Search:son of a gun

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

Call Sender is the collaborative brainchild that unites the talents of Paul Elliott, a versatile multi-instrumentalist, composer, producer, and recording engineer from Suffolk/UK and Michael Reed, a multi-talented instrumentalist, recording engineer, and drummer residing in the Bay Area/USA. Despite working together for the past four years, the pair are yet to meet in person!

After connecting on social media over their love of drum breaks and vintage reverbs Elliott and Reed fostered their creative partnership by bouncing recordings back and forth via email and this virtual collaboration resulted in their first album, the jazz-funk inspired “Lost To The Storm” (Tru Thoughts, 2023). With four singles from the album gaining radio play and becoming a favourite for tastemakers and DJs, the pair began work on the follow up “Golden Langur”. With this new record, the aim was to retain their signature Call Sender sound, a heady mix of B-movie soundtracks, classic library music and psychedelic funk and soul, but also introduce elements of lo-fi soul as well as collaborating with some of their talented friends as featured artists.

These features include fantastic instrumental contributions from the incomparable funkmaster Shawn Lee (Ping Pong Orchestra/Young Gun Silver Fox) on “Brainforests” and the legendary JJ Whitefield (Poets Of Rhythm/Whitefield Brothers) who kicks ass in two tempos on “Two Tails”. Not to mention the silky-smooth vocals from the Bay Area’s Andre Cruz, vocal duet from Lucid Paradise that is reminiscent of Gil Scott Heron and Paul Elliott’s seven year old son Buddy drops a vocal on the future B-boy classic “Rainbow”. Together Call Sender has an old-school vintage foundation with a modern perspective. Influenced by iconic acts such as Klaus Weiss, Miles Davis and Nino Nardini and with a hip and funky sonic aesthetic, Call Sender’s music is nostalgic without being pastiche, has a sense of travelling at its core, having been recorded in different parts of the globe, while never hesitating on the direction of the music.

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

Just when you thought every holy grail must have been unearthed by now, here come Basic Unit with their deep cover late 90s masterpiece Timeline, the dankest darkcore-electronica-tech step album you've likely never heard.

Ben England and Rick Dallaway formed Basic Unit and debuted on Moving Shadow in 1997. They also moved on Nocturnal, a cult label that reached beyond D&B to platform some more experimental sounds. It was a short-lived label with some ominous footnotes — 'Several people involved with Nocturnal have vanished or are dead' reads the label's Discogs description. But in 1998 Nocturnal put out Timeline, a CD-only album from Basic Unit that cut a sharp, scathing figure against most D&B of the era. England and Dallaway embraced the album format as a chance to go deep, inhaling their inspiration from early days Autechre as much as Source Direct and boiling down the results to a steely, minimalist framework.

The likes of 'Resolution' are desolate, stark workouts that feel fractured and raw enough to align with early grime, complete with the strings, but the rhythms move in mysterious formations designed to confound like the most bloody minded electronica artists of the late 90s. Blown out bass and scattered flurries of machine gun breaks, squashed tundra drones that sound like they were pulled from 10th generation VHS b-movies and bit-crushed animal grunts fit for a Mega Drive beat 'em up. The sonics are redolent of the times, but Basic Unit chisel them mercilessly into their spartan vision, deploying brain-frying beat science with a stern restraint.

It's the kind of record that gives so much while holding so much back — a deadly tease that has flown under the radar for too long. This is the sort of shock reissue material that gets us gassed at Sneaker, and we're proud to be giving it a re-boost and a first ever outing on wax, all the better to shock you out.

Ten years, a compilation. It"s not a conclusion, nor a greatest hits. More like a pause, a moment to reflect - a look back to better move forward. Since 2015, Les Disques Bongo Joe have been navigating instinctively, yet with a compass all their own: a love for free-spirited sound, a curiosity for the undefined, and a clear idea of what a label can be - a space for listening, care, and invention. The compilation offers a journey - subjective, fluid, and unapologetic - through ten years of sonic activism. A selection of tracks drawn from the label"s corners and crevices: from early releases to recent ones, from essentials to rarities, from cult reissues to contemporary works that carry the label"s energy forward. The record flows between raw intensity and sonic finesse, between remastered archives and flashes of electronics, between fragile voices and hammered percussion.

Multi-instrumentalist, visual artist, and scene creator, Jonathan Uliel Saldanha, has been releasing music under various guises for two decades. With the successes of his moniker HHY (Nyege Nyege Tapes) whether in symbiosis with The Kampala Unit or the syncopationophilic big band of The Macumbas, Jonathan Uliel Saldanha's sonic signature continues to grow more and more singular. Ever synthetic and digital, Uliel Saldanha's work-ethic never eases—having recently started a label of his own, Horror Vector.

Surface Disorder sees the release of the music from Jonathan Uliel Saldanha's large-scale exhibition of the same name that occurred in Porto & Lisbon, (2024-25). As with much of his work, there is a Ballardian sense of a near-future in dystopia. And since we're already living the apocalypse, there's never a hidden moral to veer away from the torment. Instead, Uliel Saldanha dives into it and catalyzes it further.

