Buscar:perennial

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

SASSYHIYA want to take you somewhere. The journey starts in Kathy and Helen's flat in South London. Sit down, close your eyes, and immerse yourself... You are on your way to a musical rainforest a long way from Camberwell. Explore your new surroundings, and you will find beautiful pop blooms like Let's See What We Can Find, as bright and vibrant as The Sundays, thrusting their colourful faces up from the forest floor. You'll find tangles of sharp-edged guitar, as if Swiss she-punks Kleenex had been left to evolve here in the rich fertile soil (I Had A Thought). You'll find dark pools full of lyrical complexity, deceptively deep and immersive, with shimmering reflections of The Go-Betweens (Perennial). And you'll come across delicate love songs, creeping up the trunks and branches of the bass and drums, displaying their fragile beauty (Thank You And Goodbye). And what's that exotic striped animal prowling through the undergrowth? Actually, it's Crayon Potato, Sassyhiya's pet cat, the other resident of their flat in South London, taking up her role as the feline star of a lilting, singalong anthem written in her honour. That's what is so great about this album. You are somehow, simultaneously, exploring the most exotic forest in the world while also sitting in a flat in an ordinary, familiar English street with Sassyhiya and their cat. This album transports you without pretending the real world doesn't exist: it doesn't get all mystical on you (Take You Somewhere is as unlike Enya as anything you've heard). Sometimes you might be reminded of Girls At Our Best, and then Delta 5. You might even, on occasion, think of Echo and the Bunnymen. Sassyhiya (pronounced "Sassy Hiya") were formed when Helen and Kathy, real-life partners and co-songwriters, joined up with Pablo and Neil (drums and guitar). Helen had previously been in Boys Forever and Basic Plumbing, collaborating with much-missed Veronica Falls musician Patrick Doyle. She and Kathy then formed Barry, a stripped-down queercore outfit, with Bart McDonagh (The Male Gays) and Mark Amura (My Executive Dysfunction). Sassyhiya feels like a culmination of all these elements, hitting the sweet spot between post-punk and indie pop. They know their way around a melody but still keep it wonky, with influences ranging from the Breeders and Broadcast to Dolly Parton.

TOP 10 IN THE VINYL CHARTS* Frank Sinatra has released a number of Christmas albums and singles in his career. His program has become a perennial favorite and indispensa- ble at the holidays. The incomparable interpretation of Christmas classics by THE VOICE accompanied by elaborate orchestral arrangements has retained its unique charm to this day and still accompanies every swinging Christmas.

Prism Shores are Montreal janglers with one foot planted in ramshackle C86-indebted indie pop and the other in the shimmer of early English shoegaze. While their sound is reminiscent of perennial genre reference points (Sarah, Creation, Flying Nun), the band leaves their own idiosyncratic stamp. Out From Underneath, their new record due out January 17, 2025, on Meritorio Records, tackles young adult ennui and the adjustment of settling in an unfamiliar city, its lyrics dealing with the growing pains experienced during a time of upheaval. It is contemplative and chock-full of emotional depth; a nighttime album that channels self-reflexive melancholy into some form of catharsis.

To celebrate the 30th Anniversary of its release in 1995, Roadrunner Records is making available again the sixth album by legendary Florida metallers Death on vinyl.



“Symbolic” received widespread critical acclaim when it was originally released and has been regarded as one of the greatest death metal albums of all time.

"Little Girl Blue, released in 1957, was Nina Simone's first studio recording ever. It was originally issued on the Bethlehem label and features the singer/ pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert ""Tootie"" Heath, one of the celebrated Heath brothers (the other two being saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial version of ""My Baby Just Cares For Me"".

THE COMPLETE ALBUM + 3 BONUS TRACKS - 180-GRAM VIRGIN VINYL -
LIMITED EDITION"

On April 4, 2025, Elektra/Rhino Records will reissue Tracy Chapman’s eponymous debut album on vinyl in celebration of its 35th anniversary. Originally released by Elektra Records in April 1988, Tracy Chapman has long been unavailable on vinyl. This anniversary reissue has been prepared for release by Chapman and the album’s original producer, David Kershenbaum, pressed on 180-gram vinyl and sourced from an analogue master. The album package will also include an insert of translated lyrics, which accompanied the original international release. Featuring the classic singles ‘Fast Car’, ‘Talkin’ Bout A Revolution’, and ‘Baby Can I Hold You’, the album earned three Grammy Awards and went on to become one of the most successful debuts of all time, peaking at #1 in multiple countries and selling more than 20 million copies worldwide. To this day, it still makes regular appearances on charts around the world, and is one of the most successful albums by a female artist in chart history.

