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Hot on the heels of their releases on Nu Groove and Refuge Recordings Acid Jerks are back once again with another EP of jackin' traxx.

It's their first for Local Talk and we are, of course both proud and honoured to release "Hifi Shades Of Grey" on limited 12" vinyl.
The Acid Jerks sound is tried and tested to perfection by now and their fans won't be disappointed listening to this EP for sure.

First up is 'Shades Of Grey', a proper builder with its haunting strings, setting the tone perfectly.

Then we have 'Wheels Of Fortune', a track with that raw Chicago vibe. Warehouse soul anyone?

Both 'Rise Up' and 'Ace Of Spade' are tracks infused with that and equal parts of old-school and bounce.

Acid Jerks makes music that is impossible to ignore, it's a fact.

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Wonderwheel is proud to present a 7" taken from Nickodemus' 2023 "Soul & Science" album. The A side finds album cut and future Bollywood club jam "Falu" taking center stage. On the track, Nickodemus called upon Grammy Award winning Indian- American singer songwriter Falu Shah for a new direction. Over an electronic 4 to the floor arpeggiating synth groove, Falu sings about in Hindi about bowing down and respecting Devi (Shakti) Goddess and surrendering to her majestic force that runs this universe & Mother Earth. On the flip side is the instrumental for "The Shadow Thief" (originally featuring Alsarah) with its driving drums, synth bassline and dissonant horns. A perfect 7" to get the party moving.

Konfus proudly welcomes Florian Meffert & Marc Philipp as ĀMAN to the artists family, as well as a new collaboration between the two friends and Subtil’s label head Nils Weimann as MEPHIWEI.
Three deep minimal house trips catching your body, mind & soul.
Perfect gadget from open air, to club, to after hour and back!
First 150x copies come in a handstamped full cover.

"Intrinsic Rhythm is proud to welcome and release a new record by Westcoast Goddess. The enigmatic producer provides 4 r&b flecked sample led tracks which borrow and take influence from the classic machine soul from Chicago, Detroit and NY. The EP kicks off with the musically rich " Fallin' " which uses melody and emotive machine and sample programming to welcome you to a brilliantly unique record. The title track " Time 4 Change " takes a classic tactile Chicago groove and concocts a deep hybrid of strings, evocative synth and vocal sample programming to take the listener and dancefloor to a deeper level. " Change Is Comin' " is next and takes influence from classic Gospel house music and uses classic drum machine programming combined with a chord driven lead to create a mesmerising twist on machine soul. Finally "One O' These Days" uses Boogie. New Jack Swing and Deep House variations to bring the listener through a classic song structure which builds from beginning to end. IR005 contains 4 tracks brought through the unique lens of the Westcoast Goddess and is available on limited vinyl

Svart Records proudly presents Pekka Pohjola's "Heavy Jazz - Live in Helsinki" for the first time on vinyl! Legendary Finnish composer and bassist Pekka Pohjola, known from his work in Wigwam, Made In Sweden, touring with Mike Oldfield and having a successful solo career, caught live at Tavastia Club, Helsinki, Finland on April 18th 1995. Joining Pohjola (bass) on stage are Seppo Kantonen (keyboards), Markku Kanerva (guitars) and Anssi Nykänen (drums). During his long career that took him from riding the Finnish prog rock wave to the heavy jazz rock heights of the 1990s, Pekka Pohjola tried his hand in many things. Heavy Jazz has previously only been released on CD in 1995 and 2011 by Pohjola Records and will now finally be available on wax as well. Heavy Jazz is presented on a 2LP edition of classic black vinyl. Limited to 500 copies.

