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Legendary 7X GRAMMY and Emmy Award-winning artist/producer Dr. Dre celebrates the 30th anniversary of his magnum opus, The Chronic by announcing the album will be re-released. The Chronic, which is not currently available on streaming services, will again be available to fans on all major DSPs .

Steve Berman, Vice Chairman of Interscope Geffen A&M, said: “Dr. Dre is without a doubt one of the most iconic and groundbreaking artists in the modern era. He has also used his platform to fuel some very impactful philanthropic efforts that will ensure his legacy is felt for generations to come. Dre’s solo career all started with the The Chronic, one of the most celebrated recordings of all time.

First released on December 15, 1992, The Chronic peaked at No. 3 on the Billboard 200 and has spent 97 weeks on the chart since its release. The album also spawned three top 40 hits on the Hot 100, including top ten records with "Nuthin' But a “G” Thang" (No. 2) featuring Snoop Dogg and "F— Wit Dre Day" (No. 8). The Chronic topped the Top R&B/Hip-Hop Albums chart for eight weeks, while "Nuthin’ But a "G" Thang" hit No. 1 for two weeks on Hot R&B/Hip-Hop Songs. Last June, Rolling Stone placed The Chronic on its 500 Greatest Albums of All-Time List, boasting how the album "redefined the West Coast Hip Hop sound." Pitchfork also holds the seminal album in high standing, saying The Chronic lives on as a “timeless show of strength” and “gave shape to L.A.’s present and future.” Videos from The Chronic are also available on Dr. Dre’s official YouTube channel.

Last year, Dr. Dre dazzled during the Super Bowl LVI Halftime Show in Los Angeles. His enormous set was star-studded, as Dre performed alongside some of music's biggest stars, including Snoop Dogg, Kendrick Lamar, Mary J. Blige, Eminem, and 50 Cent. Dre commanded the stage – just a few miles from his birthplace of Compton – with a groundbreaking setlist anchored by hits such as "The Next Episode" and the 2Pac-led "California Love." The historic performance earned Dr. Dre his first-ever Emmy for Outstanding Variety Special (Live). The Hollywood Reporter called the halftime show "thrilling and nostalgic," while Billboard credited Dre for his "seismic impact" on music.

The mood is dark to melancholic, but also majestic and epic. Hailing from Rome, THE FORESHADOWING are something like the musical equivalent of the city they come from. Founded in 2005, the group can look back on a successful and eventful history. Listeners of gothic, doom and dark metal are very familiar with the quartet's work. THE FORESHADOWING gained popularity in the international scene with four acclaimed albums released between 2007 and 2016: "Days of Nothing" (2007), "Oionos" (2010), "Second World" (2012) and "Seven Heads, Ten Horns" (2016). In 2023, THE FORESHADOWING ended a forced break of several years with the EP "Forsaken Songs" and a European tour with Saturnus and In The Woods. Now, "New Wave Order" is the group's fifth full length album and their debut on LIFEFORCE RECORDS. The formation from Rome emphasizes its strengths on the album and offers cinematic tracks of dark music that is nevertheless immensely catchy and mood-enhancing. While listening to "New Wave Order", you are whisked away into a world full of secrets and allusions. The path is THE FORESHADOWING's goal, which manifests itself in all-encompassing, organically developed musicality. The Italians are outstanding songwriters who create captivating arcs of suspense and also keep an eye on the overarching strands. Nothing else can be expected from this eternal band.

"Am 6..12. veröffentlicht das Duo ZWEILASTER ihr nunmehr drittes Album "Wieherd", das zweite davon beim Berliner Geschmacksgaranten Tomatenplatten. Auch diesmal zusammen mit Hunderttausendsassa Julian Knoth(Die Nerven). Was man auf dem Erstling noch mit (be-)rauschend geringer Klangtreue über den Äther jagte, wird auf "Wieherd" druckvoller denn je dargeboten. Unweigerlich fragt man sich einmal mehr, was zur Hölle nur die da unten in Stuttgart dem Wasser beimischen... Es ist für mich jedes Mal schwer beeindruckend, wenn Musik auch ohne üppige Instrumentierung intrinsische Größe hat. ZweiLaster spielen minimalistischen (Pop- & Post-)Punk bar jeder Effekthascherei, nähern sich hie und da gar dem No Wave. Lieder wie der Auftakt "Allein" oder das gellende "Everywhere" sind eingängig, ohne stumpf zu werden, "Berge", "Angerufen" und "Graureiher" schürfen tief, ohne sich großem Gestus bedienen zu müssen. Ehe man sich allzu wohlig wähnt, wechselt sowieso schon das Tempo und ZweiLaster ver- und zerfällt in dissonant charmantes Chaos. "Wieherd" wirkt nie gekünstelt, nie schablonenhaft, immer wie eine Momentaufnahme. Mut braucht es, so ein schonungslos ungeschöntes Abbild in die Welt zu entlassen. Oder vielleicht muss es dann einfach nur gut sein und das hier, das ist gut. Sind Taylor Swift Fans Swifties, dann bin ich Lasti." - Drangsal

Limited Edition Pressing of 200 Copies on Neon Yellow Vinyl. 2022's "Land of Kali" album was the first under the Essential Logic moniker for over 40 years and was released alongside a career-spanning boxset "Logically Yours".

