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The horses are out of the barn…and it’s time to trot. Introducing Mortar & Pestle: a union between two of Canada’s dance bandits at large. D. Tiffany & Maara come together to bring you pure delicious magic. These tracks are fresh out the skillet and piping hot on your plates. Dip us in maple syrup and throw us to the lezzies!

What do you get when you stir the pot…or grind the pestle? Wet, bubbling, sticky, throbbing bangers that make you lose your mind. Two’s company, but three’s a party. Sweetheart Hannah Karpinski hops in with her provocative Polish vocals, ready to ignite the freak fire and desire in this world and beyond. Unhinged, raw, and chaotic, burning the whole barn down. Enjoy this 4-track offering of hypnotic indulgence. Mortar & Pestle: Pound or be Pounded? Whatever you fancy, you’re in for a treat.

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

Last year's Big Time brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and Forever Means collects songs from the Big Time sessions that hold this common theme. They are, in Olsen's words, "in search of something else." "I was somewhere traveling," says Olsen, "stopped for a few days and wandering the city, and I was thinking `what does `forever' really mean? What are the things I'm seeking in friendship or love, and how can `forever' be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you're finished learning or exploring." `Forever'", says Olsen, "remains curious while trying also to be kind and honest." All this packs into the four precious songs that comprise Forever Means, songs from Olsen's roads traveled and the ones ahead. "Nothing's free / like breaking free" Olsen sings, comfortable with the costs of her clarity, her heart and voice fixed on the present, the future, the not-yet-known and the beautifully unknowable

Last year's Big Time brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and Forever Means collects songs from the Big Time sessions that hold this common theme. They are, in Olsen's words, "in search of something else." "I was somewhere traveling," says Olsen, "stopped for a few days and wandering the city, and I was thinking `what does `forever' really mean? What are the things I'm seeking in friendship or love, and how can `forever' be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you're finished learning or exploring." `Forever'", says Olsen, "remains curious while trying also to be kind and honest." All this packs into the four precious songs that comprise Forever Means, songs from Olsen's roads traveled and the ones ahead. "Nothing's free / like breaking free" Olsen sings, comfortable with the costs of her clarity, her heart and voice fixed on the present, the future, the not-yet-known and the beautifully unknowable

This is the fifth western in a row for Sergio Leone after the Dollar Trilogy
and "Once Upon a Time in The West"
"Giù la testa" (Duck, you sucker, 1971) is also the fifth collaboration between the
director and Ennio Morricone, which would be followed by "Once Upon a Time in
America" nearly 15 years later, before Leone's premature death in 1989.
Now a world famous and feted director, Leone directed "Giù la testa" an epic film
that tells of the friendship between a Mexican bandit and an Irish explosives
expert during the 1913 Mexican Revolution. With a over two hours running time,
the film has the tones of a Hollywood extravaganza, but it is only occasionally
accompanied by Morricone's music, which focuses more on the romance and
melancholy triggered by the two protagonist's memories.
This score's main theme is extremely memorable and makes this a classic
soundtrack. Thanks to the recurring "Sean- Sean" tune, and the melody sung by
Edda Dell'Orso, a theme that is universally recognized.
Limited 180gr. crystal clear vinyl edition.

Limited Loser edition on dark green vinyl. There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

•A touchstone LP from the beginning of reggae's 'post-Bob Marley era,’ Wailing Souls’ Fire House Rock was released by Greensleeves in 1981 to enduring acclaim. The title track became Wailing Souls’ most popular, anthemic song. Features production by Henry Junjo Lawes, backing by the Roots Radics with mixes by Scientist.

•For the Record Store Day 2022 edition, the original mixes were transferred from reel-to-reel to a pristine 24-bit/96k digital master. These are paired in a deluxe gatefold sleeve with a bonus 12-inch single disc of alternate, extended mixes originally released through VP’s Jah Guidance imprint.

•Sticker application; 180g Heavyweight Vinyl Pressing Gatefold sleeve with full-colour Inner Bags featuring rare photos and extensive notes.

