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We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

In 1994, Sator released the cover album "Barbie-Q-Killers" where the band made their own versions of "obscure" punk songs!
The album quickly became a favorite among the band's fans and the demand for a sequel have followed the band ever since.

Now, the wait is over! We proudly present the album "Return of The Barbie-Q-Killers" the long-awaited sequel, which is the band's tribute to bands like Redd, Kross, Devo, Blitzkrieg Bop, 999, The Waves, Pointed Sticks, The Undertones, The Boys, Zero boys, The Last, Unnatural Ax, White Flag, Screamers, The Go-Go's, The Young Lords, Darby Crash Band, The Normals and many more!

Saturday Night pogo rules OK!

Sound Like: the nomads, wilmer x, docenterna, ksmb, dundertåget, mimikry, the scams, union carbide productions

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

Carter Family meets Addams Family in Easy Listening for Jerks, two new covers EPs by gold-certified prairie pickers The Dead South. Rich with quality finger picking and replete with harmonies, Easy Listening for Jerks offers many new moods of songs we think we know so well. Under a title that recalls the songwriting humour of Roger Miller and Steve Martin’s comedy stylings alike, the EPs offer a surprising and compelling mix of gravity and levity. Foggy Mountain Boys, but make it Beetlejuice. Easy Listening for Jerks Parts 1 & 2 are pressed separately on 10" black vinyl.

Throughout Grace After a Party we hear Jemima Coulter reaching beyond themselves toward a tender yet magical universality. What results is a pastiche of remembered, dreamed and imagined fragments, a debut album that feels as visual as it does auditory. “I created somewhere I could escape to,” says Coulter. “I imagined people in my mind, had conversations I’d never had. It seems to have created an album that’s a hallucination where I’m half me, half someone else.” But there’s a sense of coming full-circle in these songs, a reminder that as much as we try to reach beyond, we remain invariably ourselves. “They were all stories I was telling myself,” Coulter says, “and then I realized that there was something I needed to say, that it wasn’t just a story, but something about me as well.” Grace After a Party will be released 29th July via Hand In Hive.







[g] 7. [flowers]

Official re-issue of Javier Segura's album from 1986. Exciting tribal, ambient and experimental sonorities brought back in a newly remastered release.

Originally released in 1986, 'Nostalgia De Lo Humano' is almost unclassifiable. For Segura, styles are another form of repression, something that serves to label and keep track of those who sees, listens, buys or plays, and especially who sells. Despite the fact that Segura has been producing music continuously since the 1970s, his recognition as a musician was for a long time limited to experimental music circles. He had always controlled his career on his own, on the fringes of the industry. As Javier Segura himself says, his head is full of textures, rhythms and melodies. Through his textured productions, Segura opened up new dimensions to experimental music, using guitars, drum machines, trumpets, synths, or pedals.

Sounds like supergroup. Rarely have outstanding figures of such a variety of musical styles collaborated on one album to pay homage to a nearly forgotten artist, one of the few black Beatnik poets, Bob Kaufman.

"All Those Streets I Must Find Cities For" by The Plastik Beatniks is an attempt to acoustically reanimate Bob Kaufman, to return the Beat to him in a transatlantic collaboration. It is a shimmering psychedelic, at times jazzy concept album, sometimes reminiscent of Krautrock or hip hop, about a Beat-era poet who was as great as he was forgotten. It takes spoken word to a new level, as a transatlantic showcase of musical avant-gardes and a joyful "sound archaeology" of modernity, in which the tracks of the "Plastik Beatniks" meet the best voices of America.

The 12 wildly different songs and audi collages, on the transatlantically-produced album, "All the Streets I Must Find Cities For," is based on lyrics by Beat author Bob Kaufman. They were originally part of the radio play "Thank God for Beatniks," for which author Andreas Ammer ("Ammer & Einheit"), Notwist‘s Markus Acher and Micha Acher and loop maker Leo Hopfinger ("LeRoy") formed "The Plastik Beatniks." On the eastern side of the Atlantic they composed music and crafted soundscapes. On the west side of the ocean, they asked three of the most renowned singers, activists and producers in the U.S. to recite or sing Bob Kaufman's poetry.

Punk-pop icon Patti Smith immediately signed on to read Kaufman's poem "Ginsberg (For Allen)". Free jazz vocalist Moor Mother passionately performed Bob Kaufman's "War Memoir". American jazz clarinetist, composer, singer and “International Anthem” labelmate Angel Bat Dawid, a legitimate successor to Sun Ra, polyphonically read and sang such poems as "The Sun is a Negroe" and "West Coast Sound 1956" and included some clarinet solos on top. Also on the album, Bob Kaufman himself recites his previously unknown poems "Hollywood Beat", "Would You Wear My Eyes", and the "Jail Poem" "All Those Streets I Must Find Cities For". Beat chronicler Raymond Foye, who still lives at the Chelsea Hotel in New York, contributed an interview he conducted with late beatnik Allen Ginsberg about Bob Kaufman. Completing the circle was hip-hop artist Adam "DoseOne" ("13&God"), who once gave Markus Acher a well-thumbed volume of Bob Kaufman, whom he admired. He contributed some raps. Thus 12 tracks emerged, as diverse as the artists, poets and musicians who contributed to it. More than an album. An epitaph. A work for the eternity of Beat.

Regarding Bob Kaufman - of course the FBI kept a file on him – first as a sailor, then a communist, and finally a Beat poet. As one of the mainstays of the movement, he edited the literary magazine "Beatitude" in San Francisco and defined "Beatnik" to Allen Ginsberg: half rhythm, half sputnik. Bob recited his poetry loudly on the streets (when he wasn't sunk into years of silence in protest of the Vietnam War) and in the bars and bagel shops of North Beach. Once, he almost landed a pop hit ("Green Green Rocky Road"), which then made Dylan's companion Dave van Ronk famous. That Kaufman is today less known than his friend Allen Ginsberg may be because he was a black Beat poet, and also a Jew. This was not compatible with fame in the US of the 1950s. Though Kaufman had the same publisher, City Lights, as Ginsberg, he was frequently arrested and jailed, and was treated with electric shocks until he developed serious mental heath issues. There he wrote his "Jail Poems". The seventh of these lent this album its name:

"Someone whom I am is no one / Something I have done is nothing Someplace I have been is nowhere / I am not me What of the answers / I must find questions for? All these strange streets I must find cities for, Thank god for beatniks."

Organic sounds, eclectic compositions and infinite grooves – we’re proud to present our very first label compilation BEATS LIKE SUMMER, Vol. 1. Composed of 17 instrumental tracks that circle HipHop, Jazz, RnB and Soul, this project is a journey through different soundscapes. It unites some of the finest beat makers and instrumentalists from around the world, including Kiefer, K, Le Maestro, DAO, Saltyyyy V, Shuko, agajon and many more. Artwork by GABE and Alex Plesovskich. Creative Direction by Robert Winter.

Limited edition LP release with inside out sleeve, main artwork embossed, sticker on the back!

Singer-songwriter Bob Lind will forever be immortalized by his 1965 hit, »Elusive Butterfly«, but his career is so much more interesting than the fading wonder of that one hit. Once a hard-partying buddy of Charles Bukowski, Lind was the inspiration for the character »Dinky Summers«, a down-on-his-luck folk singer in Bukowski's 1978 novel Women. Lind also doubled as a writer, penning a number of novels and plays as well as serving as a long-time staff writer at the lowbrow tabloid Weekly World News.

If that wasn't enough, Lind is also responsible for one of the greatest major-label 'loner' albums of all time, 1971's Since There Were Circles. After several years languishing without a second hit for the World Pacific label, Lind signed to Capitol and went into the studio with some of the biggest names in the LA country-rock scene including Doug Dillard, Gene Clark, Bernie Leadon and legendary session bassist Carol Kaye. While the record was well-received critically, it sold poorly and marked Lind's bitter departure from the music business for several decades.

The intervening half-century has been incredibly kind to »Since There Were Circles«, and it is now regarded as a cult masterpiece that pairs perfectly with Gene Clark's No Other, Bobby Charles' self-titled Bearsville album and Lee Hazlewood's Cowboy in Sweden. Lind's songwriting here is vastly darker and more self-reflective than anything from his folk-pop period, and the production is simultaneously loose and rootsy, yet lushly orchestrated and occasionally bombastic. Lind somehow manages to bring it all together with wry delivery and literate detail.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

A voice in the ether. A calm, clement drone. A gentle, pulsing throb. Like the ghost of a forgotten future as imagined by the distant past, Certain Creatures' sophomore LP Nasadiya Sukta is a study in timelessness - crystalline, heartfelt ambient music designed to push light through shadow. Nasadiya Sukta is the debut release on Mysteries of the Deep, a record label dedicated to total sensory immersion. Mysteries (as it's known colloquially and affectionately) launched in 2011 after a particularly fruitful late-night mixing session, first as a cult podcast series dedicated to narcotic music of all kinds, subsequently expanding into a series of seasonal events. Now, with the release of Nasadiya Sukta, Mysteries of the Deep becomes a full-fledged outlet for music to play in the dark. Certain Creatures is the alias of Brooklyn-based artist Oliver Chapoy, and Nasadiya Sukta was crafted especially for Mysteries of the Deep. Its genesis came when Grant Aaron, Mysteries' proprietor, tapped Chapoy to perform at Mysteries' Halloween event in 2015. His performance was the night's axis point, bridging earlier subdued sounds with late-night upbeat moods. Two years later, reworked and reconfigured, this performance is reborn as Nasadiya Sukta. Although divided into six tracks, Nasadiya coheres into a single extra-terrestrial mass, its beautiful understated elegance encouraging repeat listens. Simultaneously harking back to ambient classics from the '90s (you know who they are) while cementing Chapoy as a visionary artist with his own unique voice, Nasadiya Sukta is one for the space travellers indeed. Releases on Styles Upon Styles, Medical Records Label Promo + Tour

The seductive first full-length from electronic composer and multi-disciplinary visual artist Amosphère. Born in China, partly educated in Japan and now residing in Paris, her work came to the attention of a wider circle of listeners when she was invited by Laurel Halo to perform as part of a 10-hour durational ambient concert at London's Mode Exchange in 2019. Amosphère uses a careful selection of vintage electronics, sophisticated harmonic sense, and keen compositional intelligence to invite listeners into a meditative sonic space. Time expands and contracts, simplicity reveals complexity, and repetition becomes patient transformation. Spreading out over six expansive yet self-contained tracks, more die of heartbreak serves as a perfect introduction to Amosphère's warmly enveloping approach to analogue sound. Developed from scores (contained in the accompanying booklet) using techniques from concrete poetry and graphic notation as well as fragments of traditionally notated material, these six pieces take in a broad sweep of moods and approaches, from the gently burbling layered monophonic patterns of the opening 'circuit of unconsciousness', reminiscent of the sun-drenched synth figures of 70s Alvin Curran, to the haunted gliding tones and reverberating pops of the closing 'melting a piece of cadmium'. At times starkly minimal and making bold use of the stereo field, Amosphère's production approach keeps the grit and grain of her analogue gear intact, at times calling to mind the work of pioneers like Delia Derbyshire and Eliane Radigue.

The Sampler EP from Thugwidow's forthcoming Seventh Circle Of Litness LP on Western Lore.

Since the initial release in 2003, Kurt Rosenwinkel’s Heartcore has been lauded by listeners and musicians alike for its forward-thinking vision and conception and seamless integration of electronic elements with acoustic jazz interplay

The album features Kurt Rosenwinkel on guitar, electric bass, voice, and synthesizer, Mark Turner on saxophone, Jeff Ballard on drums, Ethan Iverson on piano, and was produced by Q- Tip of A Tribe Called Quest. Much has changed since the early 2000’s- all of the musicians involved with Heartcore have since risen to the forefront of the global contemporary music scene, and the album itself has gained the status of a ‘cult classic’ in many circles. Now, Rosenwinkel and Heartcore Records are releasing an updated version of Heartcore, remixed, remastered and including a bonus track from the original sessions.

This new version of Heartcore promises to be even more spellbinding than the first iteration, and is now released as a top quality Double Vinyl LP in limited production.

Wormrot return with their most stunning work to date! Following on from
2016's critically acclaimed album 'Voices', Wormrot's 4th studio album
'Hiss' is released 24th June 2022 on Earache Records
The Singaporean trio features the same line up as 2016's Voices with Arif
(Vocals) Rasyid (Guitar) and Vijesh (Drums) and is without doubt their most
ambitious and creative work to date. Having already made their mark as one of
Grindcore's biggest names, Wormrot are intent on bringing Grindcore back to the
masses with a sonically stunning record of wildly unhinged and downright feral
noise..

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

It's been a long journey for Romain Bezzina aka Zero Netcost ever since 2002 when he discovered the band that would become his favorite of all time: The British duo Bent through the amazing track "Always" remixed by Ashley Beedle.

Twenty years later, the circle is complete with this compilation of remixes from all his idols including, of course, a beautiful atmospheric/downtempo remix from Bent, a cheeky mega drive mix from Simon Mills (one half of Bent), a chunky sunny remix from the legendary Ashley Beedle, and to complete this nice bunch of guys, a very nice sharp balearic remix from the amazing I:Cube. Enjoy!

Combining power pop and street rock with a sour but raw power, Kiss Disease sign with Svart Records! Kiss Disease’s praised self-titled EP from 2020, together with their fierce performances, sparked a wide interest in the underground circles. Encouraged by the fantastic feedback, the band took a conscious risk and began recording their debut album with no record deal in sight. Soon after hearing about this, Svart Records struck a deal with the band, whose brave blend of power pop, street rock and catchy choruses is only becoming more multifaceted and personal. Kiss Disease’s debut album, titled You Met Me at a Strange Time, is based on the raw and sour force displayed on the garage punk EP from last year. On the other hand, the band wanted to expand their sound to a grander and more versatile direction. The guidelines were sought from the worlds of power pop and protopunk. “The core of our album is formed by a strong group effort. The songs were written both together and by everyone on their own, with the whole band having a say on their final form. This time we took influences from a wider spectrum, and it’s precisely this lack of a clear guideline that made us pursue a more emancipated and personal version of our sound”, says the band’s lead guitarist Alex Stöd. The band’s sound has evolved greatly in the last year. You Met Me at a Strange Time is diverse, fierce, sensitive, and surprising, all at the same time. According to singer/guitarist Ella Laine, an existential transformation of some sort took place amid album’s creation: “For me personally, this album embodies some sort of turning point between adulthood and the craziness of adolescence, a place where you sit up and take notice of first yourself and then the people around you. Difficult and untold situations are squeezed from between the lines in the lyrics, revealing both everything and absolutely nothing.” The first single Season Creep took a while for the song to be born since the band’s style was expanding from straightforward punk songs towards a more melodic expression.

Our story begins in Jerusalem 1980 – Zadik Zecharia – a folk musician whose speciality is the Zorna – a traditional kurdish woodwind instrument – recorded a cassette of kurdish melodies played on Zorna and Dola, a kurdish drum.

The tape was released independently and distributed mainly around the kurdish-jewish community in Israel. Zadik mostly performed at weddings and ha as / celebrations and was also known by the nickname “Iron Lungs”, because of his ability to take only a few pauses for breath during his long gigs.

In 2005, one tape found its way to “Something on the Road” – an underground CD-r Jerusalem based label which reissued the music on CD-r. Overnight, these intense melodies became a cult phenomena in the hipster-ish circles of Jerusalem and beyond. The kurdish melodies could suddenly be heard during dj sets, topping electronic beats, or adding drones to heavy experimental sessions. which later led “Something on the Road’s” founder to initiate a remix compilation with Jerusalem’s nest producers. One of them is your truly, Mule Driver. The remix has became a cult by its own.

Fast forward to present time, a conversation with Legowelt about folk music led Mule Driver to dig an unreleased longer version of this techno remix. As well as ask the mighty Legowelt for his interpretation, that turned out as a killer acid track followed by an EBM – electro belter by Juju (Juju and Jordash) and PRZ (Clone).

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign