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Repress!

Radio Slave reissues 2000 and One’s noughties house bomb ‘Wan Poku Moro’ with an extended version and a remix by Riva Starr.

A real dance floor anthem, 2000 and One’s vocal house hit ‘Wan Poku Moro’ was initially released as part of his 2009 ‘Heritage’ album on 100% Pure. The track is now getting a reissue as a single, with two new versions pressed on wax via Rekids, an edit from label boss Radio Slave and a remix from Riva Starr.
On the A-side, Radio Slave extends ‘Wan Poku Moro’’s original eight minutes of hyped-up hands-in-the-air house music to the ten-minute mark with Snatch! Records’ Riva Starr remixing the track on the B-side. He returns to Rekids for the first time since his EP with Mark Broom as Star B and reimagines 2000 and One’s track into a late-night warehouse groover, trading its organic percussion for tight, techy drums but maintaining the original’s infectious energy and earworm vocals.

Mystical Disco presents Analog Dream Simulator, the first full length ambient LP from Paranoid Pyramid. Utilizing Sequential Circuits and Moog synthesizers, each song reveals a secret door into the subconscious. Mystical pads conjure visions of distant dream-realms accompanied by melodies that evoke the simplicity of childhood memories. Analog Dream Simulator is by turns joyful and mysterious, intimate and cosmic. Journey to the antipodes of the mind with Paranoid Pyramid. Life is but a Dream

Die "Gothics" glaubten an das Do-it-yourself-Punk-Ethos, dass jeder ein Instrument in die Hand nehmen könne. Graue Wolken zogen auf, und in der unwahrscheinlichen Stadt Hamburg gründete eine dreiste und eindringliche Bande von fünf Frauen, Caro May, Rita Simon, Manuela Rickers, Fiona Sangster und Anja Huwe, Xmal Deutschland. Und wie es sich für einen echten Punk gehört, taten sie dies ohne musikalische Vorkenntnisse. Die 7“ Single "Schwarze Welt" wurde 1981 auf dem lokalen Punk-Label ZickZack veröffentlicht und stellte die Band als einen beunruhigenden Schwarm von Intensität vor. Die Dringlichkeit des repetitiven Klagelieds, die wirbelnde Manie, die sich auf der B-Seite mit "Die Wolken" und "Großstadtindianer" fortsetzt, deren krude Synthesizer-Geräusche die Spannung noch steigern. Vor allem der einzigartig giftige deutsche Gesang von Huwe wurde schnell in die ungezügelte und aufkeimende Szene der glamourösen Düsternis eingebettet. Die Unabhängigkeit des Punks vom starren Griff der Tradition erlaubte es der Band, Trost in einer Anti-Establishment-Kunst und -Musik zu finden, weit entfernt von den Konventionen der Vergangenheit. Mit ihrem Pfauenhaar und den dick mit Kajal umrandeten Augen bewahrte sich die Musik von Xmal Deutschland sowohl eine Unruhe als auch eine Zartheit, die mit der Veröffentlichung der Single "Incubus Succubus" im Jahr 1982 die Grenzen der "Neuen Deutschen Welle" (ähnlich wie ihre Kollegen und Freunde DAF und Einstürzende Neubauten) überschritt. Sie wurde sofort zu einem Post-Punk-Klassiker. Die Gitarre wühlt sich durch die Melodie, während die schaurige Primitivität von Huwes Stimme andeutet, dass sie vielleicht, nur vielleicht, die alptraumhafte Kreatur ist, vor der man sich in Acht nehmen muss. Die B-Seiten, "Zu Jung Zu Alt" und "Blut Ist Liebe", halten sich an strenge militaristische Tanzbeats, während sie in Aufregung wimmeln. Im selben Jahr trat die Band in London als Support für die Cocteau Twins auf; das war die Plattform, die sie brauchten, um in die Arme der zerrissenen Netzmassen zu stürzen. „Early Singles 1981-1982“, ist eine Karte der grundlegenden Bewegungen von Xmal Deutschland, nur Sekunden vor dem Abheben. Die Bonustracks auf der Compilation, "Kaelbermarsch" und eine düstere Live-Version von "Allein", unterstreichen die Verschmelzung von Härte mit der quixotischen Dekadenz atmosphärischer Synthesizer. Das Streben der Band nach etwas Größerem ist spürbar, zu einer Zeit, in der nach dem Aufkommen von Punk neue Möglichkeiten des Musikmachens offenstanden.

Warehouse Find!

Eddy & Dus are long standing and highly respected Croatian DJ and production duo Eddy Ramich and Zvonimir Dusper. They've been responsible for many classic remixes on labels such as Compost, Especial and Schema but after a long hiatus we're happy to say the boys are back, on their best form yet and now we can present to you the mighty A From B.
In its original form A From B is some kind of mutant afro techno
deep house jam that could probably only ever be conjured up in
Zagreb. It's almost as if all those incredible festivals that
dominate the Croatian coastline every summer have spawned their own new genre of house music where tropical beats clash with classic techno and blunted jazz sits right alongside the deepest disco. A From B could be seen as something of a flag-bearer of this genre- bending antics, evoking images of packed dancefloors dancing under the starry skies in the warm night air. Or something. Who better to take on the remix than one of the masters of true deep and soulful house, Osunlade himself. Knowing a thing or two about delivering legendary DJ sets at Dalmation festivals his Yoruba Soul Remix drips with the kind of musicality and integrity that many can only aspire to.
Finally we have a brilliant dub version of the original, going
heavy on the beats, keeping things tribal and hypnotic for those
heavier moments when all you want is to get locked into the groove.

