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Nach dem längsten Winterschlaf aller Zeiten - die neue Spidergawd! Aufgenommen und gemischt in den Sörgarden Studios September 2020, und das erste Spidergawd-Album mit Brynjar Takle Ohr an der Co-Leadgitarre. Mit der Einführung zweier Leadgitarren hat die Band endgültig ihr musikalisches Rückrad gefunden. 'VI' konkretisiert dieses Neue Inkarnation mit voller Power! Zurück ist auch Saxophonist Rolf Martin Snustad, der die Band 2019 verlassen hat. Spidergawd machen exakt da weiter, wo sie schon bei S. 'IV' und S. 'V' aufgehört haben. Der Unterschied diesmal ist der Co-Songwriter Brynjar Takle Ohr, während sich beim Vorgänger noch Bassist Hallvard Gaardløs als Co-Pilot austoben durfte. Die jetzt aus fünf Musikern bestehende Band liefert wuchtigen Hardrock mit klassischen 80er-Jahre-Reminiszenzen, zitiert Bands wie Thin Lizzy & Co und zeigt dabei unmissverständlich auf, 'wo der Barthel den Most holt'.
Eine umfangreiche Europa-Tour ist für 2022 in Planung!
Das abermals aufwendige und ansprechende Artwork ist der wieder der Idee der grafischen Wiedererkennungsmerkmale bei Spidergawd geschuldet.
Das Vinyl kommt in Purple Vinyl und inkl. CD-Beilage! Die LP steckt wieder in einer festen Kunstoffhülle mit dem typischen Öffnungs-Siegel.

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On her second album (first one on Umor Rex), the Minsk born / Paris based artist Lina Filipovich continues her experiments on deconstruction and re-appropriation of classical pieces. BFHC includes seven electronic interpretations of the works of Baroque composers such as Bach, Handel, Frescobaldi, Carleton and Couperin. Inspired by memories of her experience of interpreting Bach's pieces in early childhood, Filipovich explores the desire to push the limits of performing classical music in the traditional way. Her baroque compositions are manipulated, modified, transformed into loops, cut, slowed down and recycled like any content could be, becoming a raw material for new compositions accompanied by electronic sequences, rhythms and basslines. Through the recycling, sampling and reassembly, Lina creates new listening experiences. And if BFHC can be interpreted as a tribute to baroque music, it can also be understood as a call to action to the work of contemporary artists like Oval, and to all the boom of clicks and cuts at the beginning of this millennium.

Mastered by Rafael Anton Irisarri
Artwork by Daniel Castrejón

Tape

Mexican sound artist Concepción Huerta is also a skilled photographer and video artist, and all of these aptitudes come together in the kinematic elements of her musical thesis. Her narrative seems to be an uninterrupted communication with movement as an axis: it pauses and falls with cadence at some moments; it agitates in disturbance at some others. But one movement perpetually crosses the other, even if sometimes imperceptibly.

Her sound work evokes displacements similar to what we could understand as a force of zero gravity. Taking this criterion as a backbone of her most recent work, the idea behind Harmonies from Betelgeuse focuses on the transmission of electricity between body and machine, between the organic and the inorganic. ––Strong loads of sound pulses move away from Earth's gravity through tape-manipulation. Betelgeuse is a star that belongs to the Orion constellation, but, since it has been expelled from its stellar association, it is considered a fugitive ––An exile. Harmonies from Betelgeuse is composed of eight pieces built as a whole, accompanying and destroying each other like theatrical parts of a cosmic tragedy. A beautiful analogy about impending extinction and exile.

Mastered by Rafael Anton Irisarri
Photos by Mateo Barbuzzi, design by Daniel Castrejón

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late ‘50s and hasn’t looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the ­rst Latino artist to appear on Dick Clark’s “American Bandstand” (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We fi­rst got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued ­ve 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the ­rst time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly in‑uenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 – another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music. Tracks: Side A 1 I Can Remember 2 Sitting In The Park 3 Give Me Time 4 Should I Take You Home (Keyloc Version) 5 If I Could See You Now 6 Come Back Baby 7 Viva Mi Triestesa Side B 1 Runaway 2 Sharing You 3 I’ve Never Found A Girl 4 Together 5 I’m No Stranger 6 Best Of Both Worlds 7 Baby, I Apologize

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. In dark, troubling times, maybe the most instantly gratifying solace one can seek is a wittily barbed diagnosis of the situation. “The fox has his den. The bee has his hive. The stoat … his stoat-hole,” Stewart Lee once remarked: “But only man chooses to make his nest in an investment opportunity.” Caustic retorts like this are what fuel the debut EP by dance-punk outfit Regressive Left, ‘On The Wrong Side of History’. For pervading through their dynamic and glitching music is a duty to report unflinchingly society’s ills. They are a staunchly political group, but far from your average po-faced by-numbers punk band. There is a gristly social commentary at the band’s core, but the songs themselves are characterised by a need to have fun, to find some kind of solace and escapism from the inevitable rapture. Recorded over an intense 5-day spell with in-demand producer Ross Orton (Arctic Monkeys, MIA, Amyl and The Sniffers) in Sheffield, Regressive Left’s debut EP ‘On The Wrong Side of History’ was immortalised over a handful of 11am-1am sessions in his studio. In many ways it is a time capsule of the maelstrom of ideas that got the group to this point in the first place – the infuriating, bleak political climate, and the urge to find escapism from it – consigned to vinyl in one herculean effort. Taking influence from the booming post-punk, funk and disco scenes of New York, Regressive Left’s sound is stark and danceable. Angular guitar scratches meet dirty synth basslines, whilst Simon Tyrie’s Edwyn Collins croon is chased around by effervescent drums. The banal horror of life in Tory Britain expressed with sharp and dry wit, and then set to truly barnstorming and infectious dance music Due out July 15th on Bad Vibrations Records, the new EP arrives following a trio of acclaimed singles (‘Eternal Returns’, ‘Take the Hit’, ‘Cream Militia’), tours with the likes of Bodega and Folly Group, festival appearances at End of the Road, Latitude, Great Escape and Wide Awake, and a sold out headline at The Windmill.

Decomposed recalls classic American hardcore like Bad Brains, Poison Idea and Jerry’s Kids or Japanese ragers like Paintbox, The Comes, Eiefits and Skizophrenia. But there’s also a healthy slug of classic UK and US punk and even a bit of Krautrock, psychedelia and Black Sabbath in there too. Nottingham has always been a melting pot for heavy music. For a small city, it has boasted more than its fair share of genre defining bands and artists, not to mention record labels. Bands cross-pollinate, form projects and offshoots and play one-off gigs that would result in lengthy careers and world tours if they had happened across the Atlantic. It has always been like that there. No big deal (but yet, a really big deal if you know). One such band/project/offshoot were Endless Grinning Skulls. Formed by guitarist Andy Morgan (also from Bloody Head, Army Of Flying Robots, Nadir and countless more), drummer Steve Charlesworth (Heresy, Wolves Of Greece, Meatfly, Geriatric Unit) and bassist Gords (Hard To Swallow, John Holmes, Geriatric Unit) in the early twenty-teens, they re-set the bar for the 3-piece hardcore band before (perhaps inevitably) burning out in 2018. Morgan and Charlesworth weren’t done though. They’d forged a bond in EGS and wanted to carry on playing together so - in a familiar Nottingham storyline - they recruited former Pitchshifter guitarist Stu Toolin on bass and Anmarie Spaziano (who you might know from running a famous burger joint) on vocals and formed Blind Eye. They knew Toolin was about to relocate to Portland, Oregon so they wrote and recorded an EP (released on Morgan’s own Viral Age Records). Quick-sharp. No messing about. And that – by rights – should have been that: over and out. New band please. However, the demo captured a rare intensity and vitality that more considered projects often fail to achieve. This was a band let loose, free from previous shackles and loving the noise they made. It seemed a shame to stop there. Recruiting Matt Grundy (a former bandmate of Morgan’s in both Nadir and Dead In The Woods) to the bass vacancy they went back to Stuck On A Name Studios in 2021 with Ian “Boulty” Boult at the helm again and delivered the album Decomposed.
Decomposed genuinely rocks out without losing one iota of the effervescent anger that made the demo such an essential listen. From the insistent, minimal opener Ready To Go Now via the unhinged thrash of Straw Man and the menace of the stomping Pero No Quieres, to the measured chugging and epic crescendo of closer Broken Star, this record is a fucking blast. Needle off, flip it back over, play it again. Your neighbours are loving it so much they’re banging on the walls to tell you. “I suppose the intention was to write high energy, catchy hardcore, with a nod to what has come before, but also to do our own thing,” explains Andy. “Lyrically, the album was written during the pandemic, and although it’s not ‘a pandemic album’, I think it deals with a lot of the feelings of loss, separation and isolation

