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Musical legends from opposite sides of the world come together on Hell Yeah's next EP as Japan's Calm and Finnish musician Jimi Tenor collaborate on big city takes. It features two new singles as well as remixes from the celebrated tapes and Belfast's best-kept secret, The Vendetta Suite.

This most satisfying of eps came together when the psychedelic space-jazz-funk king and noted musician, composer and producer Jimi Tenor was in tour in Japan. Label head Marco arranged for him to head into Calm's studio in Kawasaki, Tokyo, and real magic happened.

'Big City Takes' is gloriously lush, with serene chords, delicate flutes and organic percussion. Tenor's airy vocal brings the soul as an intimate and late-night groove emerges to melt your heart.

Then come two remixes from tapes. The first is powered by dusty old-school drum breaks. They're doused in subtle euphoria with a nimble bassline down low, while the second one is stripped right back to a pulsing rhythm and killer phased bass. Spread chords bring sunrise feelings to this most colourful of grooves.

On the flip side, Calm offers a version of 'Time & Space' that is nearly eight minutes of exquisitely blissed-out downtempo. Chords ripple like waves, flutes flutter like birds and the whole thing is filled with the joys of a new spring day. The remix comes from The Vendetta Suite, a label regular and under-the-radar talent who is defining his native Northern Irish scene with his fresh fusion sounds. His version brings a new age ambiance to post-rave Balearic comedown. It's one that douses you in life-affirming synths as drums gently persuade you to sway along.

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

Scottish jazz trumpeter Malcolm Strachan releases his second solo album "Point Of No Return" on Haggis Records on 27th January 2023. A follow-up to his debut album "About Time" from March 2020 (also on Haggis Records), which received great critical acclaim and strong radio support across the globe. Once again, Malcolm delivers an album of original music written by himself and featuring material covering a broad spectrum of jazz styles. From modal jazz grooves to Brazilian samba beats, Latin rhythms to cinematic soundtrack vibes, and along the way, some beautiful ballads.

If the first album nodded slightly to mid-late 1960s classic Blue Note Records type jazz, this one is more reminiscent of the jazz fusion albums that Malcolms's jazz trumpet hero Freddie Hubbard recorded for the legendary CTI Records label in the early-mid 1970s. The same groove-based jazz where soul and funk beats are at the heart of the arrangement. Rock solid rhythms that allow complex horn parts and improvisation to float over the top with ease. The ensemble playing is strong and the leader's trumpet solos show why he's been one of the most in-demand session musicians in the UK for the last 20 years.

He's recorded and toured with the likes of Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jess Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds, Abstract Orchestra and Blue Note Records jazz saxophone legend Lou Donaldson. Of course, he's also a founder and existing band member of the UK funk kings The Haggis Horns.

The core band on "Point Of No Return" are musicians that Malcolm has known and worked with for over two decades, often in The Haggis Horns, and most appeared on the debut album. Those musicians making a welcome return are Atholl Ransome (tenor sax/flute), George Cooper (piano), Danny Barley (trombone), Courtny Tomas, (double bass), and Erroll Rollins (drums). Newcomers this time are longtime Haggis Horns guest percussionist Sam Bell plus special guest vocalist UK jazz singer Jo Harrop, who adds non-verbal Flora Purim style vocals on tracks one and three. Three tracks feature strings, arranged by Phil Steel, with all the strings played by Richard Curran. One of the tracks is the beautifully poignant ballad for strings and trumpet "The Last Goodbye" which could easily have come from a film soundtrack and where Malcolm digs deep into his love for jazz ballads in his solo.

"Point Of No Return" by Malcolm Strachan will definitely appeal to lovers of contemporary acoustic jazz with a classic jazz feel. For those who love the music of Blue Note Records and CTI Records and trumpeters Freddie Hubbard, Donald Byrd, Lee Morgan, Art Farmer, and Miles Davis. Without a doubt, it will be one of the standout UK jazz releases of 2023.

The alis of a UK techno producer, San returns to Rua Sound with another statement of intent - "no other junglist delivers this power".

San was born out of the clear necessity for jungle futurism, breakbeat terrorism and hardcore sub bass gangsterism.

The illusive producer's second record on the label is a masterclass in dark jungle choppage dripping with futurism and dread. Fans of Source Direct take note.

