Large Music proudly presents the long-awaited reissue of David Brown – “Feel Love”, originally released in 1994 and now making its triumphant return on vinyl for the first time in decades. Cataloged as LAR010, this essential piece of Chicago house history has been lovingly remastered and pressed to wax, reaffirming its legacy as a cornerstone of the genre.
Produced by Sherman Rogers and Darren Brandon of the acclaimed Black Ice Productions, “Feel Love” is a quintessential expression of the raw, soulful energy that defined the Windy City’s deep house scene in the early '90s. Blending hypnotic rhythms, warm synths, and David Brown’s emotive vocal delivery, the track captured the hearts of underground dancefloors from Chicago to the world.
Adding to the release's weight is an all-star lineup of remixers who need no introduction:
• Ralphi Rosario, one of house music’s original architects and a member of the legendary Hot Mix 5, brings his signature peak-hour intensity and timeless groove.
• Derrick Carter & Chris Nazuka, operating under their cult alias Red Nail, deliver a raw, stripped-back interpretation, dripping with analog grit and deep, jacking flavor.
This reissue isn’t just a nod to nostalgia—it’s a powerful reminder of house music’s roots and enduring spirit. Whether rediscovered or experienced for the first time, “Feel Love” stands tall as a classic slice of Chicago house, as relevant on today’s dancefloors as it was over 30 years ago.
quête:t power
Following up 2017's album "Udu" this is slow and powerful – with its set narration, but generous space and time, a room for imagination can cautiously be kept. A-side is direct, with generous intro's and endings, dense but with a light sonic specter, and a balance between the atonal & harmonious. B-side has darker undertones, being less framed it's more earthy and cosmic at the same time. Non rhythmic but all contrasting elements are here inseparable in sound and arrangement, from beginning till end, like a sonic tide.
Celestial Echo (miche & Stu Clark) team up with Divine Disco’s Greg Belson to continue their 7-inch series spotlighting Detroit’s powerhouse gospel, soul and R&B label — HOB (House of Beauty).
This second 7-inch gives us two more in-demand killers:
Side A: Messiahs of Glory - “Can’t Find No Other Love"
Lp only before, this track makes its way to a 45 for the first time, super feel good soulful number. Uptempo with a glorious vocal, this one is built for the discerning dancefloor.
Side B: The Royal Travelers - “Jesus Hold My Hand”
raw, soulful and defining of the era. Rarer than rare and never before sold online, it’s a heavy dose of funky gospel oozing with breaky drums and soul.
Fully licensed and remastered, this 7-inch comes housed in a custom Celestial Echo / Divine Disco series sleeve with a faithful reproduction of the HOB label.
Founded in 1956 by Mrs. Carmen Murphy, HOB wasn't just a label — it was a beacon. From the basement of her beauty salon on Detroit’s West Side, she ran one of the most important Black-owned gospel imprints of the 20th century. At a time when both the music industry and the country were stacked against her, Mrs. Murphy built a sanctuary for soul — a Black woman-owned business and creative hub in volatile times.
Pressed and distributed by Prime Direct Distribution.
Don’t miss — buy or cry. Volume 2 continues the journey.
The maiden voyage for ANIMA's forthcoming label - ANIMA Records, debuts with a bang. Assembling a powerful group of artists including Arthur Robert, Glaskin, Red Rooms, and Temudo for its first release, the message is clear. This is not only a musical project, it's turning the page for the next phase of electronic music. The team behind ANIMA is determined to translate the ethos of our events into the project; a quality, diverse, and global-thinking sound.
Team: Enlisting the help of Florian Deckers (who built the BCCO label), Esquive Studio (the brain behind all the anima graphics), and Rene Wise (as a long term mastering partner), we hope to help transform the direction that dance music is evolving. By offering the local and international music scene... something different.
2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”
Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem
2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”
Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem
2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”
Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem
2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”
Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem
2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”
Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem
2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”
Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem
New label alert: Tuff Funk makes its debut here with, indeed, a tough funk workout built on raw and ragged breaks from a pair of well-schooled artists. Mighty Delrokz kicks off with blazing horns lighting up the rhythms of 'Renegade', which is a devastating tool. 'Scratch Loop' is a twisted mix of vocals drawn out for DJ deployment, and on the flip Netwerk comes through first of all with 'Mustard Break,' which has a rousing sense of power with mumble rap bars, live drums and a new school vibe. His seance is 'Doechi Break', another crucial tool with soulful vocals and yet more big breaks.