Chapman comments, “I was just out of college when the album came out and for a young singer songwriter it was a dream come true – making a record, recording my own songs, releasing my first album. 1988, that year marked the beginning of what has been a humbling and thrilling experience, seeing fans around the world embrace these 11 songs. I really wanted to mark the 35th anniversary of the album, and so I am grateful to have this opportunity to reissue the record on vinyl.”

Over the course of four decades and eight studio albums, Tracy Chapman has created a body of work that has been as consistently compelling as it is honest and uncompromising, eloquently telling stories with perennial appeal that are at once personal and universal. Impervious to trends, she has commendably stayed her musical course, earning the approbation of fans, critics and peers. Beginning with 1988’s multi-platinum Tracy Chapman, her musical journey has continued with Crossroads (1989), Matters Of The Heart (1992), 1995’s multi-platinum New Beginning (which featured the Grammy-winning single ‘Give Me One Reason’), Telling Stories (2000), Let It Rain (2002), Where You Live (2005), Our Bright Future (2008), and two best-selling compilations, Collection (2001) and Greatest Hits (2015). Along the way, in addition to her four Grammys, Chapman has earned an American Music Award, two Brits, and a Billboard Music Award.

"The great Nina Simone's style encompassed a broad range of musical genres including jazz, blues, folk, R&B, gospel, pop and classical music. This collection compiles some of her best performances, all of which were sounded hits. Included here are her perennial reading of George & Ira Gershwin's
""I Loves You Porgy"", which charted at #2 in the UK and #18 in the USA in 1959, along with ""Nobody Knows You When You're Down and Out"" (#23 in the UK; #93 in the USA in
1960), and ""Trouble in Mind"" (#11 in the UK; #92 in the USA in 1961). Also included is her perennial classic ""My Baby Just Cares for Me.""
16 TRACKS - 180-GRAM CRYSTAL CLEAR VINYL - LIMITED EDITION"

Goldstar takes perennial New Yorkers, IMPERIAL TRIUMPHANT's exploration of the extreme and arcane and delivers the band’s most focused, authentic and accessible work to date. While the triumvirate has expanded the language of extreme music with albums including Alphaville (2021) and Spirit of Ecstasy (2023) via musical improvisation and a visual obliqueness that extends to their haunting masked performances, this is their defining moment. Also joining the Decibel magazine vaunted ensemble are Meshuggah drummer Thomas Haake and legendary drummer, Dave Lombardo, both of whose presence makes it clear that musically, IMPERIAL TRIUMPHANT are in a class by themselves. From album opener “Eye of Mars” to the stirring “Hotel Sphinx” and the death metal scraping “Rot Moderne”, this is the sound of IMPERIAL capitalizing on months of churning up the road in the company of Behemoth, Carcass and Zeal & Ardor. In their vision of urban disorder, IMPERIAL TRIUMPHANT's monolithic cityscapes are dark as any of their extreme or black metal brethren.

Vinyl release of saxophonist Gary Smulyan's 2022 album 'Tadd's All, Folks'
This album is all about Tadd Dameron (1917 - 65), one of the most important
American jazz composer/musicians. The master baritone saxophonist and perennial
pole winner Gary Smulyan conceived the brilliant idea of recording Dameron
compositions with lyrics. The vocal part is phenomenally rendered by the young talent
Anais Reno. Three songs including the lovely This Night Of Stars have hitherto never
been recorded.
"While Smulyan solos brilliantly throughout, Reno is the real treat here." - Bill
Milkowski, DownBeat
"Smulyan here brings to light Dameron's heretofore unknown Library of Congress trove
of standard- quality off- Broadway gems." - Fred Bouchard, The New York City Jazz
Record

The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."

THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION

Music to Watch Seeds Grow By continues its series of plant-inspired soundscapes with new work from Pittsburgh-based sound artist Davis Galvin. This composition focuses on the Delphinium Elatum, capturing the quiet drama of this striking perennial through carefully constructed ambient textures.