To commemorate Snow Patrol's 25th anniversary year Jeepster will be making their second album 'When It's All Over We Still Have To Clear Up' available on vinyl for the very first time. Specially remastered for the format the initial pressing of the LP will include a bonus gold coloured 7' featuring two never before released songs.

Snow Patrol released their second record, 'When Its All Over We Still Have To Clear Up' through Jeepster Recordings on 12th March 2001. The album was the follow up to their critically acclaimed debut 'Songs For Polar Bears' which was released in 1998. The rest, as they say, is history...

Following up on its first edition, a sold-out record that gained more than half a million streams, Sina XX strikes back with the second chapter of Body to Body, his collaborative platform dedicated to the harder edges of club music. This new edition named "ParisBerlin" connects the two techno cities with four original productions.

In Berlin, the artist teams up with the glamorous cyberpunk Dance Divine, whose tantric voice shines through Sina XX's industrially rooted techno beats. The second collaboration involves multi-faceted artist Metaraph. > proves to be the EPS most cinematic track, taking us on an emotional and narrative journey. In Paris, the label is hosting its first ever trio. Lessss and Enham are two of the most promising producers of the new wave of hard techno. Together, the trio deliver a rough, punk-gabba banger of a track which acts as a perfect boomer antidote. To close things off, Lacchesi joins in for a trippy, futuristic club track where mutant sound designs blurs the lines between techno and psy-tech.

FutureNever — Daniel Johns Ex-Silverchair frontman Daniel Johns reflects on his past and reaches for the future on his second solo album 'FutureNever'

Telefís is Cathal Coughlan & Jacknife Lee. Features guest appearances from Sean O"Hagan, Will Sergeant, A Certain Ratio and Jah Wobble. Telefís, the groundbreaking collaboration between two Irish iconoclasts, revered singer-songwriter Cathal Coughlan and world-renowned producer Garret "Jacknife" Lee, will release their second album "a Dó" (number two). Following the release of "a hAon" (number one), Cathal and Jacknife continued to work on music and completed the record at the end of Spring. Then sadly Cathal Coughlan died on May 18th 2022. The album playfully dissected the early days of Irish society in the TV era through a prism of electronic dance music, drawing on what they saw as a "corrosive nostalgia". It also paid homage to their musical heroes of the punk and post-punk era. Kraftwerk fighting with The Human League for a parking spot on Capel Street.

Innovative horn player, producer and songwriter CJ Camerieri returns with his deeply collaborative CARM project. CARM II, the second album due out this fall with 37d03d, was produced in Minneapolis by Ryan Olson and features Edie Brickell, Sid Sriram, Kristian Matsson, Justin Vernon, Gabriella Smith, Sean Carey and others. It is a genre-defying, heartfelt exploration of the possibilities in provocative musicmaking and provides a homespace for a profound variety of voices. Where the first record used horns in place of other instruments, CARM II places them even more prominently in the musical texture. The experience of playing live shaped this approach. "Standing at the front of the stage was a new experience for me and I wanted to create a record of songs that justified my being there." On CARM II, there is no mistaking that the lead "singer" of this band is Camerieri's horn. CJ also wanted to feature bandmate Trever Hagen, who takes on both production and performance roles. The featured artists on CARM II have opined on their various roles in this project. Brickell contacted Camerieri asking him to participate in her short-form songwriting project that she introduced on social media during the pandemic. Camerieri and Olson were in the middle of writing songs for the record, and one stood out as perfect for Brickell's request. Sent as a work-inprogress, she quickly responded, writing the first verse and chorus to what would become "More and More." They knew it needed to be fully realized. Says Brickell, "CJ's trumpet melodies and phrases inspired `More and More.' I just listened to him and followed his lead, trusted what came to mind and sang it. It all flowed from his music." "For `I Fall' Ryan and I created the basic track and I really struggled to write on it. It wasn't in song form, and I couldn't find my way into making it a coherent thought." CJ thought of Gabriella Smith, one of the leading composers of our day, and on a whim sent her the track. Smith sent fragments to experiment with and send back to her as she rode out the pandemic in the Norwegian countryside. After 3 months, she then sent him a fully realized score of horns/vocals. The result is a testament to the visionary composer's incredible ingenuity. "That this music was in Smith's imagination and then fully notated is mind boggling to me." "The Ones You Love" was the last song written for the record. CJ had been arranging and playing horns on Sid Sriram's forthcoming debut, falling in love with Sriram's voice and style. The song came from a jam session at with Andrew Broder on keys, Evan Slack on guitar, Chris Bierden on bass, and Hagen on drum machine. CJ and Sid trade epic lines back and forth, celebrating vulnerability and virtuosity in tandem.

