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EELS release their fourteenth studio album, ‘Extreme
Witchcraft’, via PIAS and the band’s own E Works
Records.
 EELS leader Mark Oliver Everett, aka E, co-produced the
record with PJ Harvey producer and guitarist John Parish,
marking the first time the two have recorded together since
2001’s ‘Souljacker’ album.
 EELS have had one of the most consistently acclaimed
careers in music. The ever-changing project of principal
singer / songwriter E (Mark Oliver Everett), EELS have
released 13 studio albums since their 1996 debut,
‘Beautiful Freak’. In 2008, E published his highly acclaimed
book ‘Things the Grandchildren Should Know’ and starred
in the award-winning ‘Parallel Worlds, Parallel Lives’
documentary about the search to understand his quantum
physicist father, Hugh Everett III. 2020’s ‘Earth To Dora’
album, received extensive critical praise, and was
described as “their sweetest natured album ever” by The
Independent and awarded four stars in MOJO and NME.
 Deluxe box set features 45rpm 180g translucent yellow
double vinyl LP in heavy cardboard packaging, lenticular
print, custom EELS Ouija board, CD with booklet and an
A5 sticker sheet.
 Single LP format pressed on 180g vinyl with screen printed
poster and digital download.
 Tourdates - March 11 Telegraph Building Belfast, 12 Olympia
Theatre Dublin, 14 Roundhouse London, 15 Albert Hall
Manchester, 16 Barrowland Glasgow, 17 Rock City Nottingham,
18 O2 Guildhall Southampton.

Introducing Jackson + Sellers and their debut album Breaking Point, on ANTI records. Jade Jackson and Aubrie Sellers, two rising stars who aligned during the pandemic to write one of the most compelling duo albums of the last decade. Drawn together by instant chemistry, cosmic forces and their ability to write intuitive romantic breakup songs for each other, their album is a window into the dissolution of two different relationships and the formation of another: a perfect, platonic, creative union. United in their desire to write a record that reflected their expansive musical interest from 70s rock to raucous roots to indie pop, their LA written, Nashville recorded album is a masterclass in unexpected vocal har?monic convergence. With Breaking Point, Jackson + Sellers will establish themselves as two individual artists who together, share a deep friendship, musical kinship and the ability to craft tight singular pop rock songs that will embed themselves in your ears for the rest of time.

Capitalising on a defining year where PET NEEDS released their debut album ‘Fractured Party Music’, spent a summer playing outdoor gigs with fellow Xtra Mile artists as part of The Gatherings and recorded new music, the four-piece from Colchester step up a gear with huge plans for 2022. First up is the release of a deluxe edition of Fractured Party Music featuring 4 extra tracks including the new single ‘Punk Isn’t Dead (It’s Just Up For Sale)’. The album and single is out digitally on 14th January 2022. A few days later the band set out on a vast UK tour supporting Frank Turner – playing potentially to over 20K people – which culminates on 27th Feb at London Brixton. ‘Punk Isn’t Dead…’ has become a live favourite and has been rerecorded with that added live energy with Sam Duckworth (Get Cape. Wear Cape. Fly) producing. Playlists to pitch for: Spotify: The Punk List The Pit Feel Good Rock Pure Pop Punk Pop Punk’s Not Dead All New Punk Apple: New In Rock Breaking Hard Rock Pop Punk YouTube: New Rock Deezer: Punk Rock Other plans for 2022 include further far-reaching tours supporting Frank Turner across Europe and USA (dates for US tour to be announced), dates supporting Skinny Lister in Germany, their own headline shows and summer festivals. Below is the campaign overview for 'Fractured Party Music' standard format, released in March 2021.

• This slice of Louisiana deep Southern soul has taken on a life of its own since Dave Godin included it on his first “Deep Soul Treasures” CD, and the single has shot up to well over three figures in value.

• In 2021 the song is the subject of a cover version by the-name-to-drop Lady Blackbird and we felt it was about time that it was reissued in its original format.