Gusstaff Records and Ant-Zen are proud to announce the second solo album by Maciej Frett (Job Karma, Wrocław Industrial Festival), which is vocally supported by Anna Frett. After FRETT's 2020 debut "The World as A Hologram" was warmly received by fans and critics, it's time for the next installment of the FRETT project.The album "NOTTWO" revolves around the theme of dualism, which seems to be the raison d'être of the being of man and the world. Opposites define our way of perceiving the surrounding reality, or is it just an illusion? the artist seems to be asking…Musically, "NOTTWO" is a continuation of the first heavily rhythmic album, but this time FRETT gives many compositions an almost song-like structure. However, let's not be fooled by appearances - derived from the author's post-punk and industrial lineage, analog retro futuristic synth melodies and strong rhythms will work well both on a dark dance floor and can be a soundtrack to a non-existent movie.
Vinyl is ultra-heavy 200g black.

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

Decca Classics is proud to release one of Ola’s most-loved choral albums on CD and, for the first time, limited edition blue vinyl. Ola Gjeilo is one of the most frequently performed composers in the choral world. An accomplished pianist, improvisations over his own published choral pieces have become a trademark of his collaborations. Although Norwegian by birth, it is perhaps Ola’s adopted country of America that has influenced the composer’s distinctive soundworld the most, evolving a style that is often described as cinematic and evocative, with a lush, harmonious sound.

Antoni Maiovvi Has Made a Name for Himself for 15 Years With a Multitude of Releases on Tusk Wax, Vivod, Omnidisc, Giallo Disco, Italo Moderni or Even Bordello a Parigi. Emeritus Producer, Influenced by Obscure Disco, Synth Disco or Italo Disco, His Sound Is Definitely Analog. His Magnificent Ep Is a Concentrate of All His Influences and More. We Are Very Proud to Welcome Him to Our Sub-Label Dedicated to This Specific Genre, Cosmic Club. a Future Classic Without a Doubt...

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

Wake Dream is proud to present Cumbayá a new EP by French musicians Gilbert Cohen (of Versatile Records fame) and Cosmic Neman, drummer of Zombie Zombie. One summer not too long ago the two decided to gather in the mysterious “Marienia Pension”, an artist’ residency in a historic surfer spot. Over the course of 1 week they set up studio in the library of the house, surrounded by a collection af antique science and biology books, and channeled sandy percussion and analog Atlantic tubular waves of their synths into these four pieces. Mixed by the one and only ICube.

Demon Records is proud to present ‘Produced by Tony Visconti’, a new definitive retrospective compilation assembled with the assistance of legendary record producer Tony Visconti.
“This boxset covers five and a half decades of my efforts in the art of making iconic recordings. Some of it is familiar and some will have a eureka moment, ‘I didn’t know Visconti produced that one!’
I am honoured that Demon Records took on this enormous task.”
– Tony Visconti

Often described as one of the most important
producers in rock, Tony Visconti has helped create
countless classic musical moments. His work can be
heard on celebrated albums by artists such as T. Rex,
Procol Harum, The Moody Blues and Thin Lizzy to
name but a few.
• This new collection features 30 tracks personally
curated by Visconti, gathering together some of his
favourite production work from across his career.
• Includes tracks by T. Rex, Sparks, Thin Lizzy, U2,
Dexys Midnight Runners, Gentle Giant, The
Boomtown Rats, Manic Street Preachers, The Good,
The Bad & The Queen, and many more.
• Pressed on 2 x 140g LPs, mastered by Phil Kinrade at
AIR Mastering, approved by Tony Visconti. Artwork
designed by Grammy-winning creative studio
Barnbrook.
• Includes a 12-page booklet with previously unseen
photographs, and extensive track-by-track liner
notes by Mojo writer Mark Paytress based on new
interviews with Tony Visconti.

