Little is known about Norman Feels_but we do know that he was an underground soul sensation in the 1970s. He released two classic albums on Just Sunshine Records (the label that was also responsible for putting out milestone recordings by artists like Betty Davis, Karen Dalton and Arica). Over the years, Norman's songs have been sampled by renowned acts from the likes of Ghostface Killah, Nas and Kanye West. The sound his songs emit reminds of the classic soul coming out of New Jersey at the time, but it just has that extra thing going for it_something alternative and exceptional. This made for an excellent match with the `Just Sunshine' label that released both of his albums. Just like his labelmate Betty Davis, Norman Feels was an artist that was hard to typecast and compare with his contemporaries/peers_this makes Norman's work very interesting and worth every soul/funk connoisseur's time. In 1973 Norman Feels released his self-titled debut album which has become a much sought after funk/soul classic. Behind Norman's floating (and extremely soulful) voice hides a dark and almost psychedelic instrumentation that makes this album particularly unique. The recordings have been beautifully arranged by David Van De Pitte (who is world-famous for the arrangements heard on Marvin Gaye's `What's Going On') and topped off by Sal Scaltro's slick production work. Next to Norman Feels' fascinating writing skills and trademark voice, on this album you'll find complicated (and at times brooding) compositions that takes the listener on a dreamy musical journey filled with themes about struggle, relationships and social commentary. Love, beauty and sadness is lingering in every track on this album_all of this makes his self-titled debut a total `must-have' album that begs for a special place in your record collection! Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1973 on Just Sunshine Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a 180g vinyl edition (500 copies). This reissue comes packaged in a gatefold jacket complete with the original 1973 artwork, photographs and lyrics.

Following on from the standout second Ciao Italia compilation, the mighty Rebirth bring together another collection of tracks that surf between the past, present and future, highlighting the importance and continued influence of the Italo dream house world. Alternate versions, unheard gems, certified classics and pure class as you’d expect from the likes of Nikita Warren, Alex Neri, Marco Baroni, Deseo, Lorenzo Morresi, Anxious and Spinapsys.

Originally released in 1986, Animal Magic is the second album from The Blow Monkeys, which gave the band their commercial breakthrough after 1984’s critically acclaimed debut Limping For A Generation.

Animal Magic features the hit single ‘Forbidden Fruit’ and the classic ‘Digging Your Scene’, which was a top 20 hit in the UK, the US and worldwide. The album, a triumph of intelligent, soul influenced sophisti-pop, is a treasure trove of superbly crafted gems including ‘I Backed A Winner (In You)’, which sees singer Dr Robert backed by the acapella singers The Demon Barbers, and ‘Sweet Murder’, featuring Jamaican reggae musician Eek-A-Mouse.

This reissue is pressed on limited edition solid white vinyl and features exclusive liner notes by journalist Barry McIlheney, who was editor of Smash Hits at the time of Animal Magic’s original release. Barry interviewed lead singer Dr Robert exclusively for this reissue and Robert talks about the band’s success at the time upon the release of ‘Digging Your Scene’, and the album which propelled them into the limelight.

• ‘Paper Man’ is a major discovery for lovers of Sam Dees’ music and the Atlanta/Birmingham soul sound of the 70s. Written and recorded in that productive period, it has only just been found in the vault of Moonsong / Clintone recordings. Sam Dees worked with Alpaca Phase III for the Atlantic release ‘I Like To Party’ in 1974 and a Clintone release the following year. He co-wrote this ballad with Wes Lewis and Ken Walker from the group (he also composed ‘Someone To Run To’ with Wes Lewis and group member Berry Collins).

• Dees is the vocalist on ‘False Alarms’, one of several brilliant Dees compositions first released on his “Second To None” Kent CD in 1995. With “so tied up” being such an important lyric in this song, it is conceivable that it is a forerunner of ‘So Tied Up’ which featured on his Atlantic LP at this time.