Now Essential Logic head honcho and former X-Ray Spex member Lora Logic has compiled an eclectic and ambitious remixed version of "Land of Kali" entitled "Rekalibrated" featuring reinterpretations from noted artists across a multitude of genres and styles including Grammy award winners, living legends and UK Singles Chart toppers. Lora's work with Essential Logic and X-Ray Spex while Punk in DNA and spirit has always pushed at boundaries. Rule-breaking from the start by bringing the sax into Punk while the jerky, irresistible post-Punk Funk of Essential Logic's "Beat Rhythm News" and Lora's solo album "Pedigree Charm" sit comfortably alongside more contemporary records with one ear on the cerebral and the other on the dancefloor. "Rekalibrated" highlights the many strands that intertwine to make Essential Logic and how they may be unfurled. The lead single will be "Alien Boys" remixed by Dave Audé. Dave is a Grammy Award winning remixer and producer, famed for having more number ones than any other producer on the Billboard Dance Club Songs chart. He is responsible for a staggering 132 No.1 remixes on this chart and has worked with artists as varied as U2, Beyonce, Yoko Ono, Faith No More and Madonna among many others. He won his Grammy for his remix of "Uptown Funk" by Mark Ronson and Bruno Mars. Youth, legendary bassist of Killing Joke and producer of The Verve, Pink Floyd and The Orb lends his vastly experienced ears to "Mother Earth" while there are further interpretations from Rave-pop legend Adamski, Scottish Kandy-poppers bis and New Order/Duran Duran collaborators Daybreakers who put their own stamp on the Poly Styrene-penned "Prayer For Peace". Lora has recently been in the spotlight thanks to the recent re-release of X-Ray Spex's lost second album "Conscious Consumer" which features her trademark saxophone lines alongside typically acerbic lyricism from the dear departed Poly Styrene.

The first pressing reaches the Official Record Store Chart No.1 position over Christmas 2023 and quickly sold out. Favourable reviews in Uncut, Mojo and Record Collector alongside a Vive le Rock cover feature helped raise public awareness as well as radio features on Woman's Hour and Craig Charles' 6 Music show. Fans who missed out on the first pressing patiently wait the arrival of a repress.

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

Sound Migration proudly brings forth one of the contributions of UVX (Ultra Violet Explorer) to Magick Eye Records that was initially released in 1993. This release serves a touchstone for the quality that emerges when the gap between Ambient and early Trance is thoughtfully bridged.

The 15 minute aural odyssey that is the 13 Floor Spectrum version of the A-side begins mired in a beatless fog of atmosphere that slowly crystallises into a grid of percussive elements before evaporating entirely, leaving only voices leaking through the primordial aether as a precursor to the grand finale of vibration raising rhythmic frequencies.

The appropriately titled Dancefloor Sub Bassment and Trancefloor Transporter versions on the B-side transmute these sonic strands into musical talismans that can be unitised to intensify ecstatic dance practices & extend the boundaries of astral excursions.

A hugely in demand repress (the original vinyl pressing on North Country changes hands for hundreds of pounds..) now released on Shack’s newly created own label Shack Songs.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (RIP) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97 , they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘HMS Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

A hugely in demand repress (the original vinyl pressing on North Country changes hands for hundreds of pounds..) now released on Shack’s newly created own label Shack Songs.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (RIP) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97 , they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘HMS Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

Just as his basslines never stay within the limits of the obvious, so Joe Sanders" life as a bassist, composer, band-leader and educator has never followed the single, most discernible pathway. A Midwest native, he"s studied and played jazz on the opposite coasts of California and New York: a master of the acoustic bass, he"s equally at home producing in the digital realm; embedded deep in the living tradition of American jazz; and living, teaching and creating in Europe. All these separate strands come together on his third headline release, "Parallels". The album presents a set of live recordings from a dream line-up that matches the leader"s full-bodied acoustic bass presence with Seamus Blake, Logan Richardson and Gregory Hutchinson in performances that capture all the daring and drive of the East coast scene. Alongside them is a set of studio self-productions with guests Jure Pukl and Taylor Eigisti that capture the laid-back dreamy adventurousness of the West Coast.

