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Delivered via the manic pedalboard wizardry and sophisticated finger work of guitarist Tommy Meehan (Cancer Christ, Deaf Club, Cartoon Network) and the utterly brutal and savage drumming of Seth Carolina (Starcrawler), SQUID PISSER's tightly controlled, futuristic hardcore-onslaught of amped-up rainbow vomit is a thing of throbbing, mucous-laden beauty. Conceptualized and formed in 2022, SQUID PISSER decided to fully utilize planet Earth's viral slumber in order to gestate, write, and record - resulting in the opening salvo 'My Tadpole Legion' (Three One G / Sweatband) and a spattering of live shows, already the stuff of legend.

SQUID PISSER continue their live assault and make their SKiN GRAFT Records premiere with "Vaporize A Neighbor", a four-song EP packaged in a full-color 24-page comic book sleeve with comics from Johnny Ryan (Angry Youth Comix), Mike Diana (Boiled Angel), Kali Fontecchio (Maude Macher) and many more. The first 500 copies are pressed on translucent "Purple Bruise" vinyl, include a wraparound obi-strip and come packaged in a crystal clear resealable sleeve. Released alongside "Vaporize Your Neighbor" is the fifteen song CD companion "Vaporize A Tadpole", compiling the new EP, Squid Pisser's debut album "My Tadpole Legion" and additional unreleased bonus tracks. Both releases feature exclusive cover artwork from afro-surrealist A4RO.

KingUnderground Records present the instrumentals version of Lewis Parker’s sought after hip-hop record ‘Frequency Of Perception’ - a record that continued to cement Parker as a stalwart of the 90s hip-hop sound, think Tribe, Slum Village, The Pharcyde et al.

The prolific UK born hip hop legend, proves to be as tapped into the feel of a pocket as he was when he came on the scene in the 90s. “All I Got”, the album's first track, has a groove to the bassline that you won’t forget. The spacey keys show themselves early in the record and are a constant that give the record a dreamy feel, adding a mystical and psychedelic energy. Whereas “All My Life” is a well executed balance between that energy found in the flute held up by a taught backbeat, allowing it to maintain a free spirit.

The attention to detail and the intent in the sequencing and production on “Frequency of Perception” is best noticed when listening front to back.
The whole album touches on dynamics in line with the iconic sound that Parker built his reputation on for decades. All while finding new ways to tell stories by further exploring instrumentation. Lewis remains consistent in his craft, continuing to cook up beats and productions with classic techniques and fresh ingredients. There is no sense of reaching, the productions exude an attitude that reaps a true passion for his craft.

Dez Andres must have had a busy year in the studio because he has a few new joints dropping at the moment. Beretta Music has his latest and it comes in the form of a 7"to follow up his 'Back in My Space' from back in Spring. Once again here the Motor City native, former Slum Village DJ and house maestro dips into his more soulful side with some fresh breakbeat tunes that are sure to get the floor popping. Yelping vocals and some signature Andres basslines finish it in a fiery fashion. Fellow Detroit talent Brian Kage steps up with a booty-shaking remix that gets even heavier on the drums to make for another fine 7".

"Galt MacDermot (1928-2018) was an award-winning Canadian-American composer, pianist, writer of classical music and theatrical pieces. MacDermot also composed music for several film soundtracks (like the 1970 blaxploitation film `Cotton Comes To Harlem') and released several exceptional jazz and funk albums on his own label Kilmarnock Records. He is best known for his work on the Grammy winning 1967 musical Hair (which also produced several number-one singles like "Aquarius/Let The Sunshine In") and Two Gentlemen of Verona (1971) for which he won a Tony Award. In 2009 Galt MacDermot was inducted into the Songwriter's Hall of Fame and in 2010 he received the Lifetime Achievement Award. In 1979, MacDermot formed the New Pulse Jazz Band, which performed and recorded his original music. Galt MacDermot's music is extremely popular with collectors of jazz and funk. Working with jazz and soul musicians such as Bernard Purdie and Idris Muhammad, MacDermot created pieces that used African rhythms (he made the study of African music his speciality). In recent decades, his work has become popular with hip-hop musicians including Busta Rhymes, Ol' Dirty Bastard, Gang Starr, Action Bronson, Public Enemy, MF Doom, Madlib, J Dilla, Obie Trice, Naughty By Nature, Run DMC and Digable Planets_the list is endless. The album "Ghetto Suite" was written in 1970 and released in 1972 and is considered one of the most ground-breaking records ever issued on Galt MacDermot's Killmarnock label and consists out of a selection of songs and poems by Harlem/Bronx school children, set to Galt's music, and sung by vocalist Angela Ortega. Given That Galt's handling the music, you can bet that there's plenty of nicely executed funky touches - supported by rolling bass-work, snapping drums, and organ virtuosity. But the real charm of these groovy tunes comes from the lyrics, which have a simple and to the point way of dealing with issues of racism, poverty and other issues of the time. The story telling is surprisingly gripping even after all these years. The whole album creates an extremely personal direct sensitivity to the environment of Ghetto kids_telling us with defiantly honest intensity what it was like to be young and black, the drugs and the deaths, the topic of incarceration_or simply the fact of being battered by the frustration of Ghetto existence. Ghetto Suite is way more than an entertainment record, it has been used by teachers and counsellors to inspire and motivate the muted voices of the black inner cities_ documenting both their anguish and their triumphs. Tidal Waves Music now proudly presents the FIRST EVER vinyl reissue of this exceptional conceptual album (originally released in 1972 and a highly sought-after pricey collectable ever since) This unique record now comes as a deluxe 180g vinyl edition (strictly limited to 1000 copies) with obi strip and features the original artwork and extensive sleeve notes.

Repress!

Four Units is a kind of Japanese jazz “all star”. Recorded in Tokyo on April 1969, it was released the same year on Union records.
On the first two long songs that open this album, “Four Units” and “Dull Slumber”, we can feel the influence of the “avant-garde” scene of US jazz (and in particular ESP Disk), without however the music sounding too “free”. A whole new vibe on the astonishing cover of “Scarborough Fair”, in a modal style, where the shadow of McCoy Tyner seems to hang over the piano.
The next two tracks, “Rainbow Trout” and “Black Bass”, are still pretty much along the same line, sometimes oscillating towards “hard bop”, the album ending in a blaze of glory with a solo by Masahiko Togashi. While this album had a second pressing in Japan in the 70s, this is the first time it has been reissued with its gatefold cover. Musicians : Tenor Sax, Flute - Akira Miyazawa Piano - Masahiko Sato Drums - Masahiko Togashi Bass - Yasuo Arakawa Recorded in Tokyo, April 2 and 25th 1969

**AVAILABLE ON BLACK VINYL AND INDIE EXCLUSIVE OPAQUE PINK** Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.

Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey. Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with. Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks. The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe. 'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