Where their previous work explored the complex electronic territories of the outer technoid reaches, here Galvin turns their attention to the subtle processes of plant growth. The piece unfolds gradually, much like the Delphinium's own journey from seed to flowering plant. Gentle drones and atmospheric elements mirror the plant's various growth stages, from its initial emergence to its ascent to heights of up to two metres. You heard it here first.

The music creates an environment for contemplation, designed specifically for the moments of sowing and tending to these magnificent plants. Galvin's approach, as with all things they turn their ear to, emphasises patience and attention to detail, qualities essential to both gardening and deep listening.

The first-ever vinyl reissue of 1988’s I Wanna Have Some Fun, perennial pop icon and pin-up Samantha Fox’s third album. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

I Wanna Have Some Fun features Sam’s irresistible Stock/Aitken/Waterman-produced cover of Dusty Springfield’s ‘I Only Wanna Be With You’ (#16 UK, #31 US) the gold-certified, Full Force-helmed title track (#8 US) and the acidinflected club favourite ‘Love House’ (#32 UK). Samantha’s most danceable, transatlantic and eclectic set so far, I Wanna Have Some Fun reached #46 in the UK and #37 in the US, giving her a third consecutive gold certification. Pressed on striking transparent red vinyl with black and yellow splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics.

A strictly limitededition picture disc is also available. I Wanna Have Some Fun is reissued alongside Samantha’s 1986 debut, Touch Me, and her eponymous 1987 sophomore album.

The first-ever vinyl reissue of 1988’s I Wanna Have Some Fun, perennial pop icon and pin-up Samantha Fox’s third album. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

I Wanna Have Some Fun features Sam’s irresistible Stock/Aitken/Waterman-produced cover of Dusty Springfield’s ‘I Only Wanna Be With You’ (#16 UK, #31 US) the gold-certified, Full Force-helmed title track (#8 US) and the acidinflected club favourite ‘Love House’ (#32 UK). Samantha’s most danceable, transatlantic and eclectic set so far, I Wanna Have Some Fun reached #46 in the UK and #37 in the US, giving her a third consecutive gold certification. Pressed on striking transparent red vinyl with black and yellow splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics.

A strictly limitededition picture disc is also available. I Wanna Have Some Fun is reissued alongside Samantha’s 1986 debut, Touch Me, and her eponymous 1987 sophomore album.

The first-ever vinyl reissue of the classic 1986 debut album from perennial pop icon and pin-up Samantha Fox. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Touch Me features four hit singles: the international smash ‘Touch Me (I Want Your Body)’ (#3 UK and #4 US), ‘Do Ya Do Ya (Wanna Please Me)’ (#10 UK), ‘Hold On Tight’ and ‘I’m All You Need’. Immediately establishing Samantha’s signature pop-rock sound, on its original release the album hit #17 in the UK, going silver, before reaching #24 in the US with a gold certification. Pressed on striking black vinyl with white and pink splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics. A strictly limited-edition picture disc is also available. Touch Me is reissued alongside Samantha’s self-titled second album and 1989’s I Wanna Have Some Fun.

The first-ever vinyl reissue of perennial pop icon and pin-up Samantha Fox’s self-titled 1987 sophomore album. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Samantha Fox boasts five hit singles: the Stock/Aitken/Waterman favourite ‘Nothing’s Gonna Stop Me Now’ (#8 UK), the memorable Full Force collaboration ‘Naughty Girls’ (#3 US), ‘I Surrender (To The Spirit of the Night’, ‘I Promise You’ and ‘True Devotion’. Developing Samantha’s sound with a compelling mix of pop, rock and hip-hop stylings, the album made #22 in the UK and #51 in the US, gaining her second straight gold certification. Pressed on striking transparent caramel vinyl with gold and silver splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics.

A strictly limitededition picture disc is also available. Samantha Fox is reissued alongside the 1986 debut album, Touch Me, and 1989’s I Wanna Have Some Fun

The first-ever vinyl reissue of perennial pop icon and pin-up Samantha Fox’s self-titled 1987 sophomore album. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Samantha Fox boasts five hit singles: the Stock/Aitken/Waterman favourite ‘Nothing’s Gonna Stop Me Now’ (#8 UK), the memorable Full Force collaboration ‘Naughty Girls’ (#3 US), ‘I Surrender (To The Spirit of the Night’, ‘I Promise You’ and ‘True Devotion’. Developing Samantha’s sound with a compelling mix of pop, rock and hip-hop stylings, the album made #22 in the UK and #51 in the US, gaining her second straight gold certification. Pressed on striking transparent caramel vinyl with gold and silver splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics.

