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Soulful rocking blues making waves all over.

Back when Eddie Bond recorded Talkin' Off The Wall for his first ever disc
in 1955, he was indeed caught up in a musical moment that was 'off the
wall' – in other words seen as highly unusual, strange, eccentric, bizarre
It was the time of the emergence of rockabilly and white rock and roll. Briefly, the
'rockin daddy from ding dong Tennessee' was hot stuff, playing shows with
Presley, Perkins, Cash and all the other singers from Memphis whose music
talked off the wall to a whole new generation. Today, it does so again.
• A rocking 14-track LP on Bear Family Records® from one of the original
Memphis rockabillies, Eddie Bond, backed up by a 25-track CD featuring original
and cover versions of some of Eddie's songs.
• Mostly from the mid-1950s, these tracks sparkle with the life and excitement of
the new rocking music.
• Eddie started and finished as a country singer, but he embraced the new
rockabilly music and he soon became the Rockin' Daddy described in his bestselling disc from 1956.
• Eddie's backing bands include two of the best guitarists of all time – Reggie
Young and Hank Garland – and they don't disappoint.
• The ten-inch LP contains one song from Eddie's first label, Ekko, six from his
rockabilly heyday on Mercury, two from his originally unissued sessions at Sun in
1958, and five tracks from local Memphis labels in the 1960s.
• The bonus CD contains also a further 11 tracks by other artists, providing
fascinating other versions of songs Eddie recorded. Artists include Sonny Fisher,
Lattie Moore, Ray Charles, and Elvis Presley.

A long-awaited release, this is the 7” version of the Bob Dylan Classic “Blind Willie McTell”, out exclusively on black vinyl on August 20, 2021. The record will be available only at indie record stores and the Third Man Records online and physical stores. The 7” features two previously unreleased takes of the song, with the A-side being exclusive to this vinyl release. The B-side (take 5) will be included as part of Spring In New York: The Bootleg Series, Vol. 16 (1980-1985). The recordings on this single feature a formidable lineup of session musicians, including Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare. “Blind Willie McTell” was the first track seriously worked on at the Infidels sessions and the last attempted as recording concluded almost a month later. In the end, it did not make the Infidels album, but in 1991, the acoustic piano-guitar version that Bob Dylan and Mark Knopfler recorded the last day was released on The Bootleg Series Volumes 1-3. The full band version from the first day of the sessions will now see the light of day as part of Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985). Notes: ● Two previously unreleased takes of the Infidels outtake “Blind Willie McTell” ● The A-side (take 1) is not available elsewhere and is exclusive to this 7” ● Indie exclusive Packaging: Full-color glue-pocket sleeve, standard weight vinyl

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.” In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

Mary Jane Leach is a composer focussed on the physicality of sound, its acoustic properties and how they interact with space. She has played an instrumental role in NYC’s pioneering Downtown scene alongside Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner and Arnold Dreyblatt, as well as devoting years to the preservation and reappraisal of Julius Eastman’s work since his death in 1990, compiling the »Unjust Malaise« 3CD set in 2005 and editing the 2015 book »Gay Guerrilla: Julius Eastman and His Music«. »Woodwind Multiples« is her second album for Modern Love, following »(f)lute songs« (2018).

»Woodwind Multiples« features four pieces for multiples of the same instrument: four bass flutes, nine oboes, nine clarinets, and seven bassoons. Each piece works closely with the unique sound of each instrument, combining pitches that create other, sometimes unexpected, tones, primarily combination and interference tones, as well as rhythmic patterns. What you hear is what happens naturally - there is no processing or manipulation.

»8B4 (1985/2022)«, played by Manuel Zurria, is for four bass flutes. It is a revision of 8x4, which was written in 1985 for the DownTown Ensemble and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice.

»Xantippe’s Rebuke« (1993) was written for Libby Van Cleve, for eight taped oboes and one live, solo oboe. The eight taped parts are equal and dependent, while the solo part is meant to be a solo with the tape as accompaniment. The piece works with the unique sound of the oboe, starting with unison pitches that create the richest sound, building the piece from there. Pitches and rhythmic patterns that occur naturally are notated and then played later, which in turn create other pitches and rhythmic patterns. So, in effect, the nature of the oboe and its natural sound determine the direction of the piece.

»Charybdis« (2020), played by Sam Dunscombe, is for solo clarinet and eight taped clarinets. It combines a somewhat obscured reference to Weep You No More, a John Dowland piece, which combines with the sound phenomena created from the melody and supporting chords of the Dowland.

»Feu de Joie« (1992) was written for bassoonist Shannon Peet and is an homage to the bassoon and its wonderful sound. It is for seven parts—six taped and one »live.« The taped bassoons combine to create a bed of sound that exploits the unique qualities of the bassoon, creating combination and interference tones, starting off with unison pitches, creating a rich sound that builds from there. Most of the subsequent pitches and phrases occur naturally, and are then notated later on in the piece, which in turn creates other notes and phrases.

The first witnesses to Samuels' new beginnings fittingly became part of
the sound of the album - During her darkest moments, while writing in
isolation, her old friends in the band Bonny Light Horseman offered to
take her out on tour in early 2020
"They re-contextualized music for me all over again," she says. Observing a truly
kind and compassionate music community brought Samuels out of herself even
more. Inspired by conversations with producer Josh Kaufman (The Hold Steady,
Bob Weir, Cassandra Jenkins) on the road, Samuels took him up on his offer to
produce her new songs and retreated to Isokon Studios in Woodstock, NY in the
summer of 2021. They made the album as a duo, with Matt Barick (The Walkmen,
Fleet Foxes) contributing drums on the entirety of the record. The result is a sonic
template that ranges from the soaring and orchestral to the understated and
confessional; at turns free- wheeling and filled with swagger then sincere and
precise, with each subtle movement serving to highlight Samuels' lyrical journeys.

A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis Known for his extensive musical experimentation, particularly in the area of time
signatures, Ellis began his long career in the New York City's post bop and avantgarde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus'
Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he
also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and
Woody Herman. On subsequent albums, Ellis would take an even wilder direction.
Here, on his first recoding date as a band leader, the experimentation begins. Ellis
stretches the boundaries of bop-based jazz playing with time, tempo and meter. It
is the start of his exploration of Third Stream - a fusion of jazz and contemporary
classical music. The album title itself - How Time Passes - was taken from an
article written by the controversial German composer Karlheinz Stockhausen on
the "function of time." The exceptional section features Ron Carter on bass, the
underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The
LP includes extraordinary liner notes by Candid A&R man and producer Nat
Hentoff, and noted musician, historian and writer Gunther Schuller - the originator
of the term "Third Stream" - giving a context and insight that adds to the
experience of hearing these extraordinary performances.

Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy
Nominated pianist and composer Toshiko Akiyoshi - then known as
Toshiko Mariano
Women have long been denied the credit they deserve in jazz. It must be noted
that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many
fronts. Jazz has been a patriarchy community from the beginning, and even
critical praise of her playing could not help but take note of her gender. Leonard
Feather, for example, writing at the time in the Encyclopedia of Jazz called out
Akiyoshi's playing as "fiery, powerfully articulated and exceptionally fluent," but
added that there was "nothing delicately feminine." Even today it is still hard for
people to see Jazz in any other way. We are pleased to be a part of shifting the
narrative and shine a spotlight on this talented artist and this wonderful album.
While she was later to compose using themes, harmonies, and instruments
connected to her Japanese heritage, this album captures the pianist early in her
career playing a straight ahead, harp bop style. This was already her 7th album as
a band leader, and it is a shining example of her confidence and mastery of her
instrument and as a band leader. Recorded at the Nola Penthouse Studios in New
Your City in December of 1960, the LP includes extraordinary liner notes by
Candid A&R man and producer Nat Hentoff giving a context and insight that adds
to the experience of hearing these extraordinary performances

Volume 16: The Original Masters is classic Triple Six Mafia down South
Hip Hop
DJ Paul has been a highly influential writer, producer, and artist since 1994. His
dark production, often referred to as Gangsta, Crunk, Horrorcore and sometimes
Hardcore Hip Hop, really stands apart from the corny rap of the current era. Paul
has created a truly unique sound that continues to resonate after all these years.
Featuring Koopsta Knicca, Gangsta Blac, Kingpin Skinny Pimp, Lord Infamous,
and the late great Gangsta Boo.