x 5. U2 – A Sort Of Homecoming Live

We're proud to announce renewal of our near-ten year relationship with raw black power ambient ritualists Sutekh Hexen in announcing the band's colossal new 2LP "P:R:I:S:M", a full collaboration with Canadian nightmare-weaving enigma Funerary Call (AKA field recording and experimental soundscaping artist Harlow MacFarlane), to be released this summer in collaboration with our good dearest frequent co-conspirators from the US Sentien Ruin.
With "P:R:I:S:M", magisterial sonic-alchemists Sutekh Hexen and Funerary Call join forces to deliver a fully collaborative album of eight highly experimental tracks. Throughout this octonary journey, concepts and unseen source energies are refined into spectrums of deeper consciousness. The resulting narrative guides the listener through a vastness of (dis)charging energies, rebirth through dissolution, and harrowing harmonic passages in tremendous spaces. Inner-workings suspend transformations in time. Pushing their respective boundaries, Sutekh Hexen and Funerary Call initiate the listener with the crystalline, static miasma of the album’s opener 'Meridian غ', only to enshroud them in the manifesting psychosis of 'Infernal Folly'. The churning mysticism of 'Perilous Shade' offers temporal sanctuary, and 'Toward the Eastern Gate' calls forth tectonic-prophecies as the album's centerpiece, tipping the scale into 'Fractal: Void'—a blistering disarmament in a storm of guitars, scathing electronics, and the disembodied calls we all anticipate and fear. 'Æscend Obsidia' tests the preceding tension and overwhelms in shimmering radiance before declaring release in 'Pangæa Ultima² (Dread)'. Closing with 'Shores of Purgatory', thresholds are breached anew with hectic guitar feedback, spectral synthesis and meditative melodic embellishments. Where the mirror blinds, the "P:R:I:S:M" offers vision—refractions of new perspectives, dissolving the shadow-self.

Wax Trader is proud to present the first ever vinyl reissue of The Natural Four’s debut album, ‘Good Vibes!’ is killer deep soul, full of northern up-tempo grooves.

‘I thought you were mine’ is a superb soul classic and ballads ‘Going in Circles’ and ‘Why Should We Stop Now’ are beautiful originals are incredibly rare!

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.

Jill Barber's 2013 masterpiece "Chansons" is an album of interpretations of classic French songs from both France and Québec. Jill meticulously curated the repertoire herself, selecting material both from her own collection and from recommendations from friends within the Francophone community. “I spent time with the songs. I strolled the streets with Aznavour, I sat in a sidewalk cafe with Piaf,
poured a stiff drink with Gainsbourg, and I became absolutely enamoured and inspired by French music in the process.” Jill Barber is a 3-time JUNO Award nominee, a Polaris Music Prize nominee,
and winner of the Sirius/XM Jazz Album of the Year. She has headlined the Montreal Jazz Festival, Toronto's Massey Hall, and the Blue Note in Tokyo, and played clubs and festivals around the world.


Songs from Jill's catalogue have been streamed more than 160,000,000 times on digital services. Outside Music is proud to reissue "Chanson"s for its 10th Anniversary on limited edition Blush
coloured vinyl.

The lush psych-pop sound of Copenhagen's Halasan Bazar returns with their ambitious third album, "Burns". After numerous shows, recording sessions, a powerful collaboration LP and tours, "Burns" finds the band even more seasoned and impressive, giving the record a breezy naturalism from these gurus of their psychedelic craft.

Recorded in the French mountains, armed with a magical unending bag of weed, Halasan Bazar laid down these tunes mostly live - all vocals, acoustic guitars, drums and piano. This immediacy emphasizes their blissed out sonics, buoyant melodies and kaleidoscopic composition, each moment purposefully placed creating their rich sonic tapestry. Inspired by the greats of Greenwich Village's '60s folk, the lavish production of Lee Hazlewood, vocal harmonies of yesteryear and hallucinogenic day tripping. Some surf-y guitar vibes and plenty of driving piano jams too.

Tunes like "Freak" wave that Halasan flag proudly atop infectious guitar melodies and layered vocal harmonies creating a sing-a-long anthem for the misfits and the weirdos out there. "Get Sick and Die" incorporates swelling strings for an unexpectedly dreamy passage alongside sophisticated rock 'n' roll. One of many highlights, "Burns My Mind" has a driving, catchy groove and the entire band firing on all cylinders crafting a bombastic party atmosphere.

A beautiful and vivid album from an unapologetic band of freaks and dreamers, Halasan Bazar effortlessly leave their mark with "Burns".

Steve Rosborough, Moon Glyph Records

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.

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.

Maw Records are proud to present the masters At Work Remixes of the Kenlou classic “Moonshine”

Masters At Work are in top form, ready to fill dance floors,clubs & festivals in 2022. Kenny Dope & Louie Vega met at the Kay-Dee headquarters for a few days and jammed together.

Moonshine being one of the tracks they put up in the studio to createnew fresh versionswith a Maw TwistAce beats, programmimng in excellence by Kenny Dope, layered withLouie Vega Keyboards, Synths & Baselines.

The two once again set it off with a bang !!!

RAWAX proudly welcomes Pete Lazonby to the artist family!
We are very happy to present you "Beautiful Lies" in September on marbled vinyl.
Highly recommended!

HAVEN is proud to present another new catalogue number with the first full EP on the label from London-based Greek producer of hard-edged speedy techno MarcelDune, following on from their contribution to the Sardonic Tonality Vol. 4 VA compilation.

The A1 kicks off with 'I Am Looking For Date Ideas' - a hectic 4-4 dance-floor assault with chugging synths, hardcore kicks, overdriven percussion and cheeky vocals loops. This is followed by 'Final Loose' with its addictive vocal hooks, charging drum patterns and playful melodies. The A-side is closed with 'The Scene' with rolling bass-lines, bubbling synth sounds and distorted vocal breaks.

On the B-side 'Independence Creating Distance' hits us with hypnotic vocal loops and ear-worm synth patterns amongst its speedy drum patterns sure to get feet moving. HAVEN main-stays New Frames close out the record with their remix of the B1, with their usual heavy drum programming interplaying with dubbed out synth work creating another club killer to end another dance-floor focused record from the imprint.

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.

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.

Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory

Kid Congo Powers has seen fit to cover two songs by Atlanta garage rock legends the Subsonics and release them on seven inch vinyl - the way God intended rock n’ roll to be heard. Kid’s scuzzy, noisy renditions do the originals proud and are guaranteed to make you want to get up, dance and behave badly. Housed in a gaudy full color sleeve and pressed on kaleidoscopic tri-color vinyl.

Kasra V is here to engulf the club. Fresh off the success of his recent release on Radiant Records titled "Hyperdelic," Kasra is submerging listeners with a signature sound touching on dance music visions from different epochs but harnessing a unique aural palette. Kasra applies cut up techniques with sampling and utilizing his own voice as a tool throughout the record, topping the club energy with a punk rock sensibility. Equal parts eccentric and equal parts calculated, the tempest of this record is doused in wild elements: anthemic vocal samples with arena shaking capabilities, 80's hedonistic nostalgia, catchy utopian vibrations with a psychedelic cyber flair, flirting with inspiration from groups like Meat Beat Manifesto and YMO. Euphoric and aerated, but with a slicing undertone utilizing his freaky sampling prowess. Shaytoon is proud to present the next chapter of diaspora alchemy for your listening pleasure. Prepare for a flood.

Freestyle Records proudly present a reissue of Gloria Weems' ace 1983 long-player "Lovelight" - previously only available on a rare South African pressing, and featuring the single "Wanna Dance With You" (licensed for a 12" on storied NYC label Prelude in the same year).

The record was written and produced by Jim Duncombe and Chris Palmer - owner of London's legendary Groove Records and also the man behind UK funk/disco label Groove Production (Surface Noise, Linda Taylor, Caché etc). Chris & Jim had met earlier in the year at the Midem music conference in Cannes, and started writing together shortly after. The initial recording sessions were completed at Duncombe's Powerplay Recording Studios in Switzerland, with American vocalist Gloria Weems (then on a club tour of Switzerland) brought in on vocal duties.

Palmer then added additional recordings and mixed the record down at Groove Production's London base. Criminally it was only ever picked up for release in super limited numbers through the South African label CCP Records - though Chris, through an ongoing licensing relationship via his Groove Production label, managed to license "Wanna Dance With You" and it's dubbed-out b-side "Wanna Version" to the legendary NYC label Prelude. Nevertheless the Lovelight LP represents a lost classic and a rare example of a transatlantic disco-boogie project in the era's golden period, in it's linking up of UK, European and American elements.