Information from Angels feels like a cunty John Dee AI (credited as The Mouth) becoming an oracle of information overload, accompanied by an instrumental bidirectionally that splits into a lush harmonic layer of blissful punctuated pads and another that is a speedy but subdued melodic bassline. The Mouth intones a 15-minute fever dream that flows through themes that have occupied Uliel Saldanha for quite some time.

On Swarming the Pit, the intricacy of Jonathan Uliel Saldanha sonic wizardry is on full display. A constantly moving swarm of granulated particulates of sonic material morph into a variety of textures: coins or gunshell casings hit the floor, engines rev their monstrosity, rubber-like pulses are splayed into spectral blurs and pops. This is clearly an update on music conrète's obsessions.

The Mouth on the closing track, Wolf & Virus Dialogues, has a completely different texture from the first, alerting the listener to the uncanny nature of its genesis. Here the instrumental sounds are all triggered by the articulations of the voice: a weird unison, it serves as its own artificial accompaniment. The reiteration of a self-model (a rabid 'my') creates a greater tension between computational self-certainty and the terror of its inevitable actualization.

Life is full of splendid yet fleeting moments – as is this album. Filled with songs of ever- changing bliss, it offers a modern take on Rephlexish-Warpy IDM and Electronica, embedded in that irresistible Electro groove from the land of milk and honey. Put your feet up – it’s time for a break from work.

First time on vinyl! Selected tracks from the 2018 digital release, newly compiled and remastered – plus three completely new tunes from the same era!

The Alarm 40th Anniversary release History Repeating is new Double CD and LP collection. The CD features 44 of The Alarm’s biggest singles and greatest songs and the double LP features 27.
Spanning all eras of The Alarm Timeline, History Repeating brings together all of the band’s ‘Crown Jewels’, including a brand new and previously unreleased recording of the title track.
History Repeating features all of the keynote tracks that have helped create The Alarm’s phenomenal and loyally dedicated following. The Double CD comes in a replica LP gatefold sleeve configuration and is the most comprehensive ‘Best Of’ ever released by the group since 1998’s Best of The Alarm and Mike Peters.
The Double LP comes in a gatefold configuration and is the first ‘Best Of’ compilation to appear on vinyl since 1990’s Standards. This is the record every single Alarm fan will want to own with its distinctive Red Poppy cover and beautiful depiction of The Alarm family across the inner gatefold.
Upon release, lead singer Mike Peters will be hosting a series of completely SOLD OUT Alarm Rock and Roll Staycations in the band’s hometown while telling the story of The Alarm through thealarms internet broadcast platform
The Big Night In, that will feature weekly shows dedicated to every single year of the band’s history.
In 2022, a major touring itinerary begins with the already SOLD OUT official 40th Anniversary Concert in St. David’s Hall, Cardiff Wales on January 21st 2022 followed by an international 40th Anniversary concert schedule all the way through to 2023.

A collection of cuts, edits and finely crafted sounds by a talented UK Wizzard.

Pirka Vinyl Cuts - the home of unnamed beats.

'Cupar Grain Silo' is Sam Annand's first release on the Blackford Hill label. Its nine tracks blur the lines between ambient electronica and sonic history, as synthesised melodies and rhythms reverberate through the extreme acoustics of the disused Cupar Grain Silo in Scotland. Built in 1964 as a sugar store, the silo towers 60 metres above the surrounding Fife countryside. Its industrial life was short: in 1971 it was closed, and barring a short period as a grain store, remained empty for decades.

In 2014, Sam Annand was given access to the silo as part of the Resono project, set up to study a series of highly reverberant locations across Scotland. The ambitious industrial architecture of the Cupar Grain Silo has given the space a reverberation time of 36.5 seconds. This measurement describes the time a sound takes to decay or 'fade away' in a closed space. To put this in perspective, the Cupar Grain Silo reverb time is around three times longer than that in cathedrals like York Minster and St Paul's.

"The acoustics are immediately noticeable when climbing the ladder into the main chamber", Sam says. "The sound of your voice begins to circle around and above you, inviting you to shout, clap and bang objects to excite the space into revealing its intimidating architectural voice."

Sam began to experiment with musical compositions which responded to the unique acoustics of the silo space. He used impulse responses – a short, sharp sound like a gunshot – to record these acoustics, allowing him to experiment with the silo's reverb in his production. Sam's compositions were performed using a modular synth system, a Roland Juno-6 polyphonic synthesizer and a bowed ride cymbal.

"Chords can be constructed in time by hanging successive single notes in the air," Sam describes, "The flutter echoes from the immediate cylindrical walls can be used to create bursts of scattering spatial imagery and harmonic blooms, following short percussive moments."

Originally recorded on 21st May 2016, 'Cupar Grain Silo' is now released on 12" vinyl with an accompanying booklet of imagery and essays. The compositions are at once true to the unique architectural acoustics of the silo whilst also being playful and experimental with the creative possibilities it offered. Arpeggiated melodies ebb and fall across extended call-and-response shapes formed by the silo's reverb; modular drum patterns crackle like dying machinery; whilst bowed drones waver and wash over.

"We all love reverberation," reflects Prof. Peter Stollery, Professor of Composition and Electroacoustic Music at the University of Aberdeen, on the project. "As kids, we play in it – yelling in forests and caves, surreptitiously dropping objects in huge churches – mouths wide open at the lingering smears of sound which come back to us."

In 'Cupar Grain Silo', Sam Annand has harnessed the extraordinary acoustics of the disused silo to tap into this sense of joy and amazement that reverberation can bring.

Throughout their lifetime and a handful of releases, the trio have carefully fostered and perfected a style of music that is technical and beautiful but doesn’t shy away from any avant-garde, noisy, or punishing moments.
While you’re able to discern sounds brought from noise rock of the 80s and 90s, post-hardcore of the 90s and early aughts, as well as multiple waves of emo and screamo, Abandoncy’s affinity for abstract structure, strange time, and dramatic pause gives them a style all their own.
At its end it is breathtaking, addictive, and harrowing to experience.
On their third full-length, Assailable Agonism, you find the band pushing even further. All six songs boil over with masterful instrumentation and crushing composition.
Clocking in at just under 19 minutes, it feels like a brief but brutal haunting of all of your personal spaces.
Paranoid, blistering, and all-consuming, coated with the grime of drying riverbeds and dust storms. Through its juxtaposition of melodic and noisy elements, it has a presence that will draw in fans of all different styles of music.
"Assailable Agonism" is released by Vina Records (Italy), The Ghost Is Clear (USA), Learning Curve (USA).

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

DJ Support: Enzo Siragusa, Wodda, Make A Dance, Chris Stussy, Seb Zito


We're thrilled to announce the latest release from Chris Gialanze, 'Gunna Bee' – a track that has already set dance floors alight and is poised to become the anthem of the year. This standout release, tested and celebrated across multiple venues, festivals & showcases. Accompanying 'Gunna Bee' is ‘So Criminal’ & ‘Tough Cloud’ to complete the EP, striking the perfect balance between Downtempo and Breakbeat vibes. Each song is a testament to Chris's versatility and craftsmanship, promising an auditory journey that's as refreshing as it is exhilarating.

Twin Cities duo Feel Free Hi Fi return to their in-house imprint Digital Sting with their first full length entitled “I was so far in I was out.” After two prior EP's and collaborations with Equiknoxx and Duppy Gun Feel Free Hi Fi deliver 8 new tracks of their distinct but eclectic digital dub. Amalgamating many of the sounds, sonics, and aesthetics of prior releases into these eight percussive instrumentals. The industrial dub and weirdo dancehall remain but the focus is further refined while also exploring environmental and cinematic sounds to create often dark and heavy versions that are as singular as they are collective, as introverted as they are expansive.

The records come in double sided silk-screened printed custom DJ Jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

Hannah Nicholson and David Page are London based boat dwellers who have cruised the river Thames whilst writing, playing and self-producing their debut album. Named after their boat Ederlezi it became their muse, refuge and recording studio during 2023.

Ederlezi have taken inspiration from the classic songwriting of the 1960s. Hannah is influenced by songwriters such as Scott Walker, Jackson Browne, Joni Mitchell and is always looking for a story. David is influenced by the guitar based Rock'n'roll of the 50s, the psychedelic 60s and the bass styles of Serge Gainsbourg with some prog rock mixed in.

David is the bass player in The Pretenders and has worked with Jonathan Jeremiah, Young Gun Silver Fox, Rio 18, His Lordship, Nell Bryden, Edwyn Collins, The Black Pumas as a guitarist, bass player, singer and collaborator touring extensively around the world. Hannah is a solo artist in her own right, a prominent troubadour and songwriter on the London Folk scene. She has also worked with Hannah Williams & The Affirmations, Ellie Goulding, Gary Barlow, Jonathan Jeremiah and Nell Bryden as a backing singer and instrumentalist.

Killer female roots vocal on the tuff lick of the 'Java' rhythm that we released other cuts on (see above links). This tune was originally released on 12" on Park Heights' Son of a Gun label, under the name 'Park Heights Angel' aka Angel Hoytt. This is the first release on 45, and the A-side vocal cut is an alternate previously unreleased mix.

With the elements in Hip-Hop divided, Pawz One & Preed One return to their grafitti roots with the new collaboration album "Murals & Mayhem". Pawz approaches each song as verbal graff piece that covers Preed One's soulful and gritty background production. The duo bring the color out of topics such as tainted love, friendships, the culture of Hip-Hop and surviving the mayhem of the Los Angeles streets. Adding more to the mural are guests like Guilty Simpson, Copywrite and Ruste Juxx. Blended together each song creates a larger piece that covers the mind walls from top to bottom.

Two lost Disco classics appearing for the first time on a single 12” featuring soul legend Leon Ware and Jo Ann Harris, a little known backing singer for Bob Dylan throughout the 80s.