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

SLW cc Watt is an inspired collaboration between prolific singer/
songwriter/illustrator Samuel Locke Ward and SoCal punk legend
bassist/singer Mike Watt - After the head-spinning fun of 2021's Let's
Build a Logjam and 2022's Real Manic Time, on the new Purple Pie Plow, the duo corral guests throughout the record: saxophonist Bob Bucko Jr, along with drummer Dean Clean, and guitarist Joe Jack Talcum from the sardonic punk band The Dead Milkmen.

The group was formed by three members of Descendents (Bill Stevenson,
Karl Alvarez, and Stephen Egerton)
The ninth release from the original high octane pop punkers, Problematic furthers
the ALL vision by innovating the genre they helped create. ("Go for ALL")
Caffinated, sharp- witted lyrics over tight, highly memorable riffs and choruses
continue to set them ahead of the pack from others who have followed in their
footsteps.
Features 18 classic romantic- angst ridden tunes that will be certain to please
fans ALL over the world.

Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS and collaborated with Robin Scott (M 'Pop Music'). He began working as Codek, a play on the brand name Kodak with the 'Me Me Me' single released in 1980. In 1981 the 'Tam Tam'/'Closer' single was released on West African Music, a tiny label from the Ivory Coast, and re-released a year later by Island Records in the UK (where the B-side was re-named 'Tim Toum'). 'Tam Tam' was inspired by Burundi drummers playing in the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. Claude Arto achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of spanned over two years. They started on 16-track in Studio d'Auteuil, where Jean-Marie blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder.

In 2017 we reissued the 'Tam Tam'/ 'Closer' single and shortly after the 24-track master tapes were discovered in Paris by original engineer Gérard Chiron. We arranged for graphic designer Maycec to pick up the tapes and immediately began to think of remixers for this project. First up is producer and DJ Daniele Baldelli who gave the original single a spiritual home in the Cosmic 80s scene of Italy. Here he's teamed up with Marco Dionigi for two remixes. Remix A goes full on funky disco baseline while Remix B a more balearic affair. We remember Justin sharing a memory of DJing the original Island Records promo at the Mudd Club in 1981 so we had to ask him for remix. He teamed up with his Whatever/Whatever production partner Bryan Mette and delivered an hypnotic pulsing house remix and an extended edit. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is new twist designed by Eloise Leigh on the 1981 edition artwork by Angela Boy, inspired by primitive electronics and African paintings.

Ultimate synth lounge collection of last century modern tunes by David Microwave Javelosa from 1998, limited edition on pink vinyl! Space age, lounge electronica, chip tune, game sounds.

Fans des ursprünglichen Death/Thrash Metal der 80er Jahre können sich freuen! Das lang erwartete Album mit den Demobändern der legendären Band Samhain (später bekannt als Desexult) ist endlich da.Obwohl die dänische Band Samhain in ihrer Blütezeit nie einen Plattenvertrag erhielt, gewann sie eine treue Fangemeinde und wurde zu einem Begriff in der Underground-Thrash- und Death-Metal-Szene, wo sie mit Bands wie Kreator, Pestilence, Imperator, Illdisposed, Exumer, Mezzrow und Invocator spielte.

Jetzt können eingefleischte Metal-Fans zum ersten Mal die rohe Kraft von Samhains frühen Aufnahmen auf Vinyl erleben.Das Album enthält alle Songs der ersten beiden Demobänder der Band, die 1985 und 1986 aufgenommen wurden. Remastered für maximale Audioqualität von einem der Besten des Metals: Kein Geringerer als Ex-Desexult-Schlagzeuger und Metal-Produzent par excellence Tue Madsen im Antfarm Studio (Rob Halford, Sick Of It All, The Haunted, Vio-Lence, etc.), dies ist so true wie es nur geht.

Die Veröffentlichung enthält außerdem ausführliche Linernotes von namhaften Metallern und seltene Fotos aus den Anfangstagen der Band.

Long heralded as one of the heaviest, sickest, and most uncompromising death metal bands in the world, New Jersey's Incantation has forged a legacy of brutality unmatched by any other American group. In 1992, the bands most celebrated lineup entered a then unknown Trax East Studios with a then unproven engineer Steve Evetts and emerged with Onward to Golgotha, the most dark and blasphemous death metal record to date. The combination of the inhuman growl of vocalist Craig Pillard, the ruthlessly savage aural malevolence, and pitiless anti-Christian attack was the ultimate musical sacrilege. Onward... redefined the bounds of brutality and blasphemy for the entire genre of death metal. This is absolute brutality!!!

Members Only is a group XXXTentacion formed as he was still bubbling beneath the surface of the mainstream. Group members have included Ski Mask the Slump God, Kid Trunks, Craig Xen, Killstation, Coolie Cut, Bass Santana, Flyboy Tarantino, Tankhead and Kin$oul. Following the release of their fourth project, “Members Only, Vol. 4,” the collective has gone on an indefinite hiatus, with some of its most prominent members such as Craig Xen and Wifisfuneral exiting the group. Three former members including XXXTentacion have sadly passed away.

Volume 4 was originally released via EMPIRE on January 23rd, 2019 which would have been XXXTentacion’s 21st birthday. 2LP + 24 tracks in length.

Mary J. Blige, the legendary singer-songwriter, actress, philanthropist and honorary Queen of Hip-Hop Soul, will re-release her acclaimed 1994 sophomore album, My Life, on Nov 20 via UMC. The album, which celebrated its 25th anniversary November 29, 2019 will be released in two physical forms: a 2cd and a standard weight black double vinyl. From her No. 57 hit “You Bring Me Joy” to her No. 22 version of Rose Royce’s 1976 soul classic “I’m Going Down,” My Life was one of Blige’s most creatively vital works to date.

Imagine a world in which you are permitted, by a warlock, to go back in time to use an advanced yet primitive submarine to investigate the deepest waters in and around Japan, for the first time in human history. You are not permitted, but two Japanese scientists were allowed on such an aquatic adventure!

Here we have an underwater in-submarine field recording of their adventures, intermixed with a slippery-watery score, that surely represents the lurking fresh surroundings of the deep as they retreat further and further to the bottom of the ocean. The cameras, the retracting mechanical sea tentacle, their communication devices, are all audible now for you, as Deep Sea Animals is played out as a fresh digital radio play. All the audio has been preserved at Studio Isabellalei, by Milan W. from the original laserdisc, which was a part of the cinematic curatorial program at the opening for Spencer Clark’s album Avatar Blue, in Antwerp, Belgium.

With a purchase of the vinyl album of Deep Sea Animals on Pacific City Discs, you not only return to the prehistoric times of 1986, when two brave Japanese submarine pilots were to record deep underwater creatures, but you are also thus thrust back in time to Antwerp 2018, to a romantically titled, Event Horizon Cactus Cooler Laserdisc Theater. Just as well, the proceeds of this disk, tirelessly edited by Spencer Clark, will be donated to the preservation of the ocean, via the inspiring Sylvia A. Earle’s foundation, Mission Blue. Its not that you may or may not believe what I am now discussing with you, its that you can believe, because this disk is real, and thanks to Pacific City and Discrepant we will ride further into the super-natural realms of real life.