qebrus (pronounced Ké-brusse) was a project by Thomas Denis, an enigmatic French musician and producer born in 1981 and based in Caen, France, before his untimely passing in February of 2018. His undefinable otherworldly compositions and internet glitch trickery turned many heads catching the attention and support of esteemed artists such as Aphex Twin, Four Tet and Venetian Snares. The appeal of his music to other forward-pushing producers was emblematic of the uniqueness of his productions and led to collaborations with the likes of Tom Middleton, Otto Von Schirach and Mr Bill. His only release on Love Love Records, 'ᐔ ᐌ ᐂ ᐍ ᐚ', proved to be one his furthest reaching, originally released on CD during a flurry of musical productivity during 2017. Those 6 tracks of intricate extraterrestrial electronics now get the vinyl treatment, having been lovingly remastered or this reissue and pressed on green coloured wax.

The qebrus guise was that of an alien stranded on Earth and this concept was consistent throughout. The project gained notoriety almost exclusively on the internet, with many people's first experiences of his persona coming from the use of chaotic ASCII syntax in track titles which at the time 'broke' many of the websites he used to host his music. This theme of incomprehensibility extended to the sonic qualities of his music, foregoing any shred of familiar sounds in favour of an entirely electronically synthesised sound palate resulting in jarring and frenetic works full of near-imperceptible micro-details.

qebrus rarely performed live with one of the few occurrences being at an after-party following the now legendary Day For Night Festival 2016 in Austin, Texas where Aphex Twin played some of Qebrus' music to a crowd of 20,000 as Thomas watched on in what was undoubtedly an otherworldly experience for him.

Despite his vision being entirely self-driven without a care for popularity or recognition, there were many people across the globe that connected with the sheer weirdness of it all. 7 years on 'ᐔ ᐌ ᐂ ᐍ ᐚ' still sounds wholly futuristic and will likely remain so for centuries to come. In a time where it seems everything has already been done before Thomas leaves behind a legacy of an artist who was truly 'doing their own thing'.

Thomas is survived by his two children who will be receiving his proceeds from sales of this release.

“really alien sounding music”
Aphex Twin —

“Did you know that guy, Qebrus? He was on his own shit, he was making some really out there music, his music was incredible”
Venetian Snares —

“Listening to intelligent dance music producer Qebrus feels a lot like entering another dimension, his music stumbling its way through electronic chaos, leaving the listener unsure over what just happened.”
Thomas Hobbs — Crack Magazine

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

Man muss es als eine glückliche Fügung des Himmels bezeichnen, dass diese drei Musiker zusammengefunden haben: Am Kontrabass der Schwede Anders Jornim, einer der wichtigsten Tieftöner der europäischen Jazz-Szene mit acht Alben als Bandleader für ECM und einer prallvollen künstlerischen Vita mit Touren und Aufnahmen an der Seite von Legenden wie Elvin Jones, Albert Mangelsdorff, Joe Henderson, Lee Konitz oder Kenny Wheeler. An der Gitarre Arne Jansen, der zweifach mit dem "ECHO Jazz" ausgezeichnete Berliner, der mit dem senegalesischen Orchestra Baobab, Nils Landgren oder Jazzanova spielte und dessen Duo-Aufnahme mit Nils Wülker unlängst sogar auf Platz 15 der deutschen Pop-Charts kletterte. Am Saxofon der ebenfalls in Berlin lebende Uwe Steinmetz, der sich neben seiner Zusammenarbeit mit u.a. Joe Maneri oder Tord Gustafvsen einen Namen als Komponist für die NDR Bigband oder das Fitzwilliam String Quartet machen konnte. Erstmals trat das deutsch-schwedische Trio 2016 in der Kathedrale in Göteborg im Rahmen eines nordischen Kirchenmusikfestivals auf. Sofort war klar, dass es eine spezielle Verbindung zwischen den drei Musikern gibt. Eine in dieser Form nicht oft zu beobachtende Gleichgestimmtheit, die auch die gemeinsame Tournee des Trios im Herbst 2022 prägte - und im besonderen Maße das Abschlusskonzert in der Waldkirche am Timmendorfer Strand am 22. Oktober. Nicht umsonst trägt das aus dem Live-Mitschnitt entstandene Album nun den Titel "The Pilgrimage". Zum einen, weil es mit "La Peregrinacion" beginnt, einem Pilgerlied des Argentiniers und "Misa Criolla"-Komponisten Ariel Ramirez. Zum anderen, weil Jansen, Jormin und Steinmetz in ihren zwischen Jazz, Klassik, nordischer und außereuropäischer Folklore wandelnden Stücken den Urgründen eines universellen menschlichen Phänomens nachspüren.