Artificial Countrysides is Athens, Ga - based Elf Power's 14th album and
first for Yep Roc Records
The band expand their sound on this record to glorious effect, adding marimba,
harpsichord, synth bass, distorted drum machine loops, and mellotron to their
time tested mix of fuzz guitars, moog keyboards, pummeling drums, and layered
acoustic guitars, achieving a satisfying and unique synthesis of traditional and
futuristic sounds. Lyrically the album mirrors this approach by discussing the
difficulties and advantages of dealing with modern life's digital and artificial
landscape, balanced with the natural world. Elf Power formed in Athens, GA in
1994 and have released 14 albums, two eps, and a handful of singles, while
touring North America, Europe, and Japan many times playing alongside acts like
R.E.M., Flaming Lips, Dinosaur Jr., Neutral Milk Hotel, Guided by Voices, Arcade
Fire and many more. Albums such as 1998's Dave Fridmann-produced "A Dream
In Sound" and 2008's collaboration with the late folk rock icon Vic Chesnutt, "Dark
Developments", have cemented the bands' reputation as the finest purveyors of
modern melodic psychedelic folk rock around. The band became known as a
member of the much heralded Elephant 6 Collective, which includes their friends
and collaborators Neutral Milk Hotel, Apples in Stereo, Olivia Tremor Control, Of
Montreal, and many more.

Surfacing from ethereal and dreamier planes, UK shoegaze and
dreampop act GRAYWAVE are one of the latest additions to the Church
Road Records roster
Following on from their 2021 debut EP proper, Planetary Shift, GRAYWAVE is set
to release their second extended play, Rebirth, on June 24.Formed in Birmingham,
UK in 2019 as a solo venture and creative outlet for Jess Webberley, GRAYWAVE
has already amassed a steady stream of singles and qualitative short form
releases - drip feeding fans a highly ambitious and modern take on dreampop and
shoegaze’s storied sonic spectrum. Returning in 2022, Rebirth is the most
revealing and entrancing look into GRAYWAVE’s evolution as an artist. Trading in
some of the lo- fi tendencies of her earlier output, Rebirth sees Webberley
embrace darker soundscapes and sonic weight across the release’s five
tracks.GRAYWAVE’s latest effort is a confident seizing of identity and assured
meeting point for the project’s initial potential and newfound blossoming. Opener,
Build, and Rebirth’s title track rattle with rhythmic unease and confrontation, as
Webberley’s voice drifts between somnolent hypnosis and arresting command.
Elsewhere, Closer and Exoplanet effortlessly tie together 90s influence in the vein
of Cocteau Twins and Drop Nineteens with a modern touch similar to US
contemporaries Citizen.Following their recent union with Church Road Records,
2022 will see GRAYWAVE continue to shine across the UK live circuit. Having
already sold out hometown shows, as well as getting through to the latter stages
of the Isle of Wight Festival’s ongoing musical showcase that offers a spot on the
festival’s New Blood stage, and performing with UK hardcore upstarts Cruelty.
Living up to its name, Rebirth is already proving to be a fruitful time of growth for
Webberley and GRAYWAVE’s creative self- actualisation - offering fans new and
old the most conceptually realised iteration of the project’s limitless avenues of
artistic promise yet.

Battering Ram kommt aus einer kleinen schwedischen Bergbaustadt - Filipstad. Ein Ort, von dem Sie noch nie gehört haben, ein Ort, an dem Sie noch nie waren und den Sie höchstwahrscheinlich nie besuchen werden. Dort oben im Norden, in den skandinavischen Wäldern, ist der Mensch noch ein Mensch, das Leben ist noch einfach, und die Seelen sind noch frei. Dort oben ist die Musik noch rocken. Hart. Hart wie ein Fels.

Das 2017 in den tiefsten Wäldern Schwedens gegründete, schwergewichtige Quartett erweckt schnell großes Interesse bei den Rockfans daheim in Skandinavien, aber auch auf internationalem Boden. Rocker auf der ganzen Welt haben erkannt, dass es bei den Gnomen und Trollen in den nordischen Märchenwäldern gegossen wurden.

Hart wie ein Stein und härter als Hardrock. Schwer wie Blei und doch nicht nur Metall. Dennoch, am Ende ist das, was Battering Ram spielt, ist schnörkelloser Rock'n'Roll mit viel Gewicht, Power und Attitüde.

