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Fucked Up release ‘Do All Words Can Do’, a ninetrack compilation gathering ‘David’ era-appropriate rarities and B-sides, all of which were previously available only on 7”.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

Rare Nigerian Afrobeat-Funk from 1976.

First vinyl reissue since 1976.

First Ever Release Outside Of The African Continent.
Comes With Insert/Liner Notes.
180g BLACK vinyl limited to 500 copies (w/obi strip) - Non-Returnable.
THE FRIIMEN MUZIK COMPANY (also known as FRIIMEN) was formed after the Biafran war in 1973-1974 in the town of ABA in the eastern part of Nigeria. Aba was the Number 1 Music Hub in the entire Eastern Region of Nigeria. While bands and artists like ‘Ofege’ and ‘Fela Kuti’ ruled the LAGOS scene, bands like ‘Friimen’ and ‘The Apostles’ were ruling the ABA scene.
Before forming the band, most of its members were already working together as freelance session musicians backing up solo artists on several recordings and concerts (or were playing in military bands that gradually became civilian bands because the war had just ended). FRIIMEN members’ credits were numerous and they played, wrote or performed on recordings from well-known acts like The Funkees, The Jets, The Apostles…and countless others.
When they started concentrating on writing their own songs, the group instantly took off and became an overnight hit that resulted in them doing multiple successful nationwide tours. FRIIMEN would go on to record three albums: Free Man (1976), We Can Get It On (1978) and Merry Man (1979). All three albums were released on the Aba based label Anodisc Records (THE key label to be on if you wanted your music heard and out there), Anodisc also released hit records by ‘Sweet Unit’ and ‘Voice Of The Cross’ but The Friimen Muzik Company was the label’s signature band.
The Friimen Muzik Company was so solid that every new group or artist wanted the Friimen to back them up in the recording studio. As a result, Anodisc Records received tons of demo cassettes from aspiring artists…the label would then first consult the Friimen members to see if these new acts were worthy of giving a chance to record and release an album for Anodisc. Over the course of the years the band went through several line-up changes…but in 1980 the band finally broke up and their story came to an end.
The album we are presenting you today (Free Man from 1976) was recorded at the famous Decca Studios in Lagos and comes swinging right out of the gate with a set of no less than EIGHT monster tunes. Expect nothing less than crazy afrobeat and over the top melodic funk influenced by a wide array of artists (both local and international). Mesmerizing solos, captivating grooves, impeccable sequences that turned many heads…everything you need to get a dancehall into a complete uproar. The musicians’ skills are just plain incredible! FREE MAN is a quintessential record that every serious collector or fan needs to have in his/her collection.
This reissue also comes with an insert featuring pictures of the band and extensive liner notes from band-member Arthur Freds.
Tracklist:
Release Yourself , Free Man , My Dreams , Funky Workshop , Word of the Lord , We'll Get Our Share , You Can't Change Anything , Gimme Some Time

Don your bandanas, leather jackets and distressed jeans, because heavy metal is about to shine brighter than ever as Swedish newcomers BOMBER bring back the hottest era in hard rock history. Asserting their own trademark blend of 70s and 80s inspired classic and hard rock with catchy hooks, top-notch guitar solos and a vibrant aesthetic, BOMBER brings you their debut album, Nocturnal Creatures, via Napalm Records! After explosive live shows in Sweden and a subsequent tour of Germany, the hard rockers prove that the glorious era of rock isn’t over and that they’re already setting the highest standards on Nocturnal Creatures. On ten powerful tracks, BOMBER turns the night into an intoxicating adventure that convinces both old and new fans of the prominent classic and hard rock genre. Album opener and title track “Nocturnal Creatures” opens the gates with epic storytelling and interludes the following passionate ride through “Zarathustra”. With fiery vocals, melodic guitars and untamable drum-play, the track gets the listener’s pulse pumping, while “Fever Eyes” ensnares with wistful weeping choirs and guarantees a quickly increasing temperature. “Black Pants Magic” emerges into an unforgettable high-class rock experience through its industrious and catchy hook, while songs like “A Walk Of Titans (Hearts Will Break)” and “You’ve Got Demons” surprise with dynamic melodies and Anton Sköld’s powerful voice. On “The Tiger”, BOMBER send their listeners right into the eye of a raging thunderstorm of riffs driven by brilliant grooves, while “Kassiopeia” sets the strings on fire with its marvelous solos. Bursting album closer “Aurora” presents Nocturnal Creatures’ crowning achievement, bringing the 40-minute escapade to the edge of the world. With their new studio album, Nocturnal Creatures, the rising stars of Sweden establish a milestone in the legacy of hard rock that leads the once so majestic genre to new glory – marked by their very own special vision!

First Fragment was founded in 2007 by Phil Tougas (Chthe'ilist, Atramentus, Funebrarum) & brothers Gabriel Brault-Pilon and David AB. From day one, the trio sought to create a brand of extreme technical death metal that combined counterpoint-based riffing, neoclassical lead guitar work, power metal-inspired passages as well as flamenco & swing sections in a desire to branch out and establish their own unique voice in the Quebec scene. Their critically-acclaimed 2016 debut album "Dasein", released through Unique Leader, built upon the foundation established with the band's notorious EP "The Afterthought Ecstasy", self-released in 2010, Dasein was the culmination of almost 10 years of hard work and dedication to their craft. First Fragment have since honed their craft and perfected their sound through expanding upon their extensive musical influences, further blurring the line between flamenco-inspired technical death metal and neoclassical power metal. The result is "Gloire Éternelle" - an ambitious conceptual album that is unmistakably First Fragment, yet at the same time, impossible to categorize and pigeonhole. Boasting baroque-influenced guitar counterpoint, flamenco sections, unique slap-bass-driven swing grooves (which the band trademarked by name as "swingdowns"), face-ripping lead guitar work and bombastic drumming. Add a highly aggressive dual vocal approach and a lyrical approach soaked in abstract poetry (sung all in french), sprinkle with a ton of fretless bass solos and the result is the ultimate shredfest. A word which may be perceived positively or negatively depending of the listener, but nevertheless, a shredfest with soul, memorability, identity, purpose and conviction. For fans of : Yngwie Malmsteen, Cacophony, Racer X, Spawn of Possession, Capharnaum, Theory In Practice & Necrophagist

First Fragment was founded in 2007 by Phil Tougas (Chthe'ilist, Atramentus, Funebrarum) & brothers Gabriel Brault-Pilon and David AB. From day one, the trio sought to create a brand of extreme technical death metal that combined counterpoint-based riffing, neoclassical lead guitar work, power metal-inspired passages as well as flamenco & swing sections in a desire to branch out and establish their own unique voice in the Quebec scene. Their critically-acclaimed 2016 debut album "Dasein", released through Unique Leader, built upon the foundation established with the band's notorious EP "The Afterthought Ecstasy", self-released in 2010, Dasein was the culmination of almost 10 years of hard work and dedication to their craft. First Fragment have since honed their craft and perfected their sound through expanding upon their extensive musical influences, further blurring the line between flamenco-inspired technical death metal and neoclassical power metal. The result is "Gloire Éternelle" - an ambitious conceptual album that is unmistakably First Fragment, yet at the same time, impossible to categorize and pigeonhole. Boasting baroque-influenced guitar counterpoint, flamenco sections, unique slap-bass-driven swing grooves (which the band trademarked by name as "swingdowns"), face-ripping lead guitar work and bombastic drumming. Add a highly aggressive dual vocal approach and a lyrical approach soaked in abstract poetry (sung all in french), sprinkle with a ton of fretless bass solos and the result is the ultimate shredfest. A word which may be perceived positively or negatively depending of the listener, but nevertheless, a shredfest with soul, memorability, identity, purpose and conviction. For fans of : Yngwie Malmsteen, Cacophony, Racer X, Spawn of Possession, Capharnaum, Theory In Practice & Necrophagist

First Fragment was founded in 2007 by Phil Tougas (Chthe'ilist, Atramentus, Funebrarum) & brothers Gabriel Brault-Pilon and David AB. From day one, the trio sought to create a brand of extreme technical death metal that combined counterpoint-based riffing, neoclassical lead guitar work, power metal-inspired passages as well as flamenco & swing sections in a desire to branch out and establish their own unique voice in the Quebec scene. Their critically-acclaimed 2016 debut album "Dasein", released through Unique Leader, built upon the foundation established with the band's notorious EP "The Afterthought Ecstasy", self-released in 2010, Dasein was the culmination of almost 10 years of hard work and dedication to their craft. First Fragment have since honed their craft and perfected their sound through expanding upon their extensive musical influences, further blurring the line between flamenco-inspired technical death metal and neoclassical power metal. The result is "Gloire Éternelle" - an ambitious conceptual album that is unmistakably First Fragment, yet at the same time, impossible to categorize and pigeonhole. Boasting baroque-influenced guitar counterpoint, flamenco sections, unique slap-bass-driven swing grooves (which the band trademarked by name as "swingdowns"), face-ripping lead guitar work and bombastic drumming. Add a highly aggressive dual vocal approach and a lyrical approach soaked in abstract poetry (sung all in french), sprinkle with a ton of fretless bass solos and the result is the ultimate shredfest. A word which may be perceived positively or negatively depending of the listener, but nevertheless, a shredfest with soul, memorability, identity, purpose and conviction. For fans of : Yngwie Malmsteen, Cacophony, Racer X, Spawn of Possession, Capharnaum, Theory In Practice & Necrophagist