Both songs originally appeared on the ‘20 Minute Workout’ Video and LP released in 1983 by Canadian label Ronco, ‘What Does It Take’ providing an uptempo crescendo to the third part of the workout and ‘Never Gonna Give You Up’ the final warm down track. Licensed from producer Ira Newborn, Hollywood soundtrack royalty who composed the scores for an incredible run of films including The Blues Brothers, Ferris Bueller’s Day Off, The Naked Gun trilogy, Weird Science, Ace Ventura and Uncle Buck. Ira’s lawyer persuaded him to get involved in the project for Ronco and it was Ira who hand picked Leon Ware and Jo Ann Harris to add vocals to two tracks to aid the commercial potential of the album.

There are two original versions backed with extended instrumentals sourced from a rare Lazer Disc Version of the album. It feels right to shine a light on one of Leon Ware’s lesser known performances, whilst the Jo Ann Harris cut has a distinct Balearic air featuring sultry keys and sax at a tempo of 98 BPM.

Symphony Orchestra is a new group from Maximilian Turnbull and Michael Rault. Both Rault and Turnbull are accomplished songwriters, performers and producers in their own right, with Turnbull leading The Badge Epoque Ensemble, playing with the group Darlene Shrugg, and once releasing records under the name Slim Twig and Rault having released several psychedelic rock & roll classics under his own name in the past decade. The pair have worked together in various capacities for many years, writing and recording together on U.S. Girls' In A Poem Unlimited, and contributing to each other's releases, but the debut LP from Symphony Orchestra (due out May 12th on Telephone Explosion) marks their first release as an official entity.

Needless to say, there is a potent creative chemistry between Rault and Turnbull and Radiant Music showcases the alchemy between their distinct skill sets. The album is an exercise in pure collaboration. After years spent focusing on solo projects and working as hired guns on other projects, the duo came together with no specific intentions other than to work free of boundaries and direction. Freeing themselves from the familiar pressures of deadlines and expectations, they found a sense of discovery through togetherness. Duties on this project were split between Rault acting primarily as a one-man rhythm section and lead vocalist with Turnbull bringing chord sketches and his trademark aphoristic lyrical musings to the table. Trading off roles on guitar and keys from song to song, the duo's deft approach to melody bleeds through their instrumental parts as much as it does through Rault's vocal melodies. The majority of this album was self-engineered over the course of three sessions in 2018, at Michael's Montreal studio. Dormant during the pandemic, Rault's move to Los Angeles and the birth of Turnbull's twin sons, work reignited in 2022. The latterly tracked instrumental 'Concerto' and ballad 'Unthink The Thinkable' provide a dynamic depth to the album perhaps attributable to this tumultuous pause. Mixing came courtesy of Steve Chahley & Tony Price (U.S. Girls, BÉE, Jane Inc, etc).

In all of their work, Rault and Turnbull have made a hallmark of elaborately precise production and arrangement, Radiant Music is no different, though its pared-back simplicity provides a streamlined directness. The pairing of Rault's soulful, elastic vocal with Turnbull's evocatively cerebral lyrics provides a thrilling sensation unlike anything else in their respective catalogs. With an explosive, groove-forward approach, kaleidoscopic walls of vocal harmony and technicolor displays of guitar work, these 31 minutes of music will most certainly stimulate the mind of any fan of classic pop rock and funk. The blown-out breakbeats, winsome woven vocal melodies and propulsive wah-wah guitars of the title track evoke memories of an after-school cartoon special that never really existed outside of a lysergic daydream. "Harp In The Wind" is a perfect moment of overcast melancholy complete with ribbons of weeping synthesizers and velcro-fuzz guitar that could rip a clean line through Kevlar. "Know Thyself" and the harmony-rich "Intersection" are standout tracks that find a kinship in Stereolab's space-age effervescence. "Concerto" is a slab of beaming, mischievous funk that nods to Billy Preston's extraterrestrial keyboard explorations.

Radiant Music, like the best pop music, is life-affirming, confectionary, and enticing. Symphony Orchestra have created an album that hits you right where you need it, anchoring heady, adventurous sonic ideas down to a solid foundation of masterful songcraft, virtuosic instrumental performances and undeniable groove. Not a bar, nor beat is wasted.

SUMMER OF SEVENTEEN are MONIKA KHOT (NORDRA, ZEN MOTHER), WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA (MAMIFFER), and AARON TURNER. (SUMAC, SPLIT CRANIUM).

Wildfires plagued Washington state during the summer of 2017, their smoke drifting westward toward the Seattle area and toxifying the air. Shortly before that trauma, MONIKA KHOT, WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA, and AARON TURNER had gathered at the latter two musicians' House Of Low Culture studio on idyllic Vashon Island with revered producer RANDALL DUNN. There they cut eight songs that capture the makeshift band's feelings of what COLOCCIA calls "a kind of doomsday lurking in the background." It's as if these highly attuned players had a premonition.