Hailing from Copenhagen, Denmark, The Sonic Dawn is one of Europe's most prominent current acid rock bands. Formed in 2013 by childhood friends Emil Bureau, Jonas Waaben, and Niels 'Bird' Fuglede, the trio has delivered four albums, celebrated for their dynamic fusion of genres from sitar pop to heavy psych. Their highly anticipated fifth LP is slated for release this spring via Heavy Psych Sounds. The debut album, Perception (2015), marked their international breakthrough with Berlin-based Nasoni Records. The sophomore release, Into the Long Night (2017), launched on Heavy Psych Sounds, accompanied by an extensive European album tour-some 60 shows, including two weeks with Brant Bjork (US)-solidifying their presence. The subsequent album, Eclipse (2019), earned acclaim as "easily one of the best psychedelic pop albums of the decade," and once again the group hit the road hard, playing in 11 different countries. In 2020, The Sonic Dawn unveiled Enter the Mirage, recognized as "a modern psych classic" by Shindig Magazine. While the planned album tour was cut short, it was possible to play on WDR's legendary TV show Rockpalast, which has featured David Bowie, the Grateful Dead, and many more through the years. Now, their highly anticipated fifth album, Phantom (2024), is set for a worldwide release on May 10th, 2024. Formally welcoming long-time collaborator Erik 'Errka' Petersson as a new studio band member on organ/keys, The Sonic Dawn continues its sonic journey. Culminating from four years of creating music, the album showcases a raw and heavy musical style blended with the melodic psychedelia for which the band is renowned.

Hailing from Copenhagen, Denmark, The Sonic Dawn is one of Europe's most prominent current acid rock bands. Formed in 2013 by childhood friends Emil Bureau, Jonas Waaben, and Niels 'Bird' Fuglede, the trio has delivered four albums, celebrated for their dynamic fusion of genres from sitar pop to heavy psych. Their highly anticipated fifth LP is slated for release this spring via Heavy Psych Sounds. The debut album, Perception (2015), marked their international breakthrough with Berlin-based Nasoni Records. The sophomore release, Into the Long Night (2017), launched on Heavy Psych Sounds, accompanied by an extensive European album tour-some 60 shows, including two weeks with Brant Bjork (US)-solidifying their presence. The subsequent album, Eclipse (2019), earned acclaim as "easily one of the best psychedelic pop albums of the decade," and once again the group hit the road hard, playing in 11 different countries. In 2020, The Sonic Dawn unveiled Enter the Mirage, recognized as "a modern psych classic" by Shindig Magazine. While the planned album tour was cut short, it was possible to play on WDR's legendary TV show Rockpalast, which has featured David Bowie, the Grateful Dead, and many more through the years. Now, their highly anticipated fifth album, Phantom (2024), is set for a worldwide release on May 10th, 2024. Formally welcoming long-time collaborator Erik 'Errka' Petersson as a new studio band member on organ/keys, The Sonic Dawn continues its sonic journey. Culminating from four years of creating music, the album showcases a raw and heavy musical style blended with the melodic psychedelia for which the band is renowned.

Estamos entusiasmados de anunciar el repress de nuestra primera referencia.

Parece que fue ayer, pero han pasado 5 años desde su lanzamiento, un momento que marcó un hito en la historia del mundo del vinilo y la música electrónica. El álbum fue un éxito instantáneo, volando de las estanterías y agotando todas las unidades en cuestión de meses.
¡Pero la espera ha terminado! Ahora tienes la oportunidad de poseer una pieza de historia con este repress limitado. Solo 200 unidades en vinilo de color rojo sólido están disponibles, meticulosamente remasterizada por el legendario Simon Davey en “The Exchange Vinyl” para esta ocasion.

y celebrar el quinto aniversario de este álbum icónico. ¡Haz tu pedido antes de que se agoten!

Así que, queridos melómanos, prepárense para celebrar el quinto aniversario de este álbum icónico.

Este repress es un tesoro que debes tener en tus manos. ¡No pierdas esta oportunidad de ser parte de la historia y haz tu pedido antes de que se agoten!!