Like only the most gifted storytellers, Matisyahu spins the rare kind of stories that simultaneously enlighten and enthral and expand the audience’s sense of possibility. On his eponymous new album, the Grammy Award-nominated singer/songwriter/rapper shares his most autobiographical work to date, merging that personal revelation with a shapeshifting collision of reggae and hip-hop and boldly inventive pop. Produced by Salt Cathedral (a Brooklyn-based duo comprised of Colombian musicians Juliana Ronderos and Nicolas Losada), the result is an undeniably transformative album, one that invites both intense introspection and unbridled celebration. About “Chameleon” On the album’s dancehall-infused lead single “Chameleon,” Matisyahu presents a potent piece of self-reflection spiked with equal parts idiosyncratic wordplay and warmly expressed wisdom (“Turn an evil eye inverted to let the light in/Illuminate the evil till dem heart get sizzlin’”). “Chameleon” Quote “Chameleon has two facets. On the one hand it is able to blend with its surroundings in order to survive without sticking out. On the other hand is the shedding of its coat in order to grow. The story line continues here as our protagonist must learn both the necessity to blend in it at times but also to continue to grow and change.”

Ruth B is releasing her sophomore album "Moments In Between" via Downtown Records. With the breakout success of her debut single “Lost Boy,” Ruth B. emerged as an immediately captivating artist who drifts between moody realism and a dreamworld of her own making. An occasional poet who created her own storybooks as a child, the Canadian- Ethiopian singer/songwriter/pianist infuses all her songs with a raw emotional honesty, even as she lets her imagination wander into fantastically charmed terrain. On her sophomore album Moments In Between, Ruth pushes that dynamic to a new level of boldness and sophistication, embracing her most beautifully strange impulses while delivering her most impactful work to date. As the daughter of immigrants from Ethiopia, Ruth grew up on music from her parents’ native country and later discovered the artists who would become formative influences on her songwriting, such as Stevie Wonder and Lauryn Hill. After taking up piano at the age of eight and singing her entire life, Ruth began writing songs in her late teens and soon came up with “Lost Boy.” Initially posted on Vine in 2015, the Peter Pan-inspired piano ballad quickly went viral, with listeners undeniably drawn to Ruth’s heart-on-sleeve storytelling. By the end of 2015, she’d released her gold-certified debut EP The Intro, which led to such triumphs as winning Breakthrough Artist of the Year at the 2017 Juno Awards. Made with producers like Joel Little (Lorde, Taylor Swift) and Mike Elizondo (Fiona Apple, Regina Spektor), her gold-certified full-length debut Safe Haven arrived in 2017 and earned her three Juno nominations, including Album of the Year and Artist of the Year. Executive-produced by Patrick Wimberly (Solange, Blood Orange, Ellie Goulding), Moments In Between finds Ruth also working with producers like Ido Zmishlany (Demi Lovato, Shawn Mendes), Justin Raisen (Angel Olsen, Santigold), Doug Schadt (Maggie Rogers, Ashe), and D’Mile (a five-time Grammy Award-winner known for his work with Khalid and Ty Dolla $ign). In a departure from the minimalist alt-pop of Safe Haven, the album unfolds in a more elaborate and kaleidoscopic sound, yet never overshadows the understated power of Ruth’s vocals or the pure vulnerability of her songwriting. “For me writing songs has always been therapeutic, and I hope that hearing my songs helps other people in the same way,” she says. “Whether they’re feeling lonely or heartbroken or happy, I want them to know that someone else understands what they’re going through.”

GLOK is the electronic alter ego of Andy Bell; best-knownas the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

This quintessential release features Marty Robbins' most celebrated album, originally issued on the Columbia label: 'Gunfighter Ballads and Trail Songs' (1959). With his cowboy albums, Robbins helped keep western music alive during the late '50s and early '60s, and the warm, affectionate spirit of this music illustrates why.
Here you will find such country favourites as "El Paso," "Big Iron" and "Cool Water," and a classic version of "Billy the Kid," among other western standards. These songs are about work, love, travel, death, the beauty of the American West, and living life on your own terms (and paying the price for it). Robbins' subject is mostly the West of myth and movie, which benefits from his ability as a storyteller
- most of the tracks may tell tales heard or seen one hundred times onscreen, but he makes listeners feel like this is the first time they are hearing them, creating the excitement and anticipation of a poet in the middle of a spellbinding recital.
This sensational album has been remastered and packaged in this incredibly special collector's edition, which also includes 4 bonus tracks from the same period.

This special Record Store Day 5 x 45s collection comes packaged in a limited-edition Brazil 45 clamshell collector’s box.

The long-running relationship between Masters At Work and Mr Bongo has been a fruitful affair. Beginning in the 90s, it has included releases such as their seminal 'Brazilian Beat' 12" featuring Liliana, their magnificent rework of Atmosphere’s ‘Dancing In Outer Space’, and their recent hit Surprise Chef remixes 12". The influences of Brazilian music is evident in their DJ sets and productions, take the poly-rhythms of the 'Nervous Track’ as a prime example. We couldn't think of anyone more fitting to curate the third volume in our "Brazil 45 Boxset Curated by" series than one half of the MAW duo, the mighty Kenny Dope.

For his volume of the series, Kenny selected 10 knockout tracks from the golden era of Brazilian music. As you would expect from such a legend, he surpassed the brief of simply compiling the tracks, as he re-edited and remixed a number of his favourites especially for this boxset. Amongst these exclusives is a blazing, heavy psych-funk remix of Antonio Carlos & Jocafi's 'Quem Vem Lá’, and a hip-hop breakbeat bounce woven into Luli Lucinha E O Bando's folky-MPB beauty 'Flor Lilás’. Di Melo and Miguel De Deus are also given the Dopeman remix and edit treatment.

Kenny's selections pull out some forgotten classics and recently overlooked gems, many of which were once top of the want-lists for collectors in the 90s. These include Milton Banana Trio and the irresistible version of 'Berimbao' by Jayme Marques. Along with the Brazilian funk and jazzy-bossa dancefloor-oriented tracks, Kenny has also chosen the leftfield, deeper, trippy psychedelic folk sounds of Papete.

As with previous volumes, the selections are very personal and represent the individual sound and taste of the selector digging from the rich tapestry of Brazilian music. Its unique palate and stamp are exactly what you would expect from a Master At Work.

As the final chapter in the initial run of Jazz Is Dead releases, Remixes JID010 continues the creative catharsis of an exhilarating new chapter in jazz music. Adrian Younge & Ali Shaheed Muhammad tapped nine iconic creators to reimagine their personal favorites from Jazz Is Dead’s catalogue to-date, who created striking new versions by Cut Chemist, DJ Spinna, Georgie Anne Muldrow, Akili, Shigeto, Pink Siiffu, Dibiase, Natureboy Flako, and Kaidi Tathum. It’s a family affair.

Butterflies go through a four-staged life cycle: egg, caterpillar, pupa (chrysalis) and then adult as a butterfly. The transformation from caterpillar to butterfly happens in the chrysalis where the caterpillar body dies to give life to a new, beautifully winged body. This album is an ideal soundtrack to this amazing phenomena, a representation to inner transformation and deep evolution.

Larry Tee and Radio Slave announce The Royal Acadamy Of Fierce. Featuring Justin Vivien Bond and Tobell von Cartier, ‘Fashion Queen / Black Pussy’s Revenge’ drops in March.

Founded by US icon Larry Tee and Rekids label boss Radio Slave, The Royal Academy Of Fierce is a project inspired by underground drag culture and the unmistakable sound of early nineties New York house. Featuring Broadway star Justin Vivien Bond and drag sensation Tobell von Cartier, the first release from the project channels this raucous energy across a ferocious pair of club-ready tracks.

Best known for writing the smash ‘Supermodel (You Better Work)’ for RuPaul, as well as a discography that includes seminal late 80s house cuts on Funtone and Quark alongside pivotal work with Princess Superstar, Scissor Sisters, Erasure’s Andy Bell, and Peaches, Larry Tee’s rep goes way beyond his coining of the ‘electroclash’ genre in the early 2000s. A literal party starter for decades, nights like Love Machine (NY), Super Electric Party Machine (London) and KRANK (Berlin), Tee’s a genuine cultural institution.

