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Skarra Mucci is a Jamaican Reggae and Dancehall artist born in Kingston. Known as the "Dancehall President", his career counts 7 solo albums, including the essential "Return of the Raggamuffin" (2012) and countless classics and cult collaborations, such as the hit "My Sound" from the album "Greater Than Great" (2014) which exceeds 15 million cumulative Spotify and YouTube streams and the critically acclaimed album "Dancehall President" (2016) with its tour of more than 100 dates around the world, from Mexico to China.

5 years after the release of "Skarra Mucci & The One Love Family" (2018), this essential figure of Jamaican music, with his versatile flow and recognizable voice, announces a new studio album with multiple influences "Perfect Timing", which is scheduled for release on September 29, 2023.

The album opens with a hybrid roots-tinged hip hop riddim. Brass and percussion resonate throughout the track as Skarra Mucci gives way to a mesmerizing voice sample that gives the track “Here I Come” all its depth.

An introduction that sets the tone for an album tinged with a mix of genres by Skarra Mucci and his team of top producers brought together by Undisputed Records. "Perfect Timing" is indeed an ode to Reggae of all eras, full of nods to the Sound System culture, from its beginnings to the present day. From the choice of the featurings to that of the producers, nothing is left to chance to offer us a journey through the highlights of this rich culture which has never ceased to evolve, without any period being left behind.

For his 1st single, it is with a major player in the current Reggae scene that Skarra Mucci has chosen to announce the release of his 8th solo album by inviting the Martiniquais Yaniss Odua on the title "Roots Rock Reggae".

Accustomed to albums teeming with successful collaborations, "Perfect Timing" is obviously no exception to the rule. We find in particular on the title "Street Dance" the essential French producers of L'Entourloop, with whom he released the very successful EP "Golden Nuggets" (2019, 6 titles, 17M cumulative streams Spotify and YouTube) to drop once again a banger between Hip-Hop and Dancehall in line with their huge 2013 hit “Dreader Than Dread” (38M combined Spotify and YouTube streams).

Jamaican legend Johnny Osbourne also takes part in the celebration for a version of his classic of the digital era "What A La La", with Skarra Mucci on the Stalag riddim replayed for the occasion by the beatmaker specialist in the matter: Manudigital.

Skarra Mucci continues his exploration of various styles and influences with the very groovy "Dancehall", produced by the musicians of Dub Akom, in which he lets us perceive all his class and his swing. We also find the massive “Who Fool Them”, a UK stepper track produced by Evidence Music, but also the future Dancehall classic “Rappa Pam Pam”, or the huge “Misty Babylon” in a much more Roots register.

The album "Perfect Timing" ends with the eponymous title, on a riddim and Lovers Rock melodies carried by a joyful piano and a groovy bass. A finale in the form of a declaration of love for Reggae, this music which gave him so much and to which he gave everything.

See you on September 29, 2023 to discover "Perfect Timing", Skarra Mucci's new album.

n the occasion of the new 2023 edition of his album "Dancehall President" released in 2016 on Undisputed Records, Skarra Mucci unveils an alternative cover for the vinyl version.

Nicknamed "King Skarra" or "The Dancehall President", Skarra Mucci is undoubtedly one of the most versatile and interesting singers on the current Reggae scene. With an inexhaustible flow and judicious crossovers between reggae/dancehall, hip-hop and soul, Skarra Mucci transcends riddims and eras with mad class. Between Shaggy and Damian Marley, he reconciles tradition and modernity, old-fashioned raggamuffin and current productions.

"Dancehall President" is no exception in this area with reggae, dancehall, hip hop, dubstep influences and featurings such as Beenie Man, Willy William, Yaniss Odua, Horace Andy and Mandinka.

Staying true to who they are this dozen strong band have created an ensemble body of work ranging from relentless heavy Grime to Latin House to Jazz….that might sound like it shouldn’t work…it weirdly does…and does very well!

This album is almost nothing but singles, each track standing strong on its own making for a force of musical nature.