The title of the Lau Nau's 10th album, Aphrilis, derives from the Latin word aperire, meaning "to open." A fitting verb for the month of the year it is closely associated with — April. And while the images of plants and blossoms coming back to colorful life after a long, cold winter feels appropriate when listening to the rich and lustrous bloom of music on Aphrilis, another definition of open feels even more apt. For under the abundance lies the memory of times of austerity, the friction of hard choices, the acceptance that nothing is fixed and the future is unknown. This literal and metaphorical exploration of complexity and contradiction makes Aphrilis a multi-dimensional antidote for our troubled times, one that emphasizes the quiet and communal over noise and spectacle. Laura Naukkarinen, the Finnish artist behind this project, has long kept her mind and spirit open to whatever sounds and creative ideas felt appropriate for the moment. For the past six years that has meant primarily working with modular synthesis — learning how to build modules and releasing acclaimed work centered on its sounds like 5x4 (2023) or Puutarhassa (2022). Running parallel to this work, however, has been a continued exploration of acoustic instruments and group performances with her trio Lau Nau ja Seitsemäs Taivas. Aphrilis arrives then like fresh growth in a creative season cycle. A companion to her brilliant 2017 release Poseidon, the album, says Naukkarinen, "felt like a needed moment to embrace songs with lyrics again." And through the creation of this work, she remained open not only to her own creative muse, but also the input of her chosen collaborators. Each player on Aphrilis — Matti Bye on celesta and synths, Pekko Käppi on jouhikko, Hermanni Yli-Tepsa on violin and contrabass, Topias Tiheäsalo on electric guitar, Samuli Kosminen (Múm) on various instruments — was given free reign to arrange their own parts to accompany Naukkarinen's compositions. Kosminen’s lush fingerprint can also be heard in the mixing and production of the album, as with Poseidon six years ago. The moniker of this project may be taken from Naukkarinen’s own name, but Lau Nau feels more like a band than ever before. The delicacy and softness of the music is reflected in Naukkarinen’s lyrics. Each song is rife with imagery and creatures from the natural world. The spiders in the forest. The animals that keep a young woman company in her refuge in the woods. Wet grass. The feeling of the music is almost tactile, as if listening to the album will leave a bit of dew or sap on your fingers. The theme of this material, says Naukkarinen, runs even deeper. “The songs tell about cracks and changes of direction in different histories: personal, societal, planetary,” she says. “About moments when a yes can become a no and vice versa. The album wants to propose that at the moment of a crisis there is a possibility to influence the histories by our choices.” That may feel like a lot for such a fragile sounding collection of songs to bear. But Aphrilis is an album of surprising strength and resilience

For the first time in vinyl format the work of the Bolivian avant-garde composer, Cergio Prudencio, together with the Orquesta Experimental de Instrumentos Nativos (OEIN). The OEIN is the result of the incorporation of Aymara musical traditions into the realm of contemporary music to produce a new sonic world. The work of Bolivian composer Cergio Prudencio (La Paz, 1955) is indissolubly linked to the project of the Orquesta Experimental de Instrumentos Nativos Experimental Orchestra of Native Instruments (OEIN), which he co-founded in 1980 and of which he is the emeritus director. It constitutes one of the most challenging adventures in the music that has emerged in Bolivia and Latin America. The OEIN is the result of the incorporation of Aymara musical traditions into the realm of contemporary music to produce a new sonic world. In the composer's words, it is about "...finding in the indigenous conception of music, elements of change and transformation, to establish a historical continuity." This incorporation is not only based on using native instruments but also involves integrating their socio-historical context and philosophies from the Andean indigenous world. In addition to forming ensembles with highland native instruments (sikus, tarkas, mohoceños, pinkillos, wankaras, seeds, drums, etc.), the foundation is laid on the three structural principles that govern Aymara music: "arca-ira," which means alternation of sounds between two musicians; "tropa," which involves the formation of large ensembles of instrumentalists and sound amplification; and "wakiña," meaning community strength. According to Prudencio, the acoustic and expressive identity of Andean-highland sounds originates from these principles, as does that of the OEIN. The release of Cergio Prudencio - Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos Cergio Prudencio - Anthology 1: Works for the Experimental Orchestra of Native Instruments allows us to delve into this wealth of thought and sounds, into the work of a fundamental and radical artist, for whom decolonization is also an opening to experimentation and the new. These compositions project a historical memory into the present, constructing new horizons.

Ngwaka Son Systéme’s debut album Iboto Ngenge means “power struggle” or “seizing the opportunity” but while words can only be roughly translated, the music reaches listeners unambiguously: A potent mixture of techno, rumba, soukous, zagué and dancehall with the unique “Kinoise” brand fresh out of Kinshasa, the Congolese megacity that never stops innovating in the music landscape worldwide. Ngwaka Son Systéme is led by musicians Love Lokombe and Bom’s Bomolo, having previously founded the band KOKOKO!. This new project continues the contemporary Congolese tradition of reinventing electronic music by shaping and crafting music instruments made of household objects. As a means to continue strengthening the links between Africa and Latin America, Eck Echo has tasked Colombian dub engineer Diego Gomez with the analog mixing of the stems, originally recorded by Levy David at Timbela Ba Studio in Kinshasa. With the aim to bring the lexicon of shared Colombian and Congolese music into the next chapter, we proudly present to the world the magnificent music of Ngwaka Son Systéme. The inadvertently techno-oriented Lakala, a trance-inducing experience where listeners can quickly relish to the lyrics even without speaking Lingala, for the shapes of the words are already inviting listeners to dance, sing and smile, all the while virtuoso percussionist Steroy operates the DIY-drum kit at high-tempo. The call-and-response effect, where each musician lends their voice to the choir, is particularly felt in Bo Lobi Pe, where the vocals guide us ever so playfully to the tune of an acoustic guitar that invites us to take off our shoes, kick back and relax. Zanga Mbongo (translated as “there is no money”) is lyrically a proud anthem to celebrating life in spite of economic scarcity, and musically it is a triumphant renewal to the legendary soukous genre of the 1970s, championed by worldwide renowned stars such as Pepe Kallé and Sam Mangwana.

Aerials live, dials tuned, Transmission Towers broadcasting. On either side of the river Mersey, transcendental communications are traded back and forth. Two late-night revellers, one firing messages filled with music, the other returning them laced with lyrics. The result, a dopamine hit of oddball machine soul, melded with a highlife, Afrofuturist touch. Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s - astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra.

Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘UP’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’.

Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps.

Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle.

Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label.

Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

With words as weapons and public infrastructure as his blank slate, John Fekner's City Squad are always questing for the ineffable, even as they yearn for concrete change - Make no mistake, Idioblast is a serious party where everyone is welcome.

Released in 1984, Idioblast is a lost classic, a future shock narrative ahead of its time, and yet completely of its era, like few artifacts before or since. The cover tips you off from the jump--a crude but effective collage featuring classic Fekner slogans like Toxic Junkie, Growth Decay and Soft Brains Watch The Screen And Buy The Jeans. In an uncanny and tragic coincidence, the very first lyric on the album--"The place to be is on the space shuttle/if you're brave enough to get on it"--seems to anticipate the Challenger disaster just two years later.

But for the most part, the tracks on Idioblast directly reference the concepts that inspired Fekner's visual art. Musically, "Rapicasso" utilizes pneumatic pounding with an industrial edge as Fekner equates the great and controversial painter with risk-taking graffiti kids bombing trains and billboards across the city. Art is in a constant state of exploding--forms, paradigms, outdated ideas.

Splitting the difference between hip-hop and new wave, the Santaniello-sung "The Beat" is like Thomas Dolby meets Run-DMC and should've been a radio staple for at least one sticky summer. It could soundtrack either a couples roller skate or a drug-fueled evening out. Channeling Fekner's slogan-stencil aesthetic, "Travelogue The 80's" is a tour de force reminiscent of Negativland's experiments in audio culture jamming. As Fekner details, "I grabbed all of the sounds via a shortwave radio picking up transmissions from LaGuardia airport and the TV. I recorded and edited on a Sony Pro Walkman and an Aiwa dual cassette deck."

Repress
Dry mix only single LP edition, reverb mix of 2LP edition excluded.

Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. Its' musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen... all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar.

Tulsa, Oklahoma's Unwed Sailor have been on a tear over the past few years. Following a quiet phase through much of the 2010s, they reëmerged with the aptly titled Heavy Age (2019), and two more full-lengths, Truth Or Consequences (2021) and Mute The Charm (2023), that chart a remarkable evolution of their bass-led, pop-leaning post rock. On Underwater Over There - their ninth LP overall - a current of 80s goth and jangle-pop runs beneath a litany of memorable hooks and compositional left turns, creating a propulsive and intricate world of sound. The band worked collectively on all elements of mixing and production to craft a meticulously layered environment, while maintaining an air of spontaneity and experimentation across the set. Early standout, "Final Feather", drifts through varying landscapes of airiness and haze on a high-neck bass hook, while the hum of voices adds a contrast of angelic comfort. Bearing influence from New Order and The Cure in particular, its balance of gravitas and shimmer is the result of founding member Johnathon Ford's intuitive writing method: the lead bass line comes first, followed by supporting melodies, drums, guitars, keys, and final detailing. "Dusty" is a prime example of this process, as Ford's powerful, low-end groove anchors a full-spectrum array of guitars, bells, and arpeggiations along with Matt Putman's energetic drum section. Its fluid pacing provides a perfect establishing shot, with shifting moods that gather into a coda guided by David Swatzell's harmonized, glittering guitar riffs - a sunrise after a moonless night. In quick succession, "Blue Tangier" widens the aperture with a pounding percussive refrain, vibrant bass tone and an unforgettable, fuzzed-out melodic motif. Sprawling centerpiece, "Junko", is a loose callback to 2003's The Marionette and The Music Box, its deliberate stride and interwoven melodies evoking the hands of a mechanical clock, and the anticipation of something long-awaited but nebulous. It drifts effortlessly from innocence to intrigue, expands into a mesmerizing howl, and vanishes abruptly into mist. While honoring their forebears in winks and nods, Unwed Sailor remain totally inimitable in their approach and style, twenty-five years into an acclaimed career. The band's clear vision for Underwater Over There has yielded some of their most indelible work, and their inventive, passionate approach gives a strong sense of plenty more beyond the horizon.

From multiple Emmy Award-winning creators David Benioff and D. B. Weiss (Game of Thrones), and Emmy-nominated Alexander Woo (The Terror: Infamy, True Blood) comes 3 Body Problem, a thrilling story that redefines sci-fi drama with its layered mysteries and genre-bending high stakes. Based on the acclaimed, international bestselling book trilogy, The Three-Body Problem. A young woman's fateful decision in 1960s China reverberates across space and time to a group of brilliant scientists in the present day. As the laws of nature unravel before their eyes five former colleagues reunite to confront the greatest threat in humanity's history.

The anticipated series features a score by the multiple award-winning composer Ramin Djawadi, who is best known for scoring memorable themes and dynamic pieces for films and series including Game of Thrones, House of the Dragon, and Westworld. The acclaimed composer has received two Primetime Emmy Awards, was nominated for five more, and received three nominations for a Grammy Award.

3 Body Problem is available as a limited edition on translucent blue coloured vinyl, includes an insert and sticker sheet.

"The Course of the Inevitable 3: Pieces of My Pain" marks a triumphant return for rapper Lloyd Banks, as he delves deep into the intricacies of his life and experiences, unveiling raw emotions and profound wisdom. In this highly anticipated album, Banks collaborates with legendary artists such as Method Man, Cormega, 38 Spesh, Vado, Dave East, and Tony Yayo, creating a powerful narrative that resonates with listeners.