Recorded entirely in 2021, "Perfect Worlds," the newest album by San
Francisco's mysterious lo-fi pop legend Tony Jay, delivers an intimate
record of thirteen dreamy, assured arrangements.Fresh off the heels of
"Hey There Flower," "Perfect Worlds" marks Tony Jay's first album with
Slumberland Records and further cements Tony Jay's status as dejected
crooner of the quotidian par excellence
Drawing inspiration from failed relationships, lack of sleep, a bicycle injury, and
depression, Tony Jay pairs catchy melodies and hushed vocals with ethereal
instrumental tracks. Headed by Michael Ramos, the former drummer of April
Magazine, and current member of Flowertown, Al Harper, and Sad Eyed Beatniks,
Tony Jay began recording in 2006 and added a live band in 2017. "Perfect
Worlds," recorded in Ramos's bedroom and mastered by Mikey Young, features
Kelsey Faber, Alexis Harper, and Cameron Baker, with guest vocals by Karina Gill
(Cindy, Flowertown, Sad Eyed Beatniks).
Studded with instant classics, Tony Jay's new album encapsulates the isolation
and loneliness of the past few years. "In a perfect world I'd find a place down in
the basement," begins the title track, and the refrain repeats, "You just can't
escape it." Interspersed with otherworldly instrumental tracks that call to mind a
machine struggling to work underwater and whale mating calls combined with
droning synth, horns, chimes, this album also provides space for listeners to
make new worlds of their own. Our times may be inescapable, but we're fortunate
to be able to wall ourselves in with fantasies of our own creation alongside
"Perfect Worlds.

BerettaMusic, known for discovering and developing Detroit talent and serving as a launching ground for several well known artists such as Seth Troxler, Ryan Crosson, Luke Hess and many others, the label further solidifies their legacy in Detroit dance music with a release from legendary Dez Andrés.

“It's hard to believe it is now a full decade since Detroit's Dez Andres blew up off the back of his classic house jam 'New For U.' He had of course been toiling away for years before that, recording with Moodyman and DJing for Slum Village amongst other things. Since then the music has kept coming - some of it hip-hop as DJ Dez, some of it house under this alias, and much of it a perfect fusion of the two. And that's what we get here on this new EP for Beretta Music - four lush deep house joints with his smooth signature drum loops and gloriously incidental melodies. The slower, funkier bounce of 'Back To Nature' is the EP highlight for us, but all four of these are a cut above, as per usual with Dez.”

Airport Society are the Detroit duo of Brian Kage and Ryan Sadorus who founded the label BerettaMusic together nearly 20 years ago. They have been on a tear this past year since getting back together on both the label and musical collaborations. Here they deliver a heavy remix of “Back in My Space”, taking it into the depths while accentuating the soulful elements. Inspired by late night Detroit underground parties, the duo continues to deliver classic releases and remixes. The label continues to build momentum through 2022/2023 with some great releases. Written and Produced by Dez Andrés. Remix by Ryan Sadorus and Brian Kage. Mixed and mastered at the Bear Cave in Detroit, cut by Dietrich Schoenemann. Pressed at the world famous Archer Records in Detroit.

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

In 2003, Pisco Crane assembled a six-piece band from motivated and talented like minds in the Kinshasa slums where he grew up. Pisco had been involved with a handful of local rap acts when he was younger, but after meeting legendary instrument builder Bebson De La Rue, he was inspired to follow a new path. He set about building instruments from the discarded trash that surrounded his city: bits of old computers or oil cans were fashioned into bass guitars and drums, and keyboards were bashed together using springs, metal pipes, and offcuts of tubing. If there was a core philosophy that guided Pisco at this stage in his journey, it was that everyone should have access to instruments, no matter where they come from or what their budget might be. And following in the footsteps of Bebson, Pisco locked into a Congolese tradition that touches on the eccentric genius of globally lauded artists like Konono Nº1 and Staff Benda Bilili. Over the years, Fulu Miziki's notoriety grew in the Kinshasa underground - their utopian vision of the future was infectious. Eventually, they were joined by performance artist, sculptor and fashion designer Lady Aisha, who offered the band unique colour and a soulful central focus. Influenced by Kinshasa's street performance scene, Aisha helped the band devise vivid masks and costumes that were as electric and singular as the instruments they played, and the scene was set. In 2020, as the world was plunged into lockdown, footage of Fulu Miziki went viral and their star began to grow exponentially, with a video of the band preforming the track 'Tikanga' racking up millions of views on Facebook. The band used this opportunity to work on documenting their sound, and shored up at the Nyege Nyege studios in Kampala for a year to assemble a definitive album. Recorded by HHY & The Macumbas' Jonathan Saldanha, this record captures the band's furiously innovative mixture of industrial sonics, spiritual jazz, punk, and Congolese soukous pressure. At their best, Fulu Miziki sound almost completely out of time, curving pounding rhythms around microtonal clanks, rousing chants and spiky sonics. On 'Mutangila', there's a hint of disco in the 4/4 stomp, but it's been shifted into a post-punk ritual, adorned with complex bell percussion and overlapping vocals. 'Congo' is even harder to define; electrified buzzes form a bassline, but it's the mindboggling rhythms that shuttle the track into psychedelic realms, led confidently by Lady Aisha's limber rhymes. Fulu positively slither on the sultry, industrial-influenced 'Sebe', while 'Tikanga' reminds of Congo's rumba-derived soukous traditions, materializing the sounds into the future with tight, pounding percussion and head-melting fx. The story of Fulu Miziki is sprawling and complex and constantly evolving, with various offshoots and band iterations. Two members left the band in 2016 to form KOKOKO! with French producer Débruit. Not long after they recorded this magnum opus album, several other original members left to form a similarly named outfit currently based in Europe. This other incarnation recently released an EP of electronic productions without the band founder Pisko Crane and lead vocalist Lady Aicha, on the UK based Moshi Moshi records. Pisco and Lady Aicha currently lead a different outfit in Kinshasa made up of completely new musicians. This full-length is the remaining proof of Fulu Mziki at their most vital and most complete - it won't be repeated - and can never be recreated. It's an essential portrait of one of the Democratic Republic of Congo's most innovative contemporary outfits, and some of the most surprising hybrid music you're likely to hear.