This is THE FIRST EVER commercial vinyl release of the classic folk horror score, presented in an incredible pop up Witchfinder sleeve!
For many, this is the long LONG awaited score that completes the “holy trinity” of folk horror: The Wicker Man, Blood On Satan’s Claw, Witchfinder General. And all these albums were first commercially found and released by Jonny Trunk. This is the first time Witchfinder General has been commercially released on LP (previously only available as a mega rare 1973 library LP or withdrawn CD!). As well as the superb Matthew Hopkins / Vincent Price pop up, the gatefold sleeves feature stills from the classic film, plus comprehensive notes about the film production history and the music. This is just the package the folk horror fans really want. This is the first pressing, if there is a second it will not come with the pop up sleeve.
Classic pastoral, melodic and scary music.

Obvurt is a death metal band from Quebec city, Canada. The band's name stands for obvert ( to oppose) and Hurt ( to wound ). This trio was formed in 2020 with Philippe Drouin (ex Unbreakable Hatred) Olivier Pinard (Cryptopsy, Cattle Decapitation) and Samuel Santiago. Following the aftermath of a terrible motorcycle accident, Philippe was left unable to play guitar and had to learn from scratch to play left handed. this remarkable recovery inspires the title and lyrical concept throughout the album.

The Florence, SC-based multi-instrumentalist Alex Melton, known for his renditions of Punk Songs as country influenced songs on YouTube, has announced his new album 'Southern Charm'. The record, which is out 23rd January 2023, is Alex's debut album on label Pure Noise Records. Southern Charm is made up of two halves, amped-up versions of country classics and Alex's trademark alternative spin on punk and metal tracks. The album synthesizes all of Melton’s influences, from the country staples played on a loop in his childhood home through scene icons like blink-182, The Starting Line, A Day to Remember and Four Year Strong. In the first half of Southern Charm it includes covers of Tim McGraw’s nostalgic “Something Like That” (ft. Ryan Scott Graham) and Garth Brooks’ “Friends In Low Places'' the second half offerings come from The Story So Far, The Amity Affliction and Stick To Your Guns. Proficient on drums, guitar, bass, keyboards, and trumpet, Melton typically produces all of his YouTube covers at his home studio, a testament to his insatiable desire for knowledge and self-improvement – and a snapshot of how far he’s come as an artist and recording engineer throughout the years. “All of the technology has changed so much since I first started,” he says, noting his first video was a pop-punk cover of Taylor Swift’s “We Are Never Ever Getting Back Together.” “I started with a Home Recording for Dummies book and an original GoPro, which at the time was the cheapest way to get HD footage on YouTube.” Now armed with vastly more knowledge and resources, Southern Charm finds him working with outside producers for the first time, bringing in Tom Denney (A Day to Remember, who helmed the rock-based country covers) and Alan Day (Four Year Strong, who produced the country-based rock songs) to offer new perspective and add a level of vision and cohesion to the project.

Charly Records presents GLADYS KNIGHT & THE PIPS This highly collectable 1965 original album portrays Gladys Knight & The Pips at their very best, just one year before signing to the mighty Motown Records. The recordings that Gladys Knight and the Pips made for Larry Maxwell’s Maxx label were some of the least successful – sales wise – with just one Top 10 R&B hit over a two-year period. BUT, they were the important first steps in the second phase of their career that took them to Motown and confirmed them as international superstars. Nearly sixty years later these wonderful recordings form an astounding collection of classic soul music, that showcases Gladys, The Pips and world class arranger Van McCoy, working at the very top of their game. Despite disapointing sales in 1965, time has testified that these songs are some of the very best, in a career that produced some of the greatest soul music ever laid to tape. This fabulous first ever reissue of this most sought after album completes our Gladys Knight & The Pips legacy collection and is also available as an expanded double-CD special edition. Curated and annotated by Dean Rudland, Acid Jazz • First ever reissue of this sought-after album from 1965 • Includes the #6 Billboard R&B Hit “Giving Up” and the Northern Soul classic “Stop & Get A Hold Of Myself”

2 LPs-set (3 sides)
Recorded in Paris, November 22 and December 17, 1958.
Original issues: LP Fontana 680.202 ML & EP Fontana 460.642 MR.


”I’ve never played for such an audience” declared Art Blakey in tears. lt was November 22nd, 1958, and he’d just come offstage after one of the “Jazz Wednesdays” concerts at the Paris Olympia. For a first appearance by the “Jazz Messengers”, they’d made quite an impression. Not content with pulling a huge crowd off the Boulevard des Capucines (the demand was so great that a second concert had to be staged on December 17th), they’d converted everybody to the “Hard Bop” religion in two sets where, united in a kind of exultant communion, jazzmen, jazzophiles and curious bystanders alike had been crushed together in high spirits, paying no attention to the presence of Brigitte Bardot escorted by Sacha Distel. That night Blues March had almost replaced the Marseillaise anthem (and Moanin’ the Oignons). Yet none of the Messengers had ever been to Paris. They’d get to that later, and then some, but for the moment they were perfect strangers. Not only strangers to the public, but unknown even to a sizeable group of jazz fans : the next issue of “Jazz Hot” magazine (most of it devoted to them) arrived like an invasion by the carabimeri… the blaze lit at the Olympia had gone out, of course, and Blakey had moved into the “Club St. Germain” to light others; there, each of his gigs could have been a remake of the famous cabin scene in the Marx Brothers’ “A Night At The Opera”…

Among the Messengers’ “greatest hits”, only Moanin’ came close to Blues March. Constructed in the manner of a gospel, with the piano in the role of the preacher, and the orchestra that of the congregation, punctuating the sermon with shouts of approval, the theme was by pianist Bobby Timmons, whose fiery spirit can be explained by his educayion: “… the fact I played rhythm ‘n’ blues had a great influence on my style, and for me, it’s the foundation of jazz.” Moanin’ had sent the Olympia fans Into transports of delight, and even excited the curiosity of Hugues Panassié, who chanced to be passing by (“Bop”, in any form, being hardly his cup of tea) : he was prompted to go backstage and ask what it was he’d heard… Decidedly, in 1958, the Jazz Messengers were miracle-workers!

Live is the first live album by Alan Parsons, recorded in May 1994 during his European tour, and released later that same year. The live performances on the album are all songs from his years with The Alan Parsons Project, including “Sirius”, “Eye In The Sky”, “Old And Wise” and “Don’t Answer Me”.

Ian Bairnson, Andrew Powell, Stuart Elliott (of Cockney Rebel) and Richard Cottle anchor the band with Parsons. Manfred Mann’s Earth Band vocalist Chris Thompson and The Flying Pickets lead singer Gary Howard, provide vocals for the live tracks.

The album is notable for the instrumental track “Luciferama” (a blending of “Lucifer” and “Mammagamma”. It is also the only Parsons live album that contains a full rendition of “The Raven” with the vocoder part. The track is prefaced by the second part of “A Dream Within a Dream”.

Live is now available on vinyl for the first time, remastered and cut on 45RPM
for the ultimate listening experience. The 2LP is available as a limited edition of
1500 individually numbered copies on translucent blue coloured vinyl, housed in a deluxe gatefold sleeve and includes two printed innersleeves. The vinyl artwork is recreated by Storm Studios.

Live is the first live album by Alan Parsons, recorded in May 1994 during his European tour, and released later that same year. The live performances on the album are all songs from his years with The Alan Parsons Project, including “Sirius”, “Eye In The Sky”, “Old And Wise” and “Don’t Answer Me”.

Ian Bairnson, Andrew Powell, Stuart Elliott (of Cockney Rebel) and Richard Cottle anchor the band with Parsons. Manfred Mann’s Earth Band vocalist Chris Thompson and The Flying Pickets lead singer Gary Howard, provide vocals for the live tracks.

The album is notable for the instrumental track “Luciferama” (a blending of “Lucifer” and “Mammagamma”. It is also the only Parsons live album that contains a full rendition of “The Raven” with the vocoder part. The track is prefaced by the second part of “A Dream Within a Dream”.

Live is now available on vinyl for the first time, remastered and cut on 45RPM
for the ultimate listening experience. The 2LP is available as a limited edition of
1500 individually numbered copies on translucent blue coloured vinyl, housed in a deluxe gatefold sleeve and includes two printed innersleeves. The vinyl artwork is recreated by Storm Studios.

Big second Ep full-Baorx !

A banger of Pleasure... pure Acidcore made in paris :)

Enjoy

What humbly began as the amateur strums of a 10-year-old on the
ukulele, catapulted into an expansive 60-year long career that has taken Athens stalwart, Davis Causey, everywhere from playing with Marvin Gaye, Jerry Butler, and Jackie Wilson to Derek Trucks, Waylon Jennings, and Kris Kristofferson, just to name a few
Next in the long line of his musical contributions is his second album on Strolling Bones Records: New Things From Old Strings, a perfect collection of songs that have followed him through time. This album is the culmination of a lifetime dedicated to loving and making music or, in Davis' words, a great way to almost make a living! The album features old friends Randall Bramblett and Chuck Leavell plus a special appearance from Duane Allman's 1961 Gibson Les Paul
(SG).)This started out as a form of musical therapy to get through the pandemic, but soon became something more. Most songs began with just a chord progression and grew from there with the help of the other musicians. Some songs came fully formed while others had to be coaxed into existence. These songs reflect my many influences. From Chet Atkins and Johnny Smith to Duane Allman and Mark Knopfler to Martin Taylor and many others. My mom was a
great believer in me and my music being herself a writer. Once heard it said that if you steal from one source it's called plagiarism, but if you steal from a lot of sources it's called research. Consider me a researcher

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

Limited Cerulean Blue Vinyl LP. RIYL: Amen Dunes, Adrienne Lenker & North Americans. Numün, the NYC psychedelic instrumental trio Pitchfork dubbed as 'savvy navigators of paths less traveled', is releasing its second album Book of Beyond on the legendary Shimmy Disc label. With this record, the band, which includes Joel Mellin and Christopher Romero of Gamelan Dharma Swara and ambient country pioneer Bob Holmes of SUSS, continues to stretch their exploration of the inner and outer astral worlds of their first release Voyage au Soleil – voted one of the Best Ambient Releases of 2020. Dave Segal of Pitchfork called that album a "blending of the opiated psychedelia of the music territory staked Brightback Morning Light with a loose-limbed minimalism that privileges subtle effects and incremental chord changes" and Chris Ingalis from PopMatters called it "a trippy, ambient ride and ambitious debut that pulls off the neat trick of creating music that evokes space travel while also sounding refreshingly grounded to Earth's atmosphere." The new album, mastered by Kramer (Galaxie 500, Butthole Surfers, Bongwater, Low, Bill Frisell, etc.) features a unique mixture of Eastern and Western musical stylings and instrumentation including Balinese gamelan, gender wayang, and cumbuz (a 12-string fretless banjo) alongside the classic Americana instrumentation of slide guitar, baritone, mandolin and violin. The instrumental music charts new territories as it explores themes that are sometimes deeply personal, spiritual and otherworldly, including new fatherhood, sleep deprivation, loss and rebirth with titles that include Steps, Vespers, Eyes Open & Lullaby. Guests on the album include Trina Basu (Brooklyn Raga Massive), Tori Lo Mellin (Dharma Swara), and Willa Roberts (Black Sea Hotel). With their new album, Book of Beyond, Numün creates music that provides a star map to help us all navigate the inner constellations of our daily lives.

Cacophony is the second Rudimentary Peni album. Released after the band returned from their first hiatus following a series of personal events that changed the band forever. The thirty track LP keeps turning heads 34 years after its release. Far from writing another “Death Church” the band embarked on a truly bizarre quest - to record an album based on the life and writings of horrors absolute king H.P. Lovecraft. A dense cacophony of total free songwriting. Dark, gothic, intricate, unexpected head-scratching punk. The short bursts of music twist and turn at every corner - the vocals are part classic Blinko and part spoken word, the guitar is full of distorted awkward tones and the very inventive bass and drums are locked together creating a truly unique album. Cacophony is the benchmark of outsider Punk and the influence and cult nature of this album grows with every passing year. This reissue stays close to the original version, with Nick Blinko’s incredible cover art, including a 11” x 11” 8-page lyric booklet.