Here's a brand-new record of straight-ahead hairy, lairy surf, punk, garage, rock n roll party music from Sir Bald/Hipbone Slim and pals! Fun all the way!!! But beware these guys just ESCAPED FROM THE ZOO!!!! Well, it certainly sounds like it! Los Hairies are led by Hipbone Slim aka Sir Bald Diddley (more info below). In Los Hairies he is joined Galicia's foremost coffee liquor and pork fuelled rock n roll rhythm section, Jorge and Martin, the infamous Lorre brothers, of Wavy Gravies, Bo Dereks, Limboos and All Night Workers infamy! Fourteen dancing party hits to rattle your braincells and blow away the proverbial cobwebs! Everyone, a hairy dance hit! From the beach party 'Twist In The Sand' through to the 'Rock n Roll' death finale, you are invited to 'Shake Your Bacon', do the 'Diddley Conga' and 'Shake It Off' with the delectable but somewhat elusive 'Ramona'. Get down with the 'Little Green Man' and his rock n roll band! Go 'Bananas with Tarzan, duel with the 'Ratfink' and the 'Hairy Surfer! Los Hairies currently remain on the run from police, animal welfare services and a growing number of angry bar owners. Beware! They are dangerous! European tour planned for Oct/Nov 2023. Recorded on tape at Bronca Studio, Porto, Portugal by Nuno Riviera (T.T. Syndicate) More Hipbone Slim aka Sir Bald Diddley info: Hipbone Slim aka Sir Bald has released over 40 albums with his various bands including Hipbone Slim and the Kneetremblers, Sir Bald Diddley, The Snags and Nine Ton Peanut Smugglers. He has worked and recorded with members of Milkshakes, 5678s, Mummies, Phantom Surfers, Big Boss Man, Holly Golightly, Ike Turner’s Kings of Rhythm and Supergrass! Shared a stage/played shows with Dick Dale, Skatalites, Toots and the Maytals, Desmond Dekker, Edwin Starr, The Trashmen, PJ Harvey, US Bonds and Richard 'Louie Louie' Berry. Championed by the likes of John Peel, Mark Lamar, Mark Radcliffe and many others he has played a number of BBC radio sessions

Neues Album der sympathischen Bernauer Ska Punk Band, das erste auf Englisch. "And The Usual Suspects" präsentiert Oxo 86 mit einer Gruppe von Freunden aus anderen, englischsprachigen Bands. Jede Woche wird eine Kollabo auf Spotify und Social Media enthüllt, das endgültige Tracklisting kommt dann 14 Tage vor VÖ. Auch das unzensierte Cover wird dann präsentiert. Oxo 86 und ihre Mates haben einige ihrer besten Songs in Englisch neu aufgenommen. Eine völlig neue Seite einer der beliebtesten deutschen Punk-Bands. Und wie immer gilt, hart feiern, aber mit Haltung. 100 % Oxo 86.

Neues Album der sympathischen Bernauer Ska Punk Band, das erste auf Englisch. "And The Usual Suspects" präsentiert Oxo 86 mit einer Gruppe von Freunden aus anderen, englischsprachigen Bands. Jede Woche wird eine Kollabo auf Spotify und Social Media enthüllt, das endgültige Tracklisting kommt dann 14 Tage vor VÖ. Auch das unzensierte Cover wird dann präsentiert. Oxo 86 und ihre Mates haben einige ihrer besten Songs in Englisch neu aufgenommen. Eine völlig neue Seite einer der beliebtesten deutschen Punk-Bands. Und wie immer gilt, hart feiern, aber mit Haltung. 100 % Oxo 86.

Mareridt (übersetzt: Alptraum) ist das mit Spannung erwartete zweite Album der renommierten dänischen Komponistin und Multi Instrumentalistin MYRKUR.

Aufgenommen zwischen Kopenhagen und Seattle mit dem Produzenten Randall Dunn (Marissa Nadler, Earth, Sunn O))), Boris, Wolves In The Throne Room), ist Mareridt eine reiche Gegenüberstellung von Dunkelheit und Licht, Mond und Mutter Erde, die Hexe und der Heiligen. MYRKUR erforscht tiefer das Mysteriöses und das Weibliche mit 11 Tracks, die ihre visionäre Mischung aus Metal mit wunderschönen, mitreißenden Melodien, düsteren Folk Passagen, Chor-Arrangements und großartiger,schauriger Schönheit beziehen. Die Texte in mehreren Sprachen, die unvergessliche Zusammenarbeit in mehreren Sprachen, eine unvergessliche Zusammenarbeit mit Chelsea Wolfe und eine Reihe von Instrumentierung, darunter Violine, Mandola, Folk-Trommeln, Nyckelharpa (eine alte schwedischeHarfe) und Kulning (ein alter skandinavischer Hirtenruf). Mareridt ist eine tiefgründige Manifestation von Albträumen, die MYRKUR als einen der wirklich außergewöhnlichen Künstlerinnen unserer Zeit etabliert.