- A1: Uniques - Love & Devotion
- A2: Roy Shirley - If I Don't Know
- A3: Glen Adams - Taking Over Orange Street
- A4: Lester Sterling - It Might As Well Be Spring
- A5: Uniques - Girl Of My Dreams
- A6: Roy Shirley - Good Ambition
- A7: Lester Sterling - Soul Voyage
- B1: Glen Adams - Hold Down Miss Winey
- B2: Errol Dunkley - I'm Going Home
- B3: George Dekker - Foey Man
- B4: Uniques - Hooray
- B5: Don T Lee - It's Reggae Time
- B6: Webber Sisters - My World
- B7: Alva Lewis - Revelation
Rocksteady took over Orange Street ,Kingston, Jamaica around 1966,the same time that an extreme heat wave hit the Jamaican Island.
Some say the previous jerky Ska Rhythms proved too strenuous of an activity to partake in during the all night Sound Systems.
So it proved a winning formula to slow the beat down to a more leisurely pace.
Whatever the reasons were this two year period that ran until 1968 would see some of the power escape from the big three producers,Clement 'Coxonne 'Dodd,Prince Buster and Duke Reid...who up to that period ruled the airwaves. It was time to make room for a new wave of up and coming producers that also had something to offer the people.
So sit back and enjoy some Rocksteady straight from the dances of Jamaica...Hope you enjoy the set...............
Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)
"Astral Americana hymns hovering somewhere between the dirt and the stars" Pitchfork
"Mood music for moments of solitude, best experienced without distraction" The Times
"Overwhelmingly effective and ravishingly beautiful" The Wire
American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams’ characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains.
The high desert of California is a vast and confounding place. Equally inspiring as it is punishing, it’s a landscape that carries magic in its deep dark nights, holding stories both tender and stark in the coarse layer of dust that settles upon everything. It’s long been a source of inspiration for musicians, writers, and painters, each of them adding to the same current, carried forward over time, through hope and hardship and the passing years.
Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021’s Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Hollywood’s golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives.
Adams writes from within. A few years ago she moved out there, to “the middle of nowhere”, finding a slowness that didn’t exist in the city, and she knows only too well about the mystical nature of the land and those who live within it. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. “There’s something very radical about domestic life,” Adams says of this thread. “So many women live their entire lives behind closed doors, completely in the shadows. Within those lives is such sacrifice, devotion, and love. I wanted to honor that: the poetry in the mundane, the longing in the repetition. The way love survives boredom and dust and time.”
Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it’s an ambitious and detailed stride forward from what’s come before, the scope of the LP’s narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline’s Oliver Hamilton (Violin).
For all the drama that’s coiled around these songs, it’s the recurring notion of love and hope fighting against everything that holds true throughout American Dust. Musically it’s lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it’s what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they’re bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter right in front of our eyes.
“The same swirling dust that clung to the covered wagons of my ancestors as they crossed the Great American Desert is the same dust my great-great-grandmother swept off her porch during the Dust Bowl of 1936 in Oklahoma, is the same dust that blows in through the cracks in my windows here in the desert, carrying stories from a time long gone,” Eve says, reflecting on the personal narrative that runs through her new album.
“It’s not just dust—it’s American Dust, the kind that settles into the bones of a family and never leaves. I think about that dust as a symbol of the passage of time. I hope this album will be part of that same current, carrying forward for the next generations of my family to find. I’ve been lucky enough to have journals and poetry from my ancestors that documents their lives during times of pure hope and pure hardship. I’d like to think of this album as a contribution to that family history.”
- A1: Got A Memory
- A2: Entangled
- A3: Every Journey From Here
- A4: Satellites
- A5: The Sky’s On Fire
- B1: We Don’t Dream Their Dreams
- B2: Settle Down
- B3: Falling
- B4: First Time Caller
- B5: Daylight
- B6: Going To The Moon
Get ready for a musical journey like no other as Apollo Junction, the dynamic and innovative indie rock sensation, prepares to launch their eagerly awaited new album, ’What In The World’ on August 22nd. The members of Apollo Junction hail from Leeds, UK. Known for their electrifying live performances and genre-blurring sound, the band has captured the hearts of music enthusiasts worldwide.
With a strong and dedicated fan base, Apollo Junction continues to push the boundaries of their craft, creating music that resonates on a profound level. Apollo Junction’s new album ‘What in the World’ has been years in the making - born from highs, lows, countless gigs, and all the chaos in between. It’s the most honest version of the band yet, a record shaped by every late-night argument, every breakthrough, every crazy story they have ever told each other.