FAR aka Simon and Robin Lee's Faze Action Records serve up a special 7" featuring Faze Action's 'Fantasy' which sounds very much like a tune you might unearth in some dusty old crate that hasn't been heard since the 70s and 80s. It has lush synths reaching up to the stars and gentle disco beats that sweep you off your feet. The bustling arrangement bubbles with subtle energy and gorgeous vocals are layered in for extra escapist magic. On the flip is an instrumental that is pared back and more direct, but both tunes really do take you into a fantasy world.

“Insomnia” is the third solo album from Italian jazz beat maestro Koralle for Melting Pot Music. Without exaggeration, it can be described as the most mature and advanced piece of work by the beatmaker and producer from Bologna. On “Insomnia” Koralle invites some of his favourite artists and musical peers to collaborate and exchange sounds, ideas, beats, melodies and lyrics. The guest list includes fellow producers & musicians FloFilz, Pachakuti, Figub Brazlevic, Kuranes, Phoniks and Brous One as well as rappers and singers Kid Abstrakt, KeepVibeNear, Ryshon Jones.

All tracks produced and mixed by Koralle. Recorded at Godblesscomputers Studio, Bologna (Italy). Mastered by Roe Beardie. Artwork by Giulia Dall'Ara. Layout by Chicken George.

Dance music powerhouse Deeptrax follows up recent dispatches from Joey Anderson and Caim, with a label debut from fellow Dutch techno stalwart Robert Vosmeijer AKA De Sluwe Vos, who offers a 5-track collection that explores the depths of both music and sound.

Crafted during the pandemic, Vosmeijer, who had been experimenting with ambient music and sound design, found himself longing for the dancefloor and its ability to disconnect you from reality whilst reconnecting you with friends. As such he began digging into his record collection, absorbing sounds and reenergising his creative output.

"I loved making these records because it felt like I could express myself, within the 'De Sluwe Vos' project, again.”

The Patron Records boss’ new Terraforming EP opens with ‘Reeeese’, a heavyweight ode to the legendary bass sound that underpins the track with its thick layer of treacly warmth. Solar Prince turns our focus on percussion, with its xylophone melody dancing between vaporised synths and string-laced stabs, to create a soothing and yet urgent soundtrack.

On the flip, title track Terraforming, with its wonderful analogue crackles and hisses, lets the pulsing sub steal the show again as pressurised hats snappily punch holes in the atmosphere. Jupiter's Universe exudes a roughly cut techno 2step, layered with pulsing cosmic synths and bubbling melody.

Finally the EP is rounded off by Crawford. Another track that perfectly rides the intersection of music production and sound design. It’s cosmic keys and scything synths work almost at odds with the tribal roll of his drums, yet come together to create a mature and unique production.

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

“Enter a path few can follow, but many can appreciate. A studio or sound’s dub-plates are like a Shaolin monk’s sacred teachings. London-based Alpha & Omega take us into their world of mesmerising roots and divulge their exclusive ‘specials’.”
MUZIK

“Through minimal manipulation, (Alpha and Omega) deliver the listener to a place of great sonic peace.” OPTION MAGAZINE

“The compelling presences at the heart of these airy sonic worlds have a harder edge than some of their ancestors.”
WIRE

“Massively thunderous bass lines, galloping drum tracks and a willingness to tastefully adorn dubs with digital flutes and various electronic sounding washes.”

Proud internet motormouth and Pittsburgh mainstay Thomas Cox finally returns with a second release on his QED Recordings label. The tracks were made in February and were road-tested over DEMF weekend. Each one, he says, was made on hardware in one take, so they have a naturally rugged edge and dynamic feel that makes them all the more real.

'Desire Paths' again betrays his love of Omar-S with its layers of grimy drums and perc and distant cosmic chords, while 'Thunderhead' has a busted drum funk feel akin to Theo Parrish's famously fucked up work. Another worthy outing from Cox, then,

Ten Numero-minted, dance floor ready dive bombers from disco’s all-to-brief heyday, previously swept under rug by the whitewashed glitz and glam of the era. Chugging grooves, bubbling synths, soaring strings, and sonorous voices are guaranteed to light up your night, on living room rugs and dance floors alike.

These days, singer-songwriter and actor David Blue tends to be remembered only in relation to Bob Dylan. A member of the supporting cast in mid-60s Greenwich Village and The Rolling Thunder Revue. Yet to categorise Blue in this way is reductionist, and does him an injustice. He was something of an archetype of the 60s generation of Greenwich Village singer-songwriters. Yet, esteemed by his peers, he was overlooked. He released seven albums in a decade, and his acting career was shaping up when he died suddenly at the age of just 41. His passing was barely noted in the rock press, and in the subsequent years Blue was all but forgotten. Of late, though, that’s changed. His albums started to reappear on CD on small labels and, in 2020, both Rolling Stone and Mojo magazines published major reappraisals. Blue – at last – was getting the attention denied him in life.



It wasn’t until 1965 that Blue, as Dave Cohen, released his first recordings – three songs on Elektra’s Singer Songwriter Project. All betrayed a debt to pre-electric Dylan. But then again, so did much else coming out of Greenwich Village at the time. Elektra contracted Blue to do his own album, and in 1966 David Blue was released – his first recording to appear under that name. Electric folk rock with a garage band attitude, somewhat in debt to Highway 61, it didn’t sell well. Shortly after the album’s release Blue formed and toured with The American Patrol, a four-piece rock band, recording an album for Elektra that was never released.



Now, for the first time, Hanky Panky and Mapache release those historical abandoned American Patrol recordings, along with the three tracks included on Elektra’s 1965 LP Singer Songwriter Project, as David Blue And The American Patrol The Lost 1967 Elektra Recordings & More and David Blue, his self-titled 1966 debut album, on two exclusive vinyl editions limited to 500 copies

300 (hand-stamped, hand-numbered) The fourth episode of the Test Pressing series compilations includes tracks from such artists as Memotone, Giuseppe Ielasi, Andrew Pekler, Rome o Poirier, Nikolaienko, Felix Kubin, Jake Muir, Felicity Mangan, Star Searchers, and Tarotplane.

Raised on Colombia's Caribbean coast and united by its capital, Bogota, Ghetto Kumbé combines the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world. The secret behind their irresistible electronic ritual lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album's co-producer, The Busy Twist, adds all the legacy of UK's Bass scene to the Afrofuturistic sounds of the 3 Colombians. Inspired by the different revolutionary movements emerging all over the world, Ghetto Kumbé will release their first full-length album in July 2020 on pioneering Latin Ameri-can electronic label ZZK. Their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves. Using musical motifs from Africa and Colombia's Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Tech/House, Ghetto Kumbé creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. Their first single to come out, `Vamo a Dale Duro', is a fluorescent criticism of the unjust divide between the poor and the rich, the rising prominence of dirty politicians, and the ethics of the capitalist sys-tem while encouraging people to stand up and fight for a dignified existence. The al-bum's tone fluctuates fluidly between tracks that include ancestral chants, voices both deep and resounding, and anthems to uplift and inspire, as well as features by up-and-coming Réunion island artist Melanie and the Palenque-based folk/hip-hop band Kombilesa Mi. In the Americas, Ghetto Kumbé has become one of the most important alternative groups to come out of Colombia. They've played Barranquilla's world famous Carnival, Bogotá's recent Boiler Room, and have even opened for Radiohead. The ancient yet modern sound of the three powerful musicians has made them a legitimate representative of the new Afrohouse scene burgeoning all over the world.

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

Italo-Disco is a musical genre derived from Disco that started in the early 80"s. It became popular in Italy and Europe, before reaching its peak in American clubs, especially in Chicago and Detroit. Discover 12 groovy tracks of the emblematic artists of this genre in their maxi version. Featuring : Ken Laszlo "Hey Hey Guy" * P. Lion "Happy Children" * Kano "Another Life" * Ryan Paris "Dolce Vita"

As part of The Roaring Forty (1983-2023) celebrations marking the 40th anniversary of Life's A Riot with Spy vs Spy, Cooking Vinyl has repressed the 30th Anniversary Edition of the album on black vinyl. Comprising the original album, plus a live solo version by Billy recorded as a unique encore at his London Union Chapel show on Wednesday 5 June 2013. Life's A Riot (30th Anniversary Edition) features a sleeve based on the original 1983 Barney Bubbles artwork in a vinyl card sleeve with inner sleeve. Pressed in 180g heavyweight black vinyl.

On January 28, 2022, Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and triumph. The accolades the album has received in the year it has been out speak volumes. Performing on The Stephen Colbert Show, selling out multiple US tours, cleaning up in the best of 2022 lists, and then crushing an NPR Tiny Desk on the 1 year anniversary of the album.

Piece Of Me continues to find its way to new ears and has already proved itself a timeless classic. So where do you go from here? When Ghostface Killah reaches out and says he wants to do a remix of the title track you do that. The A side, "Piece Of Me" (Remix) features Ironman himself who puts down a verse about a relationship that ran its course but no one is sure they did the right thing in. Ghostface sounds right at home over the gully Leon Michels produced track and takes the already rock solid tune to another level. Then what do you do for a B side.... You call The Chocolate Boy Wonder, Pete Rock and get him to remix "Joy & Pain". Pete takes one of the stand out tunes on the album and gives it an entirely different energy with thundering drums and a bassline that shake the windows in the car.

4 track EP from 1993 all tracks written and produced by Rob Haigh under his alias Haute Control.

black repress !

No. 1 in the charts in more than 20 countries with more than 2.6 million physical singles sold, a mythical video clip that is shown H24 on all TV channels, nominated for an MTV Award & Victoire de la musique, the most broadcast French song in the world for two years in a row... 20 years later, Starlight still arouses an unfailing love. The opportunity to revive this classic with a '20th Anniversary' collector's vinyl reissue.

Starlight exploded and broke all records when it was released at the beginning of the millennium. 20 years later, the industry has completely transformed but the track still boasts eloquent statistics with over 200M streams! A classic that is all the more notorious for having been part of the advent of a new genre that would mark the history of music: the "French Touch", shaped by Daft Punk, Stardust, Cassius, Etienne de Crécy, Modjo, and thus The Supermen Lovers.

The opportunity to revive this icon with a collector's vinyl reissue; new mix, new master, new disco version.

Syko & DJ Mik-Sir return with a collection of previously unheard tracks with their DNA firmly rooted in the early 90s. Digging through DATs of unfinished and forgotten tracks we came across a handful of half completed tracks originally crafted using an Amiga, an Akai sampler and a Vintage Keys sound module. The Blueskinbadger music archaeologists have meticulously unpicked and pieced each track together making sure we applied the original methodology and thinking behind these tracks and their origins. We’ve taken our time in tidying up and finishing these tracks, completing their 29 year journey from the studio to the turntable. ‘Reboot’, 'Dissemination' & 'Stand the Test' have all been Re-engineered and Re-mastered from those original DATs. An original remix of Boom by Syko completes this collection...

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

“The Merries” is the fourth studio album by Limerick Indie outfit Anna’s Anchor. Once a solo affair, this ever evolving musical project closer resembles a collaborative, ever changing community with frontman Marty Ryan as the driving force behind it. Since the project’s inception in 2014, Marty has amassed a loyal audience from playing over 350 shows all around the world in a DIY fashion. 2021’s “A Glorious Ruction” showed the creative potential of the band with a concept album that led the band to critical acclaim in Ireland in the U.K
Musically this is the most expansive offering from Anna ’s Anchor to date. Guitars, bass, drums and brash vocals do appear as would be expected from the band but The Merries also features more stripped back songs, synthesizers, found sound and spoken word. This album also features more individuals on it than pr evious releases with Brian Scally on drums, Clare O’Brien on backing vocals as well as lead vocals for the album’s closing song and even a guest appearance from Hermitage Green’s Dermot Sheedy on Bodhrán. All of this shows that Anna’s Anchor is operating with an artistic freedom that has culminated into “The Merries”.

In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people.

In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people.

OVERVIEW: Ever since they arrived on the Norwegian indie scene at age 17, the Oslo-based four-piece Veps has released a steady stream of jaw droppingly mature, indie pop gems. Now, as they are all in their final teenage year, Veps announces their debut album Oslo Park for July 21st release on Kanine Records. Continuing to dish out indie pop bangers with a carefree, DIY attitude, Oslo Park is Veps at their most dynamic. Produced by fellow Norwegian Matias Tellez (Girl in Red, Sondre Lerche), Oslo Park is an emotional, fun ride through adolescence. Feisty rocker “His Brother” evokes the spirit of the alternative rock scene of the early 1990s, before the minor key gem “Crawl” breaks your heart with its honest depiction of teenage heartbreak. The gorgeous ballads “Ballerina (Norah)” and “To the Bedwetters” are both, in their unique way, an instant emotional time capsule to the melancholy and vulnerable aspects of being young and searching for your identity. If their EP, Open the Door, was described by the band as a “love letter to our teenage years,” this album, raw, emotional, beautiful and melodic, is more of a goodbye, perhaps.

Southener Hiatt dB makes his debut on RNT with a 6 track mini-LP of swampy dance floor cuts. Born in Texas and based in New Orleans, Hiatt delivers a unique offering with “11pm-Til’” that bridges the gap between House, Breaks, Acid, Disco, Funk, and Boogie.

Having established his name with releases on Rhythm Section and his own Mystery Zone label, this record is his strongest musical statement yet, packed with live instrumentation, and vibrant organic productions that make for both a perfect listen and a groovy club spin!

DJ Support:

Charles Webster, Justin Robertson, Blair French, Moplen, Dicky Trisco, Nick The Record, Lex, Lars Behrenroth, Willie Graff, Ravanelli Disco Club, Androosh, Max Essa, & Massimiliano Pagliara

Skeewiff have gained recognition for their canny ability to turn a retro track into a bona fide modern hit. And so they return with a limited 7" release featuring their outstanding version of the traditional song 'Misirlou'. With its fusion of Eastern Mediterranean and surf rock influences, the memorable riff was made famous by Dick Dale, and it has become a cult classic thanks to the movie 'Pulp Fiction'.

But it doesn't end there, because the duo turn their attention on the flip to the stone-cold classic that is 'Amen Brother' by The Winstons! Known best for the honour of being the most sampled drum break ever, once again Skeewiff make it their own. This pairing represents the essence of Skeewiff's distinct sound, reflecting their musical obsession to achieve perfection whilst having fun along the way.

*REISSUED ON LIMITED EDITION BLUE VINYL*

London-based electronic songwriter Ryan Lee West aka Rival Consoles to release his most personal work to date in the form of a mini-album titled ‘Night Melody’ through Erased Tapes on 5th August 2016. During the release of his acclaimed full-length album ‘Howl’ and heavy touring in late 2015, Ryan came out of a 13-year long relationship and found himself making music throughout the winter months. The result of his efforts is a 34-minute, 6-track mini album ‘Night Melody’, born out of and shaped by long hours working into the night. It’s nocturnal in sound; mysterious in the way that the early hours so often are.

“I found myself, in a silent home, with the days getting dark very early. I’ve never before in my life been affected by the lack of light so much. I just remember it always being night time. I would either make music into the night, go out drinking with friends, or go to parties and dance into the early hours, every day, week after week, month after month, until eventually the days became brighter again.” The opening statement ‘Pattern of the North’ starts off with a collage of spliced synth melodies, inspired by anxiety that accompanies going home for Christmas. It’s followed by ‘Johannesburg’, an early sketch gradually filled out during his tour in South Africa.


“After playing it around some of the cities, I got a lot of inspiration to bring it to life and push it into something that really moves me. I think this is one of my most colourful pieces of music, with its driving rhythm and almost a homage to Terry Riley’s ‘In C’ towards the end, with a build of very simple, hypnotic parts. I especially love that for over five minutes the piece is tied to just one note. This makes the ending very dramatic, because all of a sudden there is this harmonic change.” ‘Lone’ started life around the time Ryan was working on his ‘Sonne’ EP in 2014. It’s the result of constant adjustments to find the perfect balance of fragility and assurance. As everything on the album, it’s a carefully considered, emotionally mature piece. “I think, as I get older, I need music to represent something and not just sound interesting, though of course the two are connected.” The closing statement ‘What Sorrow’ is a fitting end to the album, building from gentle melancholia to a joyous crescendo. It’s a sensibility that’s central to the record; joy and sorrow both find their counterpoints.


“This record is very personal to me and I hope it offers something for other people, as it helped me to make it and to listen to it. Almost every synth line was recorded intuitively, without perfection but with a lot of intention and expression. I’m not interested in making something sad or making something happy. I want music to be bittersweet, to be more complex, like life – containing moments of vibrant colour and hope, as much as darkness and sadness.” This summer will see Ryan follow on from his recent North American Tour with the appearance at many festivals including Lovebox, Secret Garden Party, La Route Du Rock, Sea Change and Tale of Us-curated Afterlife party at Space, Ibiza.

'In Tense' from New York-based composer and bassist Harish Raghavan, following his 2019 debut 'Calls For Action' this new and all-original output was recorded at the end of 2020 in the midst of the COVID-19 pandemic. The album's six tracks were written especially for the exceptional band of drummer Eric Harland, guitarist Charles Altura, Joel Ross on vibraphone and marimba, and Morgan Guerin on woodwinds.

Hot on the heels of his successful first Rubi Records release, Ashley Tindall, AKA Skeptical, comes with another three-track EP showcasing his evolving and expanding sound. The opener, 'Rhubarb', shows clear influences of fatherhood, with sampled sounds of happy childhood leading into what is possibly Skeptical's deepest track to date. While this is no piece of bland 'intelligent' D&B by any stretch, the build up intro of warm pads that leads into a chilled head-nodder stands a good chance of having you listening with eyes closed, smiling as fond memories wash over you. Next up is the deceptive 'Capsize'. Starting with the strings of an old sea shanty, the track sounds like it will follow the more chilled route of 'Rhubarb', before the introduction of some twisted minimal sonics and trademark 'steppy Skeppy' drums quickly change that notion! The swift addition of a fizzing, rubber-band b-line completes the switch up and you're sailing on far from calm waters. The return of the shanty violins amidst this is inspired, showing that breaking from the expected norm is not just something that this producer isn't shy of doing, but something he does exceptionally well. To round off, Skeptical steps back into more typical sonic territory with a slice of intense D&B minimalism titled 'Foiled'. This deceptively simple-sounding track hides a wealth of meticulously-crafted and perfectly-balanced elements that deliver a somewhat claustrophobic atmosphere that will appeal to lovers of the outer-edges of cutting-edge D&B. Skeptical's new EP promises to be just as successful as his first release, showcasing his unique and evolving sound.

An exciting new Record producer, with a sound that blends elements of Electro, Breaks, and Techno, Doppelbanger is quickly making a name for himself in the underground music circuit.
Drawing inspiration from the pulsing rhythms of the latest Electro sound with artists like Locked Club , Re:drum , Dagga, Manao & Hermeth leading the revolution. He infuses his tracks with a gritty energy that sure gets crowds moving on the dancefloor, but he also brings a modern twist to the genre, incorporating lush synths, intricate percussion, and cleverly manipulated samples to create a sound that is both nostalgic and forward-thinking.

Whether you’re a die-hard Electro fan or just looking for some fresh beats to get your groove on, Doppelbanger is sure to deliver the goods. So tune in, turn up, and let the vibes wash over you!

His first EP has just been released across all streaming platforms, along with the 1st press of Vinyl Records, grab a copy soon, before it is sold out!

Write up for EP: 2020 Vision

Welcome to an Electro-infused sonic journey! This EP captures the essence of a unique musical vision, blending captivating melodies, pulsating beats, and intricate soundscapes. With five tracks that span a range of moods and emotions, you are invited to immerse yourself in this electrifying experience.
From the moment the first track kicks in, you’ll find yourself transported to a world where synths come alive and rhythms intertwine with ethereal soundscapes. Each composition has been carefully crafted to take you on a sonic adventure, weaving together elements of Electro, pulsing basslines, and mesmerizing textures that will leave you craving for more.

Throughout this EP, Doppelbanger has pushed the boundaries of the genre, exploring new sonic territories while staying true to its roots.

The five tracks on this EP are meticulously arranged and mixed to ensure a seamless flow, creating an immersive experience that will keep you engaged from start to finish. Whether you’re looking to lose yourself in the infectious grooves or find solace in the introspective moments, this collection of songs has something for everyone.

Carl Finlow keeps on keepin' on. Not only is Finlow one of the most respected names in electro, a producer who boasts a sprawling catalogue that takes in a wide variety of aliases, but he's also spent recent years establishing himself as a mainstay for Sheffield's Central Processing Unit label. Soft Robotics, the new EP from Finlow's Silicon Scally project, is the fifth Silicon Scally release in five years to boast one of CPU's instantly-recognisable black-and-white covers.

The reason that Silicon Scally and CPU keep linking up is simple; they're a perfect fit for one another. Central Processing Unit has established itself as a haven for post-Drexciya producers since launching in 2012, and there are few artists better than Finlow at building on the Detroit group's sound. The union bears fruit once more on Soft Robotics, an EP of lithe machine-funk jams that will both do damage in the dance and also reward more concentrated home listening.

Things begin at a steadier speed than one might expect. Rather than barrelling off with the kind of sinewy roller one associates with the CPU name, Soft Robotics' title-track takes things at mid-pace. The groove reveals itself without hurry, Silicon Scally adding or subtracting elements - twitchy modular loops, pensive pads, the occasional blurt of low-end - atop the chugging bass/drums groove. It's a track which wins you over with guile rather than force.

As the name of subsequent cut 'Jitters' intimates, this one picks things up a little after 'Soft Robotics'. The tempo is higher here, the central beat more nervy. At their cores, though, 'Jitters' and 'Soft Robotics' are kindred spirits. Here, another slyly insistent bit of drum programming comes swirled up with all sorts of extraterrestrial tones, from little nuggets of melody supplied by the keys to electrifying synth stabs and percussive squelches.

Things limber up further still on first B-side 'Spin Ratio'. The track's 808 kicks are punchier than those of the A-side jams, and there's a dizziness to the bass tone which gives 'Spin Ratio' an intriguingly off-kilter feel. Atop the booming beat we find ourselves hypnotised by cells of melody and harmony interlocking or moving apart - particularly the staccato module at the track's heart. Sure enough, 'Spin Ratio' is the Soft Robotics joint which cleaves closest to Drexciya, invoking other Detroit disciples like Jensen Interceptor in the process.

After Soft Robotics picks up speed in the middle, closer 'Super Fluid Tones' brings us back to where we started. This track returns to the more measured delivery of the record's opener - there's a steady pulse to the drums, and once again Silicon Scally packs the mix with so many intriguing whizzes, bangs, blips and blurts that it's impossible not be won over by this tune's construction. 'Soft Robotics' and 'Super Fluid Tones' bookend Soft Robotics very nicely, and Silicon Scally's smart pacing gives the EP a lovely ebb and flow.

The ever-excellent Carl Finlow drops a Silicon Scally release via Central Processing Unit for the fifth year running. Like its predecessors, Soft Robotics is an excellent and deftly-crafted collection of modern machine-funk.

RIYL: Drexciya, Jensen Interceptor, Fleck E.S.C., The Advent

If you ever thought Debris was Oklahoma's only entry into the bloodstream of feral, batshit rock, guess again. Mag Amplitude's, Wizards Of Today appeared in a miniscule, self released edition of 100 in 1983 & was the brainchild of a blind, guitarist-vocalist by the name of Matt Muncil. On Wizards Of Today, Muncil-considered by the psychedelic mafia to be the 'Higney of Heavy Rock'—& drummer Scott Roher proceed to lay down over 7 tracks an incredible wall of wildly fuzzed & primitive bash that is a singular testament to loner, outsider brilliance. Heavy on double tracked guitar riffs & growling, incomprehensible vocals concerning outer space, rocket ships & rock, Mag Amplitude's Wizards Of Today is a half hour slab of muzzed disorder of the highest possible recommendation. This Zaius Tapes reissue is in a one time pressing of 292 copies. Our first foray into (re) introducing fans & collectors into the cimmerian forest of American real people/outsider psych rock."—Johan Klepp, for Zaius Tapes

Stepanida Borisova is an outstanding singer from the republic of Sakha-Yakutia, Siberia, and its most reknowned exponent of folk theatre. As a singer, Stepanida performs in many different styles of traditional Sakha singing. She is mostly known as a performer of poems - tojuks, one of the genres of Sakha storytelling folklore. Tojuks, long with other genres of singing, form the core of the Sakha epic Olonkho, an anthology of supernatural and heroic legends and fables, an absolute essence of Sakha poetic and vocal expression.

Her signature style of singing is "enelgen", a disturbing and somewhat dark yet mesmerising, ecstatic, meditative and improvisational style, conveying a very intimate and personal feeling of love, loneliness or longing. "Music puts restrictions on you. It puts you in the mould. But the real life is different. Without thinking about musicality and form, one must sing what one feels" Stepanida Borisova comments on her art and performance.

During her long career, her desire to break out of the restrictions of tradition and to expand her sound, led her to perform with musicians from many different cultures - Europe, Middle East and Asia. But of all Stepanida's collaborations, the duo with the Czech drummer and composer Pavel Fajt is undoubtedly the most long standing and well documented project.

Fajt, with his relentless desire for experimentation and musical challenge, is probably one of the most reknowned musicians on the Czech alternative rock/jazz scene. With his musical career starting in the early 1980s, he was crucal in laying the foundations of the Czech folk/rock movement, first with legendary rock band Dunaj, then moving on to work with the violin player and singer Iva Bittova, guitarist Fred Frith, Jim Meneses and many other musicians.

The soaring spiritual dialogue between the two free spirits in music began with a run of successful concerts and a TV debut in Prague in 1998 and still continues. Stepanida's stunning embodiment of the ecstatic female shaman, Pavel's vibrant and expressive drumming manner - combined with the theatrical background and performing experience of both - make an amazing spectacle of sound and vision, in which all the colours of Stepanida's unearthly and powerful voice are neatly dovetailed into Pavel's ornamentation of beats and rhythm.

The songs presented on this album were recorded in Brno in 2002 and are finally seeing their first vinyl release.

With the original version already proving a massive hit with DJs such as Target, Mistajam, Toddla T and Rene Lavice on BBC Radio 1 and 1Xtra, as well as becoming something of an anthem at festivals across the summer, we've enlisted the help of the one and only Gentleman's Dub Club to give "Stranger In Town" the roots reggae remix treatment. Taking the original parts and dubbing them up, adding extra guitar, bass and horns, they've taken the vocals of Canadian reggae star Exco Levi back to its roots in a classic style adding some vintage sounding vibes. With a dub version that is exclusive to this vinyl (not available digitally) - this should be massive with DJs.

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

The electric eels were the first punk band, full stop. They may not have “started” the genre, but they were the first to tick all the boxes. The eels rejected every 1970s rock convention—professionalism, virtuosity, subject matter, image. Dave E.’s caustic vocals, complete with an aggressive lisp and a head full of snot, would become de rigeur a few years after the group disbanded. Meanwhile, the songs’ focus on car crashes, suicide, neuroses, and generally hating people were as far out of the mainstream as possible. The two eels tracks that do approach the subject of romance couch it in terms of not really caring that much about it (“Jaguar Ride”) or placing it in the context of a grisly murder (“Silver Daggers”). Also consider John Morton’s signature guitar sound, a nails-on-chalkboard tone with brutally free soloing inspired more by Albert Ayler than the blues or aspirations to technical facility. Ditto Dave E.’s clarinet playing and affection for lawnmowers and vacuums during live performance. They were notoriously violent not only among themselves, but towards audiences, police, and anyone unfortunate enough to be around them when things went south. Then of course there are the leather jackets, the clothing festooned with rat traps or safety pins. And no bass player, why bother. There is simply no other “proto” band to have had all these pieces in place circa 1973- 1975. Yet it is a mistake to consider the eels exclusively in such a context. Yes, the eels could and did shock anyone who encountered them, but they also had great songs. While both Dave and John were visionary writers, they also had rhythm guitarist Brian McMahon, a melody and riff machine who wrote many of the band’s signature songs. And they were no one-trick pony. Although much of the band’s material is appropriately high-energy, there is also the downer eels—morbid, harmonically risky, and in full existential crisis. Although it’s not a focus of this compilation, the eels also had a penchant for completely free improvisation. Over the last forty plus years, there have been several electric eels compilations. Spin Age Blasters is quite simply the best one ever assembled, every single key track is here in its best version, properly mastered by John Golden, and sequenced with an eye towards both flow between tracks as well as individation between sides. A true monster of an album.

The Side Eyes are back with the follow up to their 2017 self-titled debut album and are asking the question What’s Your Problem? Anyone suspecting that the Southern California band may have mellowed out in the five years between albums will have those suspicions shattered within the first twenty seconds of the opening track “Get Me Out.” If anything, the band is now harder, faster and angrier than they were the first time around. Vocalist Astrid McDonald is in fiery fine form calling out everything from phonies to shit-talkers to people that simply aren’t nice. Brothers Kevin and Chris Devine on guitar and bass and drummer Sam Mankinen thunder through the twelve tracks here at a breakneck speed that is positively pummeling. While The Side Eyes sound like a throwback to early Southern California hardcore punk rock like Circle Jerks and the Adolescents, the band also sites more recent bands like Ceremony, Glue and Babes In Toyland as influences. Produced by Steve McDonald (Redd Kross / Melvins) and clocking in at under twenty minutes (while spinning at 45 RPM), What’s Your Problem is a modern punk rock gem that blows past the sonic barriers of their past inspirations. This is great stuff!