Mit der Veröffentlichung ihres neuen Albums Folkesange hat sich Amalie Bruun auf eine Reise in das Herz der skandinavischen Kultur, die ihre Kindheit geprägt hat begeben. Folkesange verzichtet auf Black Metal für eine raffinierte und doch weitreichende Beschwörung traditioneller Folklore, die alte und neue Lieder zu einem sublimen Resonanzeffekt verschmilzt.

Early on, his prodigious technique and wide-ranging style garnered comparisons with the great Oscar Peterson. But there has always been another side to Alexander's playing. Usually, jazz grabs the upper hand, but on occasion he digs deep into his Jamaican roots.

The 1974 We've Only Just Begun recording signals the beginning of Jamaican pianist Monty Alexander's fruitful relationship with MPS, lasting over a decade and encompassing some dozen albums. On many he partners with no one else than fellow Jamaican and one of the fathers of ska, guitarist Ernest Ranglin.

Among others, this Best Of includes tracks from Monty's MPS classics like RASS!, Here Comes The Sun, Montreux Alexander - The Monty Alexander Trio Live At Montreux, We've Only Just Begun, Monty Strikes Again, Cobilimbo, or the untitled Monty Alexander & Ernest Ranglin.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place

Wenn ihr Dub-Reggae der 70er Jahre liebt, dann ist diese Limitierte Yellow LP eine wichtige Ergänzung eurer Sammlung! Der Produzent Joe Gibbs war für die vier Mitte der 70er Jahre unter dem Titel African Dub All-Mighty veröffentlichten Scheiben verantwortlich, aber die Musiker waren in Wirklichkeit eine wechselnde Ansammlung von Mitgliedern der Bands Soul Syndicate, We the People und The Revolutionaries sowie das ergänzende Genie hinter dem Mischpult Errol Thompson.

The Good People, consisting of producer Saint and lyricist Emskee, hail from Brooklyn, New York. The dynamic duo brings a fresh take on the nostalgic elements of East Coast hip-hop. The Good People are coming off of two acclaimed albums, each showcasing their soulful instrumentals and flawless lyricism. In 2019, the duo dropped Good For Nuthin’ featuring Large Professor, Lilí Fame, Sadat X, Napoleon Da Legend, Cella Dwellas, G-Roc and Red Alert. They followed up with The Greater Good in 2021 featuring Lords of the Underground, Shabaam Sahdeeq, Craig G, Rasheed Chappell, DJ C-Reality, DJ Ace, Tone Spliff, Mikey D, Skanks the Rap Martyr, John Jigg$, DJ Eclipse, Rockwelz, Mouf and Nam Nitty. Now, The Good People bring you the new limited edition run of A Good Year. In 2022 they dropped a new single digitally every month which would become the tracklist for the new album. The new 12-track album features Dinco D, Charlie Brown, Makeba Mooncycle, John Jigg$ and Bobby J From Rockaway and is the perfect addition to their growing catalog

DFL is an American punk rock band founded in 1991 in Los Angeles, California, by Tom Davis, Monty Messex, Adam (Ad-Rock) Horovitz, and Tony Converse. The band, which included a noted skateboarder, a first wave punk rocker, and a Beastie Boy, turned heads by kicking out raw and ragged hardcore at a time when punk rock was becoming slick, poppy, and safe. Slamming riffs and lyrics that alternated between serious issues, such as depression, and the silly, like why pizza is so tasty, garnered them critical acclaim and a loyal fan base that continues to exist through to today. Now available for the first time ever on 12-inch vinyl, the entire album was remastered by Mario C with the band’s input. The deluxe reissue also includes a 20-page full-color oral history, a massive full color zine packed with unpublished flyers and, the pièce de resistance, a complete, totally unreleased, live show that was recorded at a huge party at G-Son studios the day after album tracking was completed.

This is where it all starts. Without any reminiscing about their former band Operation Ivy, Matt Freeman (bass) and Tim Armstrong (guitar/vocals) blast through their debut without any hints of ska or blatant Clash plagiarizing. On the contrary, this album rips through 15 tracks of high-energy punk that"s accompanied by heavy bass leads and Armstrong"s permanently slurred vocals. And to top it all off, the lyrical content deals with urban blight and the lifestyle of being a public nuisance. With this trademark sound, Rancid provides the perfect soundtrack for any car chase that includes massive property damage; is it a wonder MTV wouldn"t touch this? -Mike DaRonco

Portland-based Kevin Palmer returns to blundar with his Best Available Technology for another release (having previously been featured on cassette). This time it’s on vinyl but still messing about with the same business of constructing and deconstructing head-nodding beats into a foggy bowl of ambience that has become the trademark sound of BAT.