In this musical journey, Banks weaves together a compelling storyline, sharing pieces of his own pain and struggles, inviting listeners to connect with his authenticity. With Method Man's signature lyrical prowess, Cormega's poetic finesse, and the raw energy of 38 Spesh, the album boasts a stellar lineup of features that enhance its impact.



Banks' sharp lyricism and introspective storytelling shine throughout the album, exploring themes of resilience, triumph over adversity, and the complexities of life. Each track serves as a piece of his soul, revealing layers of vulnerability and strength. With the collaborative efforts of his fellow artists, "The Course of the Inevitable 3: Pieces of My Pain" delivers an immersive and powerful listening experience, solidifying Lloyd Banks' position as a master in the rap game and the one and only Punch Line King.

Although a five-piece live and with too many contributors on record to list, Serena-Maneesh nevertheless essentially remains the work of Emil Nikolaisen. Born in the remote village of Moi into a musical family (sisters Hilma and Elvira often play with the band), Emil is Norwegian rock royalty. It’s hard to find a Norwegian band that Emil hasn’t either played with or produced, and he’s also been nominated for a Spellemannsprisen, the Norwegian equivalent of a Grammy. He’s not just influential in his home country either, having released a split single with Fucked Up, worked with Sufjan Stevens, and been invited to share stages with The Dandy Warhols, Nine Inch Nails and Oasis. In 2008, Smalltown Supersound originally released this glimpse of Serena-Maneesh's early days. Tweaked and all beautifully pushed to the red. Most of the material on SM-Backwards was released as two EPs prior to Serena-Maneesh's much lauded debut album; "Zurück" and "Fixxations" both on Hype City and Honeymilk Records, covering the time 1999-2003. Due to the fact that the labels didn't have international distribution, the material never got released outside of Norway. In addition to the original EP material, this vinyl reissue also contains new re-wrappings/mixes with contributions from Anton Newcombe of Brian Jonestown Massacre, Kramer and others from the universe surrounding Serena-Maneesh.

"Stepmom is a 1998 comedy-drama film directed by Chris Columbus and stars Julia Roberts, Susan Sarandon, Ed Harris and Jena Malone. The story follows a terminally ill woman dealing with her ex-husband's new lover, who soon will become their children's stepmother. Susan Sarandon was nominated for a Golden Globe Award for Best Actress in a Motion Picture - Drama for performance. The music was composed and conducted by the legendary John Williams, who already worked together with Columbus on Home Alone and Home Alone 2: Lost in New York. They would also continue to work together on the first two movies of the Harry Potter franchise. For the soundtrack of Stepmom, Williams received a BMI Film Music Award in 1999. Stepmom is available on vinyl for the very first time as a limited edition of 500 individually numbered copies on translucent green coloured vinyl and includes an insert with liner notes by Chris Columbus."

Stepmom by John Williams, released 9 May 2024, includes the following tracks: "Time Spins Its Web", "A Christmas Quilt", "Taking Pictures" and more.

This version of Stepmom comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, green disc. Another vinyl is pressed as a translucent, green disc.

Repress!

PRINCE PHILLIP MITCHELL has been performing, writing and producing since the early sixties and even spent a little time with Alvin Cash's backing group the Cash Registers. He wrote hits for Mel And Tim and Millie Jackson but is best known on the Northern Soul scene for his 'Shout' recording Free For All' and our chosen side, the crossover soul anthem I'm So Happy'.
LOU RAGLAND shot to fame on the Northern Soul scene with his 4-figure rarity I Travel Alone', recorded for 'Amy' Records in May 1967. It was his home town buddy, Edwin Starr, that helped Ragland secure the deal and although a flop at the time it cemented his popularity in England. When Starr came to the UK in 1983 with his Ric-Tic Revue Ragland was invited along and, at last, got the recognition he deserved.

2024 Repress
Tooflie keeps up deep-vein research instinct to remake and remodel the hidden gems of the worldwide archive quirks to tomorrow's dancefloor. Label's best-kept secret anonymous producers return with a highly anticipated funk-driven four-tracker voyage to pan-Asian crates, from Bollywood to China with a journey to Uzbekistan and Southeast Asia. They're here to take you on a gleeful joyride around their collective musical imagination: the A side sweeps in with a hypnotic feel via psychedelic swells, tension-building textures, and a bumpy, hardy rhythm, while the next cut is softening sharp edges of Bollywood original and adding sophisticated melodic expression into dancefloor territory. Do the flip to find two more bright refixes' of Chinese and Uzbekistan tunes. The bubbling 303-driven rhythms of the 'B1' are packed with sleazed-up keys, thumping bass injections, and resonant chants. The latest cut goes full-on ecstatic disco mode and finishes the release with a clean, floor-filling edit of a rare uplifting slice of Uzbekistan's celestial magic. Vinyl-only and in a very limited quantities as usual!