Available again. Note price increase. The contributions of the late Detroit producer James DeWitt Yancey –better known to the world as J Dilla to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) It's on Slum Village's 1997 studio debut, Fan-Tas-Tic Vol. 1, that all these elements come together in the most proficient manner. An instant hit among Detroit's underground hip-hop scene, the album seemed to combine all the best elements of the reigning alternative and gangsta styles of hip-hop into one cohesive style that was a hit among critics. Fan-Tas-Tic's influence extended far beyond Detroit, as its sound heavily influenced the sounds of D'Angelo, Erykah Badu, and The Roots just to name a few. (Roots drummer ?uestlove has even declared that: "Hands down this album birthed the neo-soul movement.") Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved and every freestyle line of T3 and Baatin has been re-created, to maintain the legacy of a late-90s rap classic, and the legend of one of hip-hop's greatest beatsmiths.

restock

Hearttheartrecords presents Dangirl and Demo DC who with their combined talents form Ghost N the Wai bring a fresh take on the electronic music scene. Dangirl's musical mastery of keyboard melodies and composition and Demo's unconventional wizardry of electronic sounds and drumming creates an alchemy of aural delight. The Wai (Aka Dangirl) begins this magical experience with her Debut track Between worlds, a celebraton of life, a sparkling tribute to all that exists. With a combination of orchestral magic, arpeggiated droplets and deep groovy basslines, we are taken on an immensely beautiful journey through the cosmos dancing with the intricate layers of the emotional spectrum and rejoicing at what it is to be a living being in the multiverse. Finding beauty and sacredness in even the most testing moments as we are cushioned by an unrelenting and loving consciousness. Some mind made limitations were overcome in the writing of this and as a result caused a significant shift in Dangirl as an artist, hence the effect of this track may be deeply healing. By exploring the pure deliciousness of arpeggiation and marimba sounds The Wai discovered her own unique style of electronica. When the World Sleeps, is an ambient fairy tale of a little girl who ventures out under the starry night sky and is filled with a sense of peace and wonder as the rest of the world wind down to sleep. Big sister to Between Worlds, The Wai's first electronic baby was the original inspiration for Ghost 'N' the Wai starting a whole new venture for Demo Dc and Dangirl. This piece is the tale of a girl who travels to places of unimaginable beauty, exploring the vast cosmos with her star friends. The healing energy of pure childish joy permeates the universe and balances all in existance. As dawn approaches she returns to bed and earth's inhabitants start their routines like a production line. Reminiscent of the Indonesian gamelan (one of Dangirl's lifetime musical inspirations) we are taken on a meditative journey, with haunting bells and dreamy frequencies revealing unfamiliar worlds but maintaining a sense of peaceful slumber. Resting in the womb. Our home. Nap is Over mix is a collaboration of the Wai aka Dangirl and Ghost Foreigner aka DemoDc which when the two unite, form Ghost N the Wai. This track manifested when the Wai asked for Ghost’s feedback on her ambient piece When the world sleeps. After a day of Ghost having it in his grasp, Nap is Over was born effortlessly, giving insight into the power that simmers beneath the surface of these two aspiring artists. The Wai, with her deep, still, meditative grace brings contemplative composition along with Ghost bringing organic yet organised chaotic experimental beats. Nap is over questions reality as it stands, giving the listener the opportunity to ponder their own existence .... the world no longer sleeps ... the Nap is Over.

The subterranean slumber of Nile mastermind Karl Sanders’ Eastern-ambient Saurian series finally ceases with the third chapter of his darkly hypnotizing saga, Saurian Apocalypse! The album’s musical and lyrical themes detail the vexing fictional journey of Dr. Eduardo Lucciani, one of very few survivors of mankind’s self-destruction, who descends into madness after discovering the violent horrors occurring at the hands of the Saurian Masters. Emphasized by unique instruments like the baglama saz (Turkish lute), Ancient Egyptian Anubis Sistrum, Dumbek (Middle Eastern goblet drum), glissentar and gongs, the album’s score weaves cinematic auras and deep grooves, accented by the tribal percussive stylings of original Nile drummer Pete Hammoura and returning Saurian vocalist Mike Breazeale. Whispering atop the ominous sands of opener “The Sun Has Set on the Age of Man” are resonant flutes, forewarning percussion, and an exquisitely tasteful and contextual acoustic guest solo by guitar virtuoso Rusty Cooley – kicking in the massive doors of Saurian Apocalypse. Immediately, the album’s impactful production and crystal clarity versus its predecessors is apparent

This limited reissue of Arjen Lucassen’s (of Ayreon fame) second solo album from 2012 comes in a gatefold jacket and features the original booklet. The story of “Lost in the New Real” follows Mr. L, a twenty-first century man who was cryopreserved at the moment of clinical death from a terminal disease. The album begins as Mr. L is being revived at a point in the distant future, when technology has advanced enough to cure his disease. Mr L finds himself in a world that has drastically changed — to the point that the line between what’s real and what’s not is no longer clear. Arjen Lucassen as “Mr. L” Vocals, instruments, music, lyrics Rutger Hauer as “Dr. Voight-Kampff” Instrumentalists Arjen lucassen: all instruments, with the exception of those listed below Wilmer Waarbroek: backing vocals Ed Warby: drums Rob Snijders: drums Ben Mathot:violin Maaike Peterse: cello Jeroen Goossens: flute Elvya Dulcimer: Hammered dulcimer on “Battle of Evermore”

Compiled by Birmingham Musician and Designer Dave Twist. This Compilation features many well known and completely unknown faces from the scene and some local Heroes such as Nikki Sudden, Stephen Duffy, Jowe Head, Dave Kusworth, Deluxe 2 x LP set Limited to 500 copies only worldwide. In the light of the film King Rocker by Stewart Lee about The Nightingales revised interest in the post punk sound of Birmingham is increasing. Duran Duran’s John Taylor is featured in his first band Dada (with Twist on drums) sounding not a bit like his MTV champions of the 80’s. Some of these tracks were only ever issued on a very small run 7” at the time and some were never issued at all, such as The Hawks (until recently and to great acclaim)

21 months have passed since Hannes and his collaborator, friend and producer Marcus White (Anna of the North, Seinabo Sey) released the debut EP “Summer 3000”. A debut that brought him straight to festival Way Out West’s main stage supporting Seinabo Sey, a virus-cancelled Europe tour and unanimous praise from critics like German COLORS. Trailing the likes of Kevin Abstract, King Krule, Dijon, Choker & Omar Apollo - Hannes truly creates something brand new combining his mesmerizing fragile voice, insane lyrics, nylon-string guitar, drum-machines & odd samples. The first single from forthcoming EP “When the city sleeps” is a song about waking up from a slumber was released May 21st and is called "Snooze".