“Avada Kedavra Deluxe,” by Seattle rapper AJ Suede, is a 21-track, self-produced, self-referencing, double-vinyl labyrinth of experimental boom-bap. Building on a signature style that SPIN magazine describes as “stream-of-consciousness rhymes, containing everything from socio-political commentary and blunted cinematic allusions to psychedelic visions,” Suede’s creation is as compelling as it is unclassifiable. On the first LP, Suede demonstrates his substantial skills as a beatmaker and rapper, chopping up what Seattle’s KEXP calls “the smoothest, jazziest, weirdest samples” and overlaying parkour bars about Grunge, success, and social justice. From the first cut, “Nebuchadnezzar,” which New York’s Major Stage describes as a “powerful chant-like hypnotic loop,” these 10 tracks capture an elusive mood of too many hours inside watching YouTube and trying to piece together fractured connections. The album’s title is derived from an Aramaic spell: “Let this thing be destroyed.” On the second LP, Suede invites 13 guests to “destroy” the original songs. This disc of remixes and reworkings showcases underground voices from across the Northwest (Seattle’s Wolftone, Khrist Koopa, Portland’s Fines Double), from across America (New Jersey’s Fatboi Sharif, California’s mudwater, Ohio’s Lord Olo, New York’s Bloodblixing), and around the world (Tel Aviv’s Argov and Japan’s Wazasnics). Seattle rappers Astral Trap, Blake Anthony, Mika’il, and Greg Cypher are featured on a bonus “posse” cut. AJ Suede has been grinding for years in the underground, building a solid, devoted global fanbase. He’s released acclaimed cassettes and CDs through respected labels such as Fake Four Inc., Candy Drips, Chong Wizard, and Blackhouse. In May 2022, a 100-copy vinyl run of his album “Metatron’s Cube” sold out in less than four hours. With “Avada Kedavra Deluxe,” AJ Suede has tapped into the moment, using what Deeply Rooted Hip-Hop calls “a subconscious steeped in the mystical.” As KEXP says: “Quite predictably, the whole album bangs.”

Observatories is the collaborative music project by Ian Hawgood and Craig Tattersall. This is their second opus together after their first release "Flowers Bloom, Butterflies Come" on IIKKI in March 2021.

Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano.

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 15 solo albums on his moniker The Humble Bee and almost the same under his name on some collaborations.

Originally released in 1978, City To City was Gerry Rafferty’s second solo album and first release since his departure from Stealers Wheel. The album was a top 10 hit across the globe, including #1 in the US, going Platinum in the process. The album is masterclass in soft rock, featuring arguably the most famous saxophone riff in music with Baker Street, alongside the recent viral hit Right Down The Line.

Originally released in 1978, City To City was Gerry Rafferty’s second solo album and first release since his departure from Stealers Wheel. The album was a top 10 hit across the globe, including #1 in the US, going Platinum in the process. The album is masterclass in soft rock, featuring arguably the most famous saxophone riff in music with Baker Street, alongside the recent viral hit Right Down The Line.

WWM011 is the second appearence of Ukranian huge talent Volodymyr Gnatenko on Where We Met.

The opening track Een s a complex but beautiful web of breaks, IDM elements and acid elements and it’s the perfect bridge for Twee, a downtempo beauty in which Volodymyr's composition talent is crystal clear.

The B1 Drie brings is a wonderful dancefloor tune with a tunneling melodies and hypnotic evolutions to a surprising yett dreamy closing. The closing track Vier is one to enjoy with your eyes closed, your mind free and your body ready to dance.

"Just when you thought it was safe to go back in the bassbins, Mysticisms brings the latest in its Dubplate series. After the success of his first digital dubb excursions on the version, Persian returns with a second 10” of reggae inspired electronics, covering Bass, Breaks, Digidub and now also, Jungle.

Taking no prisoners with the massive opener Survival Dub, Persian marries classic breakbeats and toasting to bouncing, dance floor effect. THE party starter. This is followed by Smoke Mari, a looping steppas of FX and breaks to lay down the Dubplate clash.

As ever the link between rave, breaks and sound system culture is explored, this time with the Roots’n’Lovers opening of There Is No Love giving way to a Junglist drop, before risin’ to a beautiful soul sermon.

Finally, taking it all down, tings wrap with the deep, sampledelic dub of Zatoichi’s Troubles. With a bass to destroy many a speaker, it’s lanquidity morphs from the EP’s hedonism of sound clash styles to a gliding “tokers delight”.