Initially inspired and influenced by the sound-worlds created by Hank Shocklee, BDP and KDAY, Palmer spent his formative years combing pawn shops for samplers. This kicked off his self-described obsessive compulsive work crunching out impossibly naive and obviously unschooled jams in what might have been and continues to be an attempt to capture and document something he felt when listening to the bombastic sonic collages of early hip hop.

Going backwards in order to go forward could be an apt mantra to describe the philosophy behind BAT. Often attached with labels like nostalgia and melancholy, Palmer surely deals with the longing for that perfect time capsule of N.Y. hip hop in the 90s - but where others zoning in on that era simply imitate it, Palmer goes way further into a world of his own making.

Far removed in both time and place to the outskirts of Portland, the sonics of Palmer filters through an outsider’s perspective, sometimes offering a personal journal of the here and now via field recordings from skateparks and surfing trips.

As if one would imagine looking slightly to the left of what was supposedly going on, these tracks continuously shift one's focus. That funky feel good beat is there, but almost always just out of grasp. Palmer gives us the sound of a memory slipping away.

Yet this reads not as the end of something, but rather a stepping stone into a world of possibilities. Operating at the outskirts of genre, you could imagine anything from dub, hip hop, ambient or techno to emerge and crystalize from the haze, yet it never does. This is all those things and nothing. Or maybe it’s just some “sad fucked up funk” as Palmer puts it.

Named after the fictional character created by James Thurber-- popularized by Ben Stiller in 2013's The Secret Life Of Walter Mitty--Hayes has always channeled his thoughts and emotions through that character, rather than write about himself directly. "I really related to the character of Walter Mitty," says Hayes. "He's known for daydreaming too much and being lost in his head, which has been accurate to the Walter in my songs.

But really it's all just a cover up because back in those days we were still on family computers and I didn't want anybody to see songs by Dustin Hayes on iTunes." The band released a number of EPs and albums before going on something of a hiatus in 2015. But the creative itch was something Hayes couldn't stop scratching, and in 2016 he reformed the band as Walter Etc., the idea being to allow members to come and go as they please, weaving in and out
of records as life and schedules allowed.

Now, though, Walter Etc. have returned with When The Band Breaks Up Again, a new album made by the original three members with a very telling title. "The three of us got into music together via Green Day and more '90s pop-punk and skate punk stuff," explains Hayes.

Funkiwala Records presents CUBANGLA - the sixth album by London fusionistas LoKkhi TeRra.
Following on from their hugely successful collaboration with UK afro-beat ambassador Dele Sosimi on 2018's "Cubafrobeat"(mixing afrobeat and Cuban Rumba/Timba), this album sees them return to their Bangla-Afro- Latin-Jazz-Roots.
8 tracks of 21st century London groove – from Sufi Samba to Baul Blues to Bengali folk-Son to Bangla Roots Reggae to London Descargas - recorded in between tours, sessions and collaborations – a true celebration of traditions taking on new forms as they travel and co-exist. In these divided times, their collective musical journey has never been so relevant.

Background
Kishon Khan's Lokkhi Terra have been blending the musical traditions that surround them in London, for many years now.
"Stunning Headliners... A majestic multi-cultural blend of sounds... effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London).

The band is composed of musicians who take seriously the different languages of the different genres they mix. Each in their own right play with calibre purist outfits. Members have collaborated with the likes of Hugh Masekela, Tony Allen, Ibrahim Ferrer, Johnny Clarke, Orlando Poleo, Africa Express, Jazz Jamaica, Ska Cubano, Giles Peterson's Havana Cultura, Kyle Eastwood, Bellowhead, Akram Khan to name a very few.
The tracks on this album were gigged for a number of years before being recorded, with the exception of the last 2 tracks which were recorded in 2015 just before performing at Womad and Songlines Encounters.
With CUBANGLA the band has come round full circle – a journey that started a decade ago with their debut No Visa Required (2010). An urban London view on the musical world.

