD inc. booklet. The album originally charted at number 9 in the UK & is now gold status with over 170K UK sales – All formats feature 10th anniversary artwork & the album has been newly remastered by Gavin Lurrsen in LA. The band have just come off tour with Coldplay & are playing the Other Stage at this year’s Glastonbury festival.

3LP-Set von Black Sabbath in Originalbesetzung mit einem Livemitschnitt ihrer Reunion-Tournee von 1997.

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

As a songwriter and a performer, he played a vital role in the development of the idiom.

Growing up in central Texas, he was impacted by a wide range of musical influences, such as the Texas honky- tonk of Ernest Tubb, the western swing of Bob Wills, and even the polka bands of German-American.

He had begun writing songs as a child and by the time he reached adulthood was starting to turn out fully realized masterpieces such as Night Life and Misery Mansion.

This release presents Nelson's underrated debut LP, ...And Then I Wrote, originally issued in 1962 on the Liberty label.

Thirteen tracks of searing blues, soulful R&B and high-energy rock & roll include ten originals, five co-written by Coco, and include guest appearances by Lee Roy Parnell, and Ronnie Baker Brooks. Co produced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and Jeff Paris (Keb' Mo', Bill Withers).

Gegründet 1980 in München, spielt die Band noch immer in Original-Besetzung: Justin Hoffman, Thomas Meinecke, Michaela Melián und Wilfried Petzi. Seit 1990 gibt es als fünftes festes Mitglied den Schlagzeuger Carl Oesterhelt. Von Anfang an verstand sich die Band in der Tradition von Art School Bands: nicht Virtuosität, sondern Haltung spielt die zentrale Rolle. F.S.K. machen Musik über Musik, was sowohl ihre eigenen Stücke als auch zahlreiche Cover-Versionen betrifft, die besonders seit dem häufigen Auftreten und Aufnehmen in U.K. (für John Peel) und U.S.A. (mit David Lowery) in den 1980ern und 1990ern ins Programm genommen wurden. Das neue Studio Album, TOPSY-TURVY, greift in mancherlei Hinsicht auf Arbeitsweisen aus vergangenen Band-Perioden zurück. So gibt es, wie auf den ersten Alben, Streicher- und Bläser-Overdubs, die mitunter ins spätromantisch Orchestrale lappen, aber auch improvisatorischer Natur sind (Cello, vierhändiges Klavier, Trompete). Die acht Stücke wurden in dem von der befreundeten Band The Notwist zur Verfügung gestellten Alien Research Center in Live Takes produziert und von Mario Thaler gemischt.

Celebrating Maxinquaye as it approaches its 30th Anniversary (2024) the Reincarnated 1LP package is a welcome reappraisal of this seminal album containing the original album remastered at Abbey Road Studios.

The album has brand new artwork featuring the only known photograph of Tricky with his late mother, of whom this album is named after. The image was recently discovered by his cousin.

2023 repress as double heavy weight black vinyl , with original artwork & gatefold sleeve. Originally released in 2006,even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released in 1986 when she was 15), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoit Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's 'Wonder Milky Bitch') wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Charlotte Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery.

Fantastic Twins, the ongoing project of Julienne Dessagne, is a sonic exploration of dual characters born from one distinct perspective. A producer, songwriter, and acclaimed live performer, Dessagne has spent the last decade sculpting a unique world.

On an ambitious new album entitled ‘Two Is Not a Number’, Dessagne immerses herself more fully than ever in the concept that inspired her artist name, exploring the entwined lives and fates of her imaginary twins, their schizophrenic dreams, small dramas, and big tragedies - a metaphor for our own psyche, our inner conflicts, and our relationship to others and otherness. These musings on the psychological, emotional, biological, and metaphysical qualities of Twins are expressed with assured clarity, using a palate of icy deep techno, eerie atmospheric soundtracks, tranced-out dark wave, and synth pop-noir. Whether through airborne dancefloor ascension, diamond hard rhythms, electronic thundercracks, or empathy drenched vocals and the palpable sense of unease, this standout album brings Dessagne’s powerful, affecting art into sharp focus.

I Was First takes listeners to the Fantastic Twins’ origin, a vocal transmission from within a sonic womb, as our protagonists prepare to emerge. Sisters at Odds sees our siblings emerge incongruous and freshly awoken to life’s absurdities in slow-motion. Suspensefully, the percussive heartbeat of Land of Pleasure Hi Fi wrings tension from numerology, blossoming into a scorched industrial ballet, a mirage of multiplicity.

Following the gothic connection of Master & Disciple, Silver Moon Dial incants a trance-like state that captures the physical energy of Dessagne’s live show, as Fantastic Twins take advantage of ‘putting the moon on speed dial.’ Euphoria soon splinters into tragedy with Twins Can’t Love, extracting unexpected melody and melancholy in brittle, IDM tinged electronics, beautifully tangled with Dessagne’s longing intonations.

From Above sees Dessagne’s vocals once again shift into a new form for a haunting interpretation of something approaching a ballad, echoing around a chamber from which the Twins have seemingly disappeared. Ultimately All of This is Resolved, both in title and form, within this album’s cathartic yet uneasy conclusion. Dessagne sends the siblings home at last... But what will we find if we follow?

Esteemed pianist Masabumi Kikuchi enjoyed a long and illustrious career in jazz that encompassed many forms. After playing in Lionel Hampton’s Japanese touring band, he played on five Sadao Watanabe albums in mid-1960s and backed Sonny Rollins before studying at the Berklee College of Music. Matrix was the first of five albums recorded with his Sextet and is rightly rated one of the greatest of his entire career, the album mixing well-executed covers of songs by Chick Corea, Miles Davis, Watanabe, and the Black Orpheus theme with the enthralling originals ‘Little Aby’ and ‘In Fourth Way’. An excellent listen!

Underground prominent figures of the Belgian 80's scene, Alain Neffe and Nadine Bal have released and produced dozens of tapes under different monikers.
Bene Gesserit is probably their most famous and iconic one due to its multiple facets.

Originally a tape released in 1981 on their own Insane Music label, "Best Of" encaptures all the DIY and creative freedom of the band.
From the yagé vapors of "Erg Habbiana" to synth madness of "Gloria" or "Gppm" this album summarizes the full spectrum of their ethos :
Insane music without borders.

This reissue additionally includes four unreleased tracks from Alain Neffe vault.

Remastered by Krikor Kouchain and limited to 300 copies.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.