We have a very special new artist for you from Berlin. Dutch native Pete Bandit relocated to Berlin some years ago where we first met in 2018 when he was part of the “Times Are Ruff” collective. They contributed a track on Dirt Crew for our “Deep Love 2018” compilation.
Now recently going solo he developed his sound even more towards Detroit-ish house with dabs of techno and a bit of high tech jazz in there as well. This debut EP offers Loads of deep soulful grooves, spiritual “computer” music at it’s best!

The A-side “Wild Feelings” is such a beautiful opener to this record, with it’s lush spread out intro it paves the way with that perfect mood for what is to come, a mix of soul, funk and electronics and overall well crafted deepness. The keys on this one were contributed by the mysterious “Nelson of the East” topped with vocals by Pete himself. “It’s Happening Again” continues the story with soulful deep house textures and this one especially reminds us a lot of those early 90s Chicago/ New York House gems, the track is building towards a great breakdown key change and with its atmospheric strings and pads it’s a truly uplifting “Good Times” tune.

On the flip we have “Computer’s Creativity”. This track picks up the pace and is centered around a funky, almost slap like, bass line. Here again topped by a vocal add of Pete about “Computer’s Creativity” and with it’s cool break this one will also be a sure floor filler, guaranteed! The closing track on this record is the driving “Luv Your Body”, great percussion guides us through a loose set arrangement and make this one a perfect late hours or early mornings tune in any mix, it could go on forever!


All tracks have been mixed by Ariel Schlichter in Berlin and mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

A top value for money opportunity here, as Moiss Music deliver the latest in their sweet and sticky Jam series of various artist 12" line ups, bringing you no less than six bubbling, vivacious disco triumphs from six artists. Khemir's 'Disco Bandit' kicks off proceedings, a production that sounds like it was made by a band of around 45 musicians, a proper cavalcade of strings, brass, brazen disco thump and beautifully bold vocals. Wurzelholz's 'Prince' goes for a bit more economy but with a slinky funk bassline like that - not to mention the occasional exclamation from the purple overlord himself - it's equally devastating in dancefloor terms. Among the other highlights, 'Golden' by I Gemin has the feel of a lost Daft Punk flip tune and Cosmocomics' 'Glamorous Garcon', boasting 70s-style synth bubbles that are as cute as they are retro. Tasty as ever.

Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

Glasgow's Starry Skies return to grace our ears with the sophomore
album Be Kind
Deciding on the theme of the album being the need for more kindness at a time
when we need it the most, songwriter and singer Warren McIntyre explains:
"There are not enough people being kind to each other… It's really clichéd but it's
nice to be nice. I decided I wanted to be more straightforward lyrically and send a
simple message about spending the rest of my time on this planet being as kind
as I can as much as I can." From BMX Bandits to Teenage Fanclub, The Pastels to
Cosmic Rough Riders, Glasgow specialises in finely poised guitar pop. Be Kind is
full of upbeat and uplifting pop - perfect for all seasons

Repress

Excellent Electro Techno EP, dancefloor and thin, in the best tradition of the french electro tekno sober sound. Big one

For Fans Of: Fishbone, The Specials, Bomb The Music Industry, Skankin’ Pickle, MU330, RX Bandits. New 12 song LP. It's SKA. What else is there to say?