Smoke the Mystery. "

"You Can Win If You Want” is Modern Talking’s second single released from their debut album (1985). The single entered the top 10 in Germany. After three weeks it got into the top-5. Eventually, the single was certified gold in Germany and France.

You Can Win If You Want is available as a limited edition of
1500 individually numbered copies on gold coloured vinyl.

All-star jazz session WINNERS CIRCLE recorded in New York, September & October 1957. Featuring the musicians who came first or second in Down Beat’s critics’ poll of 1957. Reproduction of rare 1961 alternate album art and title credited to JOHN COLTRANE IN THE WINNERS CIRCLE. Featuring Donald Byrd, Kenny Burrell, Art Farmer, Philly Joe Jones, Oscar Pettiford and more. Remastered 96 kHz/24 bit audio H Pressed on 180 gram black vinyl at GZ Media in Czech Republic.

Captain Gloats is the understudy of Alloy Cuts’ mainstay Booty Haul, presumably for some hilarious “Haul & Gloats” puns in the not so distant future . Not much is known about Captain Gloats, other than he is a bit of dab hand at mashing up tracks and has an ear for what works on the dancefloor.

Ring My Cheque up mashes up Anita Ward’s “Ring My Bell” with The Beastie Boys classic “Ch-Check it Out” resulting in 4 minutes and 30 seconds of floor filling fun, with tongue firmly in cheek.

(Lauer rmx)

500 copies only !

The boston duo, the mighty Soul Clap, international stars goes balearic with one of their biggest track to date, the fabulous SUENO HEBREO ! It is a great pleasure to welcome them on Skylax Records. This track is like no other, unidentified sound object in sight, imagine the happy and improbable collision of sueno latino & the ibizenco spirit & sound popularized by alfredo and you can imagine the devastating effect this 12 inch will have on the dancefloor. As a bonus, an atomic remix crafted by the master Lauer which adds an early house touch (cece peniston finally atmosphere). Close your eyes you are in 1989. No in fact you are in 2022 & these madmen compile 35 years of music in the space of 6 minutes 40 seconds. The circle is complete.

Today, UK duo Audiojack release their edgy two-track ‘Stay Strong’ EP, out now via Dirtybird, marking their debut release on the label.

Embracing their unique deep house sound, ‘Stay Strong’ lives comfortably on festival main stages and underground dancefloors. Its titular track is an intricate soundscape complimented by layered synths and textured percussive elements. The companion track, ‘In Your Eyes,’ strikes a different tone with its rhythmic breakbeat nature. Ready to leave their mark on the Dirtybird flock, ‘Stay Strong’ arrives ahead of Audiojack’s upcoming debut at Dirtybird Campout this October.

Regarding the EP, Audiojack said, “We made these tracks as the pandemic restrictions were lifting and there was light at the end of the tunnel. We imagined how good it would feel to play loud music again to people who were full of joy and relief at being free again, and we tried to encapsulate that feeling in the music.”

Following the release of their second album, 'Surface Tension', Audiojack are entering what might be called the major phase of their career. This, of course, is not to diminish the solid reputation they have built over the last fifteen years as DJs, producers, remixers and label curators with original releases on labels like Crosstown Rebels, 2020Vision and Hot Creations, remixes on labels including Moon Harbour, B-Pitch Control and Diynamic, and artists like Underworld, Groove Armada and Hot Since 82 who have enlisted their talents for remixes.

This September sees the fourth release from the label Either. Label founder Jamie Clarke is behind the title track ‘Angor Animi feat. Emdee’ and a second track featuring Emdee, the third track is a remix of the title track from Romania’s Barac.

Either is built on Clarke’s sure feel for early hours dance floor tunes. The releases to date are enriched by remixes from Pablo Mateo, Ryan Crosson, Silverliining…

On Clarke’s title track Emdee’s vocals carry us along over squelchy acid bass, gritty stab lines, saturated drums and tribal-tinged percussion. On track 2 ‘Extraction’ Clarke picks up the journey theme. Here the mood brightens and trips-out, Emdee’s chanting vocal carry us over sonorous organs, swinging rhythms. Track 3 returns to the dynamically processed elements of the title track, Romanian minimal maestro and Moment Records Boss Barac sweeps us into a twelve-minute rushing tide of organic drums and swaying subs.

Red Vinyl

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output.

Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide.

Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy.

Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.