Live radio broadcast recording of their 1991concert from the legendary Quartier Latin Club during The Berlin Independence Days.
This 300 limited edition vinyl only release with double sided A3 poster captures BOB at the peak of their powers.
Includes tracks from their Indie top 10 album ‘Leave The Straight Life Behind’ , Singles, and the previously unreleased ‘You Can Stop That For A Start’.
When BOB hit the stage at the legendary Quartier Latin club during the Berlin Independence Days on October 21 1991, they were talking loud and saying something.
BOB had been touring relentlessly for five years. All over the UK and Europe. Headlining their own shows and supporting some of the biggest names in indie rock, but this gig was something else. It couldn’t have happened in any other place, or, at any other time.
In Berlin, the wall had come down two years previous.Things were changing. There was a freedom of movement, unknown for many decades. You could grasp the spirit of creativity.
In London, the underground indie scene of the mid to late 80’s was being replaced by the corporate music marketing machine they called Britpop.
On this recording we capture a milestone moment of this time.

* USB card, CD Sized Case.

* Following the hugely successful vinyl only project and the many requests for digital versions that followed, we are proud to present ‘Liftin Spirit Reloaded – The Complete Series’. A special 8 GB USB inside a specially designed CD style case.
This Digital LP includes all the tracks that were previously featured in the series that spanned two years, whilst also including a few bonus tracks that were previously unreleased.
Featuring artists such as ‘Origin Unknown’, 'Shimon', 'Desired State', 'Concept 2', 'Flatliner' and many more. This LP includes 82 High Quality WAV & MP3 formats, focusing on the early years (1991-1997) of Hardcore, Jungle and Drum & Bass that came from the recording studio of Ram Records and Liftin Spirit Records famously based in Hornchurch, Essex, the original HQ of Andy C & Ant Miles.

For more than a decade now, Fleck E.S.C. has marked himself out as one of the most playful and prolific producers in the electro game. Across dozens of releases for labels including Bass Agenda and Science Cult, the France-born, Japan-based artist has made his name through a production style which balances limber beats with exploratory textural work.

Fleck E.S.C. debuted on Central Processing Unit in 2018 with the Discrete Opinion EP. Now, after stopping by the Sheffield label last year on a Silicon Scally remix job, Fleck E.S.C. delivers his second EP for CPU in the form of Rough Silk. The record's intriguing title proves an apt introduction to this four-track affair. These cuts are at once sleek and abrasive, anchored by robotechnic machine-funk grooves yet also full of strange, shifting shapes.

The opening title-track expertly sets out Rough Silk's stall. Heralded by gurgling synths and all manner of whirring percussive tones, 'Rough Silk' blossoms around the minute mark with the introduction of a wickedly buoyant lead synth. This is music at once visceral and full of mystery, the sound of wending through the back alleys, and the feeling carries through to the following cut 'Hat in the Cat' - as the synth pads spool out overhead, the machine-funk snap of the beat has an almost aquatic quality that links it back to Drexciya.

Much like 'Rough Silk', the record's first B-side 'Faking Sweet' also shifts gears. The opening strains of the track seem to be preparing for another insistent, expansive broken-beat pulse, but it stiffens its neck around ninety seconds in. Programmed drums whirr around a jittery machine-gun bass while discordant synths pull at the edges of the track, all of which brings a strong dystopian energy that increases further as the percussion sounds become increasingly bug-eyed.

After so much excitement, 'Digger Play' closes out the EP with a softer touch. There's still plenty of low-slung bounce to the beat, but the track runs a little slower, and there's a warm wistfulness in the synths which gives 'Digger Play' a painterly, almost poetic feel. However, while it may take its foot off the gas, the production here is as deft as it is everywhere else on Rough Silk.

With new EP Rough Silk, electro whizz Fleck E.S.C. brings the sort of casual mastery to proceedings that has characterised his career to date.

RIYL: Silicon Scally, Jensen Interceptor, Annie Hall

Split remix record with Visitor strictly limited to 200 copies. Remixers include Kontravoid, Morah, Xarah Dion, Sarin, Qual, Visitor, Filmmaker, and Oliver. Mastering at Dadub Studio Distributed by ReadyMade Distribution Side A Graphic Design by Jean Lorenzo Side B Graphic Design by Nicolas Zupfer Braid Records 2022

Bristol's jazz daddies The Jazz Defenders drop their second album for Haggis Records (home of UK funk kings The Haggis Horns), in March 2022 and it's a real departure from their debut release "Scheming" (released in 2020). Whereas that album was a homage to the late 1950s/early 1960s classic jazz style known as hard bop, this release moves into new territory with hip-hop/jazz, cinema soundtrack flavours, Latin rhythms and soul-jazz all upfront in the mix. Three taster singles from the album released in mid/late 2021 and march 2022, "The Big Man/Love's Vestige, "Live Slow" (featuring US rapper Herbal T), and "Perfectly Imperfect" (feat Doc Brown) received great radio support from the likes of Craig Charles (BBC 6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), Ashley Beedle (Worldwide FM), Colin Curtis (Worldwide FM) amongst many others, all loving the Jazz Defenders' musical fusion of retro meets modern.

The classic sound that has inspired the band this time is very much from the mid-late 1960s era and the merging of soul and funk beats with jazz solos/improvisation. Tracks like "Wagger Jaunt" and "Munch" nod to the piano and organ-led soul-jazz of artists like Ramsey Lewis, Herbie Hancock, Reuben Wilson, and Jimmy Smith. Meanwhile "Saudade" and "Love's Vestige" feature Brazilian bossa rhythms but with some added film soundtrack overtones. Speaking of movie soundtracks, "The Oracle'' is a pure homage to the classic cinematic compositions of maestros like John Barry(James Bond, The Ipcress File) or Lalo Schifrin (Mission Impossible, Bullitt) right down to the very impressive string arrangement, beautifully scored and orchestrated by band leader George Cooper.

A big departure from the previous album comes via the two hip-hop/jazz tracks, both of which feature guest MCs. "Live Slow" has US rapper Herbal T blessing the mic over an uptempo soul-jazz number whilst "Perfectly Imperfect" features London MC/actor Doc Brown rapping on a nice and slow 90's style head-nodding hip-hop groove. Both compositions show George Cooper's love for old-school boom-bap hip-hop (by the way, he also plays keys with renowned UK hip-hop big band Abstract Orchestra). For classic jazz lovers who dug the first album, there are two pure jazz tracks that join the dots between that debut release and this sophomore one - "Twilight" and "From The Ashes" - with plenty of vibrant solos for the discerning listener.

"King Phoenix" is a statement in itself from The Jazz Defenders. After 2 years of music being destroyed by the pandemic and many musicians inactive, the band has risen from the ashes with new vigour, energy and vision to try something new and not just repeat past musical glories. A band that sticks to the same script every release might just end up having a short shelf life but the Jazz Defenders are planning on being around for a long time.










j Live Slow (Album Version) feat. Herbal T

The film is an outer space road movie starring Dennis Hopper, Stephen Dorff, Debi Mazar and Charles Dance. Independent space trucker John Canyon, his reluctant waitress-turned-bride, Cindy, and up-and-coming company trucker Mike carry a shipment of sex dolls which turn out to be quite deadly, especially in the hands of disgraced scientist-turned-space-pirate Captain Macanudo, who wants to use them to settle an old score. The score by Colin Towns plays like a crossover between a road movie and a space opera, featuring the powerhouse performance of the Munich Symphony Orchestra with some country and bluegrass interludes to represent the trucking aspect of the film. A special mention must be made of Phil Todd’s alto saxophone solos that lend some class to Charles Dance’s romantic scenes. And, of course, as with most Stuart Gordon movies, the film can go into crazy overdrive—just as we can expect from the director of RE-ANIMATOR.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

This essential 1962 album showcases the modern jazz saxophone innovator performing alongside the colossus of jazz piano and composition. Only Coltrane could be this 'fiercely tender,' and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true gem, 'My Little Brown Book.' Ellington is wise enough to appreciate the nature of the session and is quite content to feed chords in service of the young master--proving the old master's open mind and good taste— most obviously on their now-classic 'In a Sentimental Mood'.

The T Funk Collective are a synth loving duo hailing out of Manchester UK; DJ T2Funk and Atomphunk. They started out in the mid-nineties DJing playing quality house music at the CLEAR parties in warehouses, bars, clubs, forests and beaches in and around Stockport, Manchester and Wales. DJ T2Funk is a multi-genre DJ who is rostered on Manchester’s Selectahs DJ Agency and the owner of Regulate Recordings. Atomphunk has deep house roots and productions on labels such as Toko Records, 3AM Recordings, Urban Torque Records and Deepfunk Records (USA).