A strictly limitededition picture disc is also available. Samantha Fox is reissued alongside the 1986 debut album, Touch Me, and 1989’s I Wanna Have Some Fun

For the Llamas" 1992 debut, Sean O"Hagan, working the sextant to navigate a post-Microdisney course in the musical world, posted them up as a guitar pop band (RIYL: NRBQ, Big Star, Steely Dan), with nine exquisitely crafted examples of the oft out-of-step sound. Had there been no more after this, Santa Barbara would still be sought-after buried treasure by the perennial waves of voyagers seeking these sweet, jangling spices to this very day. 1st ever LP pressing!

black vinyl ltd. to 200 copies incl. album download code. Neun neue Songs + Interludes auf, die euch die Falten aus dem Hintern bügeln werden. Diese fast 50 Minuten feinster, eigenständiger, brutaler, technisch- klassischer Death Metal hören zusammengefasst auf den Albumtitel "From Origin To Decay" und werden als CD, LP sowie in digitaler Form am 22.11.2024 via FDA Records (Vertrieb: Cargo Records) veröffentlicht. Alles wurde einmal erschaffen. Und alles wird vergehen. Und aus allem Verfall kann eine neue Schöpfung entstehen. Dieses Thema findet sich in den Stories der 9 neuen MAAT Songs, die sorgfältig mit 2 separaten atmosphärischen Zwischenspielen arrangiert sind, um einen Klangfluss zu erzeugen. Von der lyrischen Seite werden philosophische Fragen des Werdens, Seins und Vergehens gestellt, indem lyrische Bilder und Stilmittel verwendet werden, die von der Mythologie und Geschichte des alten Ägyptens und des orientalischen Raums inspiriert sind. Textlich und musikalisch dreht sich das Album um den Haupttrack "Perennial Bliss", der das innere Selbst innerhalb von Zeit und Raum und außerhalb von beidem reflektiert. ,From Origin To Decay' ist extrem empfehlenswert for Fans von NILE oder BEHEMOTH. Alle Songs und Lyrics wurden von MAAT geschrieben und im Soundlodge Studio von Jörg Uken aufgenommen, gemischt und gemastert. Jörg hat bereits mit vielen Künstlern wie God Dethroned, Slaughterday, Keitzer oder Anvil zusammengearbeitet.

Time to welcome another newcomer to Freerange with a brilliant debut that has already been gaining a lot of interest from early spins. Stefano Ritteri should be a familiar name to many, having dropped several well- received releases on key labels such as Pets, Rockets & Ponies and Get Physical as well as his own monthly Rinse France radio show. A producer in the old school sense, he has the ability and desire to flip from deep, emotive and down tempo jams to the most impactful, high energy floor fillers, all with a deft touch and unique and experimental spin. The Italian producer, now relocated to London, has a studio chock full of vintage synths and hardware outboard which keep him inspired and ensure his output sounds fresher and fatter than most, as can be heard on this excellent two-tracker entitled A Different Happiness EP The title track is a spaced out, percussion-heavy jam which takes a minimal approach but wins hearts and minds with an ear-worm of a melody that gets gets you hooked in from the start. Snippets of spoken word add to the intense atmosphere making this one of those sure-fire, perennial tracks which can work in a variety of sets and still guaranteed to make an impact and stand out in the crowd. Flip over for Pocket Melody, another simple yet effective and inventive track which sees Stefano letting loose on his synths and coming up with some warped Zawinul-inspired vibes in the process. The playful melody snakes around in an improvised way whilst the dubby drums and classic analogue machine beats ensure everyone stays locked into it's hypnotic groove. Definitely a producer to watch for us and we're sure Stefano is on track to continue making some amazing music. We hope you love this as much as we do!

Everything Around You is a co-release presented by K and Perennial.The second LP from Feeling Figures was in fact recorded before their first. Amongst the stuttered starts and stops of the pandemic, a window opened for `The Figs' to commit 11 songs to tape. After gradually preparing new and resurrected material, they gathered in drummer T's basement in the omicron winter of early 2022 to document their strongest songs on his recently acquired reel-to-reel. Compared to `Migration Magic', `Everything Around You' is a considerably deeper dive into the Figs universe, a more deliberate collection that includes compositions which push into the expanse, drawing from a broader palette of art rock influences. The songs on this album navigate tensions between the personal and political, encompassing inner turmoil and deep-seated desires for change at the entangled axis of individual and social transformation. `Everything Around You' is their most fully-realized accomplishment to date; the best recorded representation of their boundless, idiosyncratic approach to guitar-based music. A summation years in the making, years in waiting, finally set free.

