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Before he was in Sugar or became the Drive-By Truckers’ producer-of-choice throughout their career,
David Barbe led the Athens, GA trio Mercyland, who made one minor classic with 1989’s No Feet On
the Cowling. The legendary Athens, Ga post-punk band’s sole album originally released in 1989 has
been fully Remixed & Remastered. For this 2023 Reissue, Barbe went back to the master tapes and
was able to remix the album to the robust sound that he intended it to be back in 1989. The "lost
American Underground classic" album now sounds bigger and better than ever. Finding a raw but
tuneful midpoint between British post- punk and American rock & roll, the band never sacrifices
melody for power (or vice versa), adding counterpoint vocals and lyrics that explore the human
experience without falling into obvious clichés.

Baiana (pronounced By-Anna) is the alias of powerhouse Liverpool-born Brazilian jazz artist, Laura Doyle Following on from performances at Love Supreme, the Manchester Jazz festival, world famous jazz clubs The 606 and Pizza Express as well as an unprecedented 12 weeks on the A- list of the Jazz FM playlist, with her breakthrough single "Saudade Samba" Baiana's highly anticipated self- titled debut album is finally here. Produced by the legendary UK Latin percussionist, Snowboy, 'Baiana' features 11 finely crafted songs covering a huge range of Brazilian styles from fiery Sambas to Bossa Nova, Jazz Fusion to Baiao and everything in-between. Singing in both Portuguese and English, Laura evokes a vocal style reminiscent of the great romantic torch singers of the 40's and 50's such as Julie London and Peggy Lee and yet one can clearly also feel the passionate expression of Portuguese Fado and the Brazilian greats such as Elza Soares, Gal Costa and Elis Regina as she sings of love-lost and broken hearts. An unexpected candidate for Brazilian jazz with her Scouse accent and fiery red hair denoting her Irish roots, Laura became enraptured by Brazilian music after living in Rio de Janeiro where she was seconded as "first lady" with the Italian diplomatic service.

After 6 long-awaited years, DEVOURMENT return to form, embodying brutality with their ferocious new album, Obscene Majesty. Featuring drummer Brad Fincher and Ruben Rosas back on vocal duties - a lineup previously only heard on the band's 1999 landmark album Molesting the Decapitated, the pioneers of brutal death metal sharpen their blades once again, and unleash some of the most disgustingly heavy slam ever! Clubbing blows from tracks such as "Cognitive Sedation Butchery", "Narcissistic Paraphilia", and "Dysmorphic Autophagia" see the veterans as imposing and menacing as ever. Buzzsaw guitars shred through limbs against head-caving, hammering drums. Deathly, blood-soaked vocals personify pain and torture. Obscene Majesty is the epitome of uncontrollable destruction from beginning to end, as DEVOURMENT crush through break-neck speeds, deafening ears and melting faces along the way. Honing in on the very elements of gore, death, and mutilation that have crowned the band as kings of the scene for over 24 years, DEVOURMENT force you to bare witness to the Obscene Majesty!

The A side contains the track “Forever”, featuring Nikolaj on melodica duties, who delivers deeply meditational melodies reminiscent of the great Augustus Pablo. This melodica version is performed over the “Always” riddim, sang by Clive Hylton on our previous 7” release (ALDBS7017).

On the B side we find the track “Forever Dub”, a dub version mixed live by Ojah that takes us into a world of modulations that range from the subtle to the extreme.

Hand-stamped and served in a thick custom reversed kraftliner sleeve. Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Melodica by Nik Torp, recorded at Eastcote Studio 4, London.
Mixed by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London.
Mastered by Oscar Pablos at AD Mastering, London, 2022.
Graphic design by Victor Castro.

We’re happy to announce our new 7”, a collaboration between producer Ojah and Jamaican singer Clive Hylton.

The A side contains the track “Always”, featuring Clive Hylton on vocals, who delivers a timeless reggae track. Clive Hylton (a.k.a. Colour Red) is a veteran Jamaican singer who amongst others worked with Lee Perry at Black Ark Studio back in the day.

On the B side we find the track “Always Dub”, a dub version mixed live by Ojah that takes us into a different territory, making the listener appreciate sounds and layers that were half hidden on the vocal version.

We are also releasing a melodica version called “Forever” (ALDBS7018) over this riddim, featuring Nik Torp from The Specials.