Das war längst überfällig: The Headlines "In the end" erscheint zum ersten Mal endlich auf Vinyl. 2017 markierte das Album für die skandinavischen Punk Rocker The Headlines einen Wendepunkt, denn fortan übernahm die fantastische Sängerin Kerry Bomb das Mikro, während Mastermind Jake Lundtofte als Songwriter und Lead-Gitarrist den Sound weiter perfektioniert und prägte. "In the end" ist dabei nicht nur vom Titel auch 5 Jahre nach Erstveröffentlichung aktueller denn je: Kerry im Interview mit dem Pressure Magazine dazu: "Der Titel "In The End" ist unsere Antwort darauf, wo die Menschheit derzeit steht. Mit unserer Energie geht es dem Ende zu und der Planet zerstört sich mehr und mehr von Tag zu Tag selbst.

Auf intellektueller Ebene, sind wir irgendwie am Ende angelangt." Das Ergebnis ist schlichtweg ein Punkrock-Meilenstein voller Energie und Leidenschaft, der einen sofort in seinen Bann zieht...straight forward, rotzig-frech und doch ausgeklügelt und extrem abwechslungsreich. Kurz gesagt die Scheibe rockt vom ersten bis zum letzten Ton.

Detroit-based duo Ataxia and Mister Joshooa come together on Life and Death with their new EP 'Mastermind'. The record marks a new installation of Ataxia's punk forward house vibe; however, this time the group has their blinders on - this mini album is 100% dance floor oriented, all suited up to scratch the insatiable itch of the worldwide dance
Starting off strong with 'Mastermind', the collaboration delivers from the second we hit play. The A-side maintains similar elements such as a resonant kick and skipping percussive beats masterfully intertwined with vocals that echo and stutter. Record scratches, cowbell, and classic vocal hits can all be found on the B-side, bringing old-school sounds to the forefront with dynamic, rhythmic grooves.

Seminal early '90s UK business right here from Frontier Man, remastered and reissued with brand new remixes from Monstergetdown and Fantastic Man.

Landing on the mighty Hooj Choons in 1992, 'Express It Thru The Dance' is a real snapshot into the landscape of club culture in the UK at the time. The Skank Mix blends elements of rave, breakbeat and progressive house with that rough and ready, heavyweight low-end. Ramping up the levels, the Techno mix is a furiously paced, acid laced powerhouse.

On remix duties, Monstergetdown hits hard with a rave inspired, techy groove interpretation, whilst Fantastic Man heads down the wormhole with a trademark, trance-leaning techno take on this classic.

An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music.He is the one behind the amazing label Freesound (Schifter, Philopsis, Challenger), but as well on Montparnasse 2000 with Pop in Devil's Train (reissued on Le Tres Groove Club), on Timing (Timing N?1 and Timing N?5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, reissued as well on Le Tres Groove Club) or Black Devil Disco Club whose paternity for this record is still disputed between him and Bernard Fevre. Jacky Giordano wasn't an altar boy, far from it, and will have sadly been more known for his troubles with justice than for his music.This is his work for the label l'Illustration Musicale (IM) which can now be rediscovered thanks to this new reissue on Le Tres Groove Club.Organ Plus (IM26) is the sequel to Organ (IM 24), also reissued by Le Tres Groove Club. The title is misleading here, an organ not being preponderant part of the record which honours the Fender Rhodes, string machine, bass synth and clavinet. 'Be Careful', 'Riffologic', 'Twillight' : Jacky Giordano offers slow tempo jazz-funk, without losing his melancholy and low-fi groove that make his tracks immediately recognisable regardless the record label or nickname.

DJ Robert Smith presents his first ever scratch 12” - ‘Double Jabbed’!!
Previously lacing the portablist and 45 spinning community with 2 instant 7” classics,
‘The Kure’ and ‘The Booster’, ‘Double Jabbed’ is ALL that and then some!


Remixed and remastered, Side A contains all 12 of the skip-proof phrases from ‘The Kure’
plus an additional section with these arranged in ultra-pitch. It concludes with a full
phrase containing all of the samples from sides A and B in regular speed, then in
ultra-pitch. Side B contains all 13 of the skip-proof phrases from ‘The Booster’ then again

a section with these as skip-proof ultra-pitch phrases.



Pressed on premium black vinyl, the full colour picture sleeve is again illustrated by skate
industry legend Mark ‘Fos’ Foster (Heroin, Baker, Toy Machine, Santa Cruz, Element and
more).

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

Tracked in 1977, this bundle of never-before-released basement demos throw Harris’ beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is James “Jimmy Jam” Harris’ first foray into songcraft and an organic Minneapolis-vintage alternative to a late ’70s Prince songbook gone increasingly synthetic.