CLUB OF PROBLEMS ist eine ganz neue Band aus Freiburg im Breisgau - die vier Typen dagegen sind längst erfahrene Hasen auf dem Gitarrenpop-Dancefloor. Jeremy James, Purple Reinhard, John Pelzer, Jackson Bollock - man kennt sie u.a. von Gringo Mayer, Prisoners Of Freedom, The Seducers, Serial Off, Neo Rodeo, Backslide, BAR, Virage Dangereux, Nicolas Sturm, Jimi Satans Schuhshop, Achtung Rakete, The Hojos, Institute Of Modern Melancholy. Außerdem: Unbedingt "Öffentliche Telefonbuchlesung" antesten.. Endlich bringen sie für ein gemeinsames Debütalbum all ihre Qualitäten zusammen: Melancholisch und schwer, dabei tanzy und mindestens so beknackt wie diese Zeit. Zwischen Pop, Folk, RnR und Punkrockbasis, zwischen Irrsinn, Unsinn und Sinnlichkeit. 11 Songs, die unsere alltägliche Gegenwart demontieren und als absurd ohrenschmeichelnde Stücke neu zusammensetzen. As big as it get"s!

Das in Antwerpen und Hamburg lebende und arbeitende Dream Pop / Indie Rock-Duo THE DAY veröffentlicht im Mai 2024 das zweite Album 'The Kids Are Alright', und lotet darauf unterschiedliche Schattierungen von Einsamkeit aus.

The Day haben ein Album aufgenommen, das in seinen düsteren Bereichen Momente der Unsicherheit und Anspannung inmitten multipler Krisen fotografiert. Das in seinen nostalgischen Zügen der Selbstvergewisserung dient, und Mut zusprechen will. Und das an seinen wütenden Rändern nicht mehr warten will.

Sind die Kids alright? Bestimmt!

- Col. LP: (weißes Vinyl, 4c Innersleeve, Inside/Out-Druck)

Introducing the much anticipated 7"" vinyl featuring two standout tracks from Sami Galbi. Face A is "Dakchi Hani," a poignant post-breakup anthem blending raï influences with contemporary rhythms, offering a humorous take on navigating emotions. Face B showcases "Rruina," a powerful follow-up track that delves deeper into darker, club-oriented sounds, pushing the boundaries of Swiss-Moroccan raï-chaabi fusion. Seamlessly transitioning from the raw synths and bouncing rhythms of "Dakchi Hani" to the tension-filled atmosphere of "Rruina," this vinyl promises a captivating journey through Sami Galbi"s musical evolution. With each track tailored for the dancefloors, this vinyl release is poised to explode with energy wherever it goes.

Queer artist de clair’s anticipated debut EP & big emotional lead track ‘funeral’ is finally here. Her music has already been published by NME, lablogotheque, The Line of Best Fit & Clash, seen live before waterbaby & Augustine and in global playlists such as Spotify Fresh Finds - even though she’s only been around for a few months. Recorded w Jens Resch & Jonny Coffer (Lykke Li, FKA twigs, Beyoncé) in London and backed by All Stripes PR (Arlo Parks, Flume). Indie/Folk similar to Okay Kaya, Phoebe Bridgers, Hannes & First Aid Kit

"This concluding release contains a selection of the many artists that took part on our label -- from the first demo until the last drop of ink printed. 11 years, 11 tracks. Thank you all for tagging along. xoxo "

Garth Erasmus is an artist and musician based in Cape Town, South Africa. 'Threnody for the KhoiSan' is his first album under his own name. Since 1985 his artistic interests have broadened to include music-making, designing and making his own instruments based on indigenous KhoiSan knowledge. From 1999 to 2012 he was a member of the South African First Nation activist group Khoi Khonnexion. In the past couple of years Garth Erasmus has also been a pivotal part of various international performance pieces and exhibition projects which brought him regularly to Europe. Most of these activities were developed and performed in collaboration with the Hamburg based band Kante and his band Khoi Khonnexion. In April 2024 Garth Erasmus will be part of the group exhibtion 'Oscillations' at Akademie der Künste, Berlin.

His works in music are predominantly characterized by a restless quest for alternative forms of expression and materials including self build instruments, field recordings or various electronic music devices.

In this context the music on 'Threnody for the KhoiSan' takes on a primal and metaphorical meaning. Rather than a formal, physical initiation, this process is more spiritually inclined, yet it is a spirituality which is consistently put into action.. “Ever since I was an art student I have experimented with alternative materials to release me from the Western education values I received. When I started to make these instruments in the 1980s, my intention was to create art objects but when I discovered the sound they made, it unlocked a door that transported me deeper in my quest in the realization that I was on the right path.

In fact all instruments which appear on 'Threnody for the KhoiSan' are products of a process of discovery starting from square one. All this is based and founded on the beauty of simplicity and minimalism as symbolized by the single string Khoisan musical bow and arrow as trance musical instrument. In this sense it soon became manisfest for Garth Erasmus to combine the bow instruments with various electronic instruments. Besides developing his own unique language in music he also shared an expressed interested in experimental sound aesthecis, Avantgarde composition and Free Jazz. However, his non - academic approach towards sound and music was always fueled by the desire for a reconnection to the land and to the idegenious knowledge of the KhoiSan, whose struggle for First Nation status continues.

Song for Morenga
This song is dedicated to a guerilla leader, named Jacob Morenga, who was the leader of the nama/herero anti-german uprisings that occured between 1904 and 1907.

Amaseh Amen
This is a classic mouthbow piece that conjures the spiritual nature of Khoisan cultural praxis.

Gwaing Reverie
It was composed as a personal gift to the other members of newly formed electro-acoustic trio „Gwaing". „Gwaing" is an ancient Khoisan place name, meaning the mouth of the river.

Mcinci Song
A typical meditation on the traditional Mcinci flute. This flute was originally played by shepherds and was made of reed.

The Ascension of Milford Graves
This piece attends to capture the risen spirit of the legendary African American drummer Milford Graves. It was composed soon after his death in 2021.