Stix Records, a sub-label of Favorite Recordings, proudly presents Disco Reggae Vol. 5, pursuing the highly acclaimed series started 10 years ago.

Birth land of the Reggae music, Jamaica has also always been fed by Soul, Funk, R&B and Pop music from the US scene, delivering some of the best covers anyone could think of. With it’s Disco Reggae series, Stix Records therefore simply carried on this tradition, offering new versions of classic songs from a wide spectrum of musical styles.

On this 5th edition, the list extend to famous name such as The Undertones, Bobby Caldwell, Cerrone, Patti LaBelle, or Ray Parker Jr. to name a few. At the control to tailor these hits with new and exclusive Reggae suits, you’ll find the best producers from the Stix’ roster like Soul Sugar aka Booker Gee, Taggy Matcher, Simon Nyabinghi, or Mato.

Together they signed again a perfect soundtrack to extend your summer and fill your playlists, whether to light the dancefloors or just sip a nice cocktail facing the Negril’s sunset!

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

To celebrate the 50th Anniversary year of ‘The Dark Side Of The Moon’, Roger Waters announces the release of his homage to the original, ‘The Dark Side Of The Moon Redux’ Waters says ‘when we recorded the stripped down songs for the Lockdown Sessions, the 50th anniversary of the release of The Dark Side Of The Moon was looming on the horizon. It occurred to to me that The Dark Side Of The Moon could well be a suitable candidate for a similar re-working, partly as a tribute to the original work, but also to re-address the political and emotional message of the whole album. I discussed it with Gus and Sean, and when we’d stopped giggling and shouting ‘You must be ****ing mad’ at one another we decided to take it on. It’s turned out really great and I’m excited for everyone to hear it. It’s not a replacement for the original which, obviously, is irreplaceable. But it is a way for the seventy nine year old man to look back across the intervening fifty years into the eyes of the twenty nine year old and say, to quote a poem of mine about my Father, “We did our best, we kept his trust, our Dad would have been proud of us”. And also it is a way for me to honor a recording that Nick and Rick and Dave and I have every right to be very proud of.’ As founding member, lyricist, and principal composer of Pink Floyd during the band’s most influential and creative period, Roger Waters has achieved global success and global renown. Waters co-founded Pink Floyd in the mid-1960s. Under Waters’ guidance, Pink Floyd made a series of best-selling albums during the 1970s, of which the most successful and iconic were The Dark Side Of The Moon, Wish You Were Here, Animals and The Wall. Roger Waters left Pink Floyd in 1985 and is now one of the most successful solo artists in the world.

French label and promoter Much More recordings is proud to present the second vinyl of its collection. This vinyl features 6 tracks ranging from breaks to techno and passing electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

- In the cosmos of techno, a pear takes height,
As Hawking once mused, our past's pear-shaped light.
Evoking the essence of techno's design.
From acid's lemon embrace to bitter-sweet's delight,
Techno's past and future, in pear-shaped swirl.
Upon the tree stump, a glimpse of starlight,
A timeless journey, through cosmic embrace.
Techno's essence, expanding through space,
Techno's soulful evolution, a work of art. -

AudioKast joins, promoting sheer delight. Intelligent, smooth, with a touch of piano, A break-infused track, atmospheric glow. Falling Echoes, from France's southern land, Techno that lingers, both fresh and grand. Straight, mental, efficient, it ensnares, A captivating sound, with eternal affairs. Ricardo Garduno, Mexico's pride, Illegal Alien's head, his track provides heavy, straightforward, 4-to-the-floor, A dancefloor bomb, demanding much more. Johannes Astrup,
from Copenhagen's embrace, Smart-stepping techno, a timeless grace. Killing beats that reverberate and flow, Infinite rhythms, an everlasting show. Joton and Aicrag, a powerful duo, Break smart-stepping techno, boomy and true. Their collaboration, a vibrating spell, Moving bodies, a dancefloor's sweet swell. The Blackmailer, a friend tried and true, Driving, big room, a relentless beat, Techno's love, a symphony complete. Dear friends, in this cosmic dance we partake, Love and techno, our souls awake.We are back to the essence, and yet, much more.