Tracked in 1977, this bundle of never-before-released basement demos throw Harris’ beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is James “Jimmy Jam” Harris’ first foray into songcraft and an organic Minneapolis-vintage alternative to a late ’70s Prince songbook gone increasingly synthetic.

The Skankin' Monks featuring Kenyatta Hill making a big tribute to his father, the legendary Culture vocalist, Mr. Joseph Hill. Babylon's Big Dog is a rearranged remake of the Culture classic from 1982's Lion Rock LP.

The Skankin' Monks are a reggae formation from Amsterdam that gets inspiration from several styles. In 2013, they had a big hit with singer 'CHEZIDEK's "ALL MY LIFE" - Since then they collaborated with artists like Eek-A-Mouse, Meta Dia, Kenyatta Hill & Christos DC etc.. The Monks meditate on the music they're creating & they have only one goal; to let everyone enjoy the musical zen in unity.

Wann immer EVERGREY-Frontmann Tom S. Englund und der US-amerikanische Pianist/Komponist Vikram Shankar (Redemption, Lux Terminus) zusammenkommen und ihre Kreativität gemeinsam als SILENT SKIES nach außen kehren, entsteht Magie! Mit Dormant veröffentlicht das schwedisch-amerikanische Cinematic-Pop-Duo nun das nächste, magische Stück Musik. Das dritte Studioalbum von Englund und Shankar erscheint am 1. September 2023 über Napalm Records. Getragen von vertonten Emotionen und skandinavischer Melancholie reiht sich Dormant in die klangliche Welt der vorherigen Alben Nectar (2022) und Satellites (2020) ein und bietet atemberaubende Klaviermelodien, atmosphärische Keyboards, weitläufige Soundlandschaften und eindringlich schöne und intensive Vocals auf zehn Eigenkompositionen, begleitet von mehreren Bonustracks. Für Letztere haben SILENT SKIES bekannte Klassiker gecovert, unter anderem von Iron Maiden und Linkin Park, und diese an ihren ganz eigenen, unverkennbaren Sound angelehnt.
Auf Dormant lädt der atmosphärische Eröffnungstrack „Construct"" die Hörer dazu ein, die beiden Musiker auf einer gefühlvollen Reise zu begleiten. „New Life“ schlägt hingegen dunklere Pfade ein. Englunds einfühlsamer Gesang spricht direkt zur Seele und harmoniert perfekt mit Shankars ausgefeilter Instrumentierung, die von zartem Piano getragen und einer einnehmenden Produktion unterstrichen wird. Das harmonische „Churches"" sowie das Pop-inspirierte „Just Above The Clouds"" – Letzteres mit einem fesselnden Solo des Leprous/Musk Ox-Cellisten Raphael Weinroth-Browne – bauen sich zu einem hypnotischen Tagtraum auf, um in den gefühlvollen Tönen von Dormant zu versinken. Einfühlsam kreieren „Reset"" und „Tides"" schier endlose melancholische Klanglandschaften, während das ergreifende „The Real Me"" mit elektronischen Tönen eine weitere Facette des Albums aufzeigt.
Die durch und durch stimmige Zusammenarbeit beider Künstler bildet das Fundament aller SILENT SKIES Kreationen. Durch viel Feingefühl und Liebe zum Detail, gepaart mit tiefgründigen, ausdrucksstarken Lyrics, entsteht ein einzigartiger Charakter, der mit jedem Ton die Handschrift von Englund und Shankar trägt. Auf das tief bewegende „Light Up The Dark"" und den Titeltrack „Dormant"" folgt mit „The Last On Earth"" die letzte Eigenkomposition des Albums.
Das dritte Werk von SILENT SKIES ist melancholisch und beruhigend, aber auch sprudelnd und glühend – es erweitert das klangliche Universum des Duos in alle Richtungen. Dormant reflektiert das Leben selbst und ist das Ergebnis mutiger klanglicher Experimente in Verbindung mit genau der künstlerischen Ästhetik, die SILENT SKIES auszeichnet. Mit ihrer Musik schreiben Tom S. Englund und Vikram Shankar so intensive Geschichten wie das Leben selbst und erreichen damit Menschen in unterschiedlichsten Lebenslagen mit verschiedensten musikalischen Vorlieben."