Recorded at Chairworks Studio with David Watts (The Reytons, OMD, Paul Heaton, and Kaiser Chiefs) the album also features tracks co-written with Eliot Kennedy (known for his work with Bryan Adams and the Spice Girls) and includes a track with a powerful guest vocal from Brianna Corrigan of The Beautiful South. Lead singer Jamie Williamson explains the importance of the album: “This album feels exactly right for where we are now. Every track is a snapshot—of getting lost, finding our way back, and remembering why we started. It’s about making something that feels like home. We went looking for meaning and realised it was right in front of us: the band, the songs, this record. ‘What in the World’ isn’t just a title—it’s the answer we’ve been chasing all along.” Leeds-based quintet Apollo Junction is made up of Jamie Williamson (singer) Matthew Wilson (guitarist), Ben Hope (bassist), Jonny Thornton (drummer) and Sam Potter (keyboards). Their shared love of live music and dedication to performing, coupled with an incredible hard-work ethic has taken them on this magical journey which has included support slots for Shed Seven, Kaiser Chiefs, Richard Ashcroft and performing at festivals including the prestigious Isle of Wight Festival. Coming up this summer, the lads will be playing with Blossoms, Manic Street Preachers and Doves
Cherry Red Records is double delighted to present not one, but TWO brilliant brand-new albums from Jim Bob this summer! • Following his sold-out show at London’s O2 Shepherd’s Bush Empire in April, Jim Bob (Carter USM, Jamie Wednesday) returns with two new solo records (his 13th and 14th), released on the same day – Friday 22nd August 2025.
One album is ‘AUTOMATIC’ and one album is ‘STICK’. This is NOT a double album, double albums allow filler in and there is NO filler on ‘Automatic’ or ‘Stick’. You won’t find any skippable Instrumentals or reprised versions on these beauties, just wall-to-wall, floor-toceiling bangers - 22 of them – 11 songs on each excellent record. ‘Automatic’ features the full band from the last three Jim Bob albums (‘Pop Up Jim Bob’, ‘Who Do We Hate Today’ and ‘Thanks For Reaching Out’ - also available on Cherry Red Records) and includes the opening sing-a-long ‘Victoria Knits The Wars’ which features on the first 7” single. ‘Stick’ is a punkier, dirty power-trio, guitar record and features the poppin’ punky ‘S’ side of the 7” ‘Every Day’s a Discotheque’. Both albums are also available in colour gatefold vinyl and digital formats. ‘Automatic’ and ‘Stick’ are both the greatest album Jim Bob has ever made
Cherry Red Records is double delighted to present not one, but TWO brilliant brand-new albums from Jim Bob this summer! • Following his sold-out show at London’s O2 Shepherd’s Bush Empire in April, Jim Bob (Carter USM, Jamie Wednesday) returns with two new solo records (his 13th and 14th), released on the same day – Friday 22nd August 2025. • One album is ‘AUTOMATIC’ and one album is ‘STICK’. This is NOT a double album, double albums allow filler in and there is NO filler on ‘Automatic’ or ‘Stick’. You won’t find any skippable Instrumentals or reprised versions on these beauties, just wall-to-wall, floor-toceiling bangers - 22 of them – 11 songs on each excellent record. ‘Automatic’ features the full band from the last three Jim Bob albums (‘Pop Up Jim Bob’, ‘Who Do We Hate Today’ and ‘Thanks For Reaching Out’ - also available on Cherry Red Records) and includes the opening sing-a-long ‘Victoria Knits The Wars’ which features on the first 7” single. ‘Stick’ is a punkier, dirty power-trio, guitar record and features the poppin’ punky ‘S’ side of the 7” ‘Every Day’s a Discotheque’. Both albums are also available in colour gatefold vinyl and digital formats. ‘Automatic’ and ‘Stick’ are both the greatest album Jim Bob has ever made.
For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music – without plugging in.
Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines.
On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements.
The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound – a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty. TEB's music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness.
– Dave Segal (excerpt from the liner notes)
Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver "Rectomo" Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound.
When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed – nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world.
Opener "One Way Spit" could easily be mistaken for a lost KBD single – from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On "Tricia," a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene.
Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so.
Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list.
Eine junge Sängerin mit meisterhafter Stimme und Millionen Fans in den sozialen Netzwerken!
Die Hits des Great American Songbook, geschrieben von den großen Meistern ihres Fachs für HollywoodFilme und Broadway-Musicals, erweisen sich auch in unserer modernen, viralen Welt noch immer als charismatisch und relevant. Den Beweis dafür erbringt Sängerin Stella Cole. Mit über 1,6 Millionen Followern
in den sozialen Medien, einem weltweiten Tourplan und zahllosen Fernsehauftritten in ihrer Heimat USA,
brachte die 26-jährige Künstlerin ihren Fans bislang die Klassiker näher, mit einer großen Stimme, die sich
mit legendären Vorgängerinnen messen kann, und ganz viel Gefühl.
Ihr drittes Album, das erste für ein Major Label, nahm sie in den Power Station Studios in New York
City mit Produzent und Manager Matt Pierson (Samara Joy, Joshua Redman, Brad Mehldau) auf. Sogar
den Jazz- & Songbook-Papst und strengen Kritiker Will Friedwald hat Stella Cole mit ihrem neuen Werk
überzeugt!




