Song for The Sisters of the Soil
A live improvisation dedicated to Lucelle and Melissa (The Sisters of the Soil) on the occasion of visiting them at their residence, known as „Oppieyaart" on the Cape Flats. On 10 September 2022 there is an online event with them at Kunsthaus Hamburg.

Special new 25th anniversary edition of this most popular and highly-acclaimed of all Soul Jazz Records' Dynamite! series - 300% Dynamite is jam-packed with reggae tunes that crossed-over to become dancefloor hits and are 100% guaranteed to rock any party!

Out of print for the last 15 years, this new edition is being released in a one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing + download code exclusively for Record Store Day 2024. This album is fully remastered, relicensed and with new tracks exclusively for RSD 24. Wayne Smith's booming anthem "Sleng Teng", Althea & Donna's worldwide hit 'Uptown Top Ranking', Sister Nancy's classic "Bam Bam", Augustus Pablo, Lee Perry - it's all here as 300% Dynamite joins the dots between reggae, jazz, funk, dub and soul.

Drab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like "The Other Side", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment. The first single, "Ellipsis", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on "Long Division", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in "Oxytocin", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence. Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music. This special 7 inch version features two newcomers to the RNT remix roster.

On the A side, global groove merchant Poirer delivers a stripped down and hypnotic mix in his signature style Pahua’s uptempo anthem ‘Espantapájaros”.

On the B side, Detroit Latin production legend John Beltran adorns the melancholic ‘Flor de Jazmin’ with a samba-inflected rhythmic foundation and a lush horn arrangement that transports you straight to Cafe del Mar, Ibiza.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion.

In 1959, a family friend went to the home of Paco de Lucía and Pepe de Lucía where he made several recordings with a Grundig TK46 tape recorder. This tape disappeared in 1967 and, after a long search process, was rediscovered in 2022, when a restoration process started using AI tools.

The historical value of this recording is incalculable and it gathers in 21 pieces an anthology of flamenco where most of its variants are represented (tangos, soleá, seguiriyas, bulerías...).

It is, in short, the definitive recording to illustrate the transition from classical flamenco to modern flamenco as we know it today.

UNOFFICIAL RSD TITLE

Key Glock's explosive debut studio album, "Yellow Tape," is about to make its highly-anticipated leap to vinyl, marking a significant milestone in the celebrated rapper's career. This Gold-certified album, a testament to Key Glock's unparalleled talent, has captured the hearts of fans and critics alike since its initial release. Now, for the first time, "Yellow Tape" is ready to take on a whole new dimension with it’s first official pressing. Pressed on Yellow, Black & White 3-color segment vinyl, housed in a gatefold jacket and limited to 2000 copies worldwide.

Ibelisse Guardia Ferragutti is an Amsterdam-based mutli-medium artist who has worked as a performer, theatre maker, vocalist, visual artist, musician and teacher. Raised in Bolivia within Bolivian and Brazilian families. Her notable musical collaborators include: Alabaster DePlume, jaimie branch, Ab Baars, Wilbert de Joode, Eric Boeren, Mary Oliver, Paul Koek, and The Paper Ensemble. Frank Rosaly is a Puerto Rican drummer, composer, and sound designer with several decades of touring, performing, recording, and creating to his name. Born and raised in Arizona, Rosaly was known for his fifteen years of creative work on the Chicago jazz and improvised music scene, before moving to his current residence in Amsterdam, The Netherlands, in 2016.

Wolfgang Valbrun, in Paris lebender New Yorker, Leadsänger der Ephemerals und Kooppartner von GUTS und Kraak & Smaak, trägt mit seiner unglaublichen Solodebüt-LP die Fackel aller großen Soulmusiker weiter. In 12 Songs setzt er sich mit der menschlichen Gebrechlichkeit auseinander, geprägt von gelebten Erfahrungen und seiner Wahrnehmung aktueller Ereignisse. Valbrun bewegt sich zwischen Soul, Rock und Blues und bietet introspektive Einblicke durch kompromisslose Texte, gepaart mit der unglaublichen Musikalität seiner Band. Nichts ist vom Tisch, "Flawed By Design" untersucht Beziehungen, Geld, Religion, Gier, wachsende Unruhen und den Antagonismus der Behörden gegenüber den Ausgegrenzten. Dieses erfrischende Werk befasst sich mit institutionellen und sozialen Fragen und fordert die Menschheit dazu auf, darüber nachzudenken, wer wir sind und wohin uns unser Handeln führen wird. Die physischen Formate enthalten je zwei exklusive Bonustracks.

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

Step into a time machine and groove back to the electrifying era of the mid-80s, where undiscovered US tracks found their sonic sanctuary on Morgan Kahn’s groundbreaking Street Wave record label. The reverberations of this musical revolution rippled from the gritty streets of NYC, transcending borders to captivate the entire globe. Picture it: 808s pulsating, synthesisers painting the airwaves with vibrant hues of rhythm and nostalgia. In the heyday of the eighties, rap wasn’t just a genre – it was a movement, a cultural force with a message that resonated through the beats and break moves. The lyrical poets of the time wove tales of real-life struggles and triumphs, creating a tapestry of sound that still echoes with relevance today.

Fast forward to the present, and the spirit of the 80s lives on in a classic track that encapsulates the magic of that unforgettable era. The torchbearers of timeless tunes, High Fashion Music, recognised the gem that was waiting to be polished. Enter Ben Liebrand, a musical maestro tasked with breathing new life into this iconic piece. Liebrand, has conjured three versions of this classic anthem. First up, the Nu-Disco funk-boogie rub, a groove so infectious it’ll have you hitting the dance floor in a heartbeat. Then, there’s the percussive-led Funk Mix – a rhythm-driven journey that takes the original to new heights. And for the pièce de résistance, the outrageously good nu vintage Electro Mix, a sonic masterpiece that bridges the gap between the past and the present with unmatched finesse.

Join us on this sonic voyage, fast forward into the future, as we celebrate the resurgence of an 80s cult classic, transformed by the wizardry of Ben Liebrand.

Alex Andrikopolous AKA Lex (Athens) released his brilliant debut album Waving in 2022 on Leng and he now returns with an EP combining fine remixes of tracks from Waving alongside two new previously unheard cuts.

The remixes are undeniably special. Fittingly, the EP begins with the first of these, a sensationally sun-soaked revision of one of Andrikopolous’s most Balearic moments – previous single ‘Punta Allen’ – by former Nuphonic fusionists and FAR label founders Faze Action. The Lee brothers’ take is one of those sunset-friendly workouts that wraps glistening guitar licks, steel pan style motifs, Lex’s gorgeous lead lines, hazy electric piano solos and life-affirming keyboard riffs around rolling nu-disco beats and a new rubbery bassline courtesy of Robin Lee himself. It has the feel of a pool-side anthem in the making.

Just as potent is the typically quirky and hard-to-pigeonhole revision of ‘Prezend’ by Manchester maverick Ruf Dug. Here he offers up a genuinely revolutionary rework, re-imaging the track as a sparse-but-colourful fusion of vintage acid house bass, saucer-eyed piano riffs, dubbed-out synth sounds, jacking lo-fi drum machine beats and squelchy TB-303 tweaks. While fresh and undeniably contemporary, the remix has an alluringly nostalgic, retro-futurist vibe.

Clustered around these two top-notch revisions is a pair of previously unreleased Lex originals. He joins forces with regular collaborator Locke once more on ‘Libre De Amor’, an infectious chunk of, low-slung dub disco marked out by weighty bass, jammed-out electric piano motifs, spacey pads, intergalactic effects and mazy synth solos. Dotted with additional percussion hits and echoing female vocal snippets, it’s one of the pair’s most potent dancefloor workouts of recent times.

To round off a rock-solid EP, the Athens-based veteran blurs the boundaries between stripped-back, late-80s house nostalgia and nu-disco. ‘Super Awake’ boasts cowbell-sporting Chicago house beats and acid house inspired bass, on to which he’s layered all manner of colourful synth sounds, jangly piano stabs and spacey electronics. Throw in some typically immersive chords and progressively more psychedelic TB-303 motifs, and you have a genuinely triumphant conclusion to a formidably floor-focused EP.

Warehouse Find!

Jimpster serves up the first single entitled Crave from ahead of his forthcoming Silent Stars LP complete with remixes from Atjazz and Flabaire.In its original form Crave, which features the vocals from hotly-tipped Londoner Florence Rawlings, is an emotionally charged electronic torch song guaranteed to get inside your head from the very first listen. The spacey chords and punctuating string stabs bring hints of the 80's to mind whilst Florence's gentle vocal floats in the air like a fresh sea breeze. In addition to the mesmerizing original we present two brilliant and contrasting remixes from one of the UK's legendary producers Atjazz as well as Paris' rising star Flabaire whose D.KO Records has been dropping gem after gem since 2013. Atjazz spins Crave into outerspace with a fat, driving groove and twisted sonics making for an incredibly deep and forward-looking slice of aural gold. In contrast, Flabaire looks back to the early 00's for his classic soulful house rework which calls to mind the sounds of Spinna and vintage Naked Music. Closing the release we have another original track entitled Where You Are featuring Berlin based US native Khalil Anthony. Here we find Jimpster doing what he does best, creating a sublime late night club track with his deft musical touch making this one that will stand out in the crowd.

Arguably one of the best punk albums of the 70s, The Boys self-titled debut (produced by Dangerfield & Steel) is a cult UK classic. The album is filled with the pop punk gems, the kind of immediate salvos that would elevate Buzzcocks into the charts. In the intervening years, the history of punk rock has been written and re-written and a whole heap of bands have been sidelined. The Boys’ debut album, re-mastered here still sounds as fresh and immediate as it did back then and it also includes two classic punk rock singles in ‘I Don’t Care’ and ‘First Time’ (the latter, along with The Undertones "Teenage Kicks", the ultimate punk anthem of teenage romance and adolescent angst). Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’.

A punk classic, gloriously anthemic power pop from the cult UK outfit. On 17 March 1978, a mere six months after the release of their self-titled debut, The Boys second album “Alternative Chartbusters” was released (once again, produced by Dangerfield & Steel). As AllMusic recognises, “Alternative Chartbusters” was way ahead of its time, a buried treasure that only got dusted off much later: “Condemned at the time for offering up little more than a straight carbon copy of its predecessor, the second Boys’ album has since ascended to the pantheon of power pop greats, a combination of the band's own inestimable position at the forefront of what, by early 1978, was already a burgeoning movement, and their seemingly effortless grasp of the rudiments of, indeed, a great pop song.” Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’