Marina proudly present the first ever vinyl issues of three classic albums by Glasgow's finest, The Pearlfishers: "The Young Picnickers" (1999), "Across The Milky Way" (2001) and "Up With The Larks" (2007). They are issued in deluxe 2-LP vinyl editions in beautiful gatefold sleeves with enhanced artwork and complete lyrics. All albums feature four (!) bonus tracks each, most of them never released before and not available on any streaming platform. Three albums of masterful, classic pop music, driven by main man David Scott's exceptional songwriting which was often compared to Paul McCartney, Burt Bacharach, Jimmy Webb, Todd Rundgren and Brian Wilson. The beautifully crafted arrangements include woodwinds, trumpet, flugel horns, banjo - and real strings! "David Scott's compositions sound something like The Carpenters and Burt Bacharach - except much more poppy, upbeat, and current!" (Babysue). These albums also feature some of the finest Scottish musicians. Duglas T Stewart of BMX Bandits co-wrote two songs. Norman Blake of Teenage Fanclub contributed backing vocals on "The Young Picnickers" and co-produced four tracks on "Up With The Larks". Mick Slaven, one of the most unique guitarists ever (Jazzateers, James Kirk, Paul Quinn & The Independent Group), plays on "Across The Milky Way". So does trumpet maestro Colin Steele who later recorded an entire album of Pearlfishers songs in terrific jazz arrangements ("Diving For Pearls", 2017). "The Young Picnickers" was selected "Indie album of the month" in MOJO magazine. "Up With The Larks" was recently voted one of "Scotland's favourite albums" in The Herald.

BMX Bandit's Life Goes On returning to Vinyl, some 29 years after its
original release

Featuring the smash hit singles "Serious Drugs" and "Kylie's Got A Crush On Us" Life Goes On, was originally released on Creation records.We shall make it available on vinyl and present the album in totally redesigned sleeve, more in keeping with Duglas' original vision.

BMX Bandit's Life Goes On returning to Vinyl, some 29 years after its
original release

Featuring the smash hit singles "Serious Drugs" and "Kylie's Got A Crush On Us" Life Goes On, was originally released on Creation records.We shall make it available on vinyl and present the album in totally redesigned sleeve, more in keeping with Duglas' original vision.

Midlake are a relatively small indie band, so the
level of ambition they display on ‘The Trials of Van
Occupanther’ is to be commended. From the
opening track, ‘Roscoe’, with its laconic lyrics and
slowly building chorus, they manage to recreate
perfectly the sound of 1980s Fleetwood Mac, a band
not known for thinking small.
 And though the rest of the album doesn’t quite reach
the heady heights of this opener, it’s not for a lack of
trying (particularly on ‘Head Home’). The remainder
of ‘The Trials of Van Occupanther’ is considerably
more downbeat, with distant flutes complementing
the vocal harmonies of songs like ‘Bandits’ and
‘Branches’.
 Where Midlake particularly excel, though, is when,
like Grandaddy before them, they draw their
inspiration from the classic rock that they seem to
love so much, adapting and modernising it. So in
addition to the anthemic ‘Roscoe’, they evoke the
Gram Parsons-era Byrds or even The Band on ‘Van
Occupanther’ and the road-ready ‘It Covers the
Hillsides’.
 ‘The Trials of Van Occupanther’ is an album that's
steeped in musical history yet possessing an identity
all its own.
 Released on 180g gold vinyl to celebrate a new
Midlake album for 2022 and also the 15th
anniversary of ‘The Trials of Van Occupanther’ last
year.
 Digital download code included.

Rare recordings featuring Carla J Easton & friends with guests Duglas T
Stewart (BMX Bandits) and Eugene Kelly (Vaselines) - This album was
shelved and never saw the light of day but now, for the frst time ever,
these recordings are re-mastered and presented to you on vinyl.In 2011,
Carla J Easton fnished her MFA at Glasgow School of Art armed with a
batch of newly written songs and wanted to start a band - Calling on longtime collaborator Sita Pieraccini and childhood friend Debs Smith, fat
rehearsals ensued and a frst gig was booked at The Arches in Glasgow
Aptly, the night the would debut as TeenCanteen was called The Love Club. Not
long after, Emma Kullander would join the ranks and the 4 headlined Henry's
Cellar Bar in Edinburgh. Through word of mouth, the place was packed. With only
5 songs to their name, a tentative version of All The Lovers by Kylie Minogue was
thrown in as a last minute encore before the band delved into replaying their song
Friends.Studio time was booked at the fedgling 45 A Side in Glasgow resulting in
the recording of How We Met (Cherry Pie), You're So Analog, Under My Cover and
Friends.Calling on mentors from the Glasgow music scene – Duglas T. Stewart
(BMX Bandits) and Eugene Kelly (The Vaselines) turned up to be part of this
session. Duglas, joining TeenCanteen on a heart rendering duet for the song
Under My Cover, and Eugene, providing a blistering electric guitar solo on You're
So Analog.Hearing themselves on record for the frst time, and with Easton's
repertoire for songs growing more, they quickly returned to the studio for another
weekend.Recording the songs Atlas, Fireworks (which would go on to be covered
by BMX Bandits on their album BMX Bandits in Space), It could Be Beautiful and
One More Night, TeenCanteen were ready to release into the world with an
album's world of recorded material.
This is the sound of four friends making music together, learning as they go. At
its core are the luscious three- part harmonies TeenCanteen would go on to
develop further and be known for.
It's not perfect. It's not polished. It's the sound of something new.
It was the precursor to the glorious full pop sound the band would introduce to
the world when their debut album Say It All With A Kiss was released on Last
Night From Glasgow.This is how it starts.

DENNIS BOVELL, from Barbados, based in London, England, is a legend - a bass player legend (band leader of the legendary Linton Kwesi Johnson Band) - a producer legend (THE SLITS, Fela Kuti, Bananarama, Madness, Joss Stone, a.o.). He produced the soundtrack for the critically highly acclaimed movie Babylon and the hit song "Silly Games" by Janet Kay. In recent years his works regained interest, also due to the recent rerelease of the 80's movie Babylon and his participation in Steve Mc Queens drama series Small Axe about the real-life experiences of London's West Indian community, set btw 1969-82. In 2019 Vienna's Dubblestandart produced a limited selection of reworks of reggae classics of Dennis Bovell's 1980's band Matumbi, Steel Pulse, Burning Spear, Twinkle Brothers, Culture a.o. , focusing on works that have been pivotal for the inspiration of Dubblestandart's bandleader Paul Zasky. Nicolai Beverungen, dub reggae label headman of ECHO BEACH outta Hamburg/Germany, invited DENNIS BOVELL to "REPULSE" the album at Robbie Ost's GoEAST Studio. Dennis felt inspired, loved the idea, re-voiced the songs, added a couple of guitar lines and also re-dubbed the album. "Repulse" Reggae Classics features DENNIS BOVELL on vocals and as a dub producer in co-operation with Robbie Ost from Dubblestandart, mixing on a legendary E - 6000 solid state mixing board (taken over from TEARS FOR FEARS studio in London), using selected vintage outboard Analog equipment, developing a distinctive dub reggae sound for this coming up 2021 release. What do songs like "I'm No Robot", "Babylon The Bandit" or Matumbi's "Hypocrite" have in common? All of them were written during the 1980's of the last century, but never lost their contemporary accuracy, still perfectly criticizing and analysing the "pulse" todays political leaderships and societies controversial points of view, have, while entering the digital age. Re- Pulse 21!

Folklore Series is the music label created by the FOLKLORE team, based in Toulouse, south of France. Active since 2009, we gradually diverged from traditional clubs in order to reconnect with a certain freedom and to assert our values by investing alternately abandoned places, clearings and warehouses for our parties. The music we produce is inspired and dedicated to these gatherings and more generally to the sound system culture.

DEVIL SOLD HIS SOUL (London, UK) blend huge soundscapes, earth-shattering riffs and soaring melodies.
DEVIL SOLD HIS SOUL begin a new chapter in their highly-acclaimed career, signing to metal heavyweights Nuclear Blast Records. 2021 will see the band release their fourth studio album ‘Loss’, their first with the dual vocal attack of Ed Gibbs and Paul Green.

DEVIL SOLD HIS SOUL burst onto the UK underground metal and hardcore scene in 2004 growing a cult following from their first record, ‘Darkness Prevails’ EP released through Visible Noise (BRING ME THE HORIZON) in 2005. Their debut album, ‘A Fragile Hope’ saw the band take their position as one of the most respected underground bands in the UK with their visceral and captivating live shows. DEVIL SOLD HIS SOUL’s sophomore album, ‘Blessed and Cursed’, elevated their sound and audience to new heights, voted into RockSound Magazine’s top 10 albums of 2010.
In 2012 the band unleashed their self-produced third album, ‘Empire Of Light’. Received to critical acclaim across the board, the album cemented their position as one of the UK’s most respected and revered metal acts.
With Ed Gibbs departing the band early in the year, 2013 saw the first new material featuring singer Paul Green with single ‘Time’, followed by 2014’s ‘Belong Betray’ EP and 2016’s ‘The Reckoning’. After welcoming Gibbs back to sing on the 2017 ‘A Fragile Hope’ anniversary tour, the band asked Gibbs to continue the dual vocals with Green for the remaining festivals and tours that year, with the line-up then becoming a permanent fixture.
2018 saw the band travel beyond Europe with their first touring in Asia, they also began to put the foundations down on what would become their new record ‘Loss’. Written about the grief and struggles faced in recent years, ‘Loss’ treads old ground and explores exciting new territories for DEVIL SOLD HIS SOUL, including for the first time the dual vocals of Gibbs and Green on record. Recorded, engineered and mixed by guitarist Jonny Renshaw at his UK based Bandit Studios, DEVIL SOLD HIS SOUL have poured heart and sincerity into every atom of this their fourth album, with songwriting elevated to new levels.
Having toured with the likes of CULT OF LUNA, ARCHITECTS, NORMA JEAN, BRING ME THE HORIZON, UNDEROATH, GALLOWS, ENVY and EMMURE, as well as headlining a stage at DOWNLOAD FESTIVAL l (UK) and numerous European festival appearances including SUMMER BREEZE and WITH FULL FORCE (Germany) and PUKKELPOP (Belgium), DEVIL SOLD HIS SOUL have built a huge reputation for their captivating live shows, over 16 years:

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Columbia Records release the eighth studio album from Grammy Award winning, multi platinum selling US rockers. An 11 track song album which includes the current single 'The Bandit'. Black vinyl double LP and standard CD. Radio support across R1, R2, Absolute, Virgin, Radio X, ILR network with playlists, ad campaign and interviews/sessions. Video plays across MTV/Vevo/Tik Tok. Digital campaign. Ads, features, interviews and reviews across all press. Online/social media activity. TV promo to follow. Poster campaign and database mailout. TV ad campaign.

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018

Due to the Covid-19 pandemic, De Nor had no choice but to free all its prisoners - even the jazz ones - and shut its gates. But the red beacon shall shine again! Until such a time, we asked some of the artists who were booked to play there this summer to submit a piece for this new publication in lieu of their cancelled performance. This compilation lp contains tracks by Lori Goldston, Hiele, Agnes Hvizdalek, Nubots, Justine Grillet, Thurston Moore, Sami Bergold, Possessed Factory, Stacks, David Edren, Aaron Dilloway & Lucrecia Dalt, Ka Baird, Ben Bertrand, Miaux, Lorie Bevins, and C.O.P. and is housed in a deluxe dye cut linnen sleeve and comes with an insert and a mini Nor cut out made by Gerard Herman. De Nor is a sculpture-pavillion in the grounds of the Middelheim Museum conceived and designed by Dennis Tyfus and FVWW Architecten. In peace time it hosts concerts, lectures, and various presentations throughoutthe summer.

East Man returns with a four track EP that explores his own Hi Tek take on Grime, stripping everything down to the raw, bare essentials.
Opening the EP is Fight For A Cause, a rough a fuzzy sub bass driven exercise in beat science that draws as much upon Dancehall as it does Grime. The second track, Selector, is a straight up DJ tool, utilising an alternating 32 bar pattern interspersed with splashes of pirate radio chatter.
The flip side opens with the storming Bandit Country.
The subdued intro lulling you into a false sense of security before the beats and bass are unleashed in full attack mode, the relentless onslaught pausing only briefly midway for you to catch your breath before continuing on it's devastating path.
The closing track, Darkage, is an ominous brooding affair that those of you familiar with East Man's sets will know well.

A real head nodding roller, it's definitely one for the technical DJ's.

Limited Edition of 500 handnumbered Box Set including 4LPs (180g), 1 CD, Download Coupon and a high quality 120 page booklet. NOTE: BOX IS SHRINK-WRAPPED BUT WILL BE OPENED FOR SHIPPING TO AVOID SEAM-SPLIT.

Black Truffle Together With Bernhard Rietbrock And Zhdk Are Honoured To Reissue This Stunning Boxset Celebrating Alvin Lucier's 85th Birthday Celebrations Which Took Place In Zurich, 2013.

Alvin Lucier Is One Of Most Important Figures In More Than A Half Century Of Avant-garde And Experimental Sound Practice. He Has No Equivalent. He Is Among America's Most Important Composers - A Towering Pillar Of Intellect, Creativity, And Beauty Realized Through Sound. His Singular And Unparalleled Body Of Work, Focused Around Acoustic Phenomena And Auditory Perception, Which Included, Among Many Others, The Groundbreaking Works Bird And Person Dyning, Music On A Long Thin Wire, And I Am Sitting In A Room, Each Quietly Shifting The Understanding Of What Music Could Be - Deceptively Discrete Gestures, Laying Their Mark On History And The Expectations Of Nearly Everything To Come, While Radically Expanding The Field. It Is Such A Life, Defined By Such Striking Accomplishment, Which This Release Celebrates Across The Four Lps, Cd, And Book Which Make Up The Lavish Illuminated By The Moon Release.

Recorded In October Of 2016 At The Alvin Lucier 85th Birthday Festival At The Zurich University Of The Arts, The Box Gathers A Remarkable Range Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known. It Begins With Wonderful Stagings Of I Am In A Sitting Room And Music For Solo Performer Performed By The Composer, Before Presenting The Work Charles Curtis Performed By The Cellist For Whom It Was Composed, And Double Rainbow, A Recent Work, Performed By The Incredible Joan La Barbara. Over The Course Of The Set's Many Discs, We Encounter Works Ranging From Nothing Is Real (strawberry Fields Forever), Braid, Two Circles, Hanover, Step, Slide And Sustain, And One Arm Bandits, Performed By Oren Ambarchi, Stephen O'malley, And Gary Schmalzl, With Further Contributions By Charles Curtis And Many Others Involved In The Celebrations Of Lucier's Life And Work. The Collection, By Offering An Expanse Of Material Otherwise Unavailable In The Composer's Discography, Opens A Rare Window Into The Breadth And Range Of Territory Which He Has Approached, As Well As Into The Unique Humor Which Has Quietly Bubbled Through His Entire Career. It Is A Singular Recording Event, The Likes Of Which Are Unlikely To Be Repeated.

A Worthy Tribute To One Of The Last Century's Most Important Composers, Offering Insight, Recognition, And Critical Investigation, Long Overdue And Lovingly Produced. Including An Extensive, Lavish 120 Page Book, With Numerous Unseen Images. Pressed On 180 Gram Vinyl, This Limited Edition Of 500 Individually Numbered Copies Is Unquestionably One Of The Most Beautiful And Important Releases Of 2018.

Key Selling Points: - Limited Edition Of 500 Handnumbered Units From Legendary Electronic Music Pioneer Alvin Lucier

- Lavish Box Set Including 4lps, 1 Cd, And A High Quality 120 Page Booklet.

- 180g Vinyl

- Incl. Download Coupon To Redeem All Tracks

- Over 190 Minutes Playtime

- Remarkable Collection Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known.

- Mastered & Cut By Helmut Erler At Dubplates & Mastering, Berlin.

Superrare spiritual jazz 2-sider which gets a proper re-issue treatmen from Tramp Records. Black Bandit is a fabulous composition backed with the equally great California Dreaming. This "45" is cut at 33rpm due to the long playing time of the A-side which ensures the best sound quality possible. Limited to 250 copies.

Spanish techno master Reeko makes his mark on Detroit Underground with a release exploring the darker facets of humanity in mesmerizing fashion, with rhythm and drone taking equal importance. "Lovers and Bandits" sets side A off with a brutal broken march, hard kicks building slowly into caverns of sonic noise. "BDSM" twists the sounds of pleasure and pain into an endless dark delay, leading you to the edge and right into "Hard Sex Club", roiling with indecipherable voices and a hovering synth build that teases but never quite strikes.


Side B straightens the beat with "Slaughter", a searing background noise underpinning an evolving rotation of menace that pushes the beats forward into a pit of noise and sludge. "Sex With God" is a fierce techno rhythm, wet, crunchy, and percussive without the ubiquitous kick drum, building to a crescendo of heat and buzz. Finally, "Submissive Behavior" is a massive paranoid drone, prickly with hunger and menace. On "We Are Bandits", Reeko strips down his explorations of sound and texture to the barest essences, making for an unsettling and intriguing listen. Graphic design from The Designers Republic. This is the first release in a collaboration with tDR called DU-TDR/GRD with a grid font designed for 2016 - 2017 DU releases.

Following releases in the past for Exploited Records, Rinse FM and Future Classic to name just a few, Cardiff-based duo Bodhi have found a new home on Black Butter Records.
With the release of the 'Howler' EP, they'll be joining a roster that includes Woz, My Nu Leng, Rudimental, Gorgon City and Clean Bandit.

Includes the acid tinged title track, and Mr Fingers style 'Brawd' with an insistent vocal loop steadily building the energy before fizzing synth pads and pneumatic drumwork come to the fore, transporting the track to moody late-night club territory.

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

Annie Hall's new LP Random Paraphilia on Detund™ explores these experiences through five original tracks with remixes by Richard Devine, Valance Drakes and ERP.

Setting the stage for this intense journey into experimental electronics is Annie Hall's track DSM-5 which when spliced and diced in the remix by rhythmic mutilation master Valance Drakes establishes an ache deep inside mind and body. Together they offer a bold introductory to Random Paraphilia. Annie's collaboration with Shadow Huntaz in Bandit 28930 adds a male vocal and sets the stage for release of the pent-up pressure, through a remix by none other than Richard Devine, who emerges after months incommunicado from his new Atlanta based studio with Bandit 28930 Remix -- a remix for which many around the world have been anxiously awaiting. Prepare yourself for new Richard Devine frequencies creating what we believe to be the most blissfully disturbed / re-aligned symphonic nerve rhythms of aural affect. Annie takes the reigns back pumping a frenetic, raw, experimental sound in Sada Abe. Tables are next given to Convextion aka E.R.P. who captures her snare for a mesmerizing effect in his gorgeous idm electro soul Sada Abe remix. Annie's voice and rhythm machines respond with breakbeat-style in Foihtreiu diversifying the set with what only a graceful feminine touch can produce. Rounding the set out is Symphora featuring new synced visual work by CPU Bryant Place, SF based Obscura digital artist, complementing the mystical journey with a visual experience unlike any other.

Record Sleeve and promo video are by DMAS3 who once again completes the audio-visual package with elegantly futuristic visual art appealing to our desire for journey far and wide. Annie Hall's Random Paraphilia is personal, intimate and political. It is a highly-charged and dynamic 8-track LP beckoning us to explore the world anew.

Reggae Classic! - Original album from 1981, recorded at Channel One with the Roots Radics as backing band plus full horn section! - Produced by Henry 'Junjo' Lawes, mixed by Scientist at King Tubbys studio. A must for every serious Reggae collection!