"Summer Of Seventeen" -which was edited and arranged by MONIKA KHOT, who records apocalyptic music solo as NORDRA and plays in the avant-rock band ZEN MOTHER—is a nuanced admixture of these musicians' sounds and a culmination of all of their previous collaborations. COLOCCIA and TURNER have created eldritch folk and chamber rock for over a decade in MAMIFFER while engaging in various solo and group projects that explore their profound spirituality in sound. MENCHE has been a fixture on the abstract composition scene for 31 years and COLLINS is a savvy explorer of drone and ambient forms. Their ephemeral summit meeting has yielded a masterwork for the ages.

A heaven/hell and beauty/beastliness dichotomy pervades the album—as if a titanic struggle was transpiring in that small studio. The fearsome trumpet fanfare that starts "Chorus Of The Innocents" heralds a baleful fate. With a subliminal industrial rhythm bristling beneath the eerie exhalations, the song submerges us in a slow-motion maelstrom, a horror-film facsimile of MILES DAVIS' "Bitches Brew". "Perceived Slight" threads death-metal screams through a stark, suspenseful atmosphere, with austere glints of guitar and beats like fists on a casket lid intensifying the dread.

Angelic chants and celestial drones perfume the air in several of the songs on "Summer Of Seventeen", countered with muted blast beats, serrated hums, jagged glitches, simulacra of grinding gears and lightning. It's as if no good deed goes unpunished. "Spirits Of Redeemer" could be an elegy for the human race while "Cultural Orphan" sounds like a symphony for a malfunctioning factory. The album ends with "Theatre Needs An Audience," a harrowing ballad somewhere between EINSTÜRZENDE NEUBAUTEN and MERZBOW; it's a savage rent in the space-time continuum.

"Thinking about this record now," COLOCCIA recalls, "it seems like we were all sort of anticipating something like this current pandemic happening, although we were thinking about it as fire in the hands of man (literal fire, and also gunfire) that would overturn the normal running of things and reveal the current false beliefs systems holding up most of America."

That grave aura infiltrates "Summer Of Seventeen", However, a hopefulness bubbles beneath the foreboding architecture of sound and noise summoned here. The bunker is the new penthouse.

-Dave Segal, April 2020

The Return of The Vagabond – Revisited! On The New Way
There are figures that do not belong to any single era. They traverse .me, watch the world evolve, and
con.nue their journey guided by a singular compass: music.
Born from a concept by Use Vinyl Records, The Return of The Vagabond – Revisited! On The New Way is a
compila.on that sets the "Vagabond" back in mo.on—an iconic symbol for those who live music as a
journey without boundaries of .me, genre, or genera.on.
His return takes shape through a curated selec.on of .meless interna.onal disco, funk, and rock classics,
reinterpreted with fresh soundscapes while remaining deeply faithful to the spirit of the originals. This
musical odyssey is helmed by Daniele Baldelli & Marco Dionigi, Marco Fra=y, (Ino)2, DJ Mauri, and
Corrado Pres@, proving that great music can transcend .me, reinvent itself, and con.nue to inspire.
More than just a compila.on, The Return of The Vagabond – Revisited! On The New Way is a sonic voyage
that rediscovers legendary tracks through a modern lens. It is a project that demonstrates how authen.c
music never belongs to the past: it evolves, changes its skin, and con.nues to resonate deeply with the
present.

Ltd Edition! Pat Todd & the Rankoutsiders — hervorgegangen aus der Asche der legendären Lazy Cowgirls und angeführt von einem Frontmann, dessen Name seit Jahrzehnten für das raue Herz der amerikanischen Underground-Musik steht — melden sich mit ihrem neunten Album „I’ll Dream Alone“ zurück. Zwölf Songs voller lauter Gitarren, schnörkelloser Storytelling-Tradition und der bekannten Mischung aus knurrendem 70er-Jahre-Punk, Country, Blues und klassischem Rock, die die Band seit den Lazy-Cowgirls-Tagen zum Maßstab für Authentizität in der amerikanischen Rock’n’Roll-Szene gemacht hat. Aufgenommen und produziert von Gavin Ross in den Steady Studios, Burbank, CA — demselben Studio wie die letzten beiden Alben. Pat Todd hat die Songs so geschrieben oder mitgeschrieben, wie es bei den Rankoutsiders Tradition ist — manche jahrelang live erprobt, bevor sie endlich aufgenommen wurden („Ambition Street“), andere direkt im Studio entstanden, mit Texten, die erst zum Schluss dazukamen („We’re Outta Time“, „The World It Don’t Need You“ und der Titeltrack „I’ll Dream Alone“ selbst). Das Album reicht von der an Velvet Undergrounds „Loaded“ erinnernden Ballade „Mediocre Heart“ über den treibenden Soul-Beat von „Beyond the County Line“ bis zum Update eines 60er-AM-Radio-Rockers in „The Last Of Me“. Gitarrist Nick Alexander übernimmt bei „It Ain’t All My Fault“ – nach wahren Begebenheiten – ausnahmsweise den Leadgesang, unterstützt von Stephen Vigh, Kevin Keller und Pat Todd. Den Auftakt macht die erste Single „Desire Has Left Town“, gefolgt von „We’re Outta Time“ als zweiter Single und „Blood & Gunpowder“ am Release-Tag. Die Band unterstützt die Veröffentlichung mit einer Europa-Tournee vom 9. Oktober bis 8. November 2026 und bringt „I’ll Dream Alone“ direkt ab Release quer über den Kontinent auf die Bühne.