"""Riding SCORCHING hot on the heels of their recent self-titled debut, fans could be forgiven for expecting more of the same from Champyun Clouds’ second long player of
2021. A hodgepodge of cutting-room-floor-fodder and experiments that would’ve been b-sides or Japan-exclusive CD bonus tracks in those halcyon days of physical formats’ golden ages is not what we’re getting. Let’s save those for a deluxe anniversary reissue
one day. Nah - sheer, unabashed creativity fuels this album; and weirdly enough, they’ve managed to branch out in interesting ways while also creating an album that is more immediate and banger-centric. Although Nail’s eclectic psych-lounge tendencies and
Asa’s irreverent poetry and broad Nottingham lilt remain the key touchstones of CC’s sound, opener “Check For Silt”s rough drum’n’bass beats offer an immediate and clear sonic progression for the Nottingham duo. The LP ultimately plays a bit like a haunted
jukebox in outer space - with elements of dub, britpop, early house, trippy, blissed-out sunshine pop (reminiscent of mid-90s His Name Is Alive at their most Beach Boys-aping), William Orbit-esque 90s psych-pop electronica, distorted glam rock shuffles and
garage-y funk. There’s a particularly great moment of sequencing at the end of the first half where I got lulled into a state of near-euphoria with the Air-like “The Flowered Crown” before getting slapped ‘round the face by “I’m Not Right For You”, which sounds
like Nile Rogers producing a demo for Sheila & B. Devotion, except he recorded it at the bottom of a well. Sophomore slump? Never heard of him, mate."""

Restlessly awakening from the depths of a feverish slumber, doomed heavy metal masters KHEMMIS return to reveal their fourth full length studio album, DECEIVER, arriving via Nuclear Blast Records in November 2021. Six tracks of desolate, soul-awakening heaviness encapsulate a project that has been nearly three years in the making. With a title that reflects the internal struggles that many of us battle in our daily lives, DECEIVER is a ferociously honest and appetizingly raw piece of musical artistry.
The first single LIVING PYRE signifies far more than just the beginning of another musical endeavour for the band; it is a substantial benchmark for emotional struggle and growth. “When it comes to my own mental health, when I’m in a bad place, I can’t access the part of me that creates art. After reaching that understanding of myself, the bulk of this song came out in one sitting. I was feeling stable. I was feeling hopeful–even though so much outside in the world was not exactly inspiring. All of us needed a reason to feel a glimmer of hope,” recounts Hutcherson. With a big, quintessentially KHEMMIS chorus embellished by a swampy sorrow, this song incorporates familiar elements of the band’s sound with a touch of Swedish death metal in its latter half. “The reason that this was the song that came first lyrically was because I was juggling all the things that were happening with the inside and outside world intersecting. All the lyrics for me feel very ‘of the time.’ So much was happening in this world, and they were just my efforts to contend with it,” explains Pendergast. “Like Ben, this was a breakthrough moment for me. Once I got the song out, it allowed me to write other songs for the album. It’s less about the fire metaphor implied by the title than about the fact that in order to escape fire you have to find water. You find the deepest, darkest cavern…you just want to stay there forever. It slowly fills up and you eventually drown.”
HOUSE OF CADMUS was another deeply collaborative writing effort between all three members of KHEMMIS. “I thought the opening riff had this cool almost-swing to it...but evil,” recalls drummer Zach Coleman. “I was drawn to the atmosphere of that first riff, and it felt like it needed to be a song that was dark the whole way through. Ben and I discussed getting some New Orleans-style sounds somewhere on the album, and I think this is where we were able to sneak some in to tie together other aspects of the song.”
“I knew that I wanted the lead guitar line in the second half of the song to tie two very different parts together,” explains Hutcherson, “but the idea was all really abstract until we were in a room together. It wasn't until we jammed out that big funeral/death doom bridge and the slow, sad coda that we found out what we wanted that lead line to be: memorable and emotive. It was a very honest musical moment together.” The writing and recording processes of HOUSE OF CADMUS were so emotionally driven that even producer Dave Otero of Flatline Audio (Cephalic Carnage, Cattle Decapitation, Act Of Defiance) encountered his own deeply personal and intense connection with the song. “With the lyric turn at the end, I was inspired by Dave’s imagery,” says Pendergast. “This idea of a person leaving some important part of themselves behind as they float away and leave the thing they love on the shore. The sound of this song is like a lighthouse beam cutting through the fog in a dark night on the ocean.”
While the lyrical themes of DECEIVER;sorrow, pain, longing for hope, will no doubt be familiar to longtime fans, these six songs display a broader collection of musical influences than on any other KHEMMIS record to date. “It being our 4th album, especially after the transition between the last two albums, it felt really freeing. We felt that we could really do anything on this record,” explains Coleman. “There’s a lot here that we’ve never done before,” adds Pendergast. “In some areas it gets darkly psychedelic. I think we found a cool way to mutate things using transitions that feel really natural. There is a subtle symmetry between the first and last songs which is one of the things that makes listening to the full album a satisfying holistic experience. It builds from almost nothing, becomes very dark, and then you slowly crawl out of that lowest circle of hell.” KHEMMIS’s DECEIVER is a beautiful, musically ambitious journey from beginning to end drenched in impassioned melody and complex, unrestrained variations of sonic savagery adorned with chilling, intensely tragic cover art by frequent collaborator Sam Turner.

Restlessly awakening from the depths of a feverish slumber, doomed heavy metal masters KHEMMIS return to reveal their fourth full length studio album, DECEIVER, arriving via Nuclear Blast Records in November 2021. Six tracks of desolate, soul-awakening heaviness encapsulate a project that has been nearly three years in the making. With a title that reflects the internal struggles that many of us battle in our daily lives, DECEIVER is a ferociously honest and appetizingly raw piece of musical artistry.
The first single LIVING PYRE signifies far more than just the beginning of another musical endeavour for the band; it is a substantial benchmark for emotional struggle and growth. “When it comes to my own mental health, when I’m in a bad place, I can’t access the part of me that creates art. After reaching that understanding of myself, the bulk of this song came out in one sitting. I was feeling stable. I was feeling hopeful–even though so much outside in the world was not exactly inspiring. All of us needed a reason to feel a glimmer of hope,” recounts Hutcherson. With a big, quintessentially KHEMMIS chorus embellished by a swampy sorrow, this song incorporates familiar elements of the band’s sound with a touch of Swedish death metal in its latter half. “The reason that this was the song that came first lyrically was because I was juggling all the things that were happening with the inside and outside world intersecting. All the lyrics for me feel very ‘of the time.’ So much was happening in this world, and they were just my efforts to contend with it,” explains Pendergast. “Like Ben, this was a breakthrough moment for me. Once I got the song out, it allowed me to write other songs for the album. It’s less about the fire metaphor implied by the title than about the fact that in order to escape fire you have to find water. You find the deepest, darkest cavern…you just want to stay there forever. It slowly fills up and you eventually drown.”
HOUSE OF CADMUS was another deeply collaborative writing effort between all three members of KHEMMIS. “I thought the opening riff had this cool almost-swing to it...but evil,” recalls drummer Zach Coleman. “I was drawn to the atmosphere of that first riff, and it felt like it needed to be a song that was dark the whole way through. Ben and I discussed getting some New Orleans-style sounds somewhere on the album, and I think this is where we were able to sneak some in to tie together other aspects of the song.”
“I knew that I wanted the lead guitar line in the second half of the song to tie two very different parts together,” explains Hutcherson, “but the idea was all really abstract until we were in a room together. It wasn't until we jammed out that big funeral/death doom bridge and the slow, sad coda that we found out what we wanted that lead line to be: memorable and emotive. It was a very honest musical moment together.” The writing and recording processes of HOUSE OF CADMUS were so emotionally driven that even producer Dave Otero of Flatline Audio (Cephalic Carnage, Cattle Decapitation, Act Of Defiance) encountered his own deeply personal and intense connection with the song. “With the lyric turn at the end, I was inspired by Dave’s imagery,” says Pendergast. “This idea of a person leaving some important part of themselves behind as they float away and leave the thing they love on the shore. The sound of this song is like a lighthouse beam cutting through the fog in a dark night on the ocean.”
While the lyrical themes of DECEIVER;sorrow, pain, longing for hope, will no doubt be familiar to longtime fans, these six songs display a broader collection of musical influences than on any other KHEMMIS record to date. “It being our 4th album, especially after the transition between the last two albums, it felt really freeing. We felt that we could really do anything on this record,” explains Coleman. “There’s a lot here that we’ve never done before,” adds Pendergast. “In some areas it gets darkly psychedelic. I think we found a cool way to mutate things using transitions that feel really natural. There is a subtle symmetry between the first and last songs which is one of the things that makes listening to the full album a satisfying holistic experience. It builds from almost nothing, becomes very dark, and then you slowly crawl out of that lowest circle of hell.” KHEMMIS’s DECEIVER is a beautiful, musically ambitious journey from beginning to end drenched in impassioned melody and complex, unrestrained variations of sonic savagery adorned with chilling, intensely tragic cover art by frequent collaborator Sam Turner.