Mit ihrem ersten Full-Length-Album haben Battering Ram die Türen zur Rockszene förmlich aufgestoßen. Ihr selbstbetiteltes Debütalbum, das 2020 erschien, erhielt zahlreiche positive Kritiken in Musikmagazinen wie dem Sweden Rock Magazine, Metal Temple und
Roppongi Rocks. Und jetzt ist die Filipstad mit einer neuen Ladung von Killer-Songs zurück. Second To None" wird dem hohen Anspruch gerecht, den Battering Ram mit ihrem Debütalbum setzten und liefert eine Sammlung von Songs, die zeigen, wie Hard Rock und Heavy Metal klingen sollten, wenn sie aufeinander treffen: roh, heavy und mit gigantischen Hooks! Diese Band steht für alles, was Rockmusik der alten Schule einmal ausgemacht hat. Die Band ist sowohl in Sound und Qualität nahe an den Schwergewichten des Genres, deren Ursprünge in den 1970er und 80er Jahren liegen. Während die solide Basis von Battering Rams Sound echt und authentisch ist, verpassen sie ihrer Musik dennoch ihre eigene moderne Handschrift.

Tartelet are proud to introduce the blissful, psychedelic electronic soul sound of ABUNAI on his sophomore album Chrysalis out May

20th. Across 11 songs the Oakland, CA-based multi- instrumentalist lays down a dreamlike style which should chimewith fans of Tame Impala, Khruangbin and James Blake alike. As well as the sun-soaked surrounding of his Californian home, ABUNAI’s family connection to Hawaii casts its influence over an album which has all the makings of a crossover success. Look no further than early support from the likes of Gilles Peterson, Don Letts, and Wayne Snow for further proof this album is set to blow up.

“My sound is definitely influenced by the live music I grew up with in the Bay Area,” says ABUNAI. “There's plenty of musical legacy here, including the '60s psychedelic and counterculture movements, the '90s rave scene, and the hyphy movement. "I'm always trying to connect the dots and blend all of my influences.

Chrysalis was, like so many recent albums, a project made largely in isolation during the pandemic, although ABUNAI did reach out to close collaborators Gravity and Raquel Marie to contribute some guest vocals, Kevin Farzad from Sure Sure for the acoustic drum parts and a few additional production touches from Tartelet regulars Glenn Astro and Max Graef. He bills the songs as an exercise in therapeutic self-care through lockdown as much as a balm for others. “It's music for healing,” ABUNAI explains, “for the listener to be able to marinate in the slow tempos, the dreamy textures, the swirling vocals, and the lush synthesizers. It’s very much about growth, re-emergence, and dreaming of a better future.”

As well as dealing in ear-catching pop melodies and sweet vocals, there’s an underlying theme of the ocean, which stems from his coastal surroundings and his family roots in the Pacific. “I think the album is aquatic,” he reflects, “and it feels like a voyage to me, or like a long shower, being reborn in the water. I played the album for my grandpa, who's a veteran sailor and pilot from Hawaii, and he said it was the perfect music to play when you're sailing on the open ocean at sunset.” Cast in nostalgic, soft-focus tones and endlessly soothing for the soul, Chrysalis is your new favourite record for tender moments, hazy days and starry-eyed reveries alike.

Roy Mills readies a whirlwind trio of bass-bin-rattling tracks for his Local Knowledge label.

This is the third full solo release for Roy, who turns in a set of genre-spanning, sound design heavy cuts - channelling his twisted, thrilling take on dance music.

Leading the A1 is ‘Chinchilla’, a weighty tripped out stepper with mind-bending basslines, bubbling synths, and sharp stuttering drums taking charge.

Following is the low slung mutant ‘My Safeword is Dolphin’, a tongue in cheek break up song that serves up wonky percussion, vocal chops, and uneasy bleeps, fragmenting between dance floor tension and prog-matic might.

The 10 inch release settles it’s vibrations below the surface, ending with ‘Aquatiqué’. Gentle, reverberated drums work in tandem with spacious, considered sound design for a comparatively calm but no less club relevant closer to the EP.

The record comes complete with an AR interactive 70 x 48cm Offset printed poster, printed inserts, stickers + special treats.

Keep The Peace™ 2022


Includes AR Interactive 70 x 48cm Offset printed poster

Includes Printed Inserts

Includes Roy Mills ‘Mascot Sticker’ + special treats

Includes Poly-lined Paper Sleeve for Safe Storage

Embodying the mutant nature of club music in the modern age, Cocktail Party Effect comes bowling into Sneaker Social Club with a taut, wiry sound which joins dots and melts barriers at will.

The brainchild of Charlie Baldwin, who previously recorded as Kasket, Cocktail Party Effect has been forged over the past six years through heavy bursts of sound design anchored by soundsystem dynamics veering between 140 and 160 tempo zones. From 2020’s self-titled LP on Tectonic to drops on Osiris, Cold, Transfigured Time and more, Baldwin’s deftly avoided allegiance to any specific scene and instead deployed shock-inducing gear for DJs with fortitude to test on their crowds.

On SNKRX010 the commitment to physicality is prevalent across all four tracks, veering from the deadly broken beat barbs and artful fills of ‘Racka’ to the splintered breakbeat rushes and stop-start aggravation of ‘C.A.T.C.R’. ‘Grims8’ is perhaps the purest manifestation of the Cocktail Party sound though, all monochrome rigour with the contrast turned way up, powered by steely, gleaming rhythmic impulses and writhing with dense layers of sonic matter. Watch out for the glutinous bass snarl of ‘58bethe7’ though, which slams in sideways with an unabashed rave instinct crushed through a post-modern production lens.

Baldwin may be operating on his own terms, but on this 12” he demonstrates versatility to match his originality, resulting in four inventive dance destroyers tooled to bridge between styles, sets and scenes.

Ehrlicher, epischer Doom der Marke Candlemass, Solitude Aeturnus und Trouble aus Deutschland steht als kommender Release der italienischen Metal-Schmiede Cruz Del Sur an.
Echte Drums und echte Gitarren; keine "Plug-Ins" oder "Schummeleien", die Band wollte den Geist der Auftritte einfangen, ohne sich auf Technik zu verlassen. Aufgrund der weltweiten Pandemie wurde das Album in verschiedenen Sessions von Herbst 2019 bis Sommer 2020 aufgenommen und landete schließlich in den Händen von Dennis Koehne für Mixing und Mastering. Koehne hatte mit WHEEL bereits an ihrer Coverversion von Roky Erickson's 'Night Of The Vampire' gearbeitet, die auf ihrem selbstbetitelten Debütalbum von 2010 zu finden war. Die neuen Songs konzentrieren sich mehr auf eine gute Struktur und eingängige Refrains. Der Sound ist viel härter und druckvoller als noch beim Vorgänger 'Icarus'.
'Preserved In Time' erscheint wahlweise als CD im Jewelcase oder LP (Black Vinyl).

Part 1 of a two part LP project from Casino Times !
The record Sounds Like: John Carpenter performing a live set at 4AM in a basement club.

Coming off the back of 2021, a year which saw the launch of their new imprint 'What's My Derivative?', Casino Times (Joseph Spencer and Nicholas Church) continue a journey of exploring the unusual spaces between House & Techno, carving out their unique space in the scene which over the last decade has seen them release on many leading record labels.

The duo return to Omena in 2022 after previously releasing two complimentary concept EPs (Decoded / Recoded). This time they take the step up to prepare only their 2nd full-length record 'A Change In Motion'.
An accomplished collection of tracks that are the epitome of their unconstrained style of electronic music, subverting expectations by blending an array of captivating ideas and atmospheres to form a true voyage through sound...

Part 2 of a two part LP project from Casino Times !
The record Sounds Like: John Carpenter performing a live set at 4AM in a basement club.

Coming off the back of 2021, a year which saw the launch of their new imprint 'What's My Derivative?', Casino Times (Joseph Spencer and Nicholas Church) continue a journey of exploring the unusual spaces between House & Techno, carving out their unique space in the scene which over the last decade has seen them release on many leading record labels.

The duo return to Omena in 2022 after previously releasing two complimentary concept EPs (Decoded / Recoded). This time they take the step up to prepare only their 2nd full-length record 'A Change In Motion'.
An accomplished collection of tracks that are the epitome of their unconstrained style of electronic music, ssubverting expectations by blending an array of captivating ideas and atmospheres to form a true voyage through sound...

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

Rudolf Abramov is taking a step in a different direction from his last release on Höga Nord Rekords. This 7” contains the works of deep mining in an old hard drive during the introversion of the pandemic quarantine. These two gems have been going under a bit of tasteful polishing before reaching the point of release and the result is a punk meets Stoner rock experience propelled by hard sequencers and drum machines.

This record is as English/Irish as you find em: straight forward instrumentation and lyrical performance presented with a dirty and rough production. The beats are stripped with an edgy punch and the synthesisers are overdriven, giving them guitar like qualities.

The Paracetamol/Clonex 7” is a release of covid demons, and the sound of spitting out the bitter taste of isolation, or to use his own words: “On this 7" you will find absurd and desperate lyrics accompanied by heavy English and Irish accents, driven robotic drum machines, dirty synths, crunching bass, and as unpolished as your dad's old Angle grinder. All that served alongside your favourite cheese and onion crisps”

Motorik, Techno, Lo-fi, Primal and monotonous are words to describe Black Bones unique take on afro and post punk. This 7” is their first on Höga Nord Rekords and contains two tracks showing depth in musical creativity and record collections.