“Speed is power is structure is reason is human is terror is speed…”
LOL SeWitt
Inspired by Sol LeWitt’s drawing “Six Thousand Two Hundred And Fifty-Five Lines“ (1970), Sonic Belligeranza 12’s sound is generated by a code that translates the lines and the spaces between the lines of the original drawing into 6255 speedcore kicks at 33 RPM (disc 1) and 45 RPM (disc 2). Also contains the ‘holy structuralist’ and ‘sphexish threshold’ versions with Six Thousand Two Hundred And Fifty-Five hertz drones accompanying the ultra-kinetic machine-gun bursts on both discs.
THE VIEWER BECOMES THE LISTENER!
Think generative speedcore, think I.D.M. (Informational Dance Music), think aural extravaganza. Think of a number: Six Thousand Two Hundred and Fifty-Five.

Die britische Singer-Songwriterin und Musikerin Martina Topley-Bird wurde durch ihre Zusammenarbeit mit
den Trip-Hop-Pionieren Tricky und Massive Attack in der Musikbranche bekannt. Besonders hervorzuheben
ist ihr gefühlvoller Gesang auf dem Track ”Teardrop” von Massive Attack aus deren Album ”Mezzanine”,
der zu seiner atmosphärischen Wirkung beiträgt. Auch auf Trickys Debütalbum ”Maxinquaye” (1995)
hat ihre eindringliche Stimme den unverwechselbaren Sound geprägt. Als sie 2003 zu einer Solokarriere
überging, erntete sie mit ihrem für den Mercury Award nominierten Debütalbum ”Quixotic”, das bei Independiente Records erschien, großen Beifall der Kritiker. 2004 erweiterte Topley-Bird ihre Zusammenarbeit
und lieh ihre Stimme den Gorillaz-Tracks ”All Alone” und ”Kids with Guns” von deren Debütalbum ”Demon
Days”. Seitdem hat sie weitere Alben veröffentlicht, darunter ”Anything” (2004), ”The Blue God” (2008)
und ”Some Place Simple” (2010).
Martina Topley-Birds von der Kritik hochgelobtes und für den Mercury Award nominiertes Debütalbum
”Quixotic” wird zum ersten Mal auf Vinyl veröffentlicht. Diese erweiterte Ausgabe enthält das Originalalbum sowie drei B-Seiten und einen unveröffentlichten alternativen Mix der ersten Single ”Sandpaper
Kisses”. Sie wird auf Doppel-Vinyl gepresst und in einem Gatefold-Sleeve verpackt sein.

Two years after his breakthrough debut Drifter established him as one of the most authentic new voices in modern blues, Jovin Webb returns with Son of a Sinner, a raw and powerful follow-up on Blind Pig Records. Produced once again by multi-Grammy winner Tom Hambridge and recorded in Nashville, the 11-track collection finds the Baton Rouge native digging deeper into his Southern roots, where swampy blues, gospel fire, and gritty Southern rock collide. Across songs of temptation, consequence, and hard-won redemption, Webb confronts his past, owns his vices, and reaches for salvation even when he knows he might fall short—capturing the tension between Saturday night and Sunday morning. Son of a Sinner is Jovin Webb at his most revealing: blues music that doesn’t just tell the stories, but lives them.

Lummer is the Swedish name for the now protected family of vascular plants (Clubmoss/Lycopodiaceae). Lummer grows slowly and the spores with which it reproduces can take 12—20 years to develop. These spores, known as Nikt in Swedish, were once ground into an extremely flammable light yellow “old woman’s gunpowder” that was used for early theatrical pyrotechnics. Volatile and explosive, Lummernikt requires careful handling.

There is something of the small scale dangerous in Finn Loxbo’s Lummernikt, too. A not-at-all-risk-free traversal at the limits of technique: building, blowing up and working through a band’s worth of harmonic scaffolding. Eight songs on a stage. Dramatic, breath-taking. At the same time the wild, flickering rush of tones spins up a centrifugal force that suspends a certain calm or sitting still at the music’s core.

On Lummernikt, Loxbo’s guitar often sounds more like a concert harp or the West African kora as he shifts a set of melodic fragments and extended lines through rapid-fire arpeggiated permutations with a spontaneous energy that is countered only by his extraordinary touch on the instrument and an undeniable sensitivity to his material’s dynamic potential.

It’s a glorious extension of the chiming chords and experimental preparations heard in his contributions to Magnus Granberg's Skogen (Another Timbre) or via his own ensemble Kommun (Fönstret, Thanatosis) and in striking contrast to the distorted wail he contributes to Anna Högberg Attack’s Ensamseglaren (Fönstret) or his all-in-the-red trio Kyosaku (Corbett vs Dempsey).

It’s now several years ago that Finn sent me the first recording of his new band Kommun and asked if I had suggestions for a label that might want to release it. I played that recording on repeat until I couldn’t shake the idea that I needed to start a label to put it out myself. Lummernikt is the spark that keeps that fire alive.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Mit "Hoarse" legten 16 Horsepower 2000 ein Live-Album der Extraklasse vor. Die elf Songs, aufgenommen 1998 in Denver und Paris, zeigen die Band auf der Höhe ihres Schaffens, mehr noch, die hier zu hörenden Versionen der Songs ihrer Studioklassiker "Low Estate" und "Sackloth"n"Ashes" sind nahe der Perfektion. Was für eine Kraft, was für eine Wucht! Von dem von David Eugene Edwards" Akkordeon dominierten Intro des Openers "American Wheeze" braucht es keine zwei Minuten, bis die Band die Hölle losbrechen lässt. 16 Horsepower waren anno 1998 eine Maschine, die alles niederwalzte - nicht brutal, aber immer gewaltig. Dabei blieben sie stets filigran, beherrschten auch die leisen Töne (man höre nur "Bad Moon Risin""!) in gleicher Souveränität wie das volle Brett. Neben dem CCR-Cover gibt es Gun Clubs "Fire Spirit" sowie ein fulminante Version von Joy Divisions "Day Of The Lords". Wer die Band jemals live erlebt hat, weiß um die Magie solcher Momente.

Der Titel des siebten Studioalbums der kalifornischen Punkrocker bezieht sich auf Mike Ness" doppelte musikalische Heimat. Der Songwriter und Sänger von Social Distortion huldigt auf "Hard Times And Nursery Rhymes" sowohl dem düsteren Amerika eines Hank Williams wie auch dem bluesigen Herumstolzieren der Rolling Stones etwa während der "Exile-On-Mainstreet"-Ära. Altbekannte Einflüsse, die hier jedoch in den Vordergrund treten: "Hard Times And Nursery Rhymes" ist das rockigste und gleichzeitig beseelteste Album der Gruppe, die weltweit über vier Millionen Alben verkaufte. Dennoch finden Fans den typischen Punkrock-Roar in jedem Stück wieder: vom Opener "California (Hustle and Flow)" bis zum düster-rockenden Hank-Williams-Cover "Alone and Forsaken". Aber auch Springsteen- und Tom-Petty-Fans dürften diesen Sound mögen. "Hard Times And Nursery Rhymes" ist das erste Album der Band nach "Sex, Love And Rock "n" Roll" aus dem Jahr 2004. Für Fans von Gaslight Anthem, Rancid, Bad Religion, Tom Petty, Bruce Springsteen und Tiger Army. Die 2LP hat zwei Bonus-Tracks.

2026 Repress

Berlin’s Phil Berg, one of techno’s most distinctive rising names, debuts on Mutual Rytm with his ‘Dārin’ EP. First invited as the debut guest DJ for Mutual Rytm’s inaugural label night back in 2022, Berlin’s Phil Berg has maintained a close relationship with the imprint ever since. Known for his shadowy, immersive sound, Berg has carved out a singular position within the scene - equally respected for his high-impact DJ sets, his improvisational live performances, and a production style defined by clarity, tension, and a deeply recognisable sonic identity. While his live shows remain a vital part of his artistic DNA, often shaping the raw ideas that later evolve in the studio, his work extends far beyond the club floor, marking him out as a fully formed and increasingly essential voice in contemporary techno. That connection between stage and studio is fully realised on ‘Dārin’, where Berg delivers a darker, more driving statement for his Mutual Rytm debut, with the title track already becoming a standout in the sets of label founder SHDW. The title cut opens the EP with great urgency, as flaming drums and machine-gun synths are fired across the night sky, with sensuous whispers and sonar pulses adding the pull of the groove. Next, ‘Tempest’ brings big, banging hits, nailing down the kicks while rising tension appears through the backlit synths and distant bass rumbles. ‘Tanoo’ releases the pressure with a more luminous synth line that locks you in a trance as linear drums race on, while ‘Mephisto’ keeps you on edge with twitchy motifs and a burrowing bassline that drills down deep into a moody underworld. The EP closes with ‘Destiny Bond’, which rises with undulating, tactile lines, sleek synth smears, and a cosmic sense of travel. As digital bonus cuts, ‘Seiko’ and ‘Nyx’ bring anxiety and foreboding to the fore with two more muscular and physical deep techno hitters crafted for maximum impact.