Hand-stamped and served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London, U.K.
Vocals and lyrics by Clive Hylton, recorded at Yaad A Fame Studio, Kingston, Jamaica.
Mixed by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, U.K.
Mastered by Oscar Pablos at AD Mastering, London, 2022.
Graphic design by Victor Castro.

all rights reserved

Some of the most unique Italian jungle exotica mambo music you'll hear!
You won't usually find those words together but because this record,
released in the late 50s only on reel to reel tape, was twice produced
layering cultural madness! This gem was originally designed to be a
Francis Bay album of Italian music and Cuban Mambo, until the masters
were sold to producer Kirby Allen who with the help of faux African
tribesman, Chaino, added African style percussion and animal sounds up
the wazoo!
If the much-bandied-about word exotica stands for anything, it stands for
disparate cultures playing well together with others, and Temptation: The
Exotic Sounds of Chaino is a case study in international relations that
could serve as a teacher's guide in how to set up a Model UN
If there's a more quintessential example of the African- Cuban- Italian- SpanishPolynesian- American Songbook as recorded by a Belgian combo, this author is
unaware of such an artifact. - Gaylord Fields (WFMU)

Lab Music 4th record is a solo Ep by Slak with a massive Answer Code Request remix, exploring the world of ambient rooted break-techno with a drum and bass excursion in the remix.

On the A side we find the first two tracks, Reflexion a club oriented break-techno track, combining dark ethereal textures with driving beats and sharp synths. Before Midnight, an elegant yet powerful gem with tribal reminiscences, Roland drums and light pads.

On the B side we have New Horizon, delivering melodic ambient rooted pads and the usual 909 broken beats. Furthermore we have a special drum and bass rooted remix of the same track from Answer Code Request, exploring Idm and d’n’b, combing dreamy moments with strong breakdowns.

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

2023 Repress

Master of the Polish underground, Chino returns to the Pinkman umbrella with a new solo EP on the Mindri sublabel. Following on from his 2021 debut as one half of Radiation 30376, Chino turns up the dystopian dancefloor energy with a 4-tracker of dread-laden apocalyptic funk. A relentless drive of twisted arps weaving their way through thunderous drums, the crazed tension builds and builds and doesn't let up from start to finish. The perfect soundtrack to an ill-fated cinematic getaway drive that leaves you with only one final conclusion: there is no escape.

Laolu makes his Crosstown Rebels debut with ‘Now I See’, combining with Off The Meds frontman Kamohelo Khoaripe across the two-track release. Having emerged via his versatile and dynamic DJ sets for the likes of Circoloco, with releases via labels such as Keinemusik, Innervisions and Anjunadeep, Swiss DJ/producer Laolu has stamped his mark while racking up support from Dixon and Black Coffee. Arriving in fine form, he closes out November with a classy label debut on Damian Lazarus’ renowned Crosstown Rebels as he serves up his latest two-track release ‘Now I See’ - a vibrant and personal release shaped and finalised after a decade following the birth of his daughter.

Spirited and resonant, combining soulful female vocals with organic percussion and sweeping melodies throughout, ‘Now I See’ is a warm and sonorous production set for heartfelt dancefloor moments, while ‘Monday To Sunday’ featuring the impactful vocals of Kamohelo takes a darker path as swirling bass patterns, menacing synths and warped tones merge around the commanding flute for a powerful late night cut.

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

The Brazilian Singer Ed Mottais one of the greats in Jazz / Funk, not onlyin the South American Music-Scene, but world-wide.He has been one of the leading artists at the forefront in Brazil with a hugefollowing in his Home-Country and around the world With his new album "Behind The Tea Chronicles" he embarks on a new musical journey, crossing genres from Jazz to Funk, over to Soul. Having worked with many renowned musicians over the course of his career (Greg Phillinganes, Chucho Valdez, Roy Ayers and many more) he established his own style of creating music with a message. On this latest album Ed Motta is singing in English, telling stories that resonatewhich a broad audience. Recording the rhythm in Brazil, backing vocals in LA -featuring the legendary Paulette McWilliams and Phillip Ingram - strings in Prague and horns in Detroit, he worked with the best musicians he could find to find an astonishing sound, that will be recognised by the audiophile audience as top of the class. Being recorded with the highest standard, Ed Motta made sure to raise the bar once more.

Leatherette’s 2022 debut album Fiesta offered an intense, inspired and individualist take on post-punk, their caustic riffs, fevered saxophone blasts and impassioned vocals revealing the five-piece skilled purveyors of the form.

The group's second album Small Talk, however, is clearly the work of a group ready to take flight in a new direction all their own. As they toured Fiesta across Italy and Europe, Leatherette grew tired of the genre's constrictions and yearned to spread their wings. Small Talk transcends all the group have done before and coins a voice uniquely their own, driven by the same furies that propelled Fiesta, but finding fresh new forms for expression.

The album boasts some of Leatherette's most unabashed pop-songs to date – albeit pop that's deftly twisted, pointedly perverse and ready to explode when you least expect it.

It also contains some of the group's most challenging and uncompromising noise yet, the violent swinging back-and-forth between ugly din and nagging tunefulness a (molotov) cocktail that grows only more addictive with each listen. Where Fiesta saw the group enter the studio with a batch of anthems they'd honed on the road, their approach for Small Talk was very different, leaving the sessions open to moments of on-the-fly invention and sparks of mad genius. The interplay between the five musicians is so much stronger this time around, the group say, a result of the months of touring the band put in following the release of Fiesta.

Living out of rucksacks and spending hours on the motorway in a tour van might not be everyone's idea of a good time, but that's what Leatherette credit with sharpening their intra-group bond, their almost telepathic feel for the sounds that will complement what their bandmates are playing. “We were more free to play and to rearrange, because we knew each other better now,” says guitarist Andrea Gerardi, “and the interplay is more focused on this album as a result.” The sessions for Fiesta were frustrating, Andrea says, because “we were playing the same songs over and over”.

Their approach was radically different for Small Talk, however, which saw the group file into Bronson, a local club where they've often played before, and record the album on the premises. After the sessions, the album was mixed in Bristol by Chris Fullard (Idles) and mastered in Portland at the legendary Telegraph Audio Mastering by Adam Gonsalves. "We recorded live, all playing together at the same time, rather than overdubbing the instruments," says Michele. The process, he says, "made us more coherent, and the songs more spontaneous." "Our strength is live performance," adds Andrea, "so we tried to capture that interplay. Sometimes we made errors, but we didn't care, because it sounded great. This music is our lives - it doesn't need correction. We were free for the two weeks we recorded the album, and the ideas soared in the most amazing way." Indeed they did. The album's see-saw between angular noise and pop coherence is very much its strength, and very much the sonic identity of this singular group

Long-cherished underground stalwart Claus Voigtmann finally serves up his long-awaited new album Life Miles after many years of essential sounds on labels like Assemble and Intermission. He really shows his range here with a record that draws on his experiences of playing around the world in all sorts of different settings.

'Pinfire' and 'Transitory Moments' open up and take you to the heart of fabric, a club he has played so often, while 'North of the Sun' heads off into space on sleek electro rhythms while the likes of 'Abundance' bring cosmic melodic fun to a lively and inventive rhythm. Elsewhere there is the high-speed electro-funk of 'Flight Of Fancy' and the introspective downbeat trip 'Send Love To The Future' making this a varied and vital affair.

Gatefold sleeve / Black vinyl / Limited to 500 copies - Brand new solo release from YES guitar maestro, Steve Howe – Steve explains the concept of the Motif series of releases - The MOTIF idea pulls together my solo guitar writing and performances combining new tunes and refreshed and revisited studio performances of other tunes. My solo guitar tunes combine country picking with classical guitar pieces that have broader influences, jazz, rock, flamenco and folk, they've all been absorbed in my approach to writing and playing. It's 15 years since Volume 1 was released so it's delightful to announce the release of MOTIF Volume Two. Again I present some new tunes and further explore pulling the selection together to present a clear focus on all things 'solo guitar'. I record these myself onto a hard drive and then work on selecting takes and giving the sound some due consideration. Assembling the running order and then the final mastering means it's on to the sleeve information and design. Soon it's a 'wrap' and you're holding it in your hand!

Hidden Sequence have appeared on legendary dub techno label Mosaic in fine form of late and now they land on the Lempuyang imprint with four more serene fusions.

Their Theories of Time EP opens up with the swaggering dub rhythms and bottomless depths of 'Distortion', a cut as heady as they come. 'Travelling,' as the title suggests, has a deeper rolling groove and more movement to it as it snakes through underwater dub caverns. Flip it over for more widescreen and serene explorations of the ocean floor with 'Shift' and mysterious leads of 'Delay' which is a fourth and final frictionless dub dream.

Native Soul Recordings has been around a long old time in dance music terms and now it looks back over some of its finest works with this first in a new series of Best Of comps.

Music writer Harold Heath is first up with 'Slipstream,' an effortless smooth late-night house cut with introspective chords and silky pads bringing real depth.

The Candy Dealers get more lithe and elastic with the spraying bass and jumbled percussive house of 'Train Of Thought' and last of all, Asad Rizvi remixes Jevne's 'Moderize' with a funky little bassline and chord vamps that keep you on edge. A tasteful package of timeless house grooves.

The forever exploring electronical entity of a band, Gusgus, has opened yet a new era in their unique sonic multiverse. With their 12th album, the course is set to a strange mysterious place called DanceOrama. A Rave-Mall in a nostalgic future, DanceOrama is the place to be, where you can experience infinite freedom, genre and gender free. Moving from the pulsating new-wave influenced techno pop of the last album “Mobile Home” (2019), Gusgus emits the vibe of DanceOrama on their new album as an arousing, melody-rich hybrid of 80s/90s parties and raves. The 9- track album is slated for a November 10th release. The release is evenly split up in euphoric fusioned pop anthems and genre-free instrumental journeys.

Gusgus‘ last album “Mobile Home” was the later of twin albums that found the band exploring early 80’s new wave influences and reviving them in the iconic Gusgus soundscape. The highlight on the album was a pulsating techno reggae track called “Higher” that introduced a new member into the band, Margrét Rán, the lead singer of “VÖK”.

Whereas on “Mobile Home”, the concept was stationed in a rural environment of a dystopian side reality, Gusgus now moves to the city. In this city of strange discomforting future omens, DanceOrama stands out as the rave-mall of freedom. Leaving the new wave influences, this album is a strange hybrid of the 80’s and 90’s parties twisted into a genre-free blend of arousing experiences.

The album consists of 5 instrumental tracks and 4 vocal pop songs, ranging from 105-158 bpm and exploring various influences from the 80’s and 90’s and even the 70’s in a strange fusion of techno, trance, italo-disco, house and pop that emits the rawness and innocence of previous decades. The pop songs are quite strictly set as stories related to the mysteries and rumors of DanceOrama. One track in particular will be very exciting for our fans, as it has been a regular final track on our live show since the album “Arabian Horse” in 2011. This is the track “Breaking Down” that was recorded during the album “Mexico” in 2013 with “Earth” and “Högni” on vocals but, due to emotional turmoil, has never been released until now.

Welcome to Masters Series - for people who understand that some things just can't be tamed. (Read: these are scratchy, poppy, and rough recordings from busted acetates. Click the listen tab to preview quality. These are cleaned up as best we can get them - if that's not going to work for you, don't order!)

For the third installment of our Master Series we present This Is Me by Mark Bluford. A heavy slice of early 70s Psychedelic Deep Funk from the Bay Area. Hard to miss the massive wah-wah guitar leads, but the arrangement is pretty complex with piano, bass, and strings backing the earnest vocals.

There are breaks on both sides, parts one and two. The first break is a string break, very unique to a Funk record. But, somehow this fits for a Bay Area Funk record. The break in part two is one of the heaviest drum breaks no one has heard in 50 years.

A very limited special upgrade option for this release: choose to get MS-003 in a one of a kind, hand-painted sleeve by the legendary McBoing Boing. Only 12 completely unique sleeves were hand painted by the man himself, and one of those 12 is staying right here in our HQ. So there are now only 11 out there! (Yes, the vinyl comes with the sleeve.)

Big thanks to Dr. Scott Bulleit for digging this acetate out of a flea market and contributing it to the Preservation Project! This is a sure shot, don't miss out on this limited run!

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the moldy basements from whence they came, we press them in small batches to share with those who love to share.

Reissue number seven for Heels & Souls Recordings sees them look back to the sounds of South Africa’s townships in 1991, cherry picking four of Tashif Kente’s finest cuts from his sought after album A Boy And A Dream, giving them space to breathe on a 12" pressing.

Clearly influenced by the flavours bubbling over from the UK and US in the late ‘80s and early ‘90s, from R&B through to boogie, proto house to new jack swing, Tashif’s productions are a melting pot of ideas and influences, laced with a distinctive South African flavour.

Born in Soweto, Mzwandile ‘Tashif’ Kente, cut his teeth with Harari for a brief period, a group that birthed greats like Condry Ziqubu, Sipho Mabuse and Alec Khaoli, before going solo in 1984 and releasing just one album as Tashif Kente, 1991’s ‘A Boy And A Dream’. An album that speaks of love, lust and longing, produced by Kente and Selwyn Shandel with Marc Rantseli also joining the fold, it has that signature South African synth bass, drum machine and killer keyboard combo of the Bubblegum and Kwaito scenes, topped with Kente’s buttery vocals.

Heels & Souls Recordings take four favourites from the LP and press them loud on either side of a 12”. On the A, the audacious new jack, dancefloor bubbler ‘Tell Him I Became Your Lover’ leads into the lovestruck, boogie-tinged grooves of ‘Somebody’s Got My Love’. Flip it over to find a jealousy jam of the highest order with the synthy soul number ‘Who’s That Boy’, before ‘I Like The Way You Love Me’, a lights down low, R&B flavoured lovesong rounds off the EP.

Licensed from Gallo, who transferred the original ¼ inch tapes for their archives, Heels & Souls have enlisted the expertise of Justin Drake to remaster these South African beauties for a new generation of listeners.

"Join us as we welcome back New York Underground Funk Band with “Funk & Soul”, “Wanna Be Free”, and a previoulsy unreleased EP-bonus track ""By The Time I Get To Phoenix"" from the early 1970s — all a more psychedelic take on their funk sound.

Funk & Soul states, “I’ve got funk and soul...don’t have to worry about a doggone thing” — and we’d have to agree. imagine Sly and the Family Stone getting Jimi Hendrix for a session, then asking him to drop a fuzzed-out guitar solo. You might then end up with “Funk & Soul” — the heaviest, fuzz-driven Sly track you’ve never heard. Though it’s also NYUFB from start to finish.

Now, you’re in the right frame of mind for “Wanna Be Free” — the deep funk B-side that trades out the spirit of Jimi Hendrix for the spirit of Jim Morrison. With all the respect that is due to these greats, NYUFB crafts their own psychedelic sound in this raucous cut that features thunderous drums and alluring interplay between organ and guitar. This was certainly designed to free your mind, and we believe the group succeeds.

The B Side holds a very special treat— dig New York Underground Funk Band’s version of “By the Time I Get to Phoenix,” the Jimmy Webb-penned classic that gets a heavy soul treatment on PP12007. While covered many times, this hyper-syncopated interpretation is a standout with its long rap intro, call-and-response style singing and shimmering vocal harmonies.

These three tracks comprise one of our most exciting releases yet, as that promising band from the New York or New Jersey area further displays their remarkable range. These songs simply cannot remain buried. They’ve finally found their way to you on PP12007, and we hope you’ll get a hold of it while you can."

"Welcome to the first of the Masters Series, a cache of limited releases for people who understand that some things, no matter how hard you try, just can't be tamed. (Read: these are scratchier/rougher recordings that are cleaned up as best we can get them - if that's going to not work for you, don't order!)

Already championed by the likes of Michael Robinson (Dig Deeper, NY) and just entering the collective consciousness of the R&B scene worldwide, this release is a double-sided dancefloor destroyer. Both sides rip with tremendous energy.

Those who know will recognize the name Carl Holmes from well established winners like ""Soul Dance No. 3"" and ""Unchain My Heart"". Here he is with an unreleased song called ""Love With A Feeling"", featuring a raucous drum break with his soulful vocals throughout. Not that the tune needs a pedigree, but things like that never hurt.

On the flip is an unknown funky Soul R&B bomb ""Some Of These Days"". This female led tune is perfect for either a Northern Soul or R&B party.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the dusty basements from whence they came, we press them in small batches to share with those who love to share."

Welcome to Masters Series - for people who understand that some things just can't be tamed. (Read: these are scratchy, poppy, and rough recordings from busted acetates. Click the listen tab to preview quality. These are cleaned up as best we can get them - if that's not going to work for you, don't order!)

For this limited edition Masters Series release, we enlisted the help of two of the world's heaviest collectors and djs, and champions of the Preservation Project from day one, Supreme la Rock on Side-A, and Skeme Richards on the B-Side.

Both gentlemen tackled reworking and re-editing funky previously unreleased psych songs. Both songs, "Sad Country Boy" on Side A and "Your Mind" on Side B, are by unknown groups and both feature drum breaks intros - perfect for you to cut up, so you're gonna need two copies. We won't be mad at you if you feed the breaks and chop them up either. This one is for the heads.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the moldy basements from whence they came, we press them up to share with those who love to share.

"Join us as we welcome back New York Underground Funk Band with two more unreleased funk tracks from the early 1970s, “Funk & Soul” and “Wanna Be Free” — a more psychedelic take on their funk sound.

Funk & Soul states, “I’ve got funk and soul...don’t have to worry about a doggone thing” — and we’d have to agree. Yet another excellent track from NYUFB, though a little more psyched-out this time: imagine Sly and the Family Stone getting Jimi Hendrix for a session, then asking him to drop a fuzzed-out guitar solo. You might then end up with “Funk & Soul” — the heaviest, fuzz-driven Sly track you’ve never heard. Though it’s also NYUFB from start to finish.

Now that you’re in the right frame of mind from side A, you’re ready for “Wanna Be Free” — the deep funk B-side that trades out the spirit of Jimi Hendrix for the spirit of Jim Morrison. With all the respect that is due to these greats, NYUFB crafts their own psychedelic sound in this raucous cut that features thunderous drums and alluring interplay between organ and guitar. This was certainly designed to free your mind, and we believe the group succeeds.

These two tracks comprise one of our most exciting releases yet, as that promising band from the New York or New Jersey area further displays their remarkable range. These songs simply cannot remain buried. They’ve finally found their way to you on PP007, and we hope you’ll get a hold of it while you can."

'Of No Fixed Abode' gathers fragmented recordings by the Madrid duo of Pablo Mirón and Juan Vacas, the multi-disciplinary artists behind the collective Real No Real (realnoreal.org) and Ediciones Fontenebro label. Working with field recordings, found materials, instruments such as Violin and Harmonica and by manipulating old radios, turntables and reel to reels the pair have been performing across the world of late taking their collage style process with them. 'Of No Fixed Abode' uses cross-continental sound diaries from the 2019-2022 period and has been central to shows at venues and festivals around Europe and South America.

Contributing to the wider field of post-fluxus 'broken music', the duality of natural sound and decaying, processed tape loops along with gentle instrumentation across the record follows in the footsteps of the Dieter Roth school, Anne Gillis, Leyland Kirby or Henry Krutzen yet is anchored in a charming restraint in which each element seems to fall into place perfectly. Miradasvacas have a long history with presenting experimental music through shows on Madrid's Radio Relativa, concerts and gatherings across the city and self-published mixtapes and sound art, though debut here on 12th Isle with their first proper album. Far-flung gallery sonics at their finest.

Repress!

In the last few years we’ve seen French DJ and producer Laroye delivering the goods time after time on respected labels such as Atjazz Recordings, Compost, Makin Moves and Foliage. His latest LP just released on Local Talk has been getting big support picking up plays on Radio 1, 6Music, Worldwide FM as well as spins from Natasha Diggs, Gilles Peterson, Craig Charles, Louie Vega, Honey Dijon to name a few. Freerange is proud to welcome him back for the follow up to 2020’s release Be The Change, presenting you with a killer 4 track EP entitled Uku Dance.

Leading the charge, Laroye is joined by influential Detroit artist, DJ, producer and vocalist Javonntte who has written and recorded a brilliant vocal for a track entitled First Sight. Laroye’s fat beats, jazzy chords and soulful touch make the perfect production for Javonntte’s vocals.

Up next we have the Percussive Dub mix of Uku Dance in which Laroye strips things back to the bare bones making for a serious percussion tool work out to spice up your sets.

On Uku Dance a bass-heavy groove is punctuated with vocal chops and deep Rhodes part which adds a moody, late night touch. Just the kind of soulful, dubby, afro track that will get the house dancers throwing down like their lives depended on it!

Closing out the release you’ll find an instrumental version of First Sight.

A vivid portrayal of Zaltsman’s direction, My Luv delivers 4 hard hitting club tracks, with rhythmic percussion and heavy basslines throughout. ‘The hook’ remaining a staple of this release, the tracks are all equally useful in peak time club scenarios as they are for after-hours listening.

The stripped back, bouncy ‘Moving’ features the vocals of London based poet and musician, James Massiah. An eerie synth runs throughout, complimentary to the vocals and choppy drums. The lead track, 'My Luv', is an out and out club-weapon. Chopped up vocals and a deep dark sub bass. This has seen a Summer of being deployed by some of the best DJs in the scene, taking advantage of its ‘obnoxiously long’ breakdown, before descending into chaos.

Complimenting these two tracks, 'Page 365' is a more sensitive body of music, engaging listeners with a strong bassline hook, before progressing into a more heavy hitting club track, with a large focus on groove, taking influence from the UK Funky scene. Finally, the most club-driven track from the record. 'Flatspot' is dominated by its forceful bassline and rolling percussion. This is out and out designed for peak-hour fun.


Early DJ Support:
Moxie, Saoirse, Louise Chen, Leon Vynehall, Ben UFO, Parris, Moopie, D.Tiffany, re:ni, Amaliah, Stenny

Eight years following their debut LP “Charnel Passages” (one of the most anticipated death metal debuts of current death metal cannon), US-via-UK abyssic death metal contingent CRUCIAMENTUM have finally emerged with their sophomore masterwork “Obsidian Refractions” set for release on Nov 24.

Now more commanding than ever with a formidable new lineup, “Obsidian Refractions” sees CRUCIAMENTUM deliver their most advanced and overpowering work yet. Taking everything in the band’s death metal paradigm to the next sonic measure beyond anything they have previously released, “Obsidian Refractions” combines the very essence and aesthetic of ancient cult death metal while encapsulating the dynamic, complex, next-level affectations relevant in today’s death metal landscape. The result being “Obsidian Refractions” as a towering death metal monument unparalleled.

As the warehouse-rave season approaches, it’s perfect timing for Shadow Child & Mark Archer to make their collaborative debut on Food Music with a special release that includes 2 vinyl only exclusives that saw a digital release on DJ Haus’ Dance Trax label earlier in 2023. Adding to these is a brand new slice of big-room Techno in the form of ‘Chinwah (Big DJs)’, which will no doubt be pounding its way out of the worlds cooler parties in the coming months with a controversial spoken-word message to boot.

DJ Support:

Horse Meat Disco, Doc Scott, Josh Wink, Pangaea, Joyce Muniz, Benjamin Damage, KE (Kid Enigma), Yung Singh, Anja Schneider (Club Room), Pinch, Tom Findlay (Groove Armada), Elle Clark, Joshua James, Monty Luke, Adam Beyer, Otik, Tom Ravenscroft, Nightwave + Martyn Bootyspoon, Violet, TEED, Addison Groove, Mad Miran, Emerald, Dusky

Much has been written about Young Marble Giants' small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG's minimalism into a new sound. This Is Love, Public Girls and Fool For A Valentine showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, Carnival Headache, when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written - and Love At First Sight became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist's 2018's release Holding Pattern - unexpected and then quickly followed by YMG singer Alison Statton's first new album with her accompanist Spike in two decades, adding fuel to public interest. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960's studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognised names such as Bones Howe and Roy Halee. Tidy Away is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. Fighting To Lose, written with producer Ken Brake, would pass as a worthy b-side to Bridge Over Troubled Water, and although the songs are otherwise Stuart's, Louis fans will delight at several, like Love Hangover and Sky Over Water, which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth was - its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

Since 1983, Justin K. Broadrick (Godflesh, Jesu, Council Estate Electronics, The Sidewinder, etc.) has been producing largely solo, but sometimes collaborative, work under the Final moniker. Beginning as a more obviously power electronics-inspired project it has during the past two decades or so evolved into one which still retains that sonic intensity but has a more expansive sound. I Am the Dirt Under Your Fingernails is the latest album, closely following It Comes to Us All on Alter in July 2022 and the now mostly o/p CD version already released in October 2022. Comprising nine tracks each named and numbered after the album’s title, IATDUYF violently pushes us through a murky world of suffocating textures, crepuscular guitars, serrated noise and what appear to be random bursts of sawmill grind which together create the perfect backdrop to today’s newscape. This is a relentless sound that’s absolutely unforgiving as it hammers home anger and despair with little respite, illustrating very clearly that JK Broadrick has been one of the very few to contort the uncompromising approach of early power electronics into wholly new and contemporary forms rife with greater possibilities.

TERMS is responsible for signing Just Waxx's first release, 3 tracks ranging from electro techno, acid house and deep techno accompanied by a remix of the Berlin-based duo Omega Men.

On side A we find ‘Collateral Damage’, a direct cut with sweeping bass and 909 rhythms: pure energy for demanding clubs. ‘Always with Cream’ is slower and calmer, transporting us to a warm passage with chords and melodies typical of the Balearic sound.

Opening side B, Omega Men remixes 'Always With cream’ giving it a more gelid touch. In it, toms and snares merge with acid sequences, creating a sense of speed and claustrophobia. On ‘Cosmic Energy’, the track that closes the album we find basses and syntheses combined with vocals and a main pad, bringing colours and textures close to the classic Detroit sound.

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP.

Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here.

The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix.

The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman.

While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out.

'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'.

Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

RIYL: Cardopusher, Bochum Welt, Cygnus, D'Arcangelo

Parallel Minds’ fifth label release is a major landmark for the Toronto-based label. Not only is it their first full length LP, it is also the debut album from co-founder Ciel, who is also making her first solo appearance on the label since its inception.

In 2021, spurred on by a productive creative streak and the economic austerity of pandemic lockdowns, the Xi’an-born and Toronto-based DJ Ciel (real name Cindy Li) applied for grant funding from the government of Canada to write her debut album. Self-proclaimed “DJ first, producer second”, Ciel never thought she would have the self-confidence and desire to write an album. It wasn’t until after spending prolonged time away from clubs & festivals whilst dedicating herself to daily sessions in her studio that she gained the motivation and aspiration to make a musical statement that only an album could express.

Since the start of the covid19 outbreak, Ciel, like many other Chinese diaspora people in the West, had felt a great deal of anxiety and pain at the rise of anti-Chinese sentiment and racism in the media — even in her corner of the dance music industry. Tired of expressing her frustrations fruitlessly online, she felt inspired to channel that into her music, to turn something that was filled with hate into a thing of joy and beauty. It was within this context that Homesick began to take shape.

After researching the rich history of Chinese instruments, a concept began to form around the album in which she could marry her love of sampling and analogue instruments. Using the eight types of traditional Chinese instruments (silk, bamboo, wood, stone, metal, clay, gourd, and hide) as a guideline, Li began writing each track with a focus on one of the eight. She hired traditional Chinese instrumentalists to play the guzheng and the xiao, whilst purchasing and teaching herself the smaller hand drum instruments like the kuaiban (bamboo clappers), and muyu (temple blocks). With the news that she had successfully been granted funding from Canada Arts Council, she wrote, recorded, arranged, and mixed all nine tracks of her album over the first three months of 2022. More than just highlighting Chinese instruments, the music on this album encapsulates so many musical influences from Ciel’s childhood when she began her lifelong love affair with music. True to her style as a DJ, the LP incorporates a diversity of genres she loves, from drum & bass to house, electro to breaks - even downtempo.

What has come out of these sessions is a deeply personal dancefloor record, a true expression of love for Cindy’s culture that came out of a time of relentless chaos, negativity, and uncertainty. Ciel sees her compositions as a distillation of herself — her life experiences, her wide interests and passions, and her often-turbulent emotions. Immersing oneself in the LP feels like listening to the musical confessions of an artist heading towards the peak of their career, who is finally starting to make sense of her artistic identity. What a joy to witness it.
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Gloam is the highly anticipated sophomore album from alternative folk band MAYBEL. Similar characteristics from their debut, Gathering, are carried forward: elegant harmonies, soft instrumentals and a shared optimism coupled with a wide open vulnerability. The songs still echo the intimacy, warmth and closeness of their relationships, yet the band has matured. MAYBEL's evolution shines through with ambitious compositions, thoughtful songwriting, and a deeper understanding of themselves as the album’s themes pierce with growing pains, anxieties and hopes for change. It’s a record about movement and stopping; the ongoing act of coming apart and coming together. Gloam is for listening in your bedroom or in transit, missing friends, on your way to see them. It holds an optimism that rings clear yet nestles and dwells in a brooding, muddy darkness - placing it firmly in the illustrious Canadian folk canon. This is the first album for which all four members (Fez Gielen, Ali Hendra, Loris Kecaj and Lauren Spear) wrote songs. For the most part, they were written during the pandemic separately and then shared in the upstairs living room where Lauren, Ali and Loris used to live together. The result is a shared diary on love, grief and moving on. The band's ability to effortlessly blend traditional folk elements with modern production techniques is reminiscent of the collaborations between Emmylou Harris and Daniel Lanois. Just as Harris and Lanois brought a fresh perspective to country music, MAYBEL embraces experimentation in their sound without compromising the warmth and intimacy inherent to folk music. As with their debut Gathering, MAYBEL recorded Gloam with producer/engineer Jonas Bonnetta at Port William Sound in Mountain Grove, Ontario. Resonating with a sound borne of the studio’s deeply intimate rural environs it is no wonder the band chose to return. Here they were joined by Eliza Niemi on bass/cello, Caylie Runciman on bass/drums with Jonas adding synths and percussion. Gloam is an old Scottish word for twilight. It appears like a fantasy between the day and night, a time seemingly frozen, drifting, or ignored all together. Gloam is the mood and time within which the album takes place. MAYBEL describes it as being: “In transition, between sleeping and waking—a quiet underworld where one is alone with their thoughts, in true presence with the in-between.” The final track on the album, “For Nothing”, captures something of the album’s twilight hope. It begins with lilting solos and gracefully builds in energy and color. MAYBEL sings to its listeners, “All that work for nothing” with a buoyancy and radiance that chimes against the lyrics. They repeat: “All that work for nothing”. For all of the band, the last few years have resulted in significant change and stress. Yet they continue to try, through their music, to will themselves towards optimism. They ask for you to marvel with them at the charming and terrifying possibility of life. They harmonize again, not despairingly, but almost ecstatically “All that work for nothing!”

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Limited edition 30th anniversary splatter vinyl edition. Dinosaur Jr’s most successful and critically acclaimed album. A Classic from grunge icon J Mascis. Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records.

‘Where You Been’, their fifth record, emerged in 1993, at the height of enthusiasm for grunge and the alternative American rock scene the band had long been part of. Produced by a new line-up of the group (longtime drummer Murph and new bassist Mike Johnson completing the three-piece), the album became the band’s most successful up to that point, reaching #50 in the US (where it sold over a quarter of a million copies) and #10 in the UK album charts, and spawning the hit single ‘Start Choppin’. Released to unanimously positive reviews, and containing many tracks that would become staples and fan favourites.

The Kotiomkin band was born from a great passion for 60s-70s-80s Italian genre cinema, a series of movies characterized by aesthetically innovative approach, in complete opposition to the mainstream and to more or less politicized intellectual cinema of the time The duo are devoted to the creation of instrumental soundtracks for non-existent movies, with invented plots featured in the liner notes, having as a reference the classic soundtracks of the time but revisiting them with the violence of the most modern stoner, pushing the boundaries of doom. It is the rediscovery of a never really finished cinematic world that is also celebrated in terms of its extraordinary soundtracks by musicians such as the masters Ennio Morricone, Nico Fidenco, Fabio Frizzi, Franco Micalizzi, Berto Pisano, Lallo Gori, up to bands such as Goblin, Osanna, Libra, Marc 4 and many others. Kotiomkin not only look at horror movies but also at those more niche genres, ranging from erotic, to "giallo", to "poliziottesco" and more extreme subgenres such as cannibal movies, "mondo" movies or sexploitation, all with a violence of sounds unknown to Italian B-movies.