Robert Pollard has a very strong work ethic. With most of their touring canceled due to the pandemic and then a fractured kneecap, Guided By Voices ran up an extremely prolific streak in the studio, recording and releasing eight albums in the past three years and garnering piles of rave four star and five star reviews in the process. In case one were snoozing, the last album, La La Land was Uncut magazine’s “Best Of The Month.” The pandemic records were particularly notable and unique that the band members recorded most of their instruments individually in separate cities. Welshpool Frillies finds the gang back together, in a Brooklyn basement with producer Travis Harrison. Much of it was recorded live to tape. The catchy ear worms in these new songs are undeniable, as the kinetic energy of the band is captured in its most raw and pure form. The album is brash, no-frills, and punky, inspired by the wiliness of 90s-era GBV, specifically the Scalping The Guru compilation that Pollard put together in 2022. 2023 marks the 40th anniversary of GBV’s start in Dayton, Ohio. Robert Pollard was an elementary school teacher with no formal music training, and his unlikely success has been an odds-defying adventure. It’s never too late to discover this vital rock band and join the GBV cult.

Repress!

Having already released a handful of singles on NICE UP! it seemed like high time for Nottingham's Origin One (aka Kevin Thomson) to step up with his debut album. Written and produced over the space of around 2 years in the artists own Deeper Than Roots studio, the album represents a wider spectrum of roots and reggae influenced music, taking the foundations of this music and applying a modern style and sound to it, traversing dancehall, bashment, grime, jungle and dubstep along the way.

Repress coming!

Repress!

First in a series of collaboration albums between Lokkhi Terra (described by songlines as the "probably the world's greatest Afrobeat-Cuban-Bangladeshi band") and Bangladeshi folk legends the Shikor Bangladeshi All Stars. This first outing is a Roots meets Roots affair. "The international power of Reggae" David Rodigan Radio1xtra

Written whilst Lokkhi Terra were on tour in Bangladesh, and recorded between Dhaka and London, the two tracks and corresponding dub mixes on side B reflect the bands long love affair with Roots Reggae. They were first perfromed on Bangladehi TV for a show called "The Bengal Tiger's Revenge", and then showcased at UK"s Womad Festival in 2015.

"should not have worked, but really did. Kishon Khans keyboard and artistic direction allowed the Bangladeshis to meld with his Cuban rhythm section to really fine effect, blending Latin, Afrobeat, Jazz, Dub and all manner of other elements to create something truly exceptional" United Reggae

"Awesome Cross-Cultural Collaboration" London Jazz News

Brilliantly remastered (picture) LP/CD with new stunning artwork!
Lo-Fi India Abuse was recorded in 1998, some tracks are “pure” Muslimgauze and some are re-mixs of tracks from Systemwide’s “Sirius” CD (see also Systemwide meets Muslimgauze “at the City of the Dead” 12″). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: “Antalya” is obviously from the same sessions as “Fakir Sind” seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. “Valencia Flames” sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. “Al Souk Dub” injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. “Catacomb Dub” and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. “Dust of Saqqara” has a heavy pulsating electronic sound wave over an old beat box rhythm. “Android Cleaver” is brutal (as is “Nommos’ Afterburn”) hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, Lo-Fi India Abuse is yet another great Muslimgauze release, grab it!
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).

On 'Love Hallucination' Jessy Lanza is in control as a songwriter and producer, flexing her skills in the studio and rebuilding her sound, taking chances with production and energy in all directions, from club-ready, to downbeat and sultry, with the theme of trusting yourself in the moment and using intuition as a compass driving the record forward. ‘Love Hallucination’ is the sound of an artist in bloom, an album of big emotions and big songs, with direct, personal lyrics, such as the upbeat but panicked opener 'Don't Leave Me Now' and the 2-step drama of 'Midnight Ontario', or 'Limbo', an ear worm disco stomper about produced with Marco 'Tensnake' Niermeski. Also featured as co-producers are David Kennedy (Pearson Sound), adding slick arrangements for the club, long-time collaborator Jeremy Greenspan (Junior Boys), and Paul White. ‘Love Hallucination’ is a bold and immediate record from Jessy Lanza, her most clear, authentic and best to date.

Brand new album from Nine Mile Station.
• With tracks mixed by the late, great and legendary Al
Schmitt whose 23 Grammy's is a record
among producers and engineers.
• One of Schmitt's last before he died in April 2021…
bookended by sessions with Neil Young and Willie
Nelson.
• First vinyl pressing is exclusive as the track ‘She Walks’
was later replaced with ‘Who You Love’, inspired by
the growing hostilities to the LGBTQ community.
Lead singer Will Hawkins discovered NMS guitarist
Fernando Perdomo while watching the awardwinning documentary Echo in the Canyon which featured
Fernando performing with Jakob Dylan, Fiona Apple,
BEck, Brian Wilson, Roger McGuinn, Michelle Phillip and
Neil Young.
Coachella Valley Weekly called the NMS debut album the
“best heartland rock album in 30 years” and
MusicConnection commented on their live show: “Nine
Mile Station is a rockin Americana music band like no
other!

SUPERB NEW ALBUM BY STRAWBS. FEATURING DAVID
COUSINS, BLUE WEAVER AND JOHN FORD.
• RADIO COVERAGE, REVIEWS IN NATIONAL PRESS, CLASSIC
ROCK, UNCUT, MOJO, RECORD COLLECTOR AND PROG
MAGAZINES PLUS WEBSITES AND FANZINES.
Vinyl LP edition of ‘The Magic Of It All’ by Strawbs,
recorded in Cape Town and featuring David Cousins, Blue
Weaver, and John Ford from classic 1970s line up joined by
some of the finest musicians and singers in South Africa.
Strawbs were high in the charts with ‘Grave New World’ and
‘Bursting At The Seams’ 50 years ago which coincided with a pivotal
moment in the struggle for freedom in South Africa, when students
and workers launched a new wave of resistance against so-called
“resettlement”. The resistance in South Africa identified with
Strawbs songs, especially ‘Part Of The Union’, ‘Lay Down’, and
‘New World’.
Recognising this, South Africa documentary maker, Niel van
Deventer, approached David Cousins with the idea of producing a
documentary about Strawbs and the band’s influence around the
world. Niel wanted to film while new songs were being recorded in
a Cape Town studio. David Cousins came up with a bunch of his
finest songs; Blue Weaver flew over to produce the sessions and cowrite some of the material, while John Ford joined in with his
contribution to the songs from New York.
Featuring brand-new songs recorded at the Academy Of Sound
Engineering in Cape Town, with engineer Peter Pearlson worked
with Paul Simon when he was recording South African musicians for
the ‘Graceland’ album. The South African musicians on this album
include Mauritz Lotz, Schalk Joubert, Kevin Gibson, Byron
Abrahams, Simangele Mashazi, Marzia Barry and Luna Paige.
Cathryn Craig and Nicole Tee joined the singers from the UK. The
documentary The Magic Of It All will be released later this year.

Bringing his worlds of words and music together, Colin MacIntyre’s (aka Mull Historical Society) brand new album ‘In My Mind There’s A Room’ features an all-star cast of literary giants who have penned words about a special room that plays or has played a significant part in their lives. Using these words as the lyrics, Colin has then written the musical arrangements to create a 14 track album of personal and thoughtful songs. Featured authors include Ian Rankin, Nick Hornby, Jacqueline Wilson and Liz Lochhead plus many more. Recorded, fittingly, in a room that means a lot to Colin – his grandfather’s flat above the bank in Tobermory, Mull which has now been turned into a recording studio. The album is released on CD, vinyl and digital on 21st July 2023 on Xtra Mile Recordings. Mull Historical Society will be performing at this year’s Hay Festival, Borders Festival

Lori McKenna titled her album 1988 after the year she married her husband, Gene, yet the 10 songs within also serve as a love letter to lifelong friendships, people she’s lost, and her family. Recorded with producer Dave Cobb in Savannah, Georgia, 1988 naturally has its nostalgic moments, even if not every ending is a happy one. With more of an electric edge than her past projects, 1988 feels in step with classic ‘90s albums by Sheryl Crow or Gin Blossoms, where the lyrics pulled you in as much as the melody or production. Playing together on acoustic guitars while facing one another in the studio, McKenna and Cobb tracked the album live, giving it a feeling of immediacy and authenticity.