To commemorate the 20th anniversary of Diario Mali, Ludovico Einaudi’s collaborative album with Ballaké Sissoko, Decca are proud to release the album and 2LP Colour for the very first time. Diario Mali explores the expert blending of the piano and kora with the most magnificent musicianship. The album will also be accompanied with a new version of the CD.

Alien Transistor is proud to announce a reissue of Such December, the fourth album by Japanese indie folk-pop artist, Gratin Carnival. Listeners might already know Gratin Carnival from their appearance on the Alien Parade Japan compilation of indie pop groups working with brass and woodwind; compiled by Markus Acher of The Notwist and Saya of Tenniscoats, it introduced this beautiful genre to the wider world. Gratin Carnival’s “Just Watching” was one of the many highlights of that compilation, and its gentle bossa-folk glide reappears on Such December.

Originally released in 2020, Such December captures beautifully the happy-sad charm of Gratin Carnival. The project of Koreyuki Mitsunaga, Gratin Carnival started in 2011; Mitsunaga had been home recording for some time and decided on the name as an umbrella for his music-making. Mitsunaga’s main instruments are guitar, which he uses to great effect throughout, his gorgeous acoustic playing reminiscent of players like Ueno Takashi of Tenniscoats or João Gilberto, and alto saxophone and clarinet. Those three instruments make up the core of Gratin Carnival’s sound, along with Mitsunaga’s charmingly doleful singing.

Recording at his parents’ home, with a four-track cassette recorder and a MacBook, Mitsunaga created Such December during 2020, though the songs on it stretch back to 2016. The closing “On The Train” was the first song written for the album – “a song about a small trip,” Mitsunaga recalls – and from there, he built a beautiful collection of songs that sit together perfectly. There’s great clarity in Mitsunaga’s writing, with nothing extraneous getting in the way of the lucid arrangements and gorgeous melodies; there’s something of chamber jazz about it at times, so it’s no surprise that Mitsunaga shares his love of Benny Goodman’s small group playing.

He's also a fan of Japanese folk artists like Kenji Endo and Kyouzou Nishioka, and grew up listening to Japanese popular music, The Beatles, and The Carpenters. You can hear trace elements of all this in Such December, in the clear-headedness of the melodic decisions made by Mitsunaga, and the quiet charm of the song’s gentle arrangements. They take on different shapes live, too, where Mitsunaga often invites other musicians to join in – his live band currently includes Masafumi Ezaki (trumpet), Nahoko Kamei (bass clarinet, piano, keyboards) and Tadashi Yonago (trombone, self-made instruments).

As with plenty of musicians from the Japanese underground, Mitsunaga is involved in other music, too – he’s been working with The Otoasobi Project, which performs music in collaboration with individuals with learning disabilities, and their families; and he’s also involved in improvised music. With Such December, though, you get to hear Mitsunaga’s music at its most personal and individual, ten songs of still, gorgeously poised indie folk-pop, where the swooning clang of six strings meets the breathy bliss of woodwind and brass.

After an incredible journey spanning 8 years and 40 releases, Marked is proud to unveil a monumental milestone - their first EP released on the timeless medium of vinyl. There is no better way to do this than with upcoming superstar Amazingblaze. His Stargaze EP is a journey of pure power and brightness -a dopamine rush- waiting to find its place of honor within your cherished wooden vinyl cabinet.

Starting with Treasures, this is one of those musical gems that keeps on overflowing with life with an almost mystical quality. A sound and melody that have emotions run deep, while the heart of the track keeps your pulse racing at its beats per minute.