Black Bones use familiar components in surprising ways: electronics and loops swirl over sequenced pounding backbeats, but when the aggressive stereo bass kicks in on “Nairobi Night Train”, Kenya’s border stretches all the way up to the British Isles and a huge savannah opens its horizons just south of Belfast.

This is an unusual mix of European and African music tradition - a meeting of genres so seamless it’s hard labelling it crossover. It’s just an explosive potion mixed for dancing!

The debut project from Ginger Root which explores his coming of age and discovery of his sound self coined as Aggressive Elevator Soul.

As the mercury gradually nudges up on this side of the world we have the perfect soundtrack for the extended evenings and we have French producer DJ Moar to thank for that. This latest chapter in his 45 Loves series entitled Funky Party is laced with that summer dance-floor syrup to keep the dance-floor cookin'.

The J side is the cool side. Moar slips on the Balearic boots for a steppers cut that instantly transports us to the beaches and seaside sunsets. Some clever vocal samples are sprinkled throughout. Feelin' it!

On the flip JJ, Moar shifts gears and treats the listener to a Paisley-punched French house tribute that bangs! With a straight-up funk-fueled chorus we'll all be bellowing out this summer and coupled with a tight horn section this Punk-funk feast is a real treat for the listener.

Hand-stamped records & limited press.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

Stevie Ray Vaughan's 1983 debut album, Texas Flood, was a phenomenal success, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. The record plays like a dynamite club show, filled with crowd-pleasing originals and covers, all performed with unbridled enthusiasm. Texas Flood was certified gold on August 13, 1990, and certified platinum on January 22, 1992.

With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.

Hanoi Rocks legend Jan Stenfors aka Nasty Suicide makes a triumphant comeback with a brand-new studio album. With his new band, aptly named Stenfors, the man shows and proves his creative prowess are at their peak. Family Album isa long-player filled with timeless classic and blues rock, with catchy hooks and top-notch musicianship. This is a true gem for all for all fans of Hanoi and rock n’ roll.

restock!

Written and recorded during 2020, a year marked by forced quarantine with in turn proved to be a prolific time for musical composition. It is an album about change, aging and the fading memories one has, often more of a product of the current state of a person than an accurate description of those remembered moments. With age we tend to forget or lose contact with particular moments and parts of our own story and context become erased forever, as though they never happened. With this album, peter bjärgö takes the first steps into something new, bringing along his signature sound from past projects into a slowly evolving transition to a sonic world beyond his previous achievements. Leaning towards a more ethnic, rhythmic sound, integrated with his now trademark melancholic guitar work and deep solemn vocals, these are the first steps to a new horizon he’s ceaselessly crafting for our listening pleasure.

The Sky Is Crying was released after SRV's 1990 helicopter crash that took his life. The posthumously assembled 10-track outtakes collection actually proves to be one of Vaughan's most consistent albums, rivaling In Step as the best outside of the Greatest Hits collection. These songs were recorded in sessions spanning from 1984's Couldn't Stand the Weather to 1989's In Step and were left off of the LPs for whatever reason (or, in the case of Soul to Soul's "Empty Arms," a different version was used).

In 1989's In Step, Vaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty. Yes, there are a few covers, all well chosen, but the heart of the album rests in the songs he co-wrote with Doyle Bramhall, the man who penned the Soul to Soul highlight "Change It." Fueled by a desire to make up for lost time and delight in his reawakened commitment to life and sobriety, Vaughan turned in what many consider his greatest artistic statement, an album ensconced in sweat, soul, determination, and not an ounce of filler.

Debut solo album from the former frontwoman of The Total Bettys. Olive Green colored vinyl, comes with Download Card. Recommend If You Like: Tancred, Adult Mom, Snail Mail, Soccer Mommy Maggie Gently is a San Francisco-based indie songwriter with a fondness for wild schemes and intimate gestures. Her identity as a queer woman is important to her and the community she creates and participates in. Maggie Gently’s music is melody-driven and heartfelt — a big-city indie rock fascination with an unmistakable emo accent. Her songs are about how making decisions for your own mental health can feel like a matter of survival. Peppermint peers around the edges of trauma for a new glimpse at what growth could look like. With songs about eternal questions of commitment and love and the terrifying possibility of being vulnerable and known, this album is about trusting something enough to let yourself get swept away. The nine songs that make up Peppermint reinforce empowering truths that can be hard to internalize or say out loud. As an artist, Maggie finds inspiration in Meg Hayertz’ “Make It, Mean It” tarot-focused guided meditations, lesbian romance novels, and the Enneagram, almost as much as fellow bands like Snail Mail, Lala Lala, and Clairo. “’Steady’ is a sun-kissed ode to rebirth, driven by sweet acoustic melodies and Maggie’s soaring serene harmonies. As steady drums and shimmering synths join the mix for the chorus, the track gains a sense of resolute hope, as if emerging from the dark of winter into the light of spring.”

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

Limited to 500 copies worldwide.


Heavy as f-ck and deep as hell, this devastating split album gleefully corrupts and corrodes Dub’s sunshine reflections. Celebrating rhythm & noise in its dank echo chamber, these demolition dub tracks are built from obsessive studies in distortion, overdrive and seriously ruff textures, amongst an absolutely insane amount of sub-bass level.

‘Disintegration Dubs’ is a three way low end collision, between G36 (The Bug aka Kevin Martin/Gorgonn’s rig torturing beat project) and JK Flesh (Justin Broadrick of Godflesh/Jesu etc…). As the album title suggests, this instrumental pile up of floor crawling, sound system crushers, is a clearer sign than ever, that these three producers crave their dub cuts to be mutant and heavyweight, totally damaged and completely atomised. Dub as sonic obliteration

Anyone previously smitten by Techno Animal’s deeply psychedelic face off with Porter Ricks, on the long out of print ’Symbiotics’, or who worshipped Zonal’s recent rhythmic wreckage via Relapse records, will surely gorge greedily on Disintegration Dubs’. Likewise, newbies, who have snapped up this year’s ‘Fire’ by The Bug or ‘New flesh in dub’ by Godflesh, will find endless pleasure within these dread-tech, annihilated dubs and Industrial strength steppas rhythms. Echoes of Basic Channel, early Iration Steppas, Public Image Limited or even Andy Stott can be heard within this collection’s haunted atmospherics and bulldozing rumble. Yet, these three individual producers have obviously found their own recognisably original sound, within these monolithic grooves, and what makes this album so utterly refreshing, is just how well the three disparate sound manipulators complement each other fully, as they collectively set their sights on some shared, relentlessly futuristic sci-fi vision, for a new form of dub.

Obviously, Martin as The Bug, and Broadrick with his colossal dubs of Godflesh and his filthy back catalogue of JK Flesh releases, have both long since subscribed to the genre, aesthetic and fragmentation of Dub. Meanwhile relative newcomer, Gorgonn, is The Bug’s long time, live soundman, and former bandmate with DJ Scotch Egg in Devil Man, as well as having formed Dokkebi Q with Kiki Hitomi (ex-King Midas Sound), so he is no stranger to the art of deviant dubs either…

G36 dropped their appropriately titled debut EP ’Floor Weapons’, in 2018, on PRESSURE, as well as providing the backing riddim for the first ever release from Jamaican MC phenomena Nazamba, with his startling debut, ’Vexed’. Alternately, Justin has previously released seven albums solo, as JK Flesh, that systematically contorted, distorted and completely bastardised techno for labels such as Hospital Productions, Downwards and Speedy J’s Electric Deluxe… (Next year will also see a full JK Flesh album on PRESSURE too…!)

This album is Mastered by Stefan Betke aka POLE, at Scape Mastering.

First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

a 01: Think Positive (Live) feat. Steve Garcia, Edward Garcia & John Ortega
b 02: Jennifer (Live) feat. Steve Garcia, Edward Garcia, Vincent Anderson & John Ortega
c 03: Try It All Again (Live) [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[d] 04: Eclipse A (Beginnings) [Live] [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[e] 05: Eclipse B (First Movement) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[f] 06: Eclipse C (Hustle Bustle) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[g] 07: Eclipse D (Funky Side of Town) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[h] 08: Eclipse E (Midnight) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[i] 09: Eclipse F (First Movement Continued) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[j] 10: Eclipse G (Home) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]

Hailing from Portugal, PHENOCRYST was formed in early 2020 by D.S. (Archaic Tomb, Summon) and P. Tosher (Extreme Unction, Scum Liquor, ex-A Tree of Sign), with N. (Summon, Sepulcros, Concilium) and V.M. (Systemik Violence, Necrobode) joining later on, during the recording of their debut EP. The band is based in the outskirts of Lisbon, and the origin of such conjuration is a rigorous consequence of a vibrant underground activity in the city. D.S. and P. Tosher wanted to create the foundation of a death metal act crossing other influences like doom and some psychedelic vibes, to illustrate soundscapes of disastrous, catastrophic, and annihilating volcanic and natural events. There are not many artists actually singing about this specific topic, if any, and therefore, the lyrical content is also something to explore. As such, the moniker PHENOCRYST is fitting. Aptly titled Explosions, PHENOCRYST now reveal their debut recording. Totaling five tracks (one instrumental) over 23 minutes, Explosions unsettles with preternatural ease, reeking of death stench and obscure delirium. PHENOCRYST are proudly and purely death metal, but are emboldened in their liberation to explore within this rich language: Only Death is Realer. Indeed, Explosions is an explosive event, and one which marks PHENOCRYST's forthcoming debut album, which is currently being prepared. Take the first step into their burnt lands...

It’s going off and The Chisel are back to cause a bit of bovver. Following a trio of explosive singles, the band finally bring us their debut full-length album, Retaliation, on the London-based punk institution La Vida Es Un Mus. Having formed in early 2020 and featuring a crew of members with long-term associations to the London punk scene, The Chisel quickly secured a reputation as one of the most exciting bands from a pool of contemporaries that includes Chubby & The Gang, Stingray and Big Cheese. Their sound is rooted firmly in Punk but with influences that run across the board to create a distinctive blend of Oi!, anarcho, UK-82 and hardcore. Retaliation is an unmistakably British record that draws a line from 1982 up to the present day, pushing its way into your collection and torching your stereo. Opening with the agitated force of ‘Unlawful Execution’, the tone is firmly set by a song that addresses the brutality of the Met Police (“Tell me what’s the difference between right or wrong / When a copper gets to blast a lad who did nothing wrong”). ‘Come See Me’ is a ferocious ode to camaraderie in the face of mouthy boneheads and bellends. ‘Shit Life Syndrome’ is a poisoned reference to the same cynical phrase used by physicians to describe the effects of people living under poverty and in the grips of substance abuse (“How can you expect people to act nicely, they’ve all been left on the edge of society”). It’s one of many songs influenced by singer Cal’s experiences of growing up in the working-class town of Blackpool. Cal states: “Blackpool as a town is often overlooked or even looked down upon, I wanted to write lyrics which gave the people of my town a voice”. With tunes like these The Chisel show that they’ll never pull any punches. However, beyond the fury and the swagger there’s another side that plays to an additional strength; the ability to write a memorable hook. Songs like ‘Retaliation’, ‘Tooth & Nail’ and ‘Not The Only One’ could be described as modern day anthems (the latter has become a fan favourite since the arrival of their first live shows) and cement their identity as a band not to be defined by their influences. Recorded by Jonah Falco at Total Refreshment Centre, London, March 2021.
Mixed by James Atkinson at the Stationhouse in Leeds. Mastered by Daniel Husayn at North London Bomb Factory. Cover painting by Tara Atefi.

Quarto Valley Records proudly announces the release of 'Brother Johnny', a
tribute to the legendary blues guitarist created by his brother Edgar Winter.
The album is a powerful sonic journey, traveling the course of Johnny's musical
life, impeccably directed, as only his brother Edgar could. Joining Edgar on the
inclusive project is an impressive array of renowned musicians who knew, or were
inspired by Johnny, including: Joe Bonamassa, Doyle Bramhall II, John McFee,
Robben Ford, Billy Gibbons, David Grissom, Taylor Hawkins, Warren Haynes, Steve
Lukather, Michael McDonald, Keb Mo, Doug Rappoport, Bobby Rush, Kenny
Wayne Shepherd, Ringo Starr, Derek Trucks, Waddy Wachtel, Joe Walsh, Phil X
and Gregg Bissonette. The guitar- driven album celebrates the expansive styles
Johnny was known for. The 17 tracks were carefully curated by Edgar and
producer Ross Hogarth to represent Johnny's evolution as an artist, honoring his
great legacy while also incorporating a personal tribute from brother to brother,
and for which Edgar penned two new songs.
Print coverage:
the Telegraph, The Daily Mirror and The Scottish Daily Express
Mojo feature and Review, Classic Rock Magazine, Record Collector, Blues In
Britian, HRH Magazine, RNR, Vintage Guitar, Rock Candy, Fireworks
Review in Blues Matters confirmed, Guitar Techniques
Online coverage: Velvet Thunder, Pennyblack Music, Spiral Earth
Radio:BBC Radio Solent, BBC West Midlands, Total Rock Radio, Forest FM, Castle
Sound Radio, 242 Radio, Brooklands Radio, Hard Rock Hell, Mystery Train,
Graham Lavendar Blues Show
Podcasts: Blues In The Night, The Blues Podcast