When we think of the phrase Bonded By Blood, we think of two things: a brotherhood that is meant to outlast the trials of war, pain, and time... and the almighty EXODUS. With a bond forged in youth and decades-old friendship, the undisputed masters of thrash metal return with their eleventh studio album: PERSONA NON GRATA. Literally translating to “an unwelcome” or “unacceptable” person, PERSONA NON GRATA touches on themes of modern societal disgust and degradation. “The people that disgust you - cut ‘em out like cancer,” explains guitarist Gary Holt. “Who is that person? It could be anybody. That’s up to the listener. Who is ‘Persona Non Grata’ to them?”

For decades, EXODUS has impressed us with the ability to attract opposing factions to their music because of its intensity and versatility. A track like “The Beatings Will Continue Until Morale Improves” was inspired by the riots both in theme, and sound. “Without seeming insensitive to the riots, the song is tongue in cheek about what the people beating on the rioters were expecting to happen. Did you think you would beat a smile onto their face? At 3 minutes in length, it’s probably the shortest EXODUS song we’ve ever done. It gets in, gets out, and is just crushing,” describes Holt. While most of the songs do run on the shorter side, this album also comes equipped with crushing, epic tracks.

Whether it’s the music industry gossip sites, or the big players like CNN and FOX, we’re all aware of how news outlets love to set little rat traps; “Clickbait” discusses their methods of picking things out of context to grab your attention, add to their page views, and increase their revenue all while riling up your emotions. “It’s all journalistic dishonesty,” explains Holt, “it’s a modern-day version of Al Capone’s vault, everyone tunes in, and then there’s NOTHING.“ Evenly balanced with extraordinary speed and tremendous, catchy choruses, “Clickbait” is a song that explodes with vigorous energy. “As heavy as this album is, and it’s heavy as fuck, if times were different and there was still metal radio, this song, and probably over half the album, has single capabilities.”

Sitting as the second to last song on the album, “The Fires of Division” keeps PERSONA NON GRATA strong all the way through. “This album doesn’t operate on the normal parameters,” describes Holt, “we didn’t frontload this one, it’s strong right through to the end. It’s supposed to be a musical journey as the songs segway together.”

For the third time in the band’s history, EXODUS returned to Swedish artist Par Olofsson to create the album artwork PERSONA NON GRATA. “After this album, I feel like we probably won’t work with anyone else again, Par just gets it,” states Holt. A three-faced, winged creature sits atop a bloody pile of diseased and rotting humans as they scream in pain and reach their hands up desperately towards the beast. Undead riot cops beat mercilessly, and senselessly upon this pile of the dying and the world is red with fresh, sopping blood. “Is it an angel, a demon? Is the world being created or destroyed,” asks Holt, “you don’t really know.”

EXODUS don’t fall into the usual recording slump that most bands get stuck in. Gathering at Tom Hunting’s house up in the mountains, they avoided the need to book studio time or adhere to a certain schedule. “At first it was just Tom, myself, a half stack, and a drum kit; we call it jam camp. We lived there. We built the studio, we immersed ourselves in it. Number one, because we still enjoy each other’s company enough to do it. When we’re not actively rehearsing or recording, we’re still sitting there talking about the songs, working on them, plucking on acoustics until things really work,” explains Holt, “we’re not settling.” Working from three home-built studios, the band recorded PERSONA NON GRATA themselves with the help of Andy Sneap on mixing and mastering and with Steve Lagudi at the helm of engineering.

“As a band, I’m super grateful. I’ve seen a lot of things around the world and we’re still a band that loves each other, have each other’s back, and we genuinely like to hang out with each other,” explains Holt. “Take it how you will, but I’m this band’s biggest fan. We write songs that are designed to make us feel fired up - that’s why it’s still heavy.”

When we think of the phrase Bonded By Blood, we think of two things: a brotherhood that is meant to outlast the trials of war, pain, and time... and the almighty EXODUS. With a bond forged in youth and decades-old friendship, the undisputed masters of thrash metal return with their eleventh studio album: PERSONA NON GRATA. Literally translating to “an unwelcome” or “unacceptable” person, PERSONA NON GRATA touches on themes of modern societal disgust and degradation. “The people that disgust you - cut ‘em out like cancer,” explains guitarist Gary Holt. “Who is that person? It could be anybody. That’s up to the listener. Who is ‘Persona Non Grata’ to them?”

For decades, EXODUS has impressed us with the ability to attract opposing factions to their music because of its intensity and versatility. A track like “The Beatings Will Continue Until Morale Improves” was inspired by the riots both in theme, and sound. “Without seeming insensitive to the riots, the song is tongue in cheek about what the people beating on the rioters were expecting to happen. Did you think you would beat a smile onto their face? At 3 minutes in length, it’s probably the shortest EXODUS song we’ve ever done. It gets in, gets out, and is just crushing,” describes Holt. While most of the songs do run on the shorter side, this album also comes equipped with crushing, epic tracks.