The answer to a surefire way to light up the dancefloor is Quantumness. The lead synth and perc rhythm make a deadly and irresistible groove. Its notes soar and dive, creating a rhythmic anchor that holds everything together.

In Geerson's remix of Quantumness, most of the original's iconic lead synth is kept intact. In this version, the kicks fire in rhythmic drum salvos. The sonic landscape traverses peaks and valleys, sending you to both extremes in orbit.

Powerhouse Tham brings in the Club Kid remix of Pittsburgh by sending new life into one of the layers of the lead synth. Tham's signature sound is applied to turn it into a full-fledged hammer track: the sound is ruthless, the groove contagious.

Rare Jazz-Soul-Funk Fusion From Milwaukee.
Originally released as a private pressing in 1982.
First Ever Vinyl Reissue.
Released in collaboration with the Numero Group.
180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.
James Dallas is a talented producer, songwriter and saxophonist from Milwaukee. He started playing the clarinet in Junior High School at the age of thirteen, during this time public schools would loan students an instrument who could not afford their own. James originally requested an alto saxophone but none of those were available. In 1967 he got his hands on a baritone saxophone…and it became his main instrument for the next 15 years.

Dallas decided to pursue a career in entertainment (influenced by his parents who allowed him to play in a professional R&B band at the age of 14) and was possessed by an exceptional drive to excel in music. James wanting to showcase his talents as a multi-instrumentalist led him to his pursuit in playing the flute, various forms of the piano…and of course all the saxes & clarinets.

Soon he started playing with local bands and solo artists in the jazz & blues scene, he even participated on several recordings (mostly as part of the horn section)…but things really started to take of when James (together with his brother Chris and his cousin Kevin) started the outfit Heavy Weather. Most of the other bandmembers where his friends and would later become regular players on Dallas’ two solo albums ‘Life Forms’ (1982) and ‘Here And Now’ (1984).

The album we are proudly presenting you today: Life Forms (1982) was James Dallas debut album. Recorded at Mauer Brothers’ Studio and completely self-funded with the help and encouragement of his peers and family. Dallas paid for all the recording time and the privately pressed 1000 copies of the album…back then he could not have imagined that decades later it would become a much sought-after collectible that fetches high prices.

On Life Forms James Dallas is joined by a top cast of musicians such as Earl Thompson on percussion, Myron McClain and Noland Clark on drums, Rick Lacey and Robert Walls Jr. on guitar, Jake Simmons and Kevin Whitehead on bass. Kevin Whitehead (who is James’ cousin and known for his work with Ben Webster, Ella Fitzgerald, Miles Davis, Sun Ra and Pharoah Sanders) also wrote a track for the album. The whole venture truly is a family affair because James’ brother Christopher can also be heard on keyboards and the album design was handled by his other brother Calvin.

James Dallas surely deserves the title of ‘multi-instrumentalist’ because not only did he compose the majority of the songs (and produced the whole album) but next to his trademark soprano saxophone work, he also took care of playing the electric piano, flute, vocoder and keyboards.

The six songs on the fantastic Life Forms album are a heavy mix of mind-blowing funk, fusion and Vocoder/Odyssey synth extravaganza. If you are a serious collector or a smooth jazz underground enthusiast, then this is the thing for you! Also included is the magnificent ‘Sidetrack’ song that was included on the Numero compilation ‘NuLeaf’ released in 2020.

Get On Down proudly present the debut solo album from Wu-Tang Clan’s Ghostface Killah. Released in 1996 on Epic Records, Ironman earned immediate success, debuting at number two on the Billboard 200 chart, and number one on the Top R&B/Hip-Hop Albums chart. Produced by RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like “Daytona 500” featuring Raekwon and Cappadonna to soulful emotionally moving cuts like “All That I Got Is You” with Mary J Blige. The album earned gold status a year after its release and platinum by 2004, a true testament to the staying power or this classic piece of Wu-Tang artistry.

