Suche:roya

PRESSED ON MAROON-COLORED VINYL

The third instalment of “Speshal Blends” instrumental series includes
ten sought-after beats culled from Spesh’s own 6 Shots: Overkill EP,
Che Noir’s Juno album, 1000Words’ compilation, and the Army of
Trust II compilation. This collection further proves that on top of
being one of the nicest emcees on the mic, Spesh is also one of the
illest producers in the game. The cover continues the series’ trend of
tributing the cigar brands most popular for rolling blunts. This time
around Dutch Masters’ packaging gets flipped.

First album by this duo, known separately for their work in Mouse on Mars
and Gastr del Sol.
 Two long-form pieces, utterly different from one another: one hyper-detailed
electronic music and sound poetry, and the other live-in-the-studio electric
guitar and laptop paint-peeling.
 The exciting first chapter in a long-anticipated collaboration
 David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was
playing with Gastr del Sol and The Red Krayola and St. Werner in Mouse on
Mars and Microstoria. After years of exchanging ideas, ‘Translation from
Unspecified’ marks their first time locking horns as a duo, and it’s clear this
deck-clearing collaboration was long overdue.
 In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse
with a guitar and ‘Translation from Unspecified’, an open-ended, seemingly
self-generating poem suggesting AI, one of the themes in St. Werner’s recent
work. This became the side-length title track, a winding corridor of electronic
fanfares and spontaneous musical miniatures urging Grubbs’s slow and
steady recitation to grow wings and graduate into song.
 Who knows where this idiosyncratic mise-en-scène - day-glo, extrovert
electronics and task-oriented human - came from? Reference points - distant
ones - might include Robert Ashley and Paul De Marinis’s ‘In Sara, Mencken,
Christ and Beethoven...’ and the sound poetry of Anton Bruhin.
 Flip the record and you have ‘Soixante Ooze’, a live-in-the-studio duo for
guitar and computer more recognizably St. Wernerian and Grubbs-like that
reconfigures elements of the title track before finally morphing into needlepinning monoliths of sound.
 David Grubbs has released fourteen solo albums and appeared on more
than 200 releases. He was a member of the groups Gastr del Sol, Bastro,
and Squirrel Bait and has performed with Tony Conrad, Pauline Oliveros,
Luc Ferrari, Will Oldham, Loren Connors, the Red Krayola, Royal Trux, and
many others. His newest book is ‘Good night the pleasure was ours’ (Duke
University Press, 2022).
 Jan St. Werner is an artist and electronic music composer best known as
one half of the group Mouse on Mars. He has collaborated with Oval’s
Markus Popp as Microstoria and written music for installations and films by
visual artist Rosa Barba. In 2013, St. Werner released ‘Blaze Colour Burn’,
the first of a series of experimental recordings called ‘the Fiepblatter
Catalogue’. Recently his work has prioritized installation and interventions
with spatialized sound, including a number of collaborations under the name
Dynamische Akustische Forschung (DAF).

An explosive collision of garage punk and weirdo art rock from Sacramento's most exciting export since Mayyors. Clean Living Under Difficult Circumstances is a strange, haunting thrill ride driven by angular guitars, an unhinged drum attack and the dynamic, sometimes violent vocal delivery of Whittney K. Featuring long time members of the Sacramento punk scene, Drug Apts have released two E.P.s on Tyler Pope's (LCD Soundsystem, !!!) Berlin based label, Interference Pattern Records, the first produced by Death Grips' Zach Hill and Andy Morin, the second by Dub Genius and Slits producer Denis Bovell. "The band name is a reference to drug apartments, those Mid-Century Modern complexes scattered throughout Sacramento, with rows of palm trees out front and mock English names like Dorchester Court or the Royal Arms. Common features include: concrete stairs, prison-style walkways with dudes looking in your window every five minutes, moms beating their kids next door and cop car lights reflecting off the pool. An ex used to say, “I hate living in these fucking drug apartments,” and friends would say, “It’s three blocks that way, past the drug apartments.” We all spent time staying up and crashing in them, or we tried to sleep through the noise emanating from their windows. I hear they’re better these days, but who knows? So the name is rooted in places and times."

Many will know Bernie Marsden for being a founder member of Whitesnake, one of the biggest rock bands of all time, and writing the iconic global smash, “Here I Go Again”.Since leaving Whitesnake almost 40 years ago, Bernie has forged an impressive solo career. He is acclaimed as one of the premier British blues guitarists. He has written and recorded with some of the biggest names in the industry, composed music for film & TV, forged a successful career as an author, and amassed a priceless collection of guitars. Most recently, Bernie partnered with Joe Bonamassa to write half of his hit album, Royal Tea. Rewind to Summer 2018… Bernie was invited to join Billy Gibbons on stage, when he said “Bernie, wouldn’t it be great if we could all record the songs we grew up with as we learned to play the guitar?” Rather than suffer the usual fate of great ideas that are left to litter the dressing room floor, Bernie immediately set about making a list, and the “Inspirations” Series was born. KINGS” is the first album of Bernie Marsden’s “Inspirations”. Featuring 10 songs that were originally recorded by Albert, B.B. & Freddie King, and recorded in a studio in Oxfordshire with a band that just locked into a groove, “KINGS” is chock full of blues and soul. Two Bernie Marsden penned instrumentals inspired by The Kings appear as the final two tracks on the album. Features appeared / appearing in Blues Matters, Classic Rock, Fireworks, Rock Hard (Germany), Sweden Rock, Rock N Reel magazines, with great reviews given by most of the premier UK Rock, Blues and Guitar publications around the release of “KINGS”. Radio support at Planet Rock, The Max, Radio Caroline and was IBBA’s #4 most played album in 2021.

The British composer, musician and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Born in 1925 and raised in rural Wiltshire, close to Stonehenge and the ancient stone circle at Avebury, Oram eschewed a place at the prestigious Royal College of Music to take a junior engineering role at the BBC in 1942, she was often tasked with creating sound effects, leading to cut-up experiments with tape recorders and the development of synthetic sound; her composition Still Point, involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play Amphitryon 38, using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. Oramics was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, Oramics was also employed for sound installations, theatre productions and feature films, such as The Innocents, though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The Listen Move And Dance series of BBC programmes were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich and others, designed for “stamping, punching, kicking and jumping” movements, as well as “running lightly, dancing on toes” and “shaking all about,” which contrasted sharply with Oram’s electronic abstractions, which seemed to have been beamed in from outer space.

Funny to think there was a time not so long ago when Stiff Richards was a name that required explanation - but not to you, of course, o punk connoisseur. This is your territory, after all. Music is your oxygen and the sound of the underground is your clarion call. You can explain the distinction between ‘Know Your Product’ and ‘No, You’re Product’. Hey, you’re probably pretty good-looking too. You know your shit, either way. So no wonder you’re drawn to this relative holy grail of modern garage rock - the 2017 self-titled debut album by the aforementioned Stiff Richards. Originally released on their own Stiff Records (and again by Legless in 2020), it lays down all the elements that made last year’s mighty ‘State of Mind’ LP such an instant classic. OK, we’ve established you know the drill, but let’s recap: scintillating Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It sounds like Royal Headache covering Motörhead, or maybe the other way around. It’s a full-on riot in 30 minutes - the rawest of rock’n’roll bleeding into the grimiest of power chords with hooks for days. You already know you’re gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping - like on sub-three-minute highlight ‘Strung Out’ - or sludgin’ their way through groovier cuts like ‘Bustin’ Out’, they’re never less than a treat that’s guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond). As a certain similarly-named record label once said, if it ain’t Stiff, it ain’t worth a fuck. Frightfully rude, but that’s rock music for you, I suppose. Get it in your ears.

Stunning second album from Royal Headache and 2015's underground pop sensation. Royal Headache's follow-up, retains that swagger, pop hooks and grace but adds extra romance and instant appeal. The amount of emotion and range of Shogun's vocals and the whip-smart counterpoint provided by the band - drummer Shortty, guitarist Law, and bassist Joe - present a dash through decades of pop history, recombining not just the music but all of the feelings of pain and joy elicited from audiences, supercharged and ready to explode once more. Shogun's voice and lyrics aren't so much a secret weapon in Royal Headache's arsenal as they are the front line, happiness and hurt soaring above the songs, driving home all the feelings within. For fans of the Buzzcocks, The Strokes first album, Marked Men and The Undertones.

Communion, the debut album by Sister Ray, is a raw, meticulously-crafted portrait of momentous, ordinary moments; experiences that define your past, and instruct how you move through the world. The record is anchored by guitar melodies that bear an undercurrent of turmoil, and echoes with the wisdom of hard-won lessons. It’s a break-up album invested in exploring the motivations behind actions, rather than attempting moral judgment. Out May 6 via Royal Mountain Records.

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

Chicago House legends Marshall Jefferson and Curtis McClain together again for the first time since they unleashed 'Move Your Body (The House Music Anthem)' in 1986 on the pioneering Trax Records Chicago based label. Curtis is back singing over four new tracks that Marshall has written. This is House royalty at its very, very best.

Heist welcomes, late 80’s DMC World DJ Championship contender, Techno veteran, and house royalty Orlando Voorn to the label
with his ‘Heist Mastercuts’ EP.

Orlando Voorn is a man who needs little introduction. He’s played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hiphop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as ‘Frequency’ on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game.

The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for
this EP. On top of that, he delivers a new track in the form of soulful house bomb “Be with you.”

“Be with you” starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush-inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It’s clever sampling and Orlando’s soulful touch that make this track tick.

Next up is the vinyl only track “Love Feelings” – originally released in ’96 on Urban Sounds of Amsterdam-. Think 130+ BPM vintage house grooves with hazy pads and you’ll get an idea of what’s coming. Love Feelings is an up-tempo dreamhouse track that, even though it’s almost 25 years old, still ticks all the boxes of a contemporary festival groover.

On the B-side you’ll find 2 versions of “Tenderness”: The original mix and the Late nite dub, both originally released on Clubstitute records back in ’95. The original has a 90’s garage groove with male vocal chops, old school house keys and strings. The late night dub is exactly that: a dreamy ethereal deephouse groove with warm synth hits, introverted percussion some very on point sax loops.

The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings but considering the connection we’ve built with him over the last year and having heard the music he’s shared with us, we’re sure you’ll see much more of him on Heist in the future.


Yours sincerely,

Maarten & Lars

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Provogue / Mascot Label Group have three special vinyl reissues of
blues-titan Joe Bonamassa's back catalogue
'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
His fifth studio album, originally released in 2006, 'You & Me' has been
remastered from single to 180g heavyweight 2-LP transparent orange vinyl - on
coloured vinyl for the first time. When released it hit the #1 spot on the Billboard
Blues chart and featured a crack band of Carmine Rojas (Bass), Jason Bonham
(Drums), Rick Melick (Piano/Organ) and Jeff Bova (Orchestration). At the time it
was declared his best work to date by Allmusic and features his takes on
Led Zeppelin's "Tea for One," Sonny Boy Williamson's "Your Funeral and My Trial"
and Charley Patton's "High Water Everywhere" as well as Bonamassa originals
including "Bridge to Better Days" and "Asking Around for You."
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
The 2009 fan favourite and iconic 'The Ballad of John Henry' will be also available
on coloured vinyl for the first time, has been remastered on 180g heavyweight
2LP brown vinyl and includes a bonus track – B.B. King's "Chains and Things."
Bonamassa's seventh studio album saw him steamroll into another US Billboard
Blues #1 as well as it making waves across the charts around Europe. Well on his
way to becoming a superstar, several Bonamassa originals adorn the album as
well as covers of Tom Waits, Sam Brown and Ike & Tina Turner, highlighting the
sheer scope of his palette.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Closing out another breakthrough year, Anfisa Letyago has established herself as one of techno's most talked about names. An intrepid selector with a positive attitude regarding all things art and dancefloor related, the Russian born starlet has been making seismic waves within the industry for a number of years. Past releases have been featured on revered labels such as Carl Cox's Intec, Nervous Records, Hotflush and Rekids. Letyago returns now with a brand new project primed and ready for her own imprint - N:S:DA. Originally a celebration of her own dark-brooding style of techno, the label has entered a metamorphosis of sorts, welcoming in a host of established producers to remix the labels first releases.

The unapologetically raw house sound of DJ Seinfeld opens up the third and final remix EP, putting his own spin on Letyago's deep cut 'Insidia'. Cavernous synthlines occupy the track's main body, reminiscent of late seventies golden-era Chicago house. The remix is laced with hard hitting percussion and bubbling sound fx, a supercharged production primed for widespread club usage. Seinfeld welcomes us into the project with his trademark, rough and gloriously danceable sound palette.

Letyago follows suit by revisiting 'Nisida', reshaping the track into an electro-acid workout adorned with sharply tuned drums and heavily-treated shimmering vocals. The euphoria-inducing breakdown at the center point of the arrangement unfolds weightlessly, building into an energetic barrage of low-end frequencies. Letyago's ability to raise and release tensions within a track is truly exceptional, a technique she has perfected over several years of DJing, witnessing at first hand the importance of building up to moments of high intensity on the dancefloor for maximum impact.

Drum and bass royalty, Calibre offers his dark and brooding interpretation of 'Don't Hide'. The original track has been wickedly morphed into an after-dark roller fit for extensive basement usage. Commanding and minimal, Calibre's remix has been executed with devastating precision, perfectly balanced space-age pads glide seamlessly across the disjointed rattle of breakbeats and white-noise imbued hi-hats. A painter, fine artist, multi-instrumentalist, writer and producer, this multifaceted Belfast producer never ceases to disappoint.

Closet Yi concludes the compilation with a slow burning techno metamorphosis of Letyago's 'Listen'. Subterranean and primal, the track unfurls from its ambient beginnings into a low-end focused four-to-the-floor rhythm steeped in misty reverb and distant chords. Based in Seoul, South Korea, Yi has played at some of the most respected underground clubs in the capital, including Cakeshop, Faust, Pistil, Contra and more. A welcome addition to the remix project and a seductive end to this shadowy collection of tracks.

The Vision arrive with their first original output, where the Bristol-Boston collab deliver a soulful dose of house goodness. This release from genre defying musician Ben Westbeech and crate digger royalty KON also features Ben’s long-time collaborator Andreya Triana, whose powerhouse vocals you may recognise from Breach’s ‘Everything You Never Had (We Had It All)’. On the A-Side sits KON’s edit of ‘Heaven’, a funk-laden and vocal-led cut destined for the dancefloor. On the flip is ‘Home’, a soulful lament that showcases Andreya’s flawless vocals as much as the duo’s exquisite production abilities. This release shows the music obsessed pair take inspiration from deep in their record collections, and as more releases build up in the pipeline for 2019 this is an exciting preview of things to come.

Building on his already impressive resume, DJ Kay Slay returns to set the streets ablaze with his latest offering, Accolades. Featuring the next installment in the highly-acclaimed posse cut series, Rolling Deep, DJ Kay Slay blesses listeners with the ultimate version, Rolling 110 Deep, containing over 40 minutes of pure bars from some of hip-hop royalty, including Sheek Louch, Styles P, Dave East, Crooked I, Black Thought, Raekwon, Ghostface Killah and many more. Other standouts include 72 Bar Assasin (feat. The Game), Extravagant Lifestyle (feat. Raekwon, Sheek Louch, Ghostface Killag & Tragedy Khadafi), & Harlem Block Money (feat. Dave East, Vado, Jim Jones, Shoota 93 & Talkit Trigga)

180 gram clear vinyl! Album features new cover art, and full colour Insert with extensive Sleeve Notes .

Features bonus track ‘San Salvador (Dub Plate Style)’.

Recorded at Channel One Recording Studio, Kingston, Jamaica .

Mixed at Harry J Recording Studio, Kingston, Jamaica
Probably one of the best vocal roots reggae albums!

The word that jumps to mind when hearing Deanna Petcoff's music for the first time is “yearning”. A whirlwind of emotions, her debut record To Hell With You, I Love You is a reckoning with the loss of a relationship, documenting the aggressive highs and deeply emotional lows that come from falling out of love.

Recorded in Toronto over the course of a year spent in-and-out of lockdowns, she was able to look more closely at the nuances and minutiae of relationships and examine the ways in which they can either grow or falter. She writes about her frustrating experiences as a24-year old woman finding her voice and identity while navigating a never changing world, exploring the ins and outs of love and heartbreak with a grace and quick wit that belies her year. Her rich, textured voice juxtaposes her soft imagery and her vulnerable and starkly honest lyrics welcome us into a world where even a fleeting moment of emotion can become its own monument.

Based in Toronto, ON, Petcoff shaped her own unique brand of beautiful and confessional indie rock through years of devotion to music, sharing stage with the likes of Molly Burch, Tokyo Police Club, The Nude Party and many more. She excels with heart-on-her-sleeve-emotive lyricism that showcases her strength as a songwriter and a vocalist, and on To Hell With You, I Love You, she wanted to present “the whirlwind of emotions you have when you’re grieving a relationship, which can feel like the death of a part of you or what you thought your life was going to look like.” It’s an album that ebbs and flows with a confidence and an assuredness as she tackles the highs and lows of falling in and out of love, and everything in between.