This classic album from 1973 saw its creator, Lee ‘Scratch’ Perry exploring synths and starting to develop his Black Ark sound - the enigmatic producer was at the time in the process of building his famous studio and honing his ideas about dub as a musical form.

The LP opens with the eerie “Kentucky Skank”, Perry’s ode to KFC, complete with frying chicken sounds, spliced between winding tapes, a ghostly trumpet, and futuristic moog synthesizer, overdubbed at London’s Chalk Farm studios.

U Roy’s “Double Six” and I Roy’s “High Fashion” & “Hail Stones” illustrate just how strong The Upsetter’s deejay material had become, while versions of the Chi-Lites’ “We Are Neighbours”, Sam & Dave’s “Soul Man” and a re-working of Al Green’s “Love and Happiness” (retitled “Jungle Lion”) all betray the funky soul influence that was increasingly shaping his work.

The backing tracks illustrate the producer at his best; the audio spectrum is fully differentiated while spatial placement an important component - something it would take years for him to achieve at the Black Ark.

Double Seven is available as a limited edition of 750 individually numbered copies on silver coloured vinyl

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

Die Viking Metal Giganten SKÁLMÖD auf den Spuren der nordischen Mythologie Mit Ýdalir blicken die Viking Metal Größen SKÁLMÖD auf die Veröffentlichung ihres sechsten Studioalbums, das am 18. August 2023 via Napalm Records erscheint. Ihr erstes Studioalbum seit fünf Jahren ist von dem nordischen Gedicht Grímnismál, einer berühmten Sage aus ihrer Heimat Island, inspiriert. Die Band begeistert nicht nur Fans bei Festivalauftritten wie auf dem Wacken Open Air, auch der isländische Präsident Guðni Th. Jóhannesson unterstützt die Band und ist sogar im Vorwort ihres offiziellen Buches The Saga Of Skálmöld (2021) verewigt. Basierend auf der nordischen Mythologie thematisiert „Skuld“ die Schwesternschaft des Nornen Trios, das über das Schicksals der Menschen entscheidet, was SKÁLMÖD mit düsteren Bass- und Gitarrenmelodien illustrieren. Mit Ýdalir liefert die Viking Metal Instanz SKÁLMÖLD auf ihrem neuen Album erneut mystische Momente, die sie auf diesjährigen Festivalauftritten wie dem Wacken oder dem Summer Breeze unter Beweis stellen werden.

Eine aufregende Entdeckung für alle Fans der irischen Musikgiganten The Chieftains: zwei amerikanische Livemitschnitte der Band erstmals auf 2-CD und LP, aufgenommen in San Francisco im Boarding House
am 1. Oktober 1973 und der Great American Music Hall am 5. Mai 1976.

Die 2-CD-Variante beinhaltet als Bonusmaterial das letzte Interview mit Paddy Moloney vor seinem Tod im Jahr 2021 und eine Einschätzung der irischen Wurzeln in der Bluegrass-Musik von Jerry Garcia (The
Grateful Dead).

Ausstattung 2-CD: Hardcover-Digipak mit 36-seitigem Booklet mit ausführlichen Linernotes der Owsley Stanley Foundation und von Bluegrass-Legende Ricky Skaggs

SDEM’s debut LP for Mancunian electronic music imprint Skam Records.

VORTICES 9 tracks continue SDEM’s current prolific flow after a steady series of drops via his own
MEDS label & other like-minded operators (CPU, Opal Tapes, Seagrave, Superpang etc..)

Informed by hiphop & computer music and steeped in Northern England's post bleep+bass
mutations, VORTICES operates in its own lane, rooted as much in the by-hand manipulations of
musique concrete and free improv as the studio-as-an-instrument innovations of electro, hiphop, dub and bass weighted electronica.

Evolved out of hardware jams, the pieces showcased here crackle with emotion and colour,
repeated plays reveal suggested and subliminal depths. Neither shackled to the grid nor enslaved to linearity, the LP expands & finesses SDEM's dynamic & forward facing approach

Multiple GRAMMY® Award winners Bruno Mars and Anderson .Paak are releasing their award-winning album An Evening With Silk Sonic on vinyl for the first time on 12th August 2022. The track list includes the hits “Skate”, “Leave The Door Open” and “Smokin Out The Window”. Silk Sonic won International Group of the Year at the 2022 BRIT Awards and are set to open the 2022 GRAMMY Awards. The album entered the UK Album Chart at #9 and remained in the chart for 16 weeks. The focus track on album launch “Smokin Out The Window” peaked at #12 on the UK Singles Chart.