Formed in the spring of 2020, Los Angeles-based Sacred Skin is the creative duo of Brian DaMert and Brian Tarney. In short order, the pair has shown a nearly unmatched ability to create anthemic pop music steeped in romanticism and melancholy and drenched in layers upon layers of new wave nostalgia. Backed by an impressive string of singles throughout 2021 and into the following year, the band released their highly anticipated full-length debut, The Decline of Pleasure, in May of 2022 to much fanfare. Armed with vintage gear such as the Sequential Circuits Prophet-VS & E-mu Emulator II and buoyed by strong songwriting, expert production work, and DaMert’s emotionally-charged vocals, Sacred Skin has delivered a modern masterpiece of an album that belongs as much to the ‘80s as it does the present day. An album worthy of standing next to the strongest efforts of idols like Duran Duran, INXS, Peter Gabriel, Depeche Mode, and New Order. An album that has captured the hearts of so many already and will no doubt continue to do so for years to come.

Midnight Mannequin Records is proud to present this deluxe reissue of The Decline of Pleasure, pressed for the first time on 2xLP colored vinyl and housed in a gatefold jacket complete with OBI strip. Newly remastered and cut at 45 rpm for exceptional sound quality, this is Decline like you’ve never heard it before. Featuring the bonus tracks Killer’s Mind and a remix of fan favorite Earthbound by fellow synth pop disciples Nuovo Testamento.

It is with great fanfare that we proudly announce the return of the esteemed improvisational chainsaw blues trio Young James Long. Young James Long formed in Dallas in 2003 with a weekly residency at a local (and appropriately named) dive bar called Muddy Waters. PW Long (guitar, vocals) and Kirkland James (guitar) had known each other socially since the 90s when Long was fronting Quarterstick Records’ Mule, and James was playing with Tenderloin. Long would go onto make a series of incredible solo records under his own name and that of PW Long’s Reelfoot and James would play with Alejandro Escovedo (among many others) before their paths finally crossed again. They recruited Taylor Young (Hi-Fi Drowning, Young Heart Attack, The Polyphonic Spree) on drums and a raw, blues-punk-rock-and-roll band emerged fully formed, songs flying out of them with enthusiasm and ease. They recorded the You Ain’t Know The Man EP with their friend (and eventual Grammy winner) Stuart Sikes not long after. The EP came out via Southern Records in 2007, and thanks to the tasteful ears of the people this side of the pond, a European tour followed. If you saw that tour, you’ll agree that it felt like the band were really hitting their stride. However, here we are in 2023, so what happened? Answer: geography - the age-old enemy of creativity. One member left Texas and the others (being the extremely able and skilled musicians that they are) were perpetually wooed away to play in other bands. Everyone’s got bills to pay, right? And with that, things just kind of fizzled out. Long even insists he quit playing music around 2010. One of the most recognisable voices in underground music: out of the game. Incredible. Inconceivable.
Then, last year we at Wrong Speed got an email asking if we’d be interested in some new music Young James Long had been working on. We thought it might be a joke. They sent some mixes through, and it became very quickly apparent that it was anything but. Turns out the trio had started chatting about music again in 2020 (before the world had other plans) and had finally made their first full-length album Orogeny in the summer of 2021. Orogeny sounds live and thrillingly immediate, as though all obstacles between their delivery and your ears have been removed and discarded as irrelevant. There is no filler, no treading of water at any point. Amps buzz, songs teeter on the edge of collapse, you feel like you’re sitting in the middle of the band as they play and it’s a pretty sweet place to be. The album contains a whopping 17 songs, most under 2 minutes long. They don’t want to waste your time, or most importantly (after sixteen years away), theirs. If you’re familiar with Long’s previous bands, you’ll know he has a rare gift for pairing extreme volume with extreme tenderness and it’s thrilling to find that gift present and correct after over a decade away. And that voice – holy shit, that voice. He can go from a Beefheart howl to the sweetest country baritone in the space of a single line. In James and Young he’s found the perfect foils, a power trio of instinctive and soulful musicians able to conjure shining gems of magic out of the grit and the dirt. Young James Long is risen from the ashes – it’s a miracle!