Whether it’s the music industry gossip sites, or the big players like CNN and FOX, we’re all aware of how news outlets love to set little rat traps; “Clickbait” discusses their methods of picking things out of context to grab your attention, add to their page views, and increase their revenue all while riling up your emotions. “It’s all journalistic dishonesty,” explains Holt, “it’s a modern-day version of Al Capone’s vault, everyone tunes in, and then there’s NOTHING.“ Evenly balanced with extraordinary speed and tremendous, catchy choruses, “Clickbait” is a song that explodes with vigorous energy. “As heavy as this album is, and it’s heavy as fuck, if times were different and there was still metal radio, this song, and probably over half the album, has single capabilities.”

Sitting as the second to last song on the album, “The Fires of Division” keeps PERSONA NON GRATA strong all the way through. “This album doesn’t operate on the normal parameters,” describes Holt, “we didn’t frontload this one, it’s strong right through to the end. It’s supposed to be a musical journey as the songs segway together.”

For the third time in the band’s history, EXODUS returned to Swedish artist Par Olofsson to create the album artwork PERSONA NON GRATA. “After this album, I feel like we probably won’t work with anyone else again, Par just gets it,” states Holt. A three-faced, winged creature sits atop a bloody pile of diseased and rotting humans as they scream in pain and reach their hands up desperately towards the beast. Undead riot cops beat mercilessly, and senselessly upon this pile of the dying and the world is red with fresh, sopping blood. “Is it an angel, a demon? Is the world being created or destroyed,” asks Holt, “you don’t really know.”

EXODUS don’t fall into the usual recording slump that most bands get stuck in. Gathering at Tom Hunting’s house up in the mountains, they avoided the need to book studio time or adhere to a certain schedule. “At first it was just Tom, myself, a half stack, and a drum kit; we call it jam camp. We lived there. We built the studio, we immersed ourselves in it. Number one, because we still enjoy each other’s company enough to do it. When we’re not actively rehearsing or recording, we’re still sitting there talking about the songs, working on them, plucking on acoustics until things really work,” explains Holt, “we’re not settling.” Working from three home-built studios, the band recorded PERSONA NON GRATA themselves with the help of Andy Sneap on mixing and mastering and with Steve Lagudi at the helm of engineering.

“As a band, I’m super grateful. I’ve seen a lot of things around the world and we’re still a band that loves each other, have each other’s back, and we genuinely like to hang out with each other,” explains Holt. “Take it how you will, but I’m this band’s biggest fan. We write songs that are designed to make us feel fired up - that’s why it’s still heavy.”

When we think of the phrase Bonded By Blood, we think of two things: a brotherhood that is meant to outlast the trials of war, pain, and time... and the almighty EXODUS. With a bond forged in youth and decades-old friendship, the undisputed masters of thrash metal return with their eleventh studio album: PERSONA NON GRATA. Literally translating to “an unwelcome” or “unacceptable” person, PERSONA NON GRATA touches on themes of modern societal disgust and degradation. “The people that disgust you - cut ‘em out like cancer,” explains guitarist Gary Holt. “Who is that person? It could be anybody. That’s up to the listener. Who is ‘Persona Non Grata’ to them?”

For decades, EXODUS has impressed us with the ability to attract opposing factions to their music because of its intensity and versatility. A track like “The Beatings Will Continue Until Morale Improves” was inspired by the riots both in theme, and sound. “Without seeming insensitive to the riots, the song is tongue in cheek about what the people beating on the rioters were expecting to happen. Did you think you would beat a smile onto their face? At 3 minutes in length, it’s probably the shortest EXODUS song we’ve ever done. It gets in, gets out, and is just crushing,” describes Holt. While most of the songs do run on the shorter side, this album also comes equipped with crushing, epic tracks.

Whether it’s the music industry gossip sites, or the big players like CNN and FOX, we’re all aware of how news outlets love to set little rat traps; “Clickbait” discusses their methods of picking things out of context to grab your attention, add to their page views, and increase their revenue all while riling up your emotions. “It’s all journalistic dishonesty,” explains Holt, “it’s a modern-day version of Al Capone’s vault, everyone tunes in, and then there’s NOTHING.“ Evenly balanced with extraordinary speed and tremendous, catchy choruses, “Clickbait” is a song that explodes with vigorous energy. “As heavy as this album is, and it’s heavy as fuck, if times were different and there was still metal radio, this song, and probably over half the album, has single capabilities.”

Sitting as the second to last song on the album, “The Fires of Division” keeps PERSONA NON GRATA strong all the way through. “This album doesn’t operate on the normal parameters,” describes Holt, “we didn’t frontload this one, it’s strong right through to the end. It’s supposed to be a musical journey as the songs segway together.”

For the third time in the band’s history, EXODUS returned to Swedish artist Par Olofsson to create the album artwork PERSONA NON GRATA. “After this album, I feel like we probably won’t work with anyone else again, Par just gets it,” states Holt. A three-faced, winged creature sits atop a bloody pile of diseased and rotting humans as they scream in pain and reach their hands up desperately towards the beast. Undead riot cops beat mercilessly, and senselessly upon this pile of the dying and the world is red with fresh, sopping blood. “Is it an angel, a demon? Is the world being created or destroyed,” asks Holt, “you don’t really know.”

EXODUS don’t fall into the usual recording slump that most bands get stuck in. Gathering at Tom Hunting’s house up in the mountains, they avoided the need to book studio time or adhere to a certain schedule. “At first it was just Tom, myself, a half stack, and a drum kit; we call it jam camp. We lived there. We built the studio, we immersed ourselves in it. Number one, because we still enjoy each other’s company enough to do it. When we’re not actively rehearsing or recording, we’re still sitting there talking about the songs, working on them, plucking on acoustics until things really work,” explains Holt, “we’re not settling.” Working from three home-built studios, the band recorded PERSONA NON GRATA themselves with the help of Andy Sneap on mixing and mastering and with Steve Lagudi at the helm of engineering.

“As a band, I’m super grateful. I’ve seen a lot of things around the world and we’re still a band that loves each other, have each other’s back, and we genuinely like to hang out with each other,” explains Holt. “Take it how you will, but I’m this band’s biggest fan. We write songs that are designed to make us feel fired up - that’s why it’s still heavy.”