Their debut single “Leave the Door Open,” earned them Best Group at the 2021 BET Awards, entered the UK singles chart at #20 and is now certified Gold in the UK. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

ABOUT SILK SONIC:

The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 2 billion streams with over 510 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

Put Webbed Wing’s Taylor Madison up against some of rock’s most celebrated songwriters––he’s ready. On their new EP, Right After I Smoke This..., the Philly-based guitarist and singer puts on the kind of unforgettable performance that can take everyday people and turn them into musical heroes for the masses.

For those in the know, Webbed Wing––incomplete without Jake Clarke (drums) and Mike Paulshock (bass)––have long-since reached cult status; the project follows Madison and Clarke’s already-decorated career in their band, Su- perheaven. Here, each member freely flexes their innate genre-bending musicality, taking notes from the likes of The Lemonheads, Teenage Fanclub, and Weezer.

In just three songs, Right After I Smoke This... channels everything lyrically-gripping about rock music and everything vibrant about pop. There’s as much earnest twang in their toolkit as there is snotty skate-park punk and intense metal; it’s a celebration of the genre as they’ve come to love it, resulting in something highly palatable and new.

Es gibt nur wenige Bands in der Metal-Szene, die als Pioniere, wahre Wegbereiter und Anführer musikalischer Bewegungen gelten können. Als PANZERCHRIST 1996 mit ihrem Debütalbum "Six Seconds Kill" eine geschwärzte Form des Death Metal in Skandinavien einführten, machten sie sich neben Vader und Bolt Thrower einen Namen unter den Stilpionieren in Europa. Im Laufe der folgenden Jahre hinterließ das dänische Kollektiv ein gutes Dutzend unerbittlicher Alben, die keinen Gegner auf der Strecke ließen und zahllose Truppen in ihre Reihen holten, darunter auch begeisterte Pressevertreter. Leider wurden auch Panzerchrist von Lineup-Schwankungen geplagt, so dass es nach "7th Offensive", das 2013 erschien, ein Jahrzehnt lang still um die Band wurde. Das neue Album "Last Of A Kind", das in den Antfarm Studios aufgenommen und von Tue Madsen produziert
wurde, löst beide Probleme - die Stille im Panzerchrist-Lager und die Lineup-Instabilität - indem es neues Blut mit Erfahrung in der Szene und genug Blutvergießen im Kopf hinzufügt, um ein Album zu machen, das den Namen der Dänen verdient... Und dann noch etwas. Die Wut, die Härte und die Schnelligkeit, die die Seele von Panzerchrist ausmachen, sind hier, unberührt und gekrönt von einem neuen Sinn für Bösartigkeit, verkörpert von Sonja Rosenlund Ahls bösartigen Vocals. Ja, Sir, Panzerchrist sind zurück, aber nicht nur zurück: sie sind zurück mit einer Rache und einer wahnsinnigen Menge an Interessen in Bezug auf die einjährige Schuld, die sie uns schulden!

Originally released on Island Records in September 1998, the soundtrack to the box-office smash film, written and directed by Guy Ritchie, quickly became a must-own album, and is frequently cited as one of the best movie soundtracks of all time.

Lock, Stock and Two Smoking Barrels redefined the British gangster film and established Guy Ritchie as one of the greatest directing and writing talents of his generation. Using a frenetic mixture of filmic styles, humour, violence, breakdown of the fourth wall, narration, and vast amounts of swearing, it is hard to imagine a time when this film and its influence was not around. It made a star of the-then unknown Jason Statham, and, amazingly, hard man footballer Vinnie Jones, who as Big Chris, had several scene-stealing moments. Taking his cue from Quentin Tarantino, who had been meticulously curating his film soundtracks since the early 90s, Ritchie made the music to his film tell its own story, complete with memorable snatches of dialogue between many of the tracks.

It offers a beautifully eclectic selection of songs from the preceding three decades, plus then-current artists providing some of their best material, such as Hundred Mile High City by Ocean Colour Scene or E-Z Rollers' drum'n'bass masterpiece Walk This Land. Of the heritage tracks, Dusty Springfield sings her sultry take on Spooky; James Brown appears twice with The Boss and The Payback; The Stooges with I Wanna Be Your Dog, and two versions of Pete Wingfield's masterful one-hit-wonder 18 With A Bullet; in its 1975 original and a contemporary cover by Lewis Taylor and Carleen Anderson. And this is only half of it.