Der Track erschien ursprünglich am 1. Januar 2020 als reine Digital-Single zum Jahreswechsel und kam zu einem Zeitpunkt heraus, als die Welt gerade erst begann, sich aus dem Griff der Pandemie zu befreien. Im März 2020 folgte eine limitierte, nur in der EU erhältliche 7-Zoll-Pressung, die seitdem auf dem Sekundärmarkt sehr begehrt ist. Angetrieben von einem erneuten Popularitätsschub - ausgelöst durch das offizielle Musikvideo auf YouTube, das über 9 Millionen Aufrufe verzeichnet und weiter wächst - kehrt die Single nun in einer brandneuen Pressung zurück. Diese Ausgabe verfügt über eine bedruckte Hülle mit dem Original-Artwork und ist auf nur 500 Exemplare limitiert. Der Track selbst ist eine Neuinterpretation des Songs mit voller Bandbesetzung, der ursprünglich ihr 2018er Album ,Golden Days" abschloss, wo er in einem reduzierten Arrangement mit Klavier und Gesang erschien. In seiner volleren Form strahlt der Song Hoffnung, Freude und die Euphorie eines Neuanfangs aus - er fängt ein Gefühl von Optimismus, Chancen und der Vorfreude auf bessere Tage ein. Diese Themen sind bezeichnend für den Sound und den Geist von Mamas Gun. Ebenfalls aus dem Album ,Golden Days" stammend, bildet die B-Seite ,Strangers on a Street" eine perfekte Ergänzung - sie rundet die Single mit Wärme, Positivität und einem gemeinsamen Gefühl menschlicher Verbundenheit ab.

"Ultra, The 12 Singles", a collector's edition deluxe box set, contains eight 12" vinyl discs presenting four singles - "Barrel of a Gun", "It's No Good", "Home", and "Useless" with key B sides, mixes and live recordings contemporaneous to Depeche Mode's ninth studio album, Ultra, originally released April 14th 1997. Three of the 12" vinyl discs in Ultra The 12" Singles are comprised of tracks first released on CD singles throughout 1997. Each of these new 12" discs features artwork reflecting the original CD single releases, now expanded to 12" vinyl for the first time. Audiophile quality 12" vinyl, with audio mastered from the original tapes. The artwork for the exterior box sets draws on iconography inspired by the original releases, while the vinyl sleeves themselves feature the original single artwork. Very limited. Stock will be allocated.

Gulp Joachim Nordwall’s queasiest, most curdled synth tones on this supremely detuned co-op with Athens’ Stellage crew = 45 minutes of pure nasal-drip tang and gungy pulses tipped FFO Connor Camburn, Wolf Eyes, Conrad Schnitzler, Ilpo Väisänen’s Liima alltimers.

Joachim Nordwall’s 1st solo jaunt since capping the ‘Healing Music’ series in ’23 finds the DIY linchpin and serial collaborator coaxing potently psychoactive tones from an undisclosed set up. It appears to be one of his most intently focussed jags in recent memory, concentrated on juicing a paucity of ingredients for optimal flavour. Nothing that new then? Well, aye, but when he really gets into it, with an effect that really probes parts of the psyche untouched by anything we’ve heard from him before, he produces synaesthetic sounds that frankly makes our ears salivate.

A starting exercise in plucky pulse-work recalling Robert Aiki Aubrey Lowe initiates a real descent into the nether regions of Nordwall’s imagination, pulling into sepulchral drone on ‘Trance Recording’ and Droog wet dream material on ‘Abandoned Test Site’, while allowing for some levity in the lacquer-crackling pulse poem ‘Expand Your Mind’. However, he soon pitches back into resonant, metallic sonorities with durational conviction on a ‘Some Skies Overlap’ bringing to mind Connor Camburn works, but with an icier edge, and his title track spews molten drums in a rumbling, spark-spitting torrent.

Proper filth. Snorkel it!

Shiverstruck, the latest album from IAN SWEET, finds songwriter and multi-instrumentalist Jilian Medford at her absolute best. Produced and mixed by Ben Allen (Deerhunter, Washed Out, Belle and Sebastian), the record centers a deliberate return to analog instrumentation, with acoustic guitars, piano, strings, and live drums at the forefront. Medford’s writing is more confident, direct, and emotionally exposed than ever, with soaring, melodic tracks like “Criminal Kissing” and “Jilian” revealing a striking new dimension of IAN SWEET.

IAN SWEET’s music has amassed millions of streams worldwide and earned praise from FADER, The New York Times, Stereogum, The New Yorker, Rolling Stone, and Pitchfork, which named Show Me How You Disappear one of the Best Rock Albums of 2021 and profiled Medford as a Rising artist that same year.

Hailing from Sheffield, MAU MAUS were one of the pioneering hardcore punk bands of the early to mid 80s, releasing a string of classic singles and an album for Pax/Rebellion at the time. They returned reborn in 2021, with new singer Danny, and with 10 songs recorded through lockdown which were released on Boss Tuneage as "The Enemy Within" 12" - the first official MAU MAUS new release in over 30 years! That release mixed 5 brand new songs with 5 re-recordings of classic 80s tracks, and it showed that the 21st century MAU MAUS had not lost any of their energy, bite and anger over the years and subsequently the release sold out within a couple of months and the band went on to show they were blistering live as well across numerous gigs and tours. Now, Boss Tuneage is delighted to announce the long awaited follow up to "The Enemy Within" and the bands full length album "THE BATTLE SCARS OF HUMAN DEBRIS" which features 13 slices of raging hardcore punk which feels as relevant for 2026 as it would have done in 1986!! The band have tours/gigs planned around the world to coincide with this album and it's great to put a new MAU MAUS album out to the world!

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day