Bonander is the shorthand for Ellinor Sterner Bonander. Sporting the role
of musician, arranger and producer, the native Swede is a woman
unchained, injecting darkness into the vein of candied pop with her tropes
of existentialism and feminist revolt.
Following the arc of ‘Backseat’ and ‘Martha’, Bonander’s latest single, ‘Gone
In The Wind’ leads the way for the album with its emotional outpour of lost
sisterhood. Tribal thrashes of drums, pipe organ and soaring vocals combine to
manifest the pain and frustration at the heart of the song.
She says, “The song is about abandonment of a person who’s been like a sister
to you, someone you admire and cherish... The pipe organ and strings are the
most emotional instrumentation I can think of. They represent that suppressed
feeling of anger and frustration, that later in the song is set free.”
The album tells the stories of women both from history and her personal life
whose contributions have previously been overlooked.
“The idea for the album is to create a musical, cinematic and dramatic journey
full of contrast between intimate string sections and huge synth landscapes,
between mechanical rhythms and flowing tempos.
The lyrics will together speak of the identities and emotional life of different
women, both through private and historical perspectives. All of the songs discuss subjects concerning women that ought to be talked about more, but sadly
are not...” // Bonander

LIMITED 180GM OPAQUE ORANGE VINYL.

BUFFET LUNCH are a Scottish group who make it their mission to craft satisfyingly imperfect pop songs filled with imagery and humour.The group’s elementary parts are Perry O’Bray (Vocals/Keys/Guitar), Neil Robinson (Bass), John Muir (Lead Guitar) & Luke Moran (Drums), united by a shared love of music on the ABBA-to-Beefheart axis.

These four ricochet between Glasgow and Edinburgh, creating music that bristles with DIY spirit and upbeat wonkiness. Their tracks are vigorous excursions, meandering into clattersome terrain as often as hiking up into the breezy, melodious foothills.The desire to lead the listener along a curious tale helps tie things together, showcasing a lyrical playfulness that pins down their puzzle of sound.

Having been an active band for a few years, playing regularly north of the border with like-minds such as Irma Vep, Robert Sotelo and Kaputt, Buffet Lunch spent early 2020 working on the follow-up to their two EPs on Permanent Slump.The fruits from such labour bore out as the band’s debut album ‘ThePower of Rocks’, out may 7th on UpsetTheRhythm.

‘ThePower of Rocks’ was recorded in a Crofters cottage/studio on the banks of Upper Loch Fyne in Argyll, over four nights and five days at the beginning of March 2020, before Covid-19 made itself such an ongoing concern. Back then four people could occupy the same space and make music, lunch and dinner together. Days fell into a pattern of long sessions and long meals.The album came together as a luminous mix of Buffet Lunch’s live chestnuts, some sparky recent songs and some new material entirely written and recorded in situ. All tracks were recorded by Neil Robinson acting as the in-house engineer.

As the seriousness of the virus and talk of national lockdowns developed - there was a feeling of anticipation more than fear in the air, but being holed up in cottage in a wild corner of Scotland surrounded by snowy mountains still took on an apocalyptic feel, albeit an apocalypse where the band were safe and overdubbing vocals. After leaving the cottage, reality (as it must) set in and finishing the album became a more remote task.

Over the following months, an extended period of listening awarded the recordings a deeper realisation, as they bounced between band members computers. Perry also started writing on his Casio keyboard and collaborated on a couple of songs (‘Ten Times’ & ‘Ashley’s New Haircut’) with Jayne Dent (of electronic music project Me Lost Me), drawing on her ethereal singing voice as a counterpoint to his own more ‘spoken’ vocals on the album. These gauzy, dreamlike tracks were then sent to other members of Buffet Lunch to add their respective parts, creating evocative new dimensions to close each half ofthealbum with.

The Power of Rocks’ rattles along like a short-story collection, exploring a variety of narratives. When it comes to the music itself, Perry describes their approach as “see what happens” but admits to a preference for simple synth melodies, plenty of percussion, and prickly guitar-parts. ‘Red Apple’ opens the album with a dizzy swagger, guitars and keyboard notes swirling in forays whilst its lyric tackles notions of social bravado. ‘Orange Peel’ follows equally serpentine with its blattering tune and jagged, yet jolly melodic twists.The themes across the album are wide-ranging and personal, from irritation with out of touch politicians (‘Pebbledash’), to love letters to seaside living (‘Bladderwrack’), to even the frailty and confusion of old age (‘Said Bernie’, ‘It Helps to Know’). Title track ‘ThePower of Rocks’ is an ode to the power of nature sunk within a rolling wave of cheery jangle. “Do you believe in the power of rocks when the sun is too hot on your face?” sings Perry as the song zigzags with consequence. ‘He Wore Two Hats’ sports similarly bop-worthy riffs and addictive nods as it deals with its story of savvy man who’d bitten off more than he could chew.

Buffet Lunch’s debut album accomplishes a lot in its brief 38 minutes. It stuns and startles, intrigues and entwines, drawing the listener further into its characterful world. When asked about any intent posed with this debut record Perry confides that “we hope people can hear the joy the band had making the album and the curiosity and frustration that went into the writing. There was no process or design, but there is detail, and deliberateness in our wish to explore and create.” It’s this attentive focus alongside a keen sense of humour that really sets Buffet Lunch apart, with ideas darting wilfully to and from the poignant truths at hand.

Sometimes the best edits are the simple ones, those that still leave the core of the track intact but still extends or extract parts of the original.
This is exactly what Krewcial wanted to do with this EP.

Here you'll find 3 of his fave DJ tracks with some slight modifications...but all made with good taste!
Ranging from Latin inspired Jazz Dance, Caribbean Funk and raw ghetto Funk you get a solid 12" with all you need to fuel up that rare groove party !

Third number in the DDS split series after a pair of releases courtesy of Betonkust/Uj Bala and DJ Overdose/Sematic4, "DDS03" sees Budapest duo SILF (alias Farbwechsel chief-operators Alpar & S Olbricht) and Den Haag-based pair Intergalactic Gary and Pasiphae join forces on a quartet of elusive, unpigeonholeable power moves.

Four years after the drop of their debut joint EP on Biorhythm, "Made of Glass", I-G and Pasiphae are back at it with two left-of-centre hybrids of futuristic techno on a whirring electro-industrial tip. An off-kilter jam percolating fine hints of spiritual elation and post-apocalyptic anxiety, "Microwaves" gets the ball rolling on a dichotomous note. To slo-scudding flocks of loud, bouncy kicks supersede skeins of brittle chimes and rattling drums, all woven together by subtle tectonic shifts of moody pads.

A further hi-intensity affair, "Indistinct Chatter" drives that essential heavenly/nightmarish duplicity to higher spheres of consciousness. Fusing lighthearted, daydreaming tonalities with brooding, cavernous onslaughts from the depths, the track has us navigating in a zone of its own, deftly oscillating betwixt moments of mystique-imbued euphoria and darkling introspection. A choice exponent of the Hague-based dyad's capacity at busting antiquated patterns and limitations.