One of THE most iconic albums to hail from Merseyside. ‘H.M.S. Fable’ was the third LP released from Shack following 1988’s ‘Zilch’ and 1995’s ‘Waterpistol’. A collection of majestic storytelling in guitar form, written by two extraordinarily talented brothers, Michael & John Head.

Originally released on Laurel Records/London Records in 1999, the band at that time comprised of
MICHAEL HEAD - Vocals, Acoustic Guitar JOHN HEAD - Electric Guitar, Vocals REN PARRY- Bass Guitar IAIN TEMPLETON - Drums, Percussion, Backing Vocals.

The album was voted #2 in both NME and Uncut’s critics album of the year polls, only missing out to The Flaming Lips’ ‘The Soft Bulletin’ in both.

Now released on the band’s newly-formed label Shack Songs, ‘H.M.S. Fable’ encompasses many musical styles, from orchestral guitar pop to psychedelic-tinged folk and even elements of Britpop, nicely summed up by the editor of NME Steve Sutherland in a 9/10 review, in June 1999:

‘’Not since Liam Gallagher howled his early indolent disdain has this music sounded so alive. 'Pull Together' is an anthem easily the equal of Oasis at their most loved-up and huge. ‘Comedy' tender and uplifting, like the missing track from 'Bridge Over Troubled Water', 'Daniella' a haunted and exhausted homage to Head's hero Arthur Lee, and 'Lend Some Dough' a rollicking Scouse Play For Today with a chorus that goes, "I've got a sore back and I'm itching’’ ”

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

In the 80s, the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains, an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album ‘Zilch’. In 1991, Shack made ‘Waterpistol’, an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed, but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97, they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’. They spent a long time making another classic ‘H.M.S. Fable’...

One of THE most iconic albums to hail from Merseyside. ‘H.M.S. Fable’ was the third LP released from Shack following 1988’s ‘Zilch’ and 1995’s ‘Waterpistol’. A collection of majestic storytelling in guitar form, written by two extraordinarily talented brothers, Michael & John Head.

Originally released on Laurel Records/London Records in 1999, the band at that time comprised of
MICHAEL HEAD - Vocals, Acoustic Guitar JOHN HEAD - Electric Guitar, Vocals REN PARRY- Bass Guitar IAIN TEMPLETON - Drums, Percussion, Backing Vocals.

The album was voted #2 in both NME and Uncut’s critics album of the year polls, only missing out to The Flaming Lips’ ‘The Soft Bulletin’ in both.

Now released on the band’s newly-formed label Shack Songs, ‘H.M.S. Fable’ encompasses many musical styles, from orchestral guitar pop to psychedelic-tinged folk and even elements of Britpop, nicely summed up by the editor of NME Steve Sutherland in a 9/10 review, in June 1999:

‘’Not since Liam Gallagher howled his early indolent disdain has this music sounded so alive. 'Pull Together' is an anthem easily the equal of Oasis at their most loved-up and huge. ‘Comedy' tender and uplifting, like the missing track from 'Bridge Over Troubled Water', 'Daniella' a haunted and exhausted homage to Head's hero Arthur Lee, and 'Lend Some Dough' a rollicking Scouse Play For Today with a chorus that goes, "I've got a sore back and I'm itching’’ ”

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

In the 80s, the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains, an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album ‘Zilch’. In 1991, Shack made ‘Waterpistol’, an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed, but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97, they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’. They spent a long time making another classic ‘H.M.S. Fable’...

Der hebräische Surf-Grunger kehrt zurück! End of Teenage Charlie fängt Megiras Berliner Jahre mit den BetShe'an Valley Hillbillies ein, kurz vor seinem Tod. Eine Zeitreise, ein fünf Lieder langes Gitarren-Krimi-Album, das Dick Dale ebenso viel wie David Lynch verdankt. Diese erweiterte Ausgabe zum 10-jährigen Jubiläum enthält auch das 11-Song-Demo, auf dem Megiras vertraute Themen wie Drive-Inn Melancholie, Stranddecken-Bongos und dem Treiben in der Wüste in seinem Schlafzimmer erforscht werden. Lass ihn in dein Ohr flüstern.

Der hebräische Surf-Grunger kehrt zurück! End of Teenage Charlie fängt Megiras Berliner Jahre mit den BetShe'an Valley Hillbillies ein, kurz vor seinem Tod. Eine Zeitreise, ein fünf Lieder langes Gitarren-Krimi-Album, das Dick Dale ebenso viel wie David Lynch verdankt. Diese erweiterte Ausgabe zum 10-jährigen Jubiläum enthält auch das 11-Song-Demo, auf dem Megiras vertraute Themen wie Drive-Inn Melancholie, Stranddecken-Bongos und dem Treiben in der Wüste in seinem Schlafzimmer erforscht werden. Lass ihn in dein Ohr flüstern.

2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.