The fuses fuses hip hop, funk, party breaks and plenty more into a pair of authentic old school sounds.

Side A: ‘Do You Wanna Party’ blends funky guitars, snapping drums, squelching basslines, impressive horns. Do You Wanna Party once again see’s turntablist DJ Stet and DJ Deviant cutting up the vocals to culminate in a melting pot of a synth based melodic flavour.
Side B: ‘Party Time’ is synth fused party vibe track that builds with driving basslines and a vocal hook into a latin synth section of grooving layered keys.
So here it is the second release from Regulate Recordings and the T Funk Collective. What you say is important, so offer us your verdict.

Night Songs is the latest record from awakened souls, the Los Angeles based husband and wife duo- James and Cynthia Bernard (marine eyes). In the Spring of 2021, they found a good night's rest was more important than ever to help them through pandemic days of schooling kids from home and balancing work and life. After going on an evening walk, James and Cynthia would write in their bedroom studio and test the evening's songs out for sleep. Even prior to being together, they both loved searching for just the right album to calm their minds at the end of the day. Night Songs is their combined version of a sleepy evening record, exploring slowly evolving loop-based ambient primarily using bass guitar and vocal textures. The tracks which ultimately made it on the album helped them relax enough to go to a place where thoughts fade.

Night Songs is the latest record from awakened souls, the Los Angeles based husband and wife duo- James and Cynthia Bernard (marine eyes). In the Spring of 2021, they found a good night's rest was more important than ever to help them through pandemic days of schooling kids from home and balancing work and life. After going on an evening walk, James and Cynthia would write in their bedroom studio and test the evening's songs out for sleep. Even prior to being together, they both loved searching for just the right album to calm their minds at the end of the day. Night Songs is their combined version of a sleepy evening record, exploring slowly evolving loop-based ambient primarily using bass guitar and vocal textures. The tracks which ultimately made it on the album helped them relax enough to go to a place where thoughts fade.

Take Ten was the first small-group jazz album Desmond released as a solo artist under a contract with RCA records. His initial RCA releases were an album featuring him alongside a string orchestra (1961's Desmond Blue), and a small-group session co-lead with Gerry Mulligan (1962's Two of a Mind). With Take Ten, Desmond continued a partnership with guitarist Jim Hall that had begun with the 1959 quartet album First Place Again for Warner Bros. records. In the time between the earlier quartet record with Hall and Take Ten, Desmond (as part of The Dave Brubeck Quartet) had a huge popular hit in 1961 with his composition "Take Five". "Take Five" was recorded in 1959 for the Brubeck Quartet's Time Out album, but only became a hit after the 1961 single release. Take Ten's title track was a 5/4 jazz composition similar to "Take Five" in terms of rhythm, chord structure, and melody.

Andy Bey was one of the most sought-after vocalists in the era of jazz fusion. Between 1968 and 1973 he was first choice as a studio singer for Max Roach, Duke Pearson, Horace Silver, Gary Bartz and Stanley Clarke, to mention but a few. His warm and engaging baritone voice easily crossed the bridge from conventional blues and gospel to a pugnacious, politicising style of soul – Andy Bey was 'spiritual' in every sense of the word. "Experience And Judgment", his debut album under his own name, was recorded in New York in 1973 and quickly became a cult album. Bey delivers twelve songs in single length, which are full of relaxed, funky grooves, soulful and electrifying, and quite lacking in gimmickry – in many of them a blues number is lurking in the background as a basic idea. His most important colleagues are Wilbur Bascomb, who lets his electric slap bass really thump out, and Bill Fischer who joins in on an electric piano, synthesizer and various other keyboards and really sets off a little fusion firework display. The most powerful numbers come from Andy Bey himself, such as "Experience", "Judgment", "Celestial Blues", "Tune Up" and "Being Uptight" – often powering forwards with a vengeance. Bill Fischer – at that time Artistic Director at Atlantic Records – added a few soul ballads to balance out the LP. This album inspired numerous jazz singers, including Gregory Porter. Jamie Cullum says: »What I love about Andy Bey is that he creates an atmosphere. As soon as he opens his mouth, you’re transported to another place.«

Christian Lee Hutson starts his new album Quitters with a laugh. In this follow up to his ANTI Records debut, Beginners, Hutson moves away from a focus on growing up to the dread and complications of growing older. Written under lock down, the laugh that announces Quitters is the kind you'll find at the end of John Huston films, one of resignation and release, and somehow a cosmic laugh that says "California," a place where lonely people gather together like birds. The song "Rubberneckers" follows the story a romance from beginning to break?up, with backing vocals by Phoebe Bridges, who returns as producer along with Conor Oberst. Quitters is a departure from the digital recording of his debut. Hutson shares, "With this record, Phoebe and Conor had an idea that it would be fun to make it to tape. Phoebe is my best friend and making Beginners with her was so comfortable and easy. So I wanted to work with her again and Conor is someone who I really respect as a lyricist." If every great record is a world, then this is Christian Lee Hutson's world. It's one filled with the fuzzy haze of a dream, and the half-remembered moments of a for?gotten life. It's a record brave enough to say, In the good old days, when times were bad. But beyond the songs, it is this voice. The voice of someone who was alive in 2021 and recorded a group of songs with his friends for us to hear.

The iconic global pop star Charli XCX, announced CRASH, her highly-anticipated forthcoming album, releasing 18th March 2022. She also released ‘New Shapes’ featuring Caroline Polachek and Christine and the Queens.

The announcement of CRASH followed her latest single, ‘Good Ones’, a track signalling a new chapter for Charli in which she embraced all that the life of a pop figurehead has to offer in today’s world.

Producers and collaborators include A. G. Cook, George Daniel, Deaton Chris Anthony, Lotus IV, Caroline Polachek, Christine and the Queens, Oscar Holter, Digital Farm Animals, Rina Sawayama, Ian Kirkpatrik, Jason Evigan, Justin Raisen, Ariel Rechtshaid, Ilya, Oneohtrix Point Never, Jon Shave and Mike Wise.

In addition, Charli XCX revealed a European and North American tour, with shows in Los Angeles, London, Paris and more. Tickets go on sale to the general public on Friday 12th November, with ticket presales beginning Wednesday 10th November.

Spaceship is Mark S. Williamson, a musician, sound artist and educator based in Todmorden, West Yorkshire. His work is often made in response to his environment, working on location, combining field recordings with electronic and acoustic instrumentation, usually recorded outside, amid the landscape and weather. Mark has recorded for wiaiwya, Apollolaan, the Dark Outside and his own Forged River Recordings. His work has been reviewed by The Wire, Electronic Sound, Shindig and The Quietus and he was recently one of the fourteen artists featured in Electronic Sound Magazine’s ‘field recording special’. His collaboration with Luke Turner on series of readings from Luke’s book ‘Out of the Woods’ has seen performances at Cecil Sharp House, Port Eliot Festival, The Trades Club in Hebden Bridge, Krankenhaus Festival and the Horse Hospital and he recently collaborated with the artist Michael Powell on his Calderfolk project. A direct sequel to 2019’s Outcrops (also on wiaiwya), Ravines moves its focus from the uplands above Todmorden to the narrow, steep sided ravines, known as cloughs, that contain the streams that flow down the valley sides to feed the River Calder. These valleys, formed over hundreds, if not thousands of years can be peaceful sanctuaries, their stepped pools and waterfalls a shelter from the windswept moors. In time of heavy rainfall though, they become the conduits for the rapidly descending overland flows which reach the Calder and, in extreme circumstances, cause the floods which remain a part of valley life. These cloughs also saw the beginnings of industry in the area. Colden Clough and Jumble Hole Clough contain the ruin of small water fed mills which would evolve into the much larger steam powered facilities in Todmorden and Hebden Bridge. Mostly recorded in the field using portable equipment, these pieces are intended to reflect all three of these aspects; the peace, the violence and the beginnings of humankind’s ultimate separation from the landscape brought on by the industrial revolution. The sleeve is by Maxim Peter Griffin, an artist, illustrator and writer based in Lincolnshire. A fine art graduate and former stonemason, over the past few years he has been building a body of work that echo his experiences on foot between the North Sea and the hills. "...a luminous soundtrack to the passage of geological time." Shindig // "Williamson is building desire tunnels, churning through the layers of rock and soil to find his conclusions." The Wire // "These rumbling synth drifts and ominous drones transport you to entirely different places-like being cast adrift in a cosmic void" Electronic Sound // "...the droning synthesizer waves conjure up something spectral and eerie, stretching out like the wide horizon..." The Quietus // "Beautiful." Hannah Peel

With an increasingly vibrant Norwegian Indie Rock scene on the rise, Lazy Queen - as founded by Colombian-Norwegian Henrik García Søberg (they/them) - have made their mark with a sound inspired by the rich traditions of the Brooklyn DIY scene that birthed the band, ambitious and effervescent releases, coupled with their unique ability to convey personal and relatable experiences through García Søberg's lyrics

The Oslo- based outfit effortlessly blends harmonic and discordant elements together with an instinctive ear for melody into a playful, innovative and vibrant sound, which affixes both context and contrast to lyrics that often explore life's more maladjusted corners. It's immediate. It's urgent. It impatiently demands your attention.

Previous release received widespread support and critical acclaim from renowned outlets such as Wonderland Magazine, Under The Radar, NYLON, Red Bull Music, Earmilk, Indietronica, Impose Magazine, Medium and more.

Danger Danger is an American Hard Rock and hair metal band from Queens, New York, formed in 1987. Danger Danger is the self titled debut album of the band, released in 1989. Included is the group’s best-known track, the album-opening anthem “Naughty Naughty”, as well as the similarly styled “Bang Bang”. The album also includes the Bon Jovi-esque “Under the Gun”, and the power ballad, “One Step from Paradise.”

Danger Danger 30th anniversary edition is available as 666 individually numbered copies on transparent blue vinyl.

Born in Birmingham, Thomas Atlas began his impressive musical journey studying the greats thanks to his Father’s record collection.
From then, his fondness for Funk and Soul has grown stronger, taking him touring the UK and USA with some of the finest outfits. But Thomas always knew his destiny was to follow his own path and he has done just that! Now collaborating with British boutique record label Hillside Global on these exclusiverecordings.

The self-titled ten-track debut album leaks zest like a freshly pressed fruit.

This multifaceted artist takes influence from Maceo Parker and George Duke, while keeping true to his vision. It gets the foot-tapping instantly with an infectious cadence. Also, vocally, Thomas boasts a charming timbre which smashes through the mix with conviction.
The slick guitar riffs, bluesy rhythms and fist-pumping beats rip through with might, leaving the thirst for feel-good fully quenched! Hillside Global’s aim is to deliver an experience not just a product. These recordings are pressed under the Hillside Global Exclusive Black Label. The limited edition, first pressing consists of a spot-varnished gatefold sleeve housing a 180g marbled coloured vinyl.
This deluxe release also includes a complimentary download card, alongside a hand numbered certificate of authenticity signed by the label director and recording artist. Designed and pressed in Great Britain

"Deficiency" is the first solo release of Gyeongsu. This record is a collection of 10 songs recorded in the past three years, ideas and sketches initially conceived separately and evoking different moods at the time of birth.

Supported by NTS's Ony, Maria Sommerville, Okonkole Y Trompa ...

To the empty-stadium rock opener "after diner not yet" to the buzzing closing "a post", through the fading down cello on "gratitude" to the burgeoning arpeggios of "1,2,3", the record is continuously fournishing elements of guitar in different states of work, juxtaposed on additional drums, bass lines, nebulous voices and samples sometimes reminiscent of a psychedelic state or confused dream with many elements hard to reassemble.

All songs have been mixed by Yohann Henry at Plush Space Studio, Paris. Mastered by Lorenzo Targhetta.

The original Wild Style soundtrack is such a landmark that it has spread its DNA throughout hip-hop ever since. So many artists found inspiration in it, so many producers fished for samples among its choppy waves. If you haven’t played it for a while, it still has the power to surprise – hook after hook that fed into hip-hop history. That countdown from Public Enemy’s ‘Louder than a Bomb’? The chorus from Cypress Hill’s ‘A to the K’, vocal samples that underpin MF Doom classics and A Tribe Called Quest gems? All here.

Phat Kev – aka Kev Luckhurst – teases out some of those notable moments in his superb cut-up from the 2007 reissue. The Brighton-born DJ subjects the Wild Style OST to a classic ‘Lesson-style’ cut and paste, teasing out some of the most classic moments, taking you on a whirlwind tour of the finest beats and most indelible rhymes. Here you’ll find ‘Stoop Rap’ interwoven with ‘Basketball Throwdown’ and ‘Fantastic Freaks at the Dixie’.

The temptation to overcomplicate matters is wisely resisted – Phat Kev lets the guitar of Chris Stein, the drums of Lenny Ferrari and the lyrics of legends such as Grand Master Caz, Busy Bee and Rammellzee shine in their own right.

Available for the first time on 7”, this is an outstanding tribute to one of the key records in hip-hop history.

Steve Vai has continually challenged notions of traditional guitar playing
and composition – and on more than one occasion even reimagined the
very instrument itself."I don't sit around and say, 'Okay, what can I do now
that pushes the boundaries?," Vai explains about his approach to the
guitar
"What I do say to myself is, 'Okay, Vai – what are you going to do now that's going
to interest you, that's going to fascinate you, and that's different than anything
you've done before?"The answer to that question comes in the form of Vai's
newest and 10th solo album, 'Inviolate', a nine-song opus that does indeed push
the boundaries of instrumental guitar music – this time out, Vai quite literally
invented not just a new guitar, but also a new guitar-playing technique. The Hydra,
the elaborate three- necked steampunk- inspired guitar that Steve holds on the
album cover, is actually played on the song 'Teeth of the Hydra'. On the other hand
(no pun intended), Steve recorded and played the song 'Knappsack' with just his
left hand, after his right arm was in a sling following shoulder surgery.
At the same time, 'Inviolate' presents his most focused, streamlined and perhaps
invigorating music in years. The album features a host of esteemed musicians,
including Billy Sheehan, Vinnie Colaiuta and Terry Bozzio.
Classic Rock - Album Review Classic Rock - Soundtrack To My Life feature
Fireworks – 2-page interview Fireworks - Album Review The Guitar Mag - 8-10
page Interview Guitar Techniques - Album Review GT332 9th Feb Guitar
Techniques - Q&A 9th Feb GT332. Guitar Interactive - Front cover & substantial
feature Guitarist - Front cover/Guest Editor/8-10 page feature Guitarist - Album
Review HRH - Album Review HRH - interview Powerplay - Interview Prog - My Prog
Hero feature on John Petrucci Rock Candy - 8-Page Interview Feb/Mar iss Total
Guitar - Interview

*** ULTRA-RARE Spiritual SOUL-JAZZ FROM 1965 AS FEATURED ON PEACE CHANT 4***

Los Angeles, not unlike other great cities such as Detroit, New York, Chicago, and Philadelphia, has given birth to and nurtured many great musicians. One of those young, versatile musicians Los Angeles has produced was Wayne Powell. In High School he played percussion & tuba in the concert band, later he switched to baritone horn. Shortly after Wayne heard Lionel Hampton play vibraphone at the Paramount Theater in downtown Los Angeles, he purchased his own set of vibes. In 1965, Wayne decided to organize his own group which he called The Wayne Powell Octet. That same year he recorded his debut 33rpm record titled "Plays Hallucination".

"Plays Hallucination" is the one and only album by the Wayne Powell Octet. This is spiritual soul-jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!

Limited to 500 copies worldwide* 1980’s Australia were a blistering inferno of totally great powerpop, garage- and punkrock bands. Hoodoo Gurus, Stems and Lime Spiders were on top of their game and labels like Waterfront and Citadel put out albums and 45’s that most music aficionados would die for.

The Spliffs formed in Townsville, a small city on the northeastern coast of Queensland in Australia. In 1986 they unleashed their debut
45. Recorded all by themselves and released DIY style they got some rave reviews and got to play Sydney, Melbourne and Brisbane
opening for The Saints and Hoodoo Gurus. Their debut single is fab jangly 80’s powerpop right up there with Plimsouls or The Nerves.
Housed in a deluxe picture sleeve that comes with a printed inner sleeve filled with many rare and previously unpublished photos plus an interview with Spliffs main man and guitar-slinger Jamie Forsberg conducted by power pop guru Ric Menck. Orange color vinyl.
File under: ”beyond essential to any serious rock’n’roll, powerpop, garage and punk fan”.

Sweden’s One Way Ticket Records is a sister label to On The Dole Records who gave you “Jobcentre Rejects” (and more) and
to Sweet Mental Revenge Records who gave you Rodger Wilhoit. OWT is also a sub-division of Stora Skivmässan –
Scandinavia’s biggest record fairs

Auf ihrem eigenen Label „Rare Diamonds Productions“ veröffentlicht Metal-Queen DORO Pesch eine Neuauflage der Doppel LP „Magic Diamonds – Best of Ballads“

Raw Poetic produzierte sein neues Album 'Laminated Skies' mit seinem Buddy und häufigen Kollaborateur Damu The Fudgemunk und Gastmusikern wie Pat 'P' Fritz (git) und Luke Stewart (bass). Musikalisch schöpft das mehrdimensionale Werk aus den Genres, die Hip-Hop ausmachen, und Einflüssen aus allen Facetten des Spiritual Jazz. 'Laminated Skies' ist Raw Poetics sechstes Soloalbum und das erste offizielle auf einem Label. Qualität ist ein stetiges Synonym des Künstlers, der auf einen reichhaltigen Lebenslauf mit den Eltern in der Black Panther-Bewegung, mit seinem Onkel Jazzlegende Archie Shepp, als Lead-MC des Duos Panacea (Rawkus) und mit Kollabos mit K-Def, Blu und Kev Brown zurückschauen kann. Das gemeinsam mit Damu produzierte 'Ocean Bridges' (2020) mit dem Saxophonisten Archie Shepp wird als eines der besten Alben des Jahres gefeiert.

40th anniversary edition of the debut album by the multi-talented musician Carlos Perón. “Impersonator” was originally released in 1981 when he was still a member of Yello. This first solo work represents a desire to conduct daring electronic experiments, to achieve stylistic variety and musical intensity while at the same time it is an example of Mr. Perón’s bizarre sense of humour.
Since the beginning of his career he pushed experimentation beyond limits with noise atmospheres, loops and complex textures which he has long used since before the introduction of sampling technology. With the arrival of sound sampling, he was among the first to experiment with equipment such as the Fairlight, Emulator and Mirage. During his time with Yello, Carlos may well have been one of the world’s first sampling masters.

This new re-issue of “Impersonator” includes all original tracks with some bonus including the whole Frigorex EP from 1984 and six previously unreleased cuts recorded between 1982 and 1983. Limited edition of 500 copies with gatefold sleeve and an exclusive postcard.

Since 2014, Public Release has been enlisting the raw, trademark groove of Richard Sen on a variety of now- renowned remixes. Label boss Eug has cited him in numerous interviews as being one of his all-time favourite producers, so it was inevitable that a solo EP would eventually materialize. That time has finally come, and in the Spring of 2022, the UK legend drops his solo EP “My Definition of Funk” on Public Release.

These three raw, gritty, hard-hitting, peak-time tracks are quintessential Richard Sen, combining the energy and influences of post-punk, breaks, and house in one sturdy sonic package.

Mattiel, the Atlanta based group made up of Mattiel Brown and Jonah Swilley, announce
the release of their third album, ‘Georgia Gothic’, on Heavenly Recordings. ‘Georgia
Gothic’, a magic third in Mattiel’s run of full-length albums, was shaped in the quiet
seclusion of a woodland cabin in the north of the Atlanta duo’s mother-state; “Some
faraway place that just Jonah and I could go where there would be no distractions,
nothing else going on, and we could turn everything off and only focus on writing songs,”
reflects Brown.
 Where 2017’s self-titled debut and its 2019 follow-up Satis Factory were written with what
Swilley refers to as a “hands-off” approach - he arranging the music and Brown the lyrics
and vocals, the two working largely separately - the making of ‘Georgia Gothic’ was, for
the first time, a truly collaborative undertaking. “This was the first time we made a point to
just be together and work out ideas in the same room. That was the initial intention... it
was about learning what each other wanted to accomplish on a sonic level, and then just
trying different things out,” Swilley continues. “Everything happened backwards. Normally,
you’d have friends that make a band... with us, we started making music from the jump,
and then became homies.”
 Cultivated by time spent together on the road touring the first two albums, it is this
newfound sense of intimacy between Mattiel’s members that enabled the writing of
‘Georgia Gothic’ not as two separate musicians, but rather as one creative entity. The
album remained within the four walls of Brown and Swilley’s private world for much of its
evolution - with recording taking place in a simple studio set up by the pair in the
borrowed room of a dialysis centre, Swilley in the producer’s seat - until, nearing
completion, it was transferred into the trusted hands of the Grammy award-winning John
Congleton (whose extensive list of credits includes artists as diverse as Angel Olsen, Earl
Sweatshirt, Erykah Badu and Sleater Kinney) for mixing.
 Not only does the affinity between its creators translate into an electric synergy between
‘Georgia Gothic’s words and music - the brine-shock of Brown’s taut lyricism cut against
the bourbon-smoothness of Swilley’s instrumentation - but here too are the palpable
spoils of experimentation, each party trustful enough of the other to trial and error their
practices into new geometries. Swilley puts this wide palate, in part, down to the place
they call home. “I definitely feel like being from Georgia allows us to have a certain way of
approaching music.” Brown chimes in: “We haven’t really highlighted where we’re from in
the past two records, even though those were also written in Georgia. There’s so much
great art and great music that’s come from Georgia, from all different types of genres and
all over the state - but take R.E.M. and OutKast: there’s this weirdness that I can’t really
put my finger on.” Swilley concurs: “It’s the same with the B-52s, the Black Lips... it
doesn’t feel like L.A., it doesn’t feel like New York, it feels like another planet. We’re not
really in a ‘scene’ here in the same way. You have to make your own sound, create your
own identity.”
 And it is precisely the forging of Mattiel’s distinct musical identity that ‘Georgia Gothic’
signals; its members guiding each other ever-homewards not just in a geographical or
sonic sense, but spiritually, too.
 Initial LP pressing on Red Hot coloured 140g vinyl with digital download code. (Once this
format has sold out, a black 140g vinyl edition with digital download - HVNLP202 - will be
made available.)

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Green coloured vinyl edition of William The Conqueror’s
‘Maverick Thinker’ album from last year, released to
coincide with the band’s upcoming tour and book
publication.
 William The Conqueror have paid their damn dues. Like
the sportsman cutting chipped teeth in the lower leagues
before shooting to the very top, this band have lugged all
the amps, placated the in-house sound guy for an easier
life, their nails dirty, their hair unkempt. Enough.
 Except it’s never enough, because despite their slinky,
swampy, razor-sharp, blues-drenched, guitar thrashed
alt. rock songs that form new album ‘Maverick Thinker’
and suggest that the door is opening for bigger rooms
and broader audiences, it’s those sticky basement bar
stages where the songs have always shed a skin and
come alive. The record put the three piece behind the
glass at Sound City Studios in LA, treading the same
carpet as the likes of Nirvana, Johnny Cash, Neil Young,
and Fleetwood Mac and they might well have inhaled
the spirit of them all.
 William The Conqueror’s protagonist is Ruarri Joseph,
who knows his way around a melody and a verse.
Joseph’s wryness suggests life just ain’t plain sailin’ and
he fizzes that sigh and lament into something that
breathes heavy with heart and with soul.
 LP in a gatefold sleeve with printed inner sleeve and
digital download card.

Forever on My Mind, the new album of previously unreleased Son House recordings from Easy Eye Sound, the independent label operated by Dan Auerbach of The Black Keys, is the premiere release from Dick Waterman’s personal cache of ’60s recordings by some of the titans of Delta blues. His collection of quarter-inch tapes — which are being restored to remarkable clarity by Easy Eye Sound — have gone unreleased until now. The collection is due out March 18, 2022.

Die unaufhaltsame ukrainische Metalcore-Band SPACE OF VARIATIONS erklimmt mit dem kommenden
Full-Length-Album IMAGO, das am 18. März 2022 erscheint, die nächste Stufe des modernen Metal.
Nach ihrem 2019er Napalm Records-Debüt, der XXXXX EP, übertrifft die Band nun alle Erwartungen
und betritt unbestreitbar mit ihrem zweiten Studioalbum Neuland. IMAGOs facettenreiche Darbietung
ist eine Mischung aus intensiven Hardcore-Riffs und durchschlagenden Breakdowns mit vielseitiger Elektronik, brutalem Gesang und bisweilen tranceartigen Synthesizern. Dabei arbeiten sie mit Elementen von
Djent, Hip-Hop und sogar Hyperpop. Die süchtig machende, emotionale Atmosphäre des Albums spiegelt
ihre Live-Performance wider. Nachdem sie zuvor mit den Modern-Metal-Giganten JINJER auf Tournee
waren, zertrümmerte das Quartett unermüdlich die europäischen Bühnen und fesselte jeden Zuhörer mit
futuristischen Styles, die an Bring Me The Horizon, Architects, Norma Jean und LANDMVRKS erinnern.

Edit-maestro Jacques Renault returns to the Stamp label with another pair of floor-filling Disco anthems, cut, spliced and juiced up, ready to slide right into your record bag...

Hand-stamped and limited as usual, be quick !

A collection of Elvis Presley covers recorded by the duet David Fenech & Pierre Bastien. The idea of "Suspicious Moon" started at a party around the topic of blue color. David Fenech had chosen to play "Blue Moon" and Pierre Bastien asked to join in. It was a very enjoyable party and then they recorded the song and decided to plan an album exclusively based on covers of the King. Not that we were absolute fans of Elvis... but as a starting point to go somewhere else. And this is what we reached: in many aspects a premiere for the two musicians. Pierre focuses on (prepared) trumpet for the very first time, while David is heard extensively as a vocalist and is more than ever responsible for all arrangements and textures. Playing other people's material is also a premiere for both of them. 11 tracks around very well known standards. Like familiar places that are changed when seen in a different light. Please enjoy. "Our choice of the Elvis Presley song book for this record may seem strange to many. It seems strange to me as well. Not that I dislike the original music, but before our sessions it had never been a direct source of inspiration. Paradoxically, this distance gave me freedom and flowing ideas. I hear similar qualities in David's parts too. We hope that our relaxed attitude and its positive outcome will be reflected in this album" - Pierre Bastien "The strange thing about these recordings is that the creative process was so fluid and natural_ that it seems that through playing other people's music, we almost reveal something of ourselves. As if these tracks were our creation, as if they were our own children!" - David Fenech

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

"Two Duos" is pressed from cellist Okkyung Lee's most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on Ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, its magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger's opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee's extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echos, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes' extraordinary capacity for dexterity, nuance and speed, hounding Lee's cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. Okkyung Lee / cello. Jérôme Noetinger / Revox B77. Nadia Ratsimandresy / ondes Martenot. Recorded live at Cafe OTO on. Mixed and mastered by Lasse Marhaug. Design by Maja Larrson.

Jesus and Mary Chain, Shop Assistants, Black Tambourine, Sarah Records, My Bloody Valentine. Star Party began in March 2020 as a Seattle living room project between Carolyn Brennan and Ian Corrigan (Gen Pop, Vexx) - both sharing a love of high energy rock n roll music. The idea to start a band percolated during trips to the high deserts of eastern Washington to pick sage and see the sun as a brief reprieve from the misty and grey Pacific Northwestern Spring. A few months later, Star Party released Demo 2020 on Feel It Records, featuring two originals and covers of The Shop Assistants' "Something to Do" and the classic "All I Really Wanna Do" (in the vein of Cher's version). Over the course of 2021, Star Party wrote and recorded their debut LP, Meadow Flower, wherever and whenever they could. Employing like-minded Feel It label mate Caufield Schnug of Sweeping Promises (who also moonlights as one part of Melody Men Mastering) to mix and master the album, Meadow Flower follows a direct line from where Demo 2020 left off. Brennan's soft and clearly American vocals float over waves of feedback and drum machine racket like a delicate mist sitting just above a mountain lake. Melodies bob and weave inside an omnipresent static that fills in every nook and cranny of the recording. Drawing from a quiver of influences such as Black Tambourine, Confuse (JP), The Count Five, and of course The Shop Assistants (RIP Alex Taylor), Star Party's debut album seamlessly meshes together noise, melody, and harmony

From the shadows of Slovenia, Shadow Universe is an instrumental music project, creating breathtaking cinematic soundscapes from post-rock, neoclassical/ambient and post-metal elements. Their third album, Subtle Realms, Subtle Worlds is released on 11 March 2022 worldwide on Monotreme Records. Formed in 2017 by Peter Dimnik and Žan Šebrek, Shadow Universe merge contrasting textures of shimmering ambient soundscapes and heavy anxious darkness to portray the diversity of nature and life on earth and beyond. Subtle Realms, Subtle Worlds: Every person experiences the world differently, which puts us into our own unique bubbles, subtle worlds. Subtle Realms, Subtle Worlds finds the band turning their songs into living, breathing ecosystems, carefully dissecting every moment of peace and chaos alike. The album sees the building particles of the universe as separate worlds, with their own story, perception, rules and individual inner realm. Opening track Organism, which portrays the coherence of forming organisms; from a vast universe itself down to the tiniest building particles of it, sets the tone with its slow, tense build to crushing, exhilarating peaks. Don’t Look at It and You’ll See It evokes free-flowing spontaneity through beautiful cascading piano and emotive violin, towering guitars, and soaring synths. Masterfully harnessing both the quiet and the loud, Hymn for the Giants glorifies our almighty and precious trees, with moments of calm cut apart by vast swathes of brutal, yet considered, cacophony. Losing Home’s portentous, droning synths and trumpet ratchet up the suspense, while on Antares Goes Supernova the band carve out layer upon layer of affirming and effecting riffs, each one more powerful than the last. Season of Eternal Maze wraps up the album with a meditative piano and harmonium, wide guitar driven melodies and guides you to your inner maze.

Scott Walker, PJ Harvey, Coil, Matmos, Autechre & Pan Daijing. 180g LP with inner, 12”x24”poster + DL card. The Debut Full-Length By Montréal Producer Kee Avil, The Project Led By Avant/Improv Guitarist Vicky Mettler, Also Known As A Member Of Sam Shalabi’s Land Of Kush And As Co-Founder Of Concrete Sound Montréal. Advance Single “See, My Shadow” Premiered By Mary Ann Hobbs On BBC6 And Picked Up By Music & Riots, Backseat Mafia, Aural Aggravation, Etc In Dec 2021. Kee Avil, a project led by Montréal producer and guitarist Vicky Mettler: a singular expression of fractured dream logic concretized in chiselled postpunk guitar, sinuous low-end electronics, a panoply of organic and digital samples creating alternately twitchy and propulsive rhythm, and the anxious intimacy of her finely wrought lyricism and vocals. Bound by an outstanding production sensibility throughout, Crease unfolds one oblique earworm hook after another, with compositional innovation anchored to an inscrutable and compelling voice across 10 songs of tremendous and imaginative sonic detail. Kee Avil brings a contemporary electroacoustic sensibility to bear on traditions and conventions of pop, postpunk, electronic and sound-art songwriting, where touchstones range from Scott Walker and Coil to Fiona Apple, (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz; or Grouper produced by Autechre. Her unconventional alloys also conjure the guitar-inflected deconstructions of Gastr del Sol and the crystalline micro-worlds of Bjork, Matmos and Rashad Becker. Crease is one of those debut records that excites a wide range of peerless references precisely because it's so compelling in its own idiosyncratic authority, originality and execution. Each song on Crease is its own sculpture, meticulously assembled to resemble disassembly: “each of these worlds was built without consideration for the other; it felt impossible to me, once I would enter the atmosphere of a song, to try to start another until that idea was finished.” The album nonetheless unfolds in impressive holistic integration through a palette of textures and techniques deployed in recurring but continually refracted ways. Alongside her superb austere guitar work stitched into electro-industrial, dark-ambient and minimal-techno soundworlds, it’s her voice and lyrics confidential, hermetic, implacable that provide the galvanizing, always captivating through-line. Her more compositional, exacting, (de)constructed musical identity was first unveiled with the self-titled Kee Avil EP (Black Bough Records) and further honed by pre-pandemic tours sharing stages with Pere Ubu, Marc Ribot and Bill Orcut among others. Woodshedding since then, Crease presents a quantum leap in Kee Avil's exploration of studio-based experimentation, arrangement and production, signaling the arrival of a brilliantly genre-melding, refined and assiduous new voice in avant-garde songcraft.

Described as a ’60s garage rock band performing as a mini-orchestra stuck within a Tarantino film, Los Angeles-based Spindrift is a cinematically inspired rock band that has also been described as “Heavy Western” or “psychedelic spaghetti-western rocknroll.” Led by songwriter-producer-composer Kirpatrick Thomas on guitar and lead vocals, along with Portland-based guitarist Becca Davidson, bass / baritone guitarist, producer, and vocalist Riley Bray, and aerospace engineer Joe Zabielski on drums and electronics, Spindrift creates a cinematic scope that has been heard on their compilation albums like Classic Soundtracks Vol 1, 2, and The West (released by Xemu Records), HBO’s Eastbound & Down (Seasons 1 & 2), the Quentin Tarantino-produced biker exploitation film Hell Ride, the film Diablo (featuring Scott Eastwood), and “The Ballad of Darrell Lemaire” from Season 1 Episode 9 of Hamilton’s Pharmacopeia (Viceland). Classic Soundracks Vol. 3 is their tenth studio soundtrack compilation album, co-produced by Riley Bray and Jello Biafra. Released by Jello’s own Alternative Tentacles Records, it completes a trilogy of themes from various feature films, documentaries, and TV mini-series. This final installment reveals a new level of maturity from the band, opening doors to new genres including espionage-esque Bond themes, upbeat guitar duets, “Italian Polizia” car chase electronica, hard rock from the Middle East, psychedelic disco, and progressive “kung fu” rock." "Los Angeles-based cinematically inspired rock band’s third in a trilogy of themes from various features. Songs have been heard on HBO’s Eastbound & Down, the Tarantino-produced Hell Ride, Diablo and Hamilton’s Pharmacopeia on Viceland.

Nearly 24 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band. NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.” Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.” Time Out - “awe-inspiring in their naked honesty” More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans) Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point. Quotes - Hefner's is a bedsit world of spindly guitar and towering passions; of skewwhiff ideals and surprisingly smooth melodic surges; of awkward outbursts and slow-burning lo-fi for lovers… 'Breaking God's Heart' is all about sparkling melodies, twinkly-eyed poetry, intimate confessions, a thrillion knowing references to sex, soul and sadness and the sort of chipper attitude that says: 'This is a record you will relish for years to come'. So save yourself time, start treasuring it now. 8/10 NME // Hefner are running on the same rock-not-rock fuel as early Violent Femmes or The Modern Lovers, and like those groups are expert at building emotionally charged arrangements by adding or subtracting at precisely the right time. 8/10 Drowned In Sound

Another new colour pressing we have 200 only white vinyl coming in Mrch. Single LPs w/ printed inner sleeve + lyric insert and Download card. The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack “Night City Aliens” and 2018’s critically acclaimed album Only Love, which landed on ‘Album of the Year’ lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer. An interactive ARG campaign with numerous stages of engagement is underway and will continue through release. A website, media mailings and various social media interactions are leading fans to find easter eggs including songs, album info, videos and much more. A livestream performance confirmed for same day. Videos for all three focus tracks (“All Futures”, “Average Death” + “An Iteration” are completed and will be released along with each song.

Halloween has been and gone for another year, but darkwave-inflected hardcore punk never goes out of fashion, right? And frankly, who gives a solitary fuck if it does? Nag’s sinister second album is too busy being an ear-bleeding good time to care about shit like that. It’s too wrapped up asking questions like ‘is this real reality?’ - too caught up in pushing Bernard Sumner minimalism into furiously energetic bruisers and ever-darker corners. It’s the record you’ve been waiting for throughout 2021, whether you knew it or not. This RIPS. Formed in Atlanta, GA, Nag have already dropped an LP (last year’s ‘Dead Deer’, on Die Slaughterhaus) and a handful of 7”s - all must-haves - but they’ve never quite cut loose like this. Vocalist Brannon Greene pitches his delivery somewhere between a caustic holler and a dead-eyed sneer, taking the blank generation for a midnight drive and hurtling straight into a brick wall. Meanwhile, the band nab ideas from no-wave, the wilder ends of Goner Records’ almighty roster, and the best (and sometimes synthiest) aspects of gothed-out post-punk - the resulting concoction may be composed of familiar elements, but it feels like no one else other than Nag. A more hyperbolic and verbose hack than me might say this is the moment that signals the band have ‘arrived’, but not me. I’d just say this is a damn fine record - one of the very best things to have emerged from the wider punk rock mess in the last 12 months. Oh, and I’d add that if you don’t buy it, you may as well sever those things called ears, toss ‘em into the woods and let any of their redeeming qualities seep out into the soil, ‘cause that’s the only way you could continue to argue that they’re serving any useful purpose. But you know, that’s just me. You do you, friend. Actually, scratch that. Buy this record, you idiot.

In demand repress of Bloto's 2020 sell out LP 'Kwiatostan'

The quartet made up of EABS members return with their 2nd LP - another killer suite of collective improvisations drawing influences from jazz, electronica, rap.

Jerry Leger follows up his critically acclaimed 'Time Out For Tomorrow' with 'Nothing Pressing'; produced by Michael Timmins (Cowboy Junkies).Jerry's last self released album 'Songs from the Apartment' was a stripped-down lo-fi affair recorded in Leger's home using a cheap tape recorder with an internal microphone
This lead to two songs from Nothing Pressing, "Underground Blues" and "Sinking In," to be also recorded in Leger's home.The remaining nine tracks included on 'Nothing Pressing' present Leger's work in two starkly contrasting soundscapes.

"Nothing Pressing," "Protector," and "Still Patience," are soloacoustic recordings cut live in the studio with little embellishment. The other six tracks are prime roots rock and roll featuring his long-time band The Situation. Among the latter songs, "Kill It With Kindness" and "Have You Ever Been Happy?" have the kind of drive, energy and spirit that are sure to make them highlights of his future live shows.

Leger often times finds himself at a loss as to explain the source of his songs. He feels his songwriting, while clearly drawing on experiences filtered through a panoply of influences,often verges on being a supernatural experience. Over the course of the eleven songs on Nothing Pressing, the songwriter's songwriter engages with questions of existence, mortality,hope, trust and heartbreak while
simultaneously conjuring feelings of isolation, reflection, longing and gratitude.

Paired with such evocative lyrics are wonderfully crafted melodies, soulful vocals and the spirit and energy of a mature songwriter, comfortable in his skin and growing as an artist withevery release. Nothing Pressing serves a wonderfully refreshing tonic in troubling times

With the world in chaos, exhilarating new music has become more
important than ever before.

As a re-sult, the emergence of French tech-metal mavericks Stengah could hardly be better timed. One of the most exciting new bands on the planet, the French quintet have spent the last few years in a state of per-petual evolution, armed with some of the most visceral and forward- thinking riffs and refrains in recent memory. Now, the band are ready to introduce themselves to the world. Founded by drummer Eliott Williame in 2013, Stengah have the sound, the smarts and the
ambition to push heavy music ever further into the future. After years of steady evolution and meticulous attention to detail, the band – completed by bassist Benoit Creteur, lead guitarist Maxime Delassus, rhythm guitarist Alex Orta and powerhouse frontman Nicolas Queste - have honed their sound to a state of cutting- edge perfection, as showcased on their formidable, forthcoming debut album SOMA SEMA."The music is about (re)connecting with yourself," says Eliott.
"It's about people, their fears, their faiths and their philosophies. How sometimes those things can guide them, and how sometimes they can blind them. It asks, with no judgement, about how odd and how strange the social and emotional behaviors of human beings are. It's all about the power to believe, in creativity, and in consciousness. Our music is technical but fun to play," adds Eliott. "People often become surprisingly transfixed by our energy, espe-cially when they haven't
seen us before. We love being on stage, we are truly passionate and that is what you see and feel during our live performances, from the first to the last song."

The history of metal is littered with the burnt-out shells of bands that lacked the vision and the vivacity to make things happen. For Stengah, the sheer power and fury of their music drives them forward. Mean- while, the sheer quality and ingenuity of Soma/ Sema looks certain to propel the band swiftly up the heavy music ladder and into the spotlight. Newly signed to Mascot Label Group, they're just getting start-ed and the sky's the limit!

Born from ten-hour jam sessions in peeling Brighton bedsits, the
technical parameters of a bootstrap recording process and the osmotic, multi-genre influence of internet music archives, quintet Ebi Soda have been steady-cultivating a unique sound amidst the exploding UK jazz scene.

Despite their steep rise – the Brighton outfit have preserved as much as possible of their unique recording process, originating from their very first sessions. With just a two- track recorder around, the band would lay down whole takes, one instrument at a time, then immediately transform the overdub, digitally reshaping the sound with the same mischievous, adderall energy as the musical performance.‘Honk If You’re Sad’, their sophomore full-length album, stays true to these foundations, while bringing more ambitious experimentation, technical mastery and a stellar lineup of guest players to the studio including Yazz Ahmed, Deji Ijishakin and Dan Gray.In typical Ebi style, while recalling jazz pioneers in playing style, ‘Honk If You’re Sad’ draws from a vast neural network of influences:
the Ebi Brain has been marinating in a digital soup of trap, drill, dub, post-punk and no wave to name but a few. The result is a mercurial record that beams in psychedelia, dissonance, serene ambient passages, tough, neck-snapping beats and lush textures, all underscored by the intersection of jazz, hip hop and electronic music.

The Chronicles of Narnia: The Voyage of the Dawn Treader is a 2010 fantasy-adventure film based on The Voyage of the Dawn Treader (1952), the third novel in C. S. Lewis’ fantasy series The Chronicles of Narnia. It is also the third and final installment in the original Chronicles of Narnia film series. Set three years after the events of Prince Caspian, the film follows the two youngest Pevensie children, Edmund and Lucy, as they return to Narnia to join the new king Caspian in his quest to rescue seven lost lords and to save Narnia from a corrupting evil that resides on a dark island.

Composer David Arnold scored the film, with themes composed by Harry Gregson-Williams (who scored the first two films). It was Arnold’s fourth collaboration with director Michael Apted. He created specific themes for the characters The Dawn Treader and Reepicheep, and used themes from the previous films for the opening and closing scenes as well as recurring characters, to ensure that the film is consistent with the franchise. The score was performed by an 87-piece orchestra and a 40-piece choir, resulting in an epic soundtrack with just the right magical touch to compliment this film.

The Original Soundtrack to The Chronicles of Narnia: The Voyage Of The Dawn Treader is available on black vinyl and includes an insert.