Having slept in the label's vaults for a few seasons, the two tracks composing the B-side emerge from their slumber in all their time-proof bravura. An in-your-face trampler, the ten-minute long "Mono Miner" takes no byway to get its point across, all set to smash basements and warehouses by the dozen with its electrifying compound of 909-emulated gut churn and spinning synth arpeggios circling like birds of prey over your sore, rhythm-enslaved carcass.

Closing the journey on a much softer, hazier vibe, "Aces" steers us towards a realm of ambient wonder, where slo-drip cascades of tapping percussions and elegiac synth waters flow into warm, glimmering summer beds. A most contrasting, tranquillising finale to an EP defined by its propensity to change colours and intensity throughout.

Brothers Reginald Omas Mamode IV and Jeen Bassa come together as Mama Odé on full length album 'Tales And Patterns Of The Maroons'. At its core this is a classic "hip hop" format LP - but have you ever heard Creole Sega Rap Roots music before? Of Creole descent from a group of African islands that transiently have hosted many settlers, west African slaves, colonialists and the potentially indigenous East African-Malagache Maroons; the brothers have an inherent spirit of diversity that runs through their recordings. Musical influences consist of jazz, funk, blues and reggae to un-placeable but definite Afro-drum patterns, through to their Golden-Era-Rap vocal flows, which have a sure nod to ATCQ and Slum Village. The album's deep grooves overwhelmingly seed optimism, subscribing to a positive future drawn from historically multi-ethnic ancestral lines. The brothers' natural vocals carry messages of unity, love and well being as well as a conscious questioning of humanity's ill practices and ideas.

James Baldwin was an unparalleled master of the written and spoken word. He was best known for his brilliant essays, plays and novels that shone light on his insights into race, sexuality, spirituality and humanity. Baldwin was an incredible orator who commanded the power of words. Whether on the pages of his books or in speeches and debates, he was passionate, compelling and powerful. This EP is the second half of a project that is a tribute to Baldwin. It features extracts from the audio portion of a documentary film shot of a discussion led by James Baldwin and Dick Gregory at the West Indian Student Centre in London in 1968.

Peabody & Sherman is a partnership between Phillip C Hertz and Curtis Ruptash - drummer and bass player respectively. They share common interests in dub, afrobeat, funk, jazz, ambient and improvisational music. They have long histories of the employing 'studio as instrument' approach to recording. The foundations for this EP was P&S rhythm tracks recorded at the Wayback Machine Studio in 2011. Supplemental instruments were layered on to create the final product. The same original sessions were also the source for their James Baldwin EP released in 2012. That EP featured remixes by Area and Afrikan Sciences.

The same concept is applied here, with remixes being contributed by Waajeed and BusCrates. Waajeed is a Detroit producer known for inventive and genre-defying music. He is background includes his work with Slum Village through to the Platinum Pied Pipers and to his work with his own Dirt Tech label today. BusCrates is a Pittsburg based producer known for his inventive use of electric and vintage synths to create deep layers of analog goodness.

'A love project' from the heart and mind of UK broken beat stalwart and iconic keyboard maestro Kaidi Tatham, alongside an outstanding group of Danish musicians led by percussionist Peter Stenbæk.

12 Senses debuts with the Movement EP, a record drawing on jazz-funk, broken beat and disco, laced with the distinctive melodic progressions and boogie touches Kaidi Tatham is known for. Recorded over an intensely productive three-day session, which produced 20 plus songs, this EP is a first taste of what's to come from this creative gathering.

With recent records on First Word, Sound Signature and 2000Black, plus a brand new solo album 'It's A World Before You' it appears there is no letup in Kaidi Tatham's prolific output spanning a 2 decade long career, that has seen him work with artists such as Bugz In The Attic, 4Hero, Slum Village, Jazzy Jeff & Will Smith, Amy Winehouse, Leroy Burgess, Moonchild, Soull II Soul, Amp Fiddler, Mr Scruff and Dego, to name but a few.
Touch starts with the heavily syncopated rhythms of drummer Anders Meinhardt, accompanied by a bed of airy Rhodes, synths and guitar on top of a ruthless, disco-tinged bassline. Life evolves on a spiritual and hypnotic tip with a driving lick that just keeps on building, sprinkled with beautiful intertwining organ, piano and synth solos by Kaidi and pianist Poul Reimann. Movement slows the mood to a soul-tinged stepper with soothing choir and deft touches from the trumpet of Rasmus Juel. Kaidi changes up the pace on his remix with a smooth boom bap vibe before hitting the halfway point and switching up to his signature, breakneck latin bruk funk.12 Senses evolved from yearly marathon concerts at the Copenhagen Jazz Festival, arranged by percussionist Peter Stenbæk, who simply e-met Kaidi Tatham and insisted on him coming to Denmark to share the festival stage. Over the course of five years the friendship and musicianship between the two has gone from strength to strength, reinforced by the skilled musicians around them; drummer Anders Meinhardt, guitarist David Rosenkilde, bassist Andreas Hatholt, trumpeter Rasmus Juel and pianist Poul Reimann. The record was brought to life by Morten Trust (aka. Soulmagic), who kindly contributed his heart, studio and mixing skills to Movement.

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

New York City, USA, 2014. A community filled with amazing shit and amazingly fucked up shit. This Yin Yang is an ever-present part of life, and it is this contradiction that Isaac Basker seeks to take on with Swishin' & Dishin,' his sophomore release on Play It Say What Records.

On A1, 'Swishin' & Dishin',' Isaac references NYC basketball legend, Walt 'Clyde' Frazier to define the city's Yin. Starting off like a certified banger; a simple 'bleep' blasts the track over a thumping kick and rhythmic percussion, as if attacked by a penetrating crossover dribble. Yet Isaac then drops his trademark melodic chords to turn the track into an authentic deep house groove.


With A2 Plan B Recordings boss DJ Spider provides his latest remix for Isaac, helming 'Swishin' & Dishin' (DJ Spider Mix).' The original is then obliterated into his classic raw, deep sound. Hard kicks, obscure female vocals, hats and snares form the basis of the track as we then get slowed chords to tease us until deeper sounds and syncopated percussion elevate the listeners mood before bringing the track back to the remix's original rawness.


B1, 'Slumlord Billionaires (5Pointz Of Light Mix),' Swishin' & Dishin's most dance floor friendly track, takes on the Yang of the city, using the to be demolished graffiti mecca 5Pointz as a point of reference. Yet, this is an uplifting build up banger of a track emphasizing human resilience in the face of doom. Booming drums start the song off until a single fluttering melodic chord drops. Then syncopated claps, and vocal hits arrive challenging 'the powers that be' to further enhance the song's call for dance floor resistance.



Then there is 'American't.' With B2 Isaac, takes dark analog keys and syncopated techno sensibilities over a simple eerie baseline to further emphasize the Yang. A manipulated vocal later emphasizes this further and another layer of angry, reflective keys drive the operatic finale of this definite New York release.