Typically, a band's big indie label debut doesn't come 15 albums into its career, but with Constant Smiles' Paragons, here we are. Primary songwriter and sole "constant" member Ben Jones_who considers Constant Smiles a collective_sees its impressive output as a way to document the group's evolution. Since its live debut as a noise duo on Ben's home of Martha's Vineyard in 2009, Constant Smiles has grown to include contributions from 50 other members, all of whom have personal connections to the group's extended family. And while the collective has indulged an array of musical whims along the way - including Ben's penchant for penning a new set's worth of material for each live performance - Constant Smiles' sound has tightened up considerably over their past couple of albums, in large part as a result of Ben's working relationship with Mike Mackey, who has become his main creative partner. This increased focus manifests on Paragons in the band's most cohesive batch of songs to date, ranging from shimmering psych-pop excursions to bittersweet, piano and string-accented strummers, and an execution that feels like a massive step forward for the band. Through its recent forays into dream pop and shoegaze (Control) and synth-pop (John Waters), Constant Smiles has learned how to incorporate its experimental inclinations more fluidly into the mix. Artists like Yo La Tengo, and the more recent Rat Columns, are good touchstones for Constant Smiles' musical approach - tethering to an indie-pop core while perennially mining genres, always finding new ways to intrigue listeners and pursue a unique vision. Paragons was produced and engineered by Ben Greenberg in the last two weeks of December 2020 at Gary's Electric, with additional recording done by Ben Jones at his home studio, The Void, and his Aunt Leanne's house. The album was mixed at Circular Ruin Studio and mastered by Josh Bonati. The band on Paragons consists of Jai Berger (who performed "Introduction"), Spike Currier (bass and synth), Matthew Addison (drums), Emma Conley (violin), Nicky Wetherell (cello), Adam Lipsky (piano), and Ben Greenberg (guitar and Mellotron).

The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."

THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION

Winston Hytwr is a co-release presented by K and Perennial. Born in Columbus, Ohio in March 1993, Winston Hightower is a prolific home recording artist with an expansive discography that crawls across space and genre. A staple in the Midwestern punk/DIY scene, his first work under the eponymous moniker was a self-released tape in January 2015. Since then, he has put out over 100 songs on tape, online and on video. The music defies easy categorization, and instead breezes through a landscape of synths that effortlessly blend pop, rock, rap and jazz. In doing so, Hightower continues to build a cohesive, ever-morphing experiment in pushing the boundaries of underground guitar music, all with his signature wit and charm. This body of work is almost entirely written and recorded alone in his room, causing many to refer to him as `the Black R Stevie Moore,' a fitting epithet as his influences likewise include modern "lo-fi" progenitors such as Guided by Voices and Vivian Girls. Hightower has released much of his own work and more on his tape label, the FAH-Q Catalog, which boasts over 12 releases He has also collaborated with numerous other Ohio legends such as members of Times New Viking, Slant 6, and Ron House. Both mysterious and effervescent, Winston shape shifts into roles that have also included pro skater (UNITY, Adidas) and touring hardcore guitarist/bassist (most recently with the groups Minority Threat and Twompsax). With such an extensive pedigree, and having toured ceaselessly since he was a teenager, it's shocking that Winston Hightower is largely unknown outside of the Midwest. K records is thus thrilled to be putting out his first ever record, "Winston Hytwr" KLP292/PRNL50 which will cull songs from his previous and impossible to find releases. Remixed by Capt. Tripps Ballsington and Remastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground. 1000 vinyl copies.

Chicago DJ/Producer JAYCEE INDAMIX returns for the 2nd installment of GINZU EDITS. This hand stamped single-sided record brings the heat with an insanely groovy edit of GIL SCOTT-HERON's version of "GRANDMA'S HANDS" to kick things off, and closes with a disco edit of perennial favorite, LUTHER VANDROSS.

The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."

THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION

The complete original Erroll Garner album Concert by the Sea (Columbia CL-883), which marked the pianist's best-selling record ever. There was actually no official plan to record the concert, and the release came about because Garner's personal manager, Martha Glaser, spotted that a tape recorder was running backstage and decided to use the tape, originally intended for the Armed Forces Radio Network. A live version of the perennial Garner composition "Misty," performed by the same trio the following year, has been added as a bonus. 180- GRAM COLORED RED VINYL - THE COMPLETE ALBUM + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE

Although 30 years after its birth this fundamental electronic gem called 'Reflections' has achieved cult status, it is worth remembering that it all started in 1993 in a small apartment in Waterloo, London, with the help of a mixer and a bunch of hardware synth and drum machines of hardware, with the mastodontic Oberheim OB-8 synthesizer as the main partner.

While in the UK the vast majority of kids showed a certain rejection of what came from North America in the form of electro, Kirk Degiorgio, under his alias As One, embraced it openly and incorporated it into his productions along with influences from other genres that he had already adored since he was young, such as jazz, soul or funk, thus becoming one of the true early adopters of Detroit techno in the UK.

If we look back, 'Reflections' is a challenge in itself, and even more so considering what the consumption pattern of electronic music was in the early 90s. This timeless album fits into the delicate border between being enough club to work on the dance floor, and still being musical and cerebral enough to be listened to at home. A milestone that, whether premeditated or not, Degiorgio more than achieved.

Three decades later Lapsus Records has been able to access the pre-masters extracted from the original DATs to build a special 30th anniversary edition within its Perennial series. For the occasion, this reissue not only offers the tracks included in the first edition, it also adds the songs 'The Priestess' –never released on vinyl before– and Forgotten Memory –until now unreleased and rediscovered in one of the DATs dating back to 1992 from the 'Reflexions' recording sessions. We are therefore facing the definitive edition of an album that, despite coexisting with the explosion of the rave movement, would pave the path for the UK-Detroit connection.

Drum-machine soul, funk, disco and boogie from Buffalo, NY. Rare 7" singles and previously unreleased tracks presented as a complete album. In the early 70s, Jessie Key and Sylvester Cleary - two passionate idealists living in Buffalo, New York - formed a close friendship based on a mutual mission to better their city. The Attica State Prison Riot of 1971 was a burning memory, and the Arthur vs. Nyquist lawsuit - brought against the City of Buffalo for creating and maintaining a racially segregated school system - was on the docket. Key was once a cotton-laborer in Mississippi, who journeyed north for school where he met his kindred spirit, Cleary. The two struck up an intense friendship, bought a drum machine and recorded their first 45, "A Man," a paean to self-actualization and Black American empowerment, which they custom pressed and issued privately. Dozens of recordings followed over a decade long span, issued on local labels and warehoused on cassette tapes. Perennial optimists, Key & Cleary tried any - perhaps every! - path they could demarcate in hopes of forwarding their agenda of self-effected, positive change. They formed Buffalo’s first minority-owned construction company, opened a health food restaurant in a building previously occupied by a fast food chain, and even concocted a candy bar called "The Buffalo Treat," which they manufactured and sold locally. Eventually they started their own label, Buffalo’s Reflection. On it they released their masterpiece, "What It Takes To Live," a sought-after disco and Northern Soul classic, which previously appeared on Now-Again”s Soul Cal anthology. This album collates the breadth of Key & Cleary’s recordings from 1970 until the mid 1980s, both with songs issued on rare 7" singles and previously unreleased. It presents a conjoined musical vision and tells the story of a duo years ahead of their time, both musically and culturally. Love Is The Way was their ethos - their goal was to enlighten humanity and to bend history in a more loving direction through communion.

New pressing on limited pink vinyl. "...Holy Wave is certainly dreamy in a sense, but theirs is the kind of dream that's more vivid than blurry, more present than passing." – Consequence // "They've got the far-off, dreamy vocal wash of the shoegazers, but their guitars and hooks are anything but subtle." – Pitchfork // Suicide Squeeze is thrilled to announce a reissue of Holy Wave's Freaks of Nurture! Freaks is a hauntingly hypnotic journey through auditory lands of melodic bliss and passively happy psych rock hallucinatory dreams. Holy Wave is a band of multi-instrumentalists from El Paso, TX. Since moving to Austin in 2008, they have cemented themselves as a unique national and international touring circuit force. After perennial performances at Levitation (Austin Psych Fest) and countless tours and festival appearances in the USA, Europe, Latin America, and Africa, Holy Wave is poised to continue expanding into new spaces and places worldwide. With the recent release of their latest album, Five of Cups, this is the perfect time to revisit this crucial

Hark! Joel Paterson returns to your holiday turntable with "The More The Merrier" (Hi-Fi Christmas Guitar Vol. 2). The guitar wizard from Chicago slides down your chimney once again with this latest program of instrumental gems. Recorded in lifelike "holiday-phonic" high fidelity, these 14 selections are a study in artistry and sound. "The More The Merrier" is a companion piece to the perennial fan-favorite, "Hi-Fi Christmas Guitar". No mere sequel, this new album will soon join its predecessor as an integral part of your holiday gatherings for years to come. This is music to please guitarists, carolers, and hi-fi enthusiasts alike. Limited "Ruby Red" colored vinyl.

Cher celebrates 25 years of "Believe" : On November 3, the Grammy Award-winning masterpiece will be released in a new, expanded " BELIEVE (Deluxe Edition) " that adds a whopping 13 remastered remixes to the mega-seller's original track listing (11 million worldwide!). The deluxe edition will be released in 3LP/2CD/Download & stream formats via Warner Records. "Believe" was an album full of dancefloor perennials - a fact that the assembled remixes in the new mastering underline once again.

"Tee's Radio One Instrumental? & "Ray Roc's Latin Soul Instrumental" from "Dov'e l'Amore?" are included here in one package for the first time, for example, along with remixes of the empowerment anthem "Strong Enough," "All or Nothing," "Dov'è l'amore" and the title track "Believe," a worldwide smash hit that sold over 10 million copies and reached #1 in 23 countries, including Germany, where it now has 5x gold status.

Cher is one of the most successful artists in history, selling over 100 million records during her unparalleled career. To date, she is the only artist:in to record a #1 single on the Billboard charts in six consecutive decades.

The Avengers remains one of the great institutions of British television, a landmark series and the epitome of the swinging 60s.

This debut release on vinyl features highlights of music from the Tara King era series of The Avengers by composer Howard Blake,

taken from the CD release (2011). Following on from Johnny Dankworth and Laurie Johnson (whose classic theme opens this release),

Blake delivered his own distinctive musical style to the hippest show on TV. He was awarded the OBE in 1994,

after a music career covering everything from choral works and ballet to film and TV. His music for the Christmas perennial

The Snowman, with its magical Walking in the Air theme has become a seasonal standard.

WEB WEB führen mit ihrem fünften Album WEB MAX II die Kollaboration mit Max Herre fort, die auf WEB MAX (2021) begann. Dabei ist ihnen mit diesem neuen Album weitaus mehr gelungen als lediglich die reine Weiterführung einer Serie. WEB MAX II ist musikalisch und emotional die wohl vielfältigste Destillation dessen, was die ursprünglich im Spiritual Jazz verwurzelte deutsche Jazz-Supergroup in den sieben Jahren ihres Bestehens hervorgebracht hat.

The perennial best seller from Ludovico Einaudi to be released on vinyl for the very first time, and includes hit singles I Giorni, Le Onde, Divenire, Nuvole BIanche and more.

Pünktlich zum 30-jährigen Bandjubiläum präsentieren KADAVERFICKER ihr neues Album "Superkiller (A Musical Journey Between Life And Death)", ein musikalisches und lyrisches Manifest, auf dem sie den bisherigen Weg der Band mit allen Höhen und Tiefen reflektieren.

Das 30-jährige Bestehen einer Band ist ein Zeitpunkt, der Anlass zum Reflektieren gibt.
Zurück auf eine Reise, die - nicht ungleich dem Weg von der Wiege zum Grab - sowohl von Tälern des Leidens als auch von Höhen der Ekstase geprägt ist.

Pünktlich zum 30-jährigen Bandjubiläum präsentieren KADAVERFICKER ihr neues Album "Superkiller (A Musical Journey Between Life And Death)", ein musikalisches und lyrisches Manifest, auf dem sie den bisherigen Weg der Band mit allen Höhen und Tiefen reflektieren.

Das 30-jährige Bestehen einer Band ist ein Zeitpunkt, der Anlass zum Reflektieren gibt.
Zurück auf eine Reise, die - nicht ungleich dem Weg von der Wiege zum Grab - sowohl von Tälern des Leidens als auch von Höhen der Ekstase geprägt ist.

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place