"""Riding SCORCHING hot on the heels of their recent self-titled debut, fans could be forgiven for expecting more of the same from Champyun Clouds’ second long player of
2021. A hodgepodge of cutting-room-floor-fodder and experiments that would’ve been b-sides or Japan-exclusive CD bonus tracks in those halcyon days of physical formats’ golden ages is not what we’re getting. Let’s save those for a deluxe anniversary reissue
one day. Nah - sheer, unabashed creativity fuels this album; and weirdly enough, they’ve managed to branch out in interesting ways while also creating an album that is more immediate and banger-centric. Although Nail’s eclectic psych-lounge tendencies and
Asa’s irreverent poetry and broad Nottingham lilt remain the key touchstones of CC’s sound, opener “Check For Silt”s rough drum’n’bass beats offer an immediate and clear sonic progression for the Nottingham duo. The LP ultimately plays a bit like a haunted
jukebox in outer space - with elements of dub, britpop, early house, trippy, blissed-out sunshine pop (reminiscent of mid-90s His Name Is Alive at their most Beach Boys-aping), William Orbit-esque 90s psych-pop electronica, distorted glam rock shuffles and
garage-y funk. There’s a particularly great moment of sequencing at the end of the first half where I got lulled into a state of near-euphoria with the Air-like “The Flowered Crown” before getting slapped ‘round the face by “I’m Not Right For You”, which sounds
like Nile Rogers producing a demo for Sheila & B. Devotion, except he recorded it at the bottom of a well. Sophomore slump? Never heard of him, mate."""

From his early days in 90s collective KMD to his reinvention as a masked supervillain leading the indie hip-hop revolution, MF DOOM has consistently pushed the boundaries of hip-hop in new and unexpected directions. While DOOM's lyrical genius is well documented, he has quietly become an important figure behind the boards as well. DOOM has always produced his own music, and in the early 2000s he released the acclaimed ten-part Special Herbs instrumental series, introducing the world to the dusty, lo-fi loops that define his production aesthetic. In the years since, DOOM has supplied soundscapes for Ghostface Killah's classic Fishscale album, produced an entire album for Masta Ace, and witnessed a new generation of emcees (including Joey Bada$$, Capital STEEZ, and Bishop Nehru) using Special Herbs beats on their breakthrough mixtapes. Now, the villain is putting the spotlight back on his production with the official vinyl release of Special Blends, Vol. 1 & 2. Originally self-released in extremely limited quantities back in 2004, Special Blends Vol. 1 & 2 pairs vintage DOOM-produced Special Herbs instrumentals with classic hip-hop and R&B vocals. Mixed by DOOM himself, this collection incorporates vocals from a wide range of iconic records. Special Blends Vol. 1 & 2 is available in standard 2XLP vinyl format, as well as a deluxe version inside a custom-printed burlap bag.

Red Vinyl

Deka is the name under which we celebrate the tenth album released in the last six years of Sin Hilo. This time in vinyl format and with a compilation of the styles that unite us most: IDM, electro and rhythms taken directly from the dancefloor.

Seven unique tracks from some of our most special artists. Sölna, Atico Corp., Sound Synthesis, Not On Earth and Frank Jhonson join our family with sounds ranging from the smoothest electro to the most "macarras" beats. And once again, Promising Youngster and Jailed Jamie (aka Skygaze) are with us with their signature IDM.

Finally! "Hidden In Eternity" and "Eraser III" are put to the perfect format and classed up nicely by some of the finest design work Ryan Tong has ever done. Taking the path of 2018's bulldozing "What Do You Stand For?" LP, S.H.I.T. cranked out 2 perfect tracks of hyped-up hardcore bombfall with the signature snarl that you've come to know and love. Perfect music. Written and performed by S.H.I.T. Recorded by Dylan Frankland at Palace Studios. Mixing and additional recording by Jonah Falco. Mastered by Arthur Rizk. Artwork by Ryan Tong. European version available through La Vida Es Un Mus. North American version available through Iron Lung Records.

Having produced the Emskee – Wall To Wall 12” released early 2021, AE boss Mr Fantastic is back with another slab of essential Hip Hop made without pretence or adhering to modern trends – in others words, how it used to be. Featuring Teekay of Dragon Fli Empire, hailing from Calgary, Canada, ‘Breakdown’ is a stand-alone single with no plans as being part of any album release right now and comes with the Instrumental version on the flip. Pressed on black vinyl and supplied in full colour card sleeve, as is the standard high-quality packaging from AE Productions.

Although only being acquainted via the internet, Mr Fantastic and Teekay have mutual admiration for each other’s work which lead to this collaboration. This funky 45 features crisp drums and disco funk samples that have been chopped into that good old Hip Hop. The beat has a reasonably sparse stabbing feel with subtle wah-wah guitar between the stabs which bounces along not just at a perfect tempo for DJ’s but also sonically perfect for a big sound system, hence this track being picked for a single release and packs that punch that sounds best played loud. No moody introspective thing here, this is crowd rocking Hip Hop.

Teekay’s rhymes flow over the beat like it is 2nd nature to him because, well, it is 2nd nature to him, and is further evidence of why his group Dragon Fli Empire alongside DJ Cosm, have been able to maintain a steady string of superb releases going all the way back to 2002 and have toured Canada, USA and Europe. The chorus features Mr Fantastic’s turntable skills backing up Teekay’s vocal giving a nicely conceived and executed song structure with a little help from 2 of Soul and Funk’s legends.