The debut album, "Won’t Die This Way," from Cleveland-bred singer/songwriter/guitarist Erin Viancourt brings her lived-in storytelling to a gritty but gorgeously detailed batch of songs, encompassing everything from Americana to Western swing to classic outlaw country. Rooted in the warm and radiant vocal presence she’s shown onstage in touring arenas with Cody Jinks (who recently made Viancourt the first signing to his Late August Records), Won’t Die This Way ultimately reveals her rare capacity to soothe the soul and leave the listener newly empowered to live each day to the absolute fullest.

Named after a Kate Bush deep-cut, James And The Cold Gun are dubbed "South Wales' Loudest" group from Cardiff, Wales UK. Earlier this year, Loosegroove Records (a Seattle-based label owned by Stone Gossard (Pearl Jam) discovered the band on KEXP Seattle w/Kevin Cole and immediately signed them. Their most recent single Chewing Glass was met with rave reviews from NME, Apple Music's Rockstars of 2023 Predictions, a recent sync in Rookie:Feds on ABC, and dozens of DSP playlist features across Spotify, Amazon, Apple, Deezer, and more.

Jade Warrior is the debut self-titled and self-produced album by Jade Warrior, released in 1971 as part of the progressive rock movement. The album sets the scene for what the majority of the band's albums were to sound like, mixing various ethnic sounds with a progressive and otherworldly sound, as well as sudden changes between slow acoustic guitar melody, to distorted and heavy electric guitar with a faster tempo.

Following his tenure fronting British psychedelic rock act The Web, who cut a couple of likeable albums featuring his bluesy, soulful lead, US-born vocalist Mississippi John L. Watson went solo, working with Pete Wingfield on his 1970 debut, White Hot Blue Black. Superior sophomore set Let’s Straighten It Out was released on Bob Kingston’s Spark label in 1975 and credited to John L. Watson and White Mouse, with Watson headed in a funk direction; along with the potent title track, there’s a fine cut of Gwen McCrae’s ‘Rockin’ Chair,’ making the set a sure-fire winner for Watson fans and lovers of British funk and soul.

ESSENTIAL laut The Rough Guide To Reggae! Das berühmteste Album der Band von 1977 wird jetzt offiziel als LP im Original-Coverartwork wiederveröffentlicht! Hier handelt es sich um einen echten Klassiker der in keiner Vinyl-Abteilung fehlen darf.

Betty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (Betty Davis and They Say I’m Different), and Nasty Gal for Island Records, Davis went to work on her most personal and expressive record yet. After capturing 10 hard-hitting tracks in 1976 at the remote Studio In The Country (Louisiana), a creative difference with her then label caused the platter to be unexpectedly shelved. Davis would cut one final album and soon retreat from the music business, completely disappearing from the public eye.

Is It Love Or Desire is a little-known gem in the Davis catalog. Mastered from the original tapes, and untouched for over 30 years, this release features detailed liner notes, the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House.

Never bootlegged, never released, never heard until now, the secret story of this lost album will finally enter the history books and cement this bold soul sisters contributions to music and popular culture. Its time to get down…

**WAREHOUSE FIND ORANGE/RED TRANSPARENT VINYL ** The Oh Sees at the peak of their prog obsession, super jammed out and totally dominating. The Chapel SF 10.2.19 is a 53 minute, beautifully recorded, hi-fidelity live explosion of orc puke and kraut-gone-punk rock dominance by one of the rippingest bands of the 21st century. 2 x LP set on limited edition transparent blue and bone colored vinyl with side D etching and faithfully (re)created TMOQ-style bootleg album art.

With the timely reissue of Megalon's highly acclaimed album 'Pandora's Box,' we are now thrilled to present the first of two archival compilations by the London-based electronic production duo.

This compilation meticulously curates handpicked tracks from Megalon's 1993 collection, featuring music from their EPs released on the legendary Plink Plonk label during that year. By delving into these archival tracks, the compilation effortlessly showcases Megalon's signature blend of modern, forward-thinking, and impeccably sleek techno hybrids. Prepare yourself for a diverse range of musical moods that provide a comprehensive 360° sonic experience of Megalon's esteemed catalog, ranging from deep techno meditations to high-octane dancefloor anthems.

Every track included in this compilation has been meticulously sourced from Megalon's original DAT tape archive and expertly remastered by the highly skilled Curvepusher. Furthermore, the artwork and design have been thoughtfully crafted under the watchful eye of Rogan Jeans, the original Plink Plonk Records and Megalon designer, ensuring a visually captivating experience that complements the music perfectly.

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as Elevator Madness (1996). All of these albums came out on vinyl but one of the best was the singular Closed Circuit (2001) which, unfortunately, only came out on compact disc and was somewhat lost to time until now. After Grapefruit released his collection of singles and unreleased songs called Last Ticket Home in 2019, Jefferies mentioned he’d always hoped one of his personal favorite solo albums could someday be heard on vinyl as it was intended. Grapefruit is proud to finally be able to highlight Jefferies’ last album of lyric-based songs by releasing Closed Circuit on vinyl, remastered and with new artwork and insert. This album features all of Jefferies’ signature tense and dark, piano-driven rock and moody balladry, along with themes of personal isolation and domestic ambivalence. It’s a tour-de-force that has remained in the dark too long.

Imperial f.f.r.r. was Unrest’s breakthrough album in 1992. It has withstood the test of time and is now considered an indie-rock classic and one of the best albums of the 1990s. Formed in 1984, at Wakefield High School in Arlington, Virginia, the band started releasing homemade cassettes on their own Teenbeat label. Imperial f.f.r.r. is their sixth album and marked the arrival of original Velocity Girl vocalist Bridget Cross joining drummer Phil Krauth and singer/guitarist Mark Robinson. It was recorded by Wharton Tiers (Sonic Youth) at his home studio in Manhattan. After the release of Imperial f.f.r.r., the band released singles on Sub Pop and K and soon thereafter signed to legendary U.K. indie 4AD, releasing their final studio album Perfect Teeth in 1993. This limited edition features the original design and layout of the very first pressing from 1992. All the details have been recreated including the lyric sheet, the blue box around the amplifier on the front, the label art, and even the Ajax and No.6 Records logos. The original didn't have a barcode, so we've created a spiffy new removeable OBI card for that featuring a photograph by Mike Galinsky (The Decline of Mall Civilization) of the band playing at New York's Spiral club in 1991.

The classic 1983 hardcore scuzz rock debut from Berkeley, CA’s Fang, Landshark is a unique mix of erratic thrashers and slow Sabbath-oid noise riffs. Its best-known tune is without a doubt the rumbling and stumbling opening track “The Money Will Roll Right In,” which has been covered by Nirvana, Metallica, Mudhoney, The Butthole Surfers and god knows who else. The record also includes cheerful odes to the disabled (“Destroy the Handicapped”), the follicle-y challenged (“Skinheads Smoke Dope”), and assorted werewolves, delinquents and drug users. Fang continues to unload their brand of sludge-punk on audiences to this day, with recent tours taking them around the US, Europe and Brazil. This reissue is remastered and back in print on vinyl for the first time in 20 years, with additional vintage artwork inside. The digital download included with the disc also features their entire Where the Wild Things Are release, plus more.