Поиск:release

MC DUKE was one of the first UK rappers to find a serious level of success, laying the ground work for a generation of hip hop talent to follow. As well as being a UK hip hop legend, he was also one of the pioneers of the early British hardcore / jungle sound & owner of the Hard Disk record label.

The legacy of MC Duke with the early rave sound was cemented in history forever when The Prodigy sampled his voice for their chart topping hit Everybody In The Place! He was also one of the first MC’s on London’s infamous Kool FM. As a producer Duke was signed to the Boogie Times label, sister imprint of the genre defining Suburban Base, under the alias E.K.U.D.C.M. (which is MC Duke spelled backwards).

The first slice of vinyl on this collection features rare cuts from 1993 and perfectly showcases the evolution of the rave era into the sound that was at the time described as jungle techno, the precursor to jungle as we now know it.

Vinyl number 2 is the one that will get the collectors salivating... Featuring music by The Man With No Name, currently the only copies of these tracks are available at an asking price of £167 on the resale market, with people already parting with up to £155 to own a copy via re-seller site discogs!

Our third & fourth disc once again features 2 of MC Dukes alias’ with the darkside goodness that is Quiji Board, and closes with the most up to date track from the compilation by Phiziks previously unreleased on vinyl.

All tracks on this Hard Disk compilation have been expertly re-mastered to give you the optimum listening experience while retaining that authentic early 90’s sound you’d expect. This four-part vinyl collection is placed in a beautiful presentation box for which we’ve digitally re-created the original artwork style from Hard Disk releases back in the day to make this a true collector piece for those wanting a genuine piece of UK culture history.

Within Melbourne's cinematic soul scene sit the The Pro-Teens. Helmed by prolific drummer Hudson Whitlock (Karate Boogaloo, Surprise Chef), this breakaway studio project involves an interchangeable collective of incognito instrumentalists playing under outlandish pseudonyms such as 'Dead Honest' Dean Amazing and Libby Clique-Baite.

This release presents two iconic MF DOOM tracks reinterpreted by The Pro-Teens. It follows breakout album Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly (College Of Knowledge/Mr Bongo), which received BBC 6 Music's Album Of The Day. This is the second 7" single of The Pro-Teens' MF DOOM tribute material, following 2021's Peachfuzz b/w One Beer, taken from forthcoming full-length album tribute to MF DOOM.

Support from BBC6 Music, NTS, KCRW Morning Becomes Eclectic, Worldwide FM.

Dutch pioneer Sp@sms returns to U-TRAX with 'From A 20th Century Box' LP, backed with remixes from Bloody Mary and Cosmic Force

On 'From the 20th Century Box' Arno Peeters, aka Sp@sms, returns to U-TRAX with his debut full-length album. Showcasing years of sonic exploration stemming from his time in various groups including Random XS and Voltage Control amongst others, the LP also draws from his experience studying and teaching music at the Centre for Electronic Music as well as his work in project-based sound design.

Filled to the brim with pulsating arpeggios, crunchy drums and dark, moody atmospheres, the LP is marked by a retro yet timeless feel. Inbetween its snaking, squelchy synth lines and old school electro grooves Sp@sms masterfully incorporates playful textures and elements from found recordings and unused projects, resulting in a vastly versatile and experimental album fusing all things techno, acid and EBM.

An expert lesson in sound design and composition taught by one of the Netherlands' most trusted and experienced artists, the LP also contains remixes from Dame Music's Bloody Mary and Utrecht electro stalwart Cosmic Force and arrives via heavyweight, colored double vinyl, digital, CD and cassette mediums.

As is typical for a U-TRAX release, each physical version has its own set of tracks. The vinyl and CD versions also come with a in-depth interview with Arno Peeters, as well as extensive background notes for each track (on the album's inner sleeves and a 24 page booklet, respectively).

restock

Cititrax present the follow-up to An-i's Kino-i debut 12', released at the start of the year. The record is pressed on 160 gram fluorescent magenta orange vinyl and housed in a high gloss grey Pantone sleeve. TIP!!!
An-i continues his love affair with electronics offering us three distinct slabs of throbbing machine funk. The opening track Gutz is a dense mutant high energy number, modern yet timeless. Rut, the first track An-i recorded whilst still living in New York and the first one to catch our attention, opens the B side with a massive dose of syncopated teutonic mayhem, spacier and sparser than the rest. Save Us completes the release with an anthem of dirty warehouse techno.

restock

Cititrax presents a four song debut solo EP by The Hacker's new project called Amato. Influenced by early EBM, German techno and new wave, Michel Amato aka The Hacker began producing tracks under his new moniker Amato in 2014. The first one to be released, called Physique, came out in 2015 on the Cititrax Tracks Volume One EP and was a dancefloor success.

Emotive soul singer Doris Duke got her start backing gospel artists and was a mainstay at the Apollo in the early 1960s. cutting some demos for Motown that remain unreleased. After a debut single that made little impact (credited to Doris Willingham), she became Doris Duke at the behest of Swamp Dogg, who produced this acclaimed solo debut, I’m A Loser, regarded by many as one of the best “deep soul”albums ever issued. Cheating saga “To The Other Woman (I’m the Other Woman)” was a top-fifty pop hit and “Feet Start Walking” also reached the US R&B charts, assuring Duke’s eternal reputation, despite the collapse of Canyon Records, the label that first released this hefty gem.

In 1971 the group called WEB changed its name to Samurai and started working on their eponymous studio album released on the obscure Greenwich Gramophone label. “Samurai” is a great gem of early British progressive rock, and although it was clearly influenced by legendary groups such as King Crimson, and Gentle Giant, it represented a unicum in the music panorama. Unfortunately, the group disbanded shortly after the release, partly compromising its highly deserved recognition.

This series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

Guitarist Barney Kessel, drummer Shelly Manne, bassist Red Mitchell, and the supremely soulful Hampton Hawes, one of jazz's most appealing yet unsun pianists, fill out the quartet scorecard of the 1958 release Four!. Although much later in his career Hawes experimented with electronic keyboards and fusion music, at heart he was a bebopper, as this session makes abundantly clear.

With material like Charlie Parker's "Yardbird Suite," his own "Up Blues," and Red Mitchell's "Bow Jest" (on which Mitchell plays his first recorded bowed solo), Hawes is at a creative peak here. Kessel, who played on the date, paid tribute to Hawes' "inexhaustible ideas on the blues…no one else in modern jazz plays the blues better." And nobody could tie a rhythm section together better than Shelly Manne, the fourth party in this boundingly energetic Four!

Repress

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque ‘Eta, Samba Bom’, replacing Roberta Flack’s hit ‘Feel Like Making Love’, Ana Mazzotti (1977) delivers Mazzotti’s refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl Ana Mazzotti (1977) will be available on vinyl LP, CD and digitally from 13th September.

Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born on October 5, 1948, in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music. Released on Big Shot in 1973 and produced by Bunny Lee, 'Captivity' is one of the true classics from Delroy's discography, back on vinyl for the first time since its original release.

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release. Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album. Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’. For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote. For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”. Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’. The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.

Following the release and subsequent year of our first album, "The Hearth," we began nurturing some new compositions for a second release. This process began similar to the first album, each of working us separately on songs, then bringing the bones, veins, and skin of a track to the rest of The Creux to fully animate. We were all taking off in a lot of directions, which tends to lend greatly to our dynamic sound once harnessed, and it was a good departure after playing "The Hearth" tracks live for two years straight during tours and festivals. We ended up with around 25 or so song frames and delighted that list down to about 12 to lay into. Then, the pandemic hit. We were all separated into our own bubbles, trying to make responsible choices on how to continue writing and recording this record promptly as we had just penned a deal with our new label Freakwave; with a target of releasing sometime in 2020. It was a pretty challenging endeavor for a band that typically relies on each member to bring greatness to the sound. We began experimenting with using virtual jam sessions and shipping files to each other. Luckily, we are all decent home sonic production creators so creating and flying around edits and changes over the months leading up to our time in the studio wasn't tricky. Around the end of Summer 2020, we finally had the demo tracks prepped enough to start working with our engineer and producer, Patrick Hills of Earthtone Studios. He worked with us on our last album and is sort of a special weapon of creativity for what we can pull off. We would send in one member at a time to lay down studio versions of the finals in a separate room from Mr. Hills; mask on, the whole nine. We would fly out the takes each day and make edits, rinse, and repeat. It was tedious and was pretty trippy to make a record in that manner. "Goodbye Divine" took almost a year to finish recording and mixing. So, here we are, in the Summer of 2021, and it is complete and ready for release this October. Expect both departures and arrivals of what you might have predicted following "The Hearth." Yet, this album does, in true Creux Lies fashion, offer a complete range of emotions throughout the album; prepare to find yourself ass shaken, and watery-eyed before you raise the needle on "Goodbye Divine."

Repress of the 10 year anniversary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

Phillip Smart was one of the great engineers to learn his trade as understudy to the legendary dub master himself Osbourne'King Tubby'Ruddock.
Alongside other luminaires such as Prince Jammy and Scientist,Phillip Smart would step in at the controls when demand for King Tubby studio dubs grew to such an extent that each single release was expected to carry a version/dub flipside.
Phillip Smart moved to the United States in the late 70's and in 1981 opened his successful studio HC&F,Long Island,New York.It produced some sizeable Jamaican Dancehall hits for his two record labels TanYah and Eclipse.
Tracks like Dirtsman's 'Hot This Year' and 'Rikers Island' and most notably artist Shaggy used the studio to work up his massive hits 'Oh Carolina','Big Up' and 'Angel'.
But it's in the heady days of the early 1970's and up to 1976 that we concentrate on for this release.When Version was King and Prince Phillip Smart was at the controls mixing up some fine dubs with Jamaica's finest musicians The Aggrovators.
Working some of producer Bunny'Striker'Lee's rhythms in fine style....hope ypu enjoy the set......

Clear Vinyl
Dominique Lawalree (b. 1954) is a composer born and based in Brussels. 'First Meeting is Lawalree's first archival release to date. Culled from four different albums originally self-published on his private label Editions Walrus, circa 1978-1982, this compilation highlights the composer's unique sense of ambient and minimal composition. Originally considered for release on Brian Eno's Obscure Records, Lawalree's music is now no longer hidden.

In this collection the listener finds the sounds of piano, synthesizers, percussion, wurlitzer, organ, and voice, all performed by Lawalree. Using these tools Dominique creates miniature themes that gallop across the speakers in slow motion, stretching our normal sense of dynamics and color, effortlessly widening the stereo plane. On "Musique Satieerique," Dominique pays homage to the influence of Satie with simple repeated piano figures and a lush field of organs and flutes. And on other selections, like "Le Maison Des 5 Elements," he takes a more wistful, ambient approach, layering keyboard lines, and invoking found/tape sounds to create a hypnogogic world of his own. Childlike in its playfulness and surreal to the bone, the music spins like a carrousel placed inside the Rothko Chapel. Lawalree's sense of timbre, tone, and overarching composition is like an impression of a home movie whose charm lies in its knowledge of intimacy, shared by few.' An incantation of innocence.

"a quiet, understated music that is both touching and elegant" - Gavin Bryars

First-ever release of this legendary Tangerine Dream score from 1981 (aka Dead Kids).

Gatefold packaging / Green (Streaked Lime Green) Color Vinyl. (

Please check allocation with your rep.

It's never been available on any format until now! For this release, we dug out the original tapes and had them digitized and they sound incredible.

Such an atmospheric masterpiece and we are honored to be releasing it. This has been on many TD fans' wish lists for years and years.

WRWTFWW Records is very happy to announce the official vinyl reissue of the highly sought-after Haruomi Hosono-produced Interior self-titled debut, originally released in 1982 on legendary label Yen Records. The LP comes in a heavy 350gsm sleeve.

Interior is Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto. Their classic 1982 debut, produced by Yellow Magic Orchestra's Haruomi Hosono, is one of a kind - a very rare breed of feel-good ambient music blending instrumental synth-pop, soft electronic minimalism, and cozy sound design in the most heartwarming ways. It evokes the intimate pleasures of daydreaming in a hotel lobby, holding hands in a museum, or napping by the pool. It depicts the urban landscape as a caring environment, where simplicity and repetition is mind soothing and smile inducing.

Interior takes you into an alternate reality, where nostalgic modernism makes the present time feel like the fondest memories.

The unique sound of Interior caught the attention of William Ackerman and Anne Robinson who re-released the album in 1985 on their famed label Windham Hill Records (with a slightly different tracklisting) and then proceeded to put out their follow-up, Design, in 1987. After that, members of the group continued their careers separately, Daisuke Hinata notably recording an overlooked but absolutely amazing solo album, Tarzanland, in 1988.

This stand alone companion album to the deluxe self-titled album reissue collects demo versions from the 1999 Screaming Gun sessions which have never before seen release. The tracks "Sulk", "Soul Searching" and "Motor Bass" have never been released period. The other tracks are different versions of the tracks from the Self Titled album and from the original Screaming Gun, which also have never been released. These tracks are mastered for this release, sourced from the original DAT masters, and curated by BRMC.

How We Function' is the debut album from London grunge trio BERRIES. Live shows and festival appearances in the UK planned for throughout the year to support the release, including 2000Trees and Kendal Calling; shows in Germany supporting The Subways in May and at Frank Turner's Lost Evenings V Festival in September. Plus support tour with Jim Bob from Carter in November and their own UK shows in October. RELEASE TIMELINE: TRACK 1 - 'Wall Of Noise' - 11th March 2022 - single Wall of Noise is the latest offering from BERRIES debut album due to be released in July. Lyrically the song gives a nod to self-doubt and how solitude can heighten and affect these feelings. Feeling lost or confused can produce the noisiest thoughts in your mind and that’s what BERRIES wanted to convey in this song. They push dynamics and layers to create the "noise" that so many people are often trying to escape in their own thoughts and the development of that "noise" throughout the song. TRACK 2 - 'We Are Machines' - 13th May 2022 - single + announce of album This single launches the album campaign for BERRIES' debut 'How We Function'. It is a song about struggling in a demanding society and being exploited by people who have little empathy or concern for your well-being. The song touches on how we are forced to become machines, trying to maintain an impossible level of perfection and how we need to fight against this. Admitting we are only human and finding the strength to stand up and push for balance and rights. In turn, becoming a different type of machine.

• Esther Marrow began singing professionally in the early 60s. Her big break came in 1965 when she was asked by Duke Ellington to take part in his ground-breaking Concert of Sacred Music at the Grace Cathedral in San Francisco. Marrow toured with the Duke Ellington Band as well as Harry Belafonte and came to the attention of Bob Thiele who recorded and released this debut album on his Flying Dutchman label in 1969.

• Musically, it’s a compelling mix of funk and soul, occupying similar terrain to Alice Clark’s great album that was released on Mainstream in 1972. For example, Jesse Stone’s ‘Money Honey’ is given a crunching funk arrangement and is one of three tracks that tempt collectors to pay big money for an original copy; ‘Walk Tall’ and ‘Chains Of Love’ are the other two. ‘Chains Of Love’ was originally recorded in Detroit by J.J. Barnes and became a Northern Soul classic. ‘Walk Tall’ is one of the album’s highlights and features music originally written by pianist Joe Zawinul and performed by Cannonball Adderley, with lyrics by James Rein and Morrow. It has become something of a jazz standard, but no version ever bettered this original track.

• Add to the mix the lush string driven power of ‘Peaceful Man’, ‘Mama’ and a tilt at the classic ‘What A Wonderful World’ and you have a truly wonderful album.

• Pressed on 180gm vinyl, we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold sleeve.

For genre-bending band Whiskey Myers, 2019’s self-titled and self-produced album offered a watershed moment. With Rolling Stone raving that the “irresistible” album was “the record the band was poised to make” while declaring them “the new torch bearers for Southern music” in a story titled “How Whiskey Myers Won Over Mick Jagger and Made the Album of Their Career;” Billboard and No Depression naming the album to best-of-the-year lists; 41,000 first week album sales; and the project debuting atop both the Country and Americana album charts (as well as at No. 2 on the Rock charts, behind only a re-release of The Beatles’ Abbey Road), the band celebrated mainstream success a decade in the making. Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes. “It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll. “We’re going to bend genre even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.” Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).

Since the release of Superstition back in 2018, FUNERAL CHIC has been through something of a metamorphosis, a rebirth if you will. With renewed purpose and a line up that has been solidified along the way, the four piece are preparing to release their third full length album, Roman Candle, this summer. Holding no desire to make the same album twice, they have eschewed the punk-led powerviolence that informed their previous work and have embraced the great tradition of American rock and roll - but given it a very distinctive FUNERAL CHIC twist. The swagger of proto-punk forefathers The Stooges and The New York Dolls imbues the darkest, grittiest corners of their reinvigorated sound, and can also be found on their cover of Roky Erickson’s Two Headed Dog. The caustic energy of early thrash and black metal scenes is also present, flickering with unmistakable incandescence throughout. Having previously led with their outspoken politics, this time the lyrics are refracted through a more personal - but no less fervoured - lens. With members of the band taking a path of sobriety in recent years, the knot of rage that was previously doused with alcohol has been channeled into the lyrics on Roman Candle instead. Ten tales of sweat and pungent aggression dripping into a powder keg of a global identity crisis weave throughout the album’s length. Recorded at Legit Biz, in Greensboro, NC with engineer, Kris Hilbert, FUNERAL CHIC guitarist, Robert Stroud, oversaw production, before the album was mixed by Matt Russell and mastered by Brad Boatright at Audiosiege. Throughout the process of creating Roman Candle, FUNERAL CHIC has - without ceremony - sloughed away old skin to reveal something new beneath. The volatile and unpredictable experience of living in modern day America is distilled via the mercurial sound of aggressive punk, sleazy Americana, and raw heavy metal. Roman Candle marks the beginning of the next blistering chapter for FUNERAL CHIC.

Debut release from David J (Bauhaus, Love And Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners Recorded worldwide during the pandemic Available January 21, 2022 on CD and Digital with LP coming later in 2022 Iconic and foundational bands in the history of alternative music certainly include Bauhaus, Love And Rockets, and Violent Femmes. San Francisco born artist Darwin Meiners was a fan of all three. A chance meeting 13 years ago with David J (Bauhaus, Love & Rockets) grew into a friendship, and Darwin not only became a bandmate, but David J’s manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after the Femmes’ Coachella set in 2013. Soon after the three collaborated on Darwin’s 2014 release Souvenir. As the pandemic took hold, Darwin was looking for a new project to occupy the lock-down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society. To say this is something of a dream come true for music fans would be entirely accurate. (The band’s name came from one of many Zoom meetings between the three members. After addressing various pressing musical issues the conversation rambled somewhat and turned to the subject of David Lynch, with David J telling an anecdote which was told to him by Lynch’s sound designer, John Neff. Lynch had asked Neff to obtain a field recording of crickets chirping at night for inclusion in Mulholland Drive. When Neff played him the tape, the director immediately recognized the sound that the insects make when it is light which is apparently a little different to their nocturnal chirp. “No! No! No! These are day crickets, John! I want my night crickets!” Victor, Darwin, and David then shared a look of mutual realization and instantly agreed that the project now had a name!) In Night Crickets’ own words: Night Crickets, a long distance groove affair conducted during the drawn out days of lockdown and beyond.

• Remastered for maximum fidelity.
• Features deluxe packaging, a fold out posted and a patch.
• Limited and individually numbered.

Fear Factory is an American Industrial Metal band formed in Los Angeles in 1990. Throughout their career they have released nine full-length albums with a tenth studio album coming in 2021. Soul Of A New Machine is the band’s debut album for Roadrunner Records, released on August 25, 1992.

AllMusic's Jason Birchmeier gave the album three stars out of five, remarking that "Fear Factory were quite ahead of their time in 1992". The critic also noted the diversity of the genres featured in the recording, saying that "Soul of a New Machine was so ground-breaking because it fused together some of the best aspects of numerous metal subgenres", which "[resulted] in a unique sound". Rock Hard rated the album highly, saying that the sound of the album was strange, indescribable yet required listening. Rock Hard also complimented the blending of various sub-genres, with particular note to Burton Bell for managing such an eclectic set of vocals.

In 1972, Jethro Tull released the instant classic, Thick As A Brick. 50 years on and the album is still revered as one of rock’s and progressive rock’s most definitive and pioneering albums. To celebrate the 50th anniversary, Thick As A Brick has been reproduced in its original format, the legendary 12-page newspaper. The vinyl is a half-speed master of Steven Wilson’s 2012 remix.

Thick As A Brick came about following the release of Jethro Tull’s immensely successful previous album “Aqualung”. Upon its release, Aqualung was regarded a concept album in the music press, and in response the band set about to respond to the rock critics with the ultimate concept album, culminating in Thick As A Brick.

Unlike any other records on the market, the album is set inside a broadsheet newspaper, “The St. Cleve Chronicle & Linwell Advertiser”. The newspaper includes many news articles packed full of continuing jokes, a crossword, connect-the-dots and much more. It was originally written by Ian Anderson, Jeffrey Hammond and John Evan, with the newspaper taking longer to put together compared to the music. As reported in the paper, the lyrics were credited at the time to the fictitious child character, Gerald Bostock, whose parents supposedly lied about his age. Amongst the many articles is a frank review of the album itself. Thick As A Brick was the first album to feature drummer Barrie Barlow, who featured alongside Ian Anderson, Martin Barre, John Evan and Jeffrey Hammond.

A must for any record collection, the album is a half-speed master of Steven Wilson’s 2012 remix, providing the ultimate audio experience of the progressive rock classic.

With their 1978 double concert album Waiting for Columbus, Little Feat staked their claim as one of the premier live bands of the 1970s. Recorded over a series of dates in London and Washington, D.C. over the summer of 1977, Waiting for Columbus vividly captures the L.A. sextet at a crossroads between its swampy mid-'70s fusion of blues, country, jazz and New Orleans R&B.

Little Feat originally released Waiting For Columbus LP on February 10, 1978. The platinum-certified double album cemented the band’s reputation as one of the premier live bands of the 1970s. When it was recorded, the group included: Lowell George (vocals, guitar), Paul Barrere (guitar, vocals), Bill Payne (keyboard, vocals), Richie Hayward (drums, vocals), Sam Clayton (percussion, vocals), and Kenny Gradney (bass).

Waiting For Columbus touches on songs from all six of the studio albums Little Feat released between 1971 and 1977. The dynamic performances showcase the sextet’s inimitable fusion of blues, country, jazz, and New Orleans R&B on signature tracks like “Fat Man In The Bathtub,” “Oh Atlanta,” and “Sailin’ Shoes.”

WAITING FOR COLUMBUS: SUPER DELUXE EDITION is the definitive edition of this classic. It includes unreleased live versions of songs that appeared on the original (“Rocket In My Pocket” and “Spanish Moon”), along with several that didn’t, like “Cold, Cold, Cold,” “Rock And Roll Doctor,” “Skin It Back” and a cover of Allen Toussaint’s “On Your Way Down.”

The Grateful Dead’s first tour outside of North America was immortalized on Europe ’72, a triple live album that distilled peak moments from the 22 shows the band played in six countries for thousands of Europeans. A triumph critically and commercially when it was released in November 1972, today the double-platinum album is an integral part of the Dead’s live legacy and beloved by generations of fans. Appreciation for the extraordinary tour grew in 2011 when every show was released in the unprecedented, 73-CD boxed set, Europe ’72: The Complete Recordings.
Today is the 50th anniversary of the first show from the Dead’s European adventure. It took place on April 7, 1972, at Wembley Empire Pool in London. To mark the milestone, Rhino and Dead are announcing a series of upcoming releases and events connected to the celebrated tour.
A newly remastered version of the original Europe ’72 album will be available on July 29. EUROPE ’72 (50th ANNIVERSARY EDITION) arrives in 3-LP. All of the new 50th anniversary editions were mastered by Grammy® Award winning engineer David Glasser with newly restored audio by Plangent Processes.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

**Hardcore, FWD dance music from two leading sound artists. Edition of 500, Mastered and cut by Matt Colton** Mark Fell and Gábor Lázár ratchet the game with their razor-sharp debut collaboration, 'The Neurobiology of Moral Decision Making'. As promised in the wake of Gábor's acclaimed vinyl debut, 'EP16', the duo have colluded on a full set of ten tracks, ranging from short synapse bursts thru to an uncannily emotive 12 minute masterpiece on the closing side. As the 10th release on The Death of Rave, it demonstrates the distance travelled since the early '90s paradigm shift of original rave culture, effecting a radical recalibration of meter and tone conventions in electronic/dance music, and by turns, acutely probing our perception of time and space. Essentially it's incredibly "funky", if "funk" is taken to mean syncopation or a play on tension-and-resolution. By utilising the grid-morphing potential of Max/MSP software, they unlock mutant ballistic patterns cleanly weaving between and recoding the tendons and ligament of techno, garage, footwork and hardcore with muscle memory-reprogramming impact. Kicks, claps and visceral chromatic stabs land at irregular, blind-spot junctures, acutely rewiring our sense of rhythmic anticipation and offering a thrilling new freedom of expression and dancefloor discipline in the process. It's a masterful step forward from Yorkshireman, Mark Fell's Sensate Focus output and SND classics, and, likewise, a logical leap from Budapest-based Max whizz, Gábor Lázár. If you're into Mumdance, Errorsmith, Lorenzo Senni, Autechre, Actress or SND; we'd say it's as essential as they come.

REPRESS

Niney the Observer’s first dub album ‘Dubbing With The Observer’ was cut at King Tubby’s Studio with Tubby
himself reworking Niney’s rhythms and adding his magic as only he could do.

Niney The Observer (b. Winston Holness, 1951 Montego Bay, Jamaica) by the early 70’s had forged a successful working partnership with singer Dennis Brown cutting some of his best songs adding a more rootsy element to the singers sound. Songs like ‘Westbound Train’, ‘No More Will I Roam’, ‘I Am the Conqueror’ to name but a few. Also
cutting a hit for Ken Boothe ‘Silver Words’ and two other singers that Niney had grown up with, Max Romeo ‘That Was Love’ and Delroy Wilson ‘Halfway Up The Stairs’. It was these tracks and a few other Dennis Brown worked rhythms, that Niney took to King Tubby’s studio at 18 Drumilly Avenue, Kingston 11, with the intention to let Tubby remix and enhance the rhythms Tubby Style.

The result was to be Niney’s first Dub album the mighty ‘Dubbing with the Observer’. On completion it was sent to London and it was then released on Trojan records and named Dub album of the Year. We are proud to put that album back out there for all to hear, what has now become a dub classic.

Hope you enjoy the experience………….

Second pressing, 180g black vinyl with gatefold sleeve and download code. Samara Joy is a singing star in the ascendancy: the young vocalist attracted attention in 2019 after winning the Sarah Vaughan International Jazz Vocal Competition. On her self-titled debut release she puts her spin on jazz standards from the Great American Songbook.

Jazzrausch Bigband stands for a truly unique concept: jazz meets techno meets big band.

After the powerful, song-like album ‘techné’ from 2021, which featured a cast of prominent musical guests, new release ‘Emergenz’ focuses on the core line-up of the band. And a more subtle, yet broader approach, which incorporates elements of minimal music, drum & bass, literature and stronger jazz influences without giving up the
trademark of the band; pulsating grooves and powerful horn arrangements.

When comparing ‘Emergenz’ with earlier albums, what is most striking is how the band’s expressive palette has become even more differentiated and refined. The moments when the energy levels are
at their highest are still dominated by techno jazz, which is only to be expected, but, in between, the regular four-on-the-floor pulse of the bass drum is increasingly suspended, so there are sections
where the forward momentum comes from intricate interlocked horn parts, or just voices.

In 1994, Sator released the cover album "Barbie-Q-Killers" where the band made their own versions of "obscure" punk songs!
The album quickly became a favorite among the band's fans and the demand for a sequel have followed the band ever since.

Now, the wait is over! We proudly present the album "Return of The Barbie-Q-Killers" the long-awaited sequel, which is the band's tribute to bands like Redd, Kross, Devo, Blitzkrieg Bop, 999, The Waves, Pointed Sticks, The Undertones, The Boys, Zero boys, The Last, Unnatural Ax, White Flag, Screamers, The Go-Go's, The Young Lords, Darby Crash Band, The Normals and many more!

Saturday Night pogo rules OK!

Sound Like: the nomads, wilmer x, docenterna, ksmb, dundertåget, mimikry, the scams, union carbide productions

Paganizer are one of the most active and present
bands of shredmaster Rogga Johansson. This
Swedish metal guitar hero is part of many projects,
such as Massacre, Stygian Dark, Heir Corpse
One, Warmagic, Revolting, Megascavenger,
Ribspreader, Putrevore, Blood Gut, Dead Sun,
Graveyard After Graveyard, Necrogod and most
recently To The Gallows.
 This compilation album isn’t a sum up of songs
from other albums. Rogga did some work on old
songs and recorded them again with a little twist,
especially for Doc Records. He also dug into his
vault to find some never-released songs, so it’s
much more than just a compilation.
 For fans of Dismember, (old) Entombed, Grave,
Necrophobic, Unleashed, Bloodbath.

Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

The mastermind behind long-running Inner Sunset Recordings out of San Francisco and the elusive Imperial Pressings has once again resurfaced, and resurfaced with ferocity! Inaugurating the all-new imprint PDG Discs, Homero G.’s “March of the Mighty Club Heroes” is a superbly crafted 4-track E.P. that hearkens back to the days of old, when music had unforgettable stories to tell and partying went hand in hand with making memories that lasted a lifetime.

Blast off into outer space with A1, “Red Planet”. The bassline rumbles and the breaks roll with an intensity that propels you forward in a swirl of intergalactic pads. Track A2, “Rusty Robofriend”, is awesomely twinkly, grindy, happy-go-lucky breakbeat jam that your grandfather’s childhood toy robots secretly dance to when nobody is looking. B1’s “Triple Tab Fantasy” is a perky, skippy, stabby, organ-filled breakbeat delight that joyfully progresses with bursts of refreshing positivity around each and every corner. And B2, “March of the Mighty Club Heroes”, is a deep and rainy piano-adorned, break-laced anthem that gives a beautifully sentimental and heartfelt nod to all the true heads out there who will let absolutely nothing stand in their way of going to the club. Not even bad weather.

A fantastic record that’s 100% built for true connoisseurs of dance music, old-schoolers and all-around music lovers alike, “March of the Mighty Club Heroes” possesses a level of detail and emotion-filled storytelling that is rarely witnessed in electronic music these days.
Once again Homero G. delivers, and delivery massively. He’s notorious for not repressing prior releases, regardless of how sought after they may be later on, so grab your copy now. Because when it’s gone, it’s very likely gone for good.

Vinyl reissue of their 2005 third album, originally released on Echo Records, cut as a double LP, embossed gatefold sleeve!

First time ever on vinyl for the band's fourth album, from 2007, released on CD by RCA and here presented as a deluxe double LP!

FINALLY! THE HOLY GRAIL! In conjunction with BRMC themselves, Cobraside releases the definitive vinyl reissue of the band's 2000 self-titled debut album for Virgin Records, cut as a double LP, gatefold sleeve, with five bonus tracks from the original Screaming Gun CD EP, and new photos etc!

Originally released in 2007 as an "add-on" to Baby 81, this was supposed to be limited to 3500 copies in the US only, but has actually sold over 9000 copies to date. First time ever on vinyl, and with the added bonus track "Not What You Wanted (Remix)". Comes with exclusive poster insert with many previously unseen photos and complete lyrics.

Brown vinyl LP. For the first time ever released on vinyl, this brilliant 2012 LP features an all-star cast of musicians and actors lead by Tim Robbins, Dr. John, Bill Frisell, Ralph Steadman, Annie Ross, John Joyce III and Will Forte.

Hunter S. Thompson's classic Gonzo reportage on the 1970 Kentucky Derby is summoned brilliantly to life through spoken word and musical composition. Conceived by executive producer Michael Minzer for his Paris Records label, the project was produced by Hal Willner, who brought Bill Frisell in as composer/arranger/conductor. Bill then assembled a stellar group of musicians including Curtis Fowlkes (trombone), Ron Miles (trumpet), Eyvind Kang (viola), Doug Weiselman (woodwinds), Jenny Scheinman (violin), Hank Roberts (cello) and Kenny Wolleson (drums, percussion).

Ralph Steadman does double duty portraying himself in the narration and contributing original artwork for the project. In 2021, Kramer re-Mastered the original audio for this historic re-release on limited-edition 'Horse-Shit Brown' vinyl for his Shimmy-Disc label.

Russia's cosmic jazz ambassadors Mekbuda strike back with a new album, The Wonder of Wandering, dedicated to the concept of space travel and heavily inspired by vintage sci-fi movies. In fact, the album sounds like an OST for an imaginary sci-fi flick. It represents a collection of instrumental soundscapes: psych-tinged trumpet solos poured over atmospheric synth pads and backed by a steady rhythm section easily shifting from dusty jazz shuffle to uptempo broken beat.

The Wonder of Wandering is definitely based upon the ideas rooted in their previous release, Convincing Delusional, but it takes them to the next level in terms of arrangements and individual performance. So lay back, relax and put a needle to the groove. The universe is immense, full of wonders and ready for wanderers!

• Leon Thomas’ debut as a leader was this classic of spiritual jazz recorded for Bob Thiel’s Flying Dutchman label. Originally pressed in 1969, it features an all-star band including Pharoah Sanders (under the name Little Rock), Lonnie Liston Smith (piano), James Spaulding (alto sax), Cecil McBee (bass), Roy Haynes (drums) and Richard Landrum (bongos).

• “Spirits Known And Unknown” features versions of ‘The Creator Has A Master Plan (Peace)’, the classic ‘Song For My Father’, ‘One’, ‘Echoes’ and the topical ‘Damn Nam (Ain’t Goin’ To Vietnam)’. Subtitled New Vocal Frontiers upon release, the rear sleeve noted that “Thomas is searching as far into himself as he can go for spirits known and unknown and is creating new dimensions of vocal expressiveness to bring these spirits – these feelings – into the experience of others.” The fact that this album is hailed as a classic shows that he succeeded.

• Pressed on 180gm vinyl we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold-sleeve.

The Institute is happy to present a newcomer in its ranks: Lasha Chkhaidze, one of the 13 members of collective "If Strangers." Georgia is home to melancholia and many exciting musicians, something we have shown in many of our previous releases. Lasha’s first album is part of this theme.

These six tracks gently pull you into a subtle and immersive journey. Listen and soon you find yourself pulled into the beauty of sadness - surrounded by these carefully crafted soundscapes which offer a perfect opportunity for a moment of introspection. The young Georgian delivers ambient and piano at its finest on this first LP.

As the legend says, Agartha is a lost kingdom, located in the earth’s core.
Only the bravest found courage to go to the journey to find it.
As you go deeper, the road gets darker, scarier… The journey to Agartha symbolizes the journey to the untraveled parts of human consciousness, which often frightens us, but as we observe and heal our dark parts we no longer need to compress and hide them. Facing our main fears will make our road mor adventurous, and one day the whole journey will become a tale. Tale of a man who found the lost kingdom of Agartha.

Throughout Grace After a Party we hear Jemima Coulter reaching beyond themselves toward a tender yet magical universality. What results is a pastiche of remembered, dreamed and imagined fragments, a debut album that feels as visual as it does auditory. “I created somewhere I could escape to,” says Coulter. “I imagined people in my mind, had conversations I’d never had. It seems to have created an album that’s a hallucination where I’m half me, half someone else.” But there’s a sense of coming full-circle in these songs, a reminder that as much as we try to reach beyond, we remain invariably ourselves. “They were all stories I was telling myself,” Coulter says, “and then I realized that there was something I needed to say, that it wasn’t just a story, but something about me as well.” Grace After a Party will be released 29th July via Hand In Hive.







[g] 7. [flowers]

On a base level, the term ‘blood harmony’ is simple—it describes the specific sound two siblings make when they sing together. Given that Dave Hause has been writing and recording songs with his younger brother Tim for a while now, it made sense to use that phrase as the title for his fifth solo record. But this being a Dave Hause album also means there’s much more to it than that. Beneath the surface of Blood Harmony, in fact, are multiple layers of meaning relating to Hause’s role as a musician, a brother, a husband, a son and—having become a father to twins a few months before the release of 2019’s Kick—a dad. As such, Blood Harmony is a reassertion of what family means to him..

Released via Hassle Records for the UK/EU, in conjunction with Vagrant Records to celebrate their 25th Anniversary. Re-pressed for the first time since the record's original release.

The wait is over: Arch Enemy are back with the follow up to 2017’s ‘Will To Power’, and they have never sounded hungrier. Delivering a collection of the tightest, most streamlined, and, more importantly extreme metal, ‘Deceivers’ is comprised of 11 tracks that will have their fan base salivating. Every track is ruthlessly catchy and mercilessly violent, and with the likes of ‘Deceiver, Deceiver’, ‘House Of Mirrors’, ‘Handshake With Hell’ or ‘Poisoned Arrow’ the Swedish quintet have never sounded better. Released on July 29th, 2022, it is available in 4 formats, all of which offer something special for the fans. First, there is the hand-numbered Ltd. Deluxe 2LP + CD Artbook which includes a multicolored vinyl (each design is unique), zoetrope/picture vinyl, CD, two bonus tracks, art print and a 36-page LP-sized booklet with liner-notes. The similarly exclusive Ltd. Deluxe CD Box Set includes a special edition CD “PocketPac” (eco-friendly packaging), two bonus tracks, a 32-page DIN A5 booklet (with liner-notes), tote bag and metal pin. Then there is the limited black and colored LP that comes with an 8-page booklet and Obi-Strip, and finally the special edition CD that also comes with a “PocketPac” (eco-friendly packaging) and a 16-page booklet.

The wait is over: Arch Enemy are back with the follow up to 2017’s ‘Will To Power’, and they have never sounded hungrier. Delivering a collection of the tightest, most streamlined, and, more importantly extreme metal, ‘Deceivers’ is comprised of 11 tracks that will have their fan base salivating. Every track is ruthlessly catchy and mercilessly violent, and with the likes of ‘Deceiver, Deceiver’, ‘House Of Mirrors’, ‘Handshake With Hell’ or ‘Poisoned Arrow’ the Swedish quintet have never sounded better. Released on July 29th, 2022, it is available in 4 formats, all of which offer something special for the fans. First, there is the hand-numbered Ltd. Deluxe 2LP + CD Artbook which includes a multicolored vinyl (each design is unique), zoetrope/picture vinyl, CD, two bonus tracks, art print and a 36-page LP-sized booklet with liner-notes. The similarly exclusive Ltd. Deluxe CD Box Set includes a special edition CD “PocketPac” (eco-friendly packaging), two bonus tracks, a 32-page DIN A5 booklet (with liner-notes), tote bag and metal pin. Then there is the limited black and colored LP that comes with an 8-page booklet and Obi-Strip, and finally the special edition CD that also comes with a “PocketPac” (eco-friendly packaging) and a 16-page booklet.

The masters of the brazilian old school death metal KRISIUN are back. After their last album "Scourge of the Enthroned", which was released in 2018, the three Sao Paulo brothers deliver another board-hard and incredibly strong new studio album. On "Mortem Solis" Krisiun convince with precise riffs and hard-hitting sound with the active support of Mark Lewis (production and mix). “Mortem Solis” will be available as Ltd. CD Digipak, 180 gram LP and on all digital platforms.

This 2001 album from the Brazilian death metal war machine Krisiun has never previously been available on vinyl, apart from a limited picture disc release back in the day.

In celebration of the band's self titled 10th anniversary, and new for 2022, WHITECHAPEL "Whitechapel" available for the first time on "marbled" Vinyl. Originally released in 2012, "Whitechapel" has sold upwards of 60,000 units in the U.S., but has offer very limited pressings on LP. Grab these while you can and see WHITECHAPEL ON TOUR in June / July throughout North America

Finnish Death Doom spearhead Kuolemanlaakso, starring vocalist Mikko Kotamäki, are about to release their first album in eight years. The new album Kuusumu was produced by V. Santura, who also took responsibility for producing the band’s previous records. In addition to his studio works, Santura is known as the guitarist of Triptykon and Dark Fortress. Kuusumu is the band’s fourth full-length album, and it will be out in 2022 via Svart Records. “The recording pause got unnecessarily long, but there’s no rush in doom. It was great to get back to work with the folks and catch up with some good friends as well. Kuusumu’s keyboards were played by Aleksi Munter (Swallow the Sun, Insomnium, Ghost Brigade) and Lotta Ruutiainen (Luna Kills) performed female vocals on the album. In my opinion we took many steps forward on Kuusumu”, guitarist-songwriter Laakso says. Kuusumu's texts are loosely based on the sudden global cooling that began in 535, leading to a 10-year winter, loss of crops, mass deaths of cattle and other animals, and famine. Climate change was most likely caused by massive volcanic eruptions, the fog of which darkened the sun for one and a half years, causing intolerable cold. Moreover, the plague pandemic that began in the Byzantine Empire in 541 swept across Europe, killing tens of millions of people during the climate crisis. “Our previous releases are autumn albums, so this time we decided to make a winter album. I came across the literature about those catastrophic events by chance, and got thoroughly inspired - especially by contemporary stories. It wasn’t long until the album material was there already. It’s spine-chilling to think that deadly climate change and a pandemic also raged 1,500 years ago when medicine, information flow and living conditions were in their infancy. There was no knowledge about electricity, for example. People imagined that the gods are angry and the darkness is eternal. One way or another, the power of nature should still not be underestimated,” says the band's artistic director Laakso. On Kuusumu, Kuolemanlaakso stretch their artistic boundaries even further. The album contains the familiar slow heaviness, but also more epic, faster and more polished material. The first single Katkeruuden malja, featuring Lotta Ruutiainen, represents the catchier and lighter side of the album. “Katkeruuden malja draws its inspiration from grief and misery. Musically it trips almost in the landscapes of Tribulation, but with longing, Kalevala-infused and, in my opinion, very Finnish melodies. Regarding singing, Kotamäki introduces new winds, and Lotta's parts really top it all off. The music video is like a visual extension of the cover art and the album’s lyrical themes, ” Laakso comments. The previous Kuolemanlaakso record Tulijoutsen (2014), reached the 10th place on Finland's official album list and was selected as one of the best records of the year on Soundi, Rumba, Kaaoszine and Imperiumi, among others.

With their emotive melodies, propulsive rhythms, angular guitars and dark cinematic electronics, TRAITRS have quickly become one of modern post-punk’s fastest rising independent bands. Consisting of Sean-Patrick Nolan and Shawn Tucker, TRAITRS formed during the summer of 2015 in Toronto, Ontario Canada. The duo recorded demos with producer/engineer Josh Korody (Nailbiter, F*cked Up, Japandroids, Dilly Dally), garnered the attention of Pleasence Records label head James Lindsay and released their debut cassette Rites And Ritual in April 2016. After gaining buzz in the European and North American dark music scenes, TRAITRS released their critically acclaimed LP Butcher’s Coin (Pleasence Records, Manic Depression Records, Alchera Visions) in May 2018. Backed by the strength of lead single ‘Thin Flesh’, the duo embarked on a series of lengthy tours overseas, performed in over a dozen countries including showcases at Wave Gothik Treffen, Castle Party, Extramuralhas, Nocturnal Culture Night, Wavefest, Canadian Music Week and Pop! Montreal. Their relentless touring schedule and work ethic caught the attention of Schubert Music Publishing’s Thomas Thyssen and Eric Burton, and in October 2020 they announced TRAITRS as the first signing to their brand-new record label Freakwave Records. This year, TRAITRS will release ‘The Sick, Tired And Ill’ EP on July 30 and the full-length LP ‘Horses In The Abattoir’ on November 19.

In association with DJ Amir’s 180 Proof Records, BBE Music continues its exploration of rare gems from the Strata Records catalogue, with previously unreleased Sam Sanders album ‘Mirror Mirror’. A collector’s dream come true, this is musical treasure is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact, given that it ranks as one of the strongest releases in the already air-tight era of Strata’s Detroit. Although he’s been compared to John Coltrane, Ornette Coleman and Joe Henderson, saxophonist Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Sanders’ approach to life was so 'out there' that one might say his relative obscurity was a personal choice. Sanders caught glimpses of fame early on performing with several internationally known acts and subsequently, he also learned a bit about what the Record Industry’s primary goals were. Realizing that he did not share them, Sanders chose instead to walk his own path. This drive for artistic freedom turned out to be a double-edged sword: while it allowed Sanders to produce some of the most electric jazz, funk, and soul to come from Detroit, it also meant that most of his recordings were never widely released, if they were released at all. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorised as jazz. As such, 'Mirror Mirror' moves seamlessly between spirit and style: The album starts on the street with “Inner City Player,” a superfly breakdown of a Detroit hustler’s life, before moving into distinctly abstract territory with the melancholy “Face At My Window.” The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straightforward jazz song on the album, “Lover’s Gain” showcases Sanders at his freewheelin’ best. And if there was to be any doubt that 'Mirror Mirror' can get funky as hell, look no further than the wah-wah guitar and early synth sounds of “Funk’ed Up,” easily the greasiest cut on the album. 'Mirror Mirror' is remastered from the original reel to reel master tapes.

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

Repressed , please note price increase! Would Like To Pose A Question is one of the first previously-unreleased funk and soul albums issued by Now-Again, and it still sounds amazing today. Well, it would have to: it's the brainchild of bandleader/drummer/singer/songwriter Lester Abrams (the L.A. in L.A. Carnival). Abrams helped create hit singles like "Minute by Minute" and “What A Fool Believes” for the Doobie Brothers and played with artists such as B.B. King, Stevie Wonder, Peabo Bryson, Manfred Mann, Quincy Jones and many more. Before all that - in early 70s while still in Omaha - he brought a multi-racial band into the Pacific Avenue studio to cut an album's worth of material. Only one single - "Color" b/w "Blink Man" - was ever issued, and this album sat on master tapes in Abrams' closet. That is until Now-Again’s Eothen Alapatt intervened in the early 2000s and Would You Like To Pose A Question was at last given a proper full length release.

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica, and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. There is a always the pervasive element of group play, or ensemble?mindedness, as opposed to emphasis on a virtuoso soloist or frontman, despite the fact Tortoise is composed of members who could each easily have taken center stage in another group. In their debut, Tortoise is composed of Douglas McCombs, John Herndon, Dan Bitney, John McEntire, and Bundy K. Brown. This self-titled, incorporates many musical styles and influences, but no one style alone is sufficient to fully describe the distinct sound they craft. This unique blending of styles caused them to be recognized as the leaders of a new musical movement. Tortoise utilize the recording studio, not only to put their music to wax, but in a way that their recording process becomes a compostional tool described at times as the "sixth member", thus creating a boundless parameter in which to create and manipulate music. Tortoise's self-titled debut was originally released in 1994. This re-issue is re-mastered by Roger Seibel at SAE Mastering, in jacket with art insert, both designed by Sam Prekop as well as a free download card. 2022 version is available on limited edition white with hi-melt black vinyl

Cognitive Prophecy - a new project from the mind of Skatman, lands with ‘Pelennor Fields’ - a sonically diverse, deep and dreamy 3-track EP from UK-Based producer Jozef K.

A new platform focussed on true artistic expression and empowerment - Cognitive Prophecy aims to push boundaries, ignore trends, and thinking outside of the box; drawing inspiration from the past, but always looking to the future - encouraging artists to draw inspiration not only from the niche in which they sit, to create timeless electronic music going forward.

The title track ‘Pelennor Fields’, eases the listener in to the release, with intriguing, broad soundscapes, lush, ethereal pads, and gritty, lo-fi drums that collectively take the listener through a 8-minute sonic day-dream. A beautiful, melancholic and catchy lead melody keeps the track driving along throughout - playing wonderfully off the soaring background synths and ambiences, and leaving the listener craving more.

‘Aria’ continues the dream-like aesthetic, teasing the listener in with shimmering chord stabs, and a signature deep, organic drum groove - which is glued perfectly together with the constant motion of the bassline. The introduction of a strong breakbeat adds a unique twist, providing an intriguing contrast to the lush synth work - making this a truly memorable piece of dance-floor euphoria.

‘Every Face Becomes A Skull’ is certainly the tougher of the three tracks, and perfectly juxtaposes the ethereal qualities of the previous two tracks. A punchy, classic 909-drum groove - coupled with a hypnotic and groovy bassline and trippy melodics take the listener into a journey through the darker side of Jozef K’s sound, to round out Cognitive Prophecy’s first EP with a bang.

Silver Vinyl
2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

Black Vinyl 2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

Age of Apocalypse materialize at a shadowy crossroads between metal, grunge and hardcore. The Hudson Valley, NY quintet—Dylan Kaplowitz vocals, Jack Xiques [guitar], Terry Orlando [guitar], Joe Shannon [bass], and Will Kamerman [drums]—steep anthems of darkness, depression, and loss into a disarmingly infectious and downright inimitable hybrid of their own. After receiving acclaim from Stereogum, CVLT NATION, No Echo, and more, the group present a fascinating and fiery vision on their sophomore full-length and debut for Closed Casket Activities, Grim Wisdom. Initially formed during 2018 after Jack and Dylan previously played in another project. Inspired by an unholy alliance of All Out War, Alice In Chains, Type O Negative, and Life Of Agony, they unveiled The Way in 2020. 2021 saw them team up with “Pain of Truth” for a four-song split. In its wake, Stereogum hailed Age of Apocalypse’s “furious thrashers with big, melodically howled lead vocals and crushing breakdowns.” Throughout 2021, they recorded Grim Wisdom with producer Taylor Young of The Pit Recording Studio. Drums were tracked GCR Studios in Buffalo, NY, followed by the band working out of Jack's studio in Western Massachusetts, while Taylor produced remotely from California and later mixed the release. Mastering handled by Brad Boatright of Audiosiege and original artwork created by Dillon Perino.

Following the incredible reception to Deb Never’s most recent releases ‘Someone Else’ and ‘Sorry’ being championed by Radio 1s Annie Mac and Jack Saunders as ‘Tune Of The Week’ ‘First play’ & ‘First Wave’ stating that “Deb Never is a really special artist, someone with limitless sonic horizons and the most brilliant lyrical finesse! Deb Never has all the makings of stardom and her journey is truly under-way!”, along with continuous support from Matt Wilkinson and Zane Lowe Apple Music 1 shows, New York Times, Billboard, The Fader, Variety and Spotify’s continued love in both Pollen and LOREM adding to the playlist description ‘how are we supposed to focus when this Deb Never track exists’. In the lead up to her highly anticipated second EP, Deb Never teases us with another single ‘Disassociate’. The EP is due to drop this July, yet this is only an introduction to what is to come and to be an extremely exciting year ahead for Deb Never.

2010 release. Since their first show at Hollywood s Hotel Café in December 2008, soulsters Fitz & the Tantrums have toured with Maroon 5, played to thousands at Colorado's world famous Red Rocks Amphitheatre, shared the stage New Year's Eve with Sharon Jones and the Dap Kings, and performed on KCRW s esteemed show, Morning Becomes Eclectic. The recipe for success? Six killer musicians, five dapper suits, irresistible songs, one vintage organ and nonstop touring.

First ever release of concrete and electronic collage works by Belgian underground sound explorer Jan Bruyndonckx. This album contains autonomous compositions, music for film and documentary; all independently recorded in his private studio between 1958 and 1965. A small collection of adventurous and mysterious sound evocations with text/poetry (Paul De Vree) recited by Julien Schoenaerts.

Toshi Ichiyanagi, Michael Ranta and Takehisa Kosugi originally got together in the summer of 1975 for an open-air concert in Sapporo. The concert felt like a great success but was unfortunately not recorded. As the desire arose to record together, they managed to arrange a studio session in the NHK Studio in Tokyo, with presence of sound engineers. What was supposed to be a soundcheck for this session became the session itself: a haunting 50-minute séance of intense avantgarde improvisation using a large instrumentation and live processing (tape echo, ring modulation, phasing). A trident travelogue of the momentum masterfully controlled by the ensemble spirit, transcending the boundaries of psychedelic underground.

Official reissue of this underground classic from 1975, originally released in a tiny edition on the small Japanese Iskra label. As the original master tapes of these recordings seem to be lost, the master had to be taken from an unplayed original LP copy. It was carefully restored and mastered by Jos Smolders with amazing result.

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

Based in São Paulo, the Clube Tormenta collective has operated as part label, part promoter for the city’s rich musical tapestry for years. Released on Nyege Nyege Tapes is their soundtrack to a short horror film titled ‘O
Som Do Libirinto’ (trans: ‘The Labyrinth’s Sound’) characterised by a bloodcurdling hybrid of EBM, heavy

‘Lucky Me’ is the first studio album from rising Mancunian star Phoebe Green. Green has pivoted away from her origins and crafted a unique blend of alt-pop, demonstrated by the glitchy joy of recent single ‘Make It Easy’ and
the newly released title track.

Black & white split colour vinyl 2LP + 7". ‘Hole In The Heart’ by Ramleh was originally released on cassette in 1987, three years after the power electronics/industrial band had split. Now expanded to a full album, but one
that sounds unlike anything Ramleh have done, mixing guitar noise, mournful keyboards and anguished vocals.

Will Stewart's new full length 'Slow Life' is a collection of songs that
capture his unique blend of varied styles and interpretations
From Montgomery's river region, up through west Alabama and over to
Birmingham, a brief stint in Tennessee and tumbling back over Red Mountain to
settle back in east Birmingham. You might call Will Stewart's sound "Central
Alabama Music." A little south of Nashville, some might say. In our current rapid
fire consumer culture of "brands" and "influencers," Slow Life invites people to
take a seat and relax for a while.
While past releases County Seat (2018) and Way Gone (2020) drew from a more
internal and reflective mood, 'Slow Life' approaches the music in a more
immediate and whimsical spirit.
Armed with his core band, Ross Parker (bass) and Tyler McGuire (drums) and
Janet Simpson (vocals) and help from Daniel Raine (keys), Stewart churns
through 10 songs of guitar driven folk rock. Recorded in the heart of east
Birmingham and engineered by Brad Timko, it's a sound that is uniquely central
Alabama.

As many artists have experienced, the past two years hit the entire music and culture industry hard. But MY SLEEPING KARMA – they have truly faced the abyss. Formed almost 20 years ago as a strong bond of best friends with a steady line-up ever since, the band has amassed an incredibly successful back catalogue of five highly acclaimed records and a live album in 2017, as well as extensive touring performances at sold-out venues and prestigious festivals that have marked them as one of the most well-respected instrumental post- and hypnotic rock bands within the heavy music community. Closing a seven-year gap since their latest studio album, Moksha, MY SLEEPING KARMA will release their most emotional, deepest, darkest record to date, inspired by tragic events, on July 29, 2022. The new album, Atma – the logical successor to Moksha – describes the (absolute) self, the indestructible, eternal essence of the spirit, and is often translated as the "soul". Sickness, death, and existential fear had brought the band to a point in music and life at which they were close to parting ways. But their will to survive has been recorded on Atma, a record the band wasn’t even sure would see the light of day when they started working on it back in 2017, and if it did, would’ve never been for industry sales, fame or success.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

Lunatic Harness, µ-Ziq's rare and sought-after fourth album, was originally released in July 1997 on Virgin's Hut Recordings label. It is generally considered to be Mike Paradinas's best work of the nineties. An Apple Music review describes Lunatic Harness as "the prettiest album to come out of the mid-'90s "drill'n'bass movement", noting that Paradinas eschewed the abrasiveness of similar works by Squarepusher and Aphex Twin in favour of "atmospheres of ethereal color and shimmering melody", bringing the album "closer to pop music than anything Paradinas had previously attempted". Planet Mu has compiled a special 256th anniversary edition 4xLP boxset bringing together the My Little Beautiful EP, the Lunatic Harness album and May 1998's Brace Yourself EP (released by USA's Astralwerks label) with the addition of four rare tracks. Discs one and two of the vinyl are the original Lunatic Harness album, disc three compiles the My Little Beautiful b-sides with three unreleased cuts from the period and a remix of Mr.Angry from 1997's Mealtime compilation, while disc four is the 8-track Brace Yourself EP which hasn't been re-issued since 1998. This all comes in individual printed sleeves housed in a rigid box with an insert collage of some of the press Mike received at the time. There is also a 2xCD edition with the same tracklisting.

An iconic Killing Joke mainstay since its initial release in 1979, Turn To Red is available once more as a limited edition 12" pressed on Black Vinyl. Includes a re-mastered version of the original track, a 6 minute 31 second version (In Dub), an 8 minute version (In Dub Extended), re mixed and produced by Youth, plus a re-mastered version of Almost Red.

Carl Finlow has produced an astonishing catalogue of music over a career spanning three decades, with his discography including hundreds of releases and remixes under a variety of monikers. 'Desequence' is the latest edition to Finlow's expansive productions and a masterclass in electronic music.

'Desequence' kicks off the record with a heavy dose of integalactic funk with interstellar beats rockin' over squelchy bass lines and razor sharp glitches. While 'Downstream' delivers a warped groove wrapped up in Finlow's intricate programming.

'Guttural' is an overwhelming assault of rapid fire elements, forming complex off kilter breaks littered with robotic licks and served over deep, low end bass. 'Wavefront' closes yet another impeccable addition to Finlow's highly accomplished works, with an off planet adventure through extraterrestrial soundscapes.

Reissue on vinyl for this classic album originally released in 1978 on Carib Gems. Arranged and produced by Bunny Lee. Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music.

Hot on the heels of reissuing Les Demerle's debut album in 2021, Groove-Diggers keeps up pace with this reissue of Transcendental Watusi!, the first album he released under his Les Demerle Transfusion moniker in 1979. Across these six tracks, the drummer delivers his trademark Jazz-funk sound, spanning the aural terrain of horn-infused ballad "Once Upon a Time" to the darting bass and percussion-driven sounds of penultimate track "Daggerpoint".

Montréal singer/songwriter Laroie with an EP of low key radio hits produced by Gene Tellem with Gabriel Rei and Robert Robert.

‘Seductive sadness. Powerful vulnerability. Precise yet irresistible vocals. A few words to describe Laroie as she steps forward in full possession of her means, following up on her debut and namesake EP released in August 2020, and on the recent singles "Can't Let Go" and "One More". Here she is with Speed of Life, an extended play destined to be absorbed and listened to in one sitting. Funny how it sounds both familiar — you feel like you’ve known these songs your whole life — and brand new, all at once. In this nostalgic and emotional territory, standing at the borders of her influences, Laroie's talent shines through.

Skilfully navigating the electro-pop sonic palette, the artist crafts a comfortable, soothing canvas where dance, soul, and R&B from the late 90s and early 2000 also hop into the mix. From the bewitching slow garage "Elevate" to the cathartic and luminous "Can't Let Go", and through the trip-hop infused "One More", the very danceable "A Place on Earth", "Moonlight", reminiscent of the best of TLC, Brandy and Monica, and the title track’s addictive vocal melody, Speed of Life, just like a silky everyday soundtrack, is enjoyable on repeat.’