The artwork for this one was hand painted by Bristol graffiti heavyweight Turroe who favoured a nod to comic book covers for the theme which was then scanned and arranged into the sleeve format with courtesy of AE artwork regular Nick Pointon of Fine Print.

Die 2007 gegründete deutsche Heavy-Metal-Formation KISSIN DYNAMITE hat sich mehr als nur einen
Namen in der Szene gemacht: Mit sechs Studioalben und diversen Chart Erfolgen (#7 in den GERAlbumcharts mit dem 2018er Full-Length Ecstasy) etablierte die Band ihren Trademark-Stil - geprägt
von modernen Sounds, wuchtigen Hymnen und eingängigen Hooks, gepaart mit 80er-Jahre-StadionrockAttitüde und einem außergewöhnlichen Look. Nun steht die Kombo in den Startlöchern bereit, ihr Napalm
Records-Debüt Not The End Of The Road zu veröffentlichen und mit 12 kraftvollen Tracks den Weg des
Metal im Jahr 2022 zu ebnen.
Produziert, aufgenommen und gemischt wurde das neue Studioalbum von Sänger Hannes Braun selbst, der
auch schon mit Bands wie SANTIANO, THE KELLY FAMILY oder BEYOND THE BLACK gearbeitet hat.
Das Mastering übernahm Jacob Hansen in den Hansen Studios, der Grammy Award nominierte Produzent
ist bekannt für seine Arbeit mit Bands wie VOLBEAT und vielen mehr.

This release is a special one; a moment where the two halves of the Mr Bongo record label unite, our heritage re-issues and our contemporary artists roster.

Minoru Muraoka’s 'The Positive and the Negative’ is a firm favourite at Mr Bongo. It sees a master of the shakuhachi, a traditional bamboo Japanese flute, flex his prodigious skill resulting in a unique mix of breakbeat jazz and Japanese folkloric music. 'The Positive and the Negative’ featured on the 1970 'Bamboo’ album, which Mr Bongo reissued in 2019. Heralded by DJ Shadow, Cut Chemist, Egon, and many others. The record’s cult status had us thinking how could we pay further homage to a sublime track such as this. The opportunity came to us in an email from Melbourne’s Surprise Chef with a link to the fabulous reinterpretation of the track which they had just recorded.

"Minoru Muraoka’s ‘Bamboo’ LP has long been a fixture in our record bags, mostly for the killer shakuhachi funk cut The Positive and The Negative. The record is possibly our favourite from Mr Bongo’s extensive catalogue of reissues, and certainly the most influential to Surprise Chef; The Positive and the Negative’s cinematic atmosphere paired with the wonky drum feels and dramatic performance makes it a near-perfect amalgamation of what we try to capture on Surprise Chef records. We’ve borrowed an element or two from the tune over the last few albums (such as the percussion on ‘The Limp’), so it felt right to go head first into reinterpreting the entire track for ourselves. We recorded the tune in Karate Boogaloo’s attic studio with our man Henry Jenkins at the controls and Hudson Whitlock on percussion. We spent an entire day trying to get the take; we felt such a deep responsibility to capture the intensity of the original, we must have done 20 or 30 takes before we were finally happy. We stuck a fork in it late into the night, satisfied that we’d had our best crack at paying homage to a masterpiece by the great Minoru Muraoka.” - Surprise Chef

Forged in their signature sound, "The Chef" have made 'The Positive and the Negative' their own whilst simultaneously treating the original with utmost respect. The shakuhachi and koto have been replaced by synths and guitars, but the breakbeat psychedelic vein flows richly through both instruments

The 7" vinyl format was the right fit for this release, so the original Minoru Muraoka recording which clocks in over nine minutes has been edited into a 7” version to accompany Surprise Chef’s new take.

Grace Cummings is an actor and musician from Melbourne, Australia. Grace
learned piano as a child and took up the guitar as a young adult, but only
began to write and perform music in 2018. She went from a debut gig at
Melbourne’s Old Bar to a breakthrough performance at Boogie Festival in the
space of six months, picking up support slots with J Mascis and Evan Dando
along the way.
 With buzz building around her powerhouse live show, Grace grabbed the
attention of Flightless Records (King Gizzard and The Lizard Wizard), who
released her debut album, ‘Refuge Cove’, in late 2019. Refuge Cove won
praise from publications around the world, including Pitchfork and All Music,
and Grace was tapped for support slots with Weyes Blood, Cash Savage,
Teskey Brothers and Allah-Lahs.
 In 2020, Grace recorded the single ‘Sweet Matilda’ for Mexican Summer’s
‘Through the Looking Glass’ series before landing a worldwide deal with
indie powerhouse ATO Records (Alabama Shakes, My Morning Jacket, King
Gizzard and the Lizard Wizard). Her sophomore album, ‘Storm Queen’, is
now set for release.
 Available on CD and opaque white vinyl. (Once the coloured vinyl format has
sold out, a standard vinyl format - ATO0589LP - will be made available.)
 A graduate of the drama program at the Victorian College of the Arts, Grace
appeared in Elbow Room’s award-winning production ‘Prehistoric’, which
played to packed houses and widespread critical acclaim at the 2018
Edinburgh Fringe. In 2021, she made her debut with the Melbourne Theatre
Company in 2021, in Joanna Murray-Smith’s ‘Berlin’.
 “Cummings isn’t content to merely sing along to her melodies. She tears her
low, surging voice to shreds, braying like she’s beckoning you from the
opposite end of a crowded room. It adds an eerie, intense quality to her
music - a desperation behind the calm of her arrangements.” - Pitchfork
 “One of Melbourne’s hottest new talents... filled with raw power.” - Beat
Magazine
 “Cummings has a voice that demands to be heard, while her lyrics cut
through to the heart, leaving listeners gasping for air.” - Folk Radio UK
 “Like a combination of Sandy Denny, Odetta, Tom Waits, Leonard Cohen
and Marianne Faithfull... as the last piano chord ends, you are left wanting
more.” - Your Music Radar
 “There’s a striking androgyny in her tone, it brings the power needed for
these songs to make you stop and listen...Her wit is very sharp and it bites
back with cunning rhetoric.” - Stomp and Stammer
 “Take notice of Cummings as a fresh new Australian talent.” - X-Press Mag

A mandatory disc for those who loved Europe and Fair Warning, but highly recommended for those who love good music of those years.“ METAL HAMMER (IT), Andrea Lami „OUT OF THIS WORLD has it all. An album and musicians who will give you total happiness!“ METAL INTEGRAL (F), Laudrome „This album was just sheer enjoyment from start to finish“ METAL TEMPLE (ISR), Will Travers "1988 saw the release of Swedish hard rock superstars EUROPE‘s fourth album entitled “Out Of This World”, which has sold over 3 million units to date and contains hits such as “Open Your Heart”, “Superstitious” and “Let The Good Times Rock” . Ex-EUROPE guitarist Kee Marcello intends to tie in with that era’s style with his new formation that he recruited the perfect companion for: FAIR WARNING-vocalist Tommy Heart. Their self-titled debut album was mixed by Ron Nevison (KISS, OZZY OSBOURNE), who had also refined the aforementioned EUROPE classics in 1988. So they connected all of the obvious dots, with a neverending list of renowened musicians joining in on the recordings. Don Airey (DEEP PURPLE) contributed the keyboards on four songs, while the rhythm section is complemented by Darby Todd (GARY MOORE, THE DARKNESS) and Ken Sandin (ALIEN). Every track of their debut work deserves undivided attention, be it the anthemic “Twilight”, the gripping “Lightning Up My Dark”, the timeless “Warrior” or the amazing ballad “Only You Can Teach Me How To Love Again”. This epic piece makes melodic rock dreams come true and sounds modern while traditional at the same time. Kee Marcello is a genius in his field and carries that certain something in his blood, so wonderfully and emotionally implented by Tommy Heart‘s vocals. OUT OF THIS WORLD is the new star in Melodic Rock heaven, a liaison that has yet a lot left in store. "

At 52-minutes, “Moonflowers” is an eight-song affair that drives deep into the heart of Swallow The Sun main songwriter Juha Raivio’s disconsolate soul. From the dramatic “Enemy” and the grim “This House Has No Home” to the delicate “Moonflowers Bloom in Misery” and the beauteous “The Fight of Your Life,” “Moonflowers” is as rewarding and dynamic as it is accomplished and intimate. That it features Cammie Gilbert (Oceans of Slumber), Antti Hyyrynen (Stam1na), and Trio NOX—who perform a re-arranged classical version of “Moonflowers” in a Finnish church, which comes as a bonus album to some of the album formats—are more reasons to hold Swallow the Sun’s latest leap into the unknown in the highest regard. Available as Ltd. Deluxe “Blue Blood Edition” 3LP+2CD & Art Print Box Set, Ltd. 2CD Mediabook, Gatefold 2LP+CD and digital album.

Stroboscopic Artefacts is releasing its latest addition to the forward leaning edge of electronic music with the Totem series. Unfurling as a chain of transparent 10' vinyl, each of the Totem releases will have a subtly divergent take on the aesthetic space defined by techno and club culture. Totem continues investigations previously established by Stroboscopic Artefacts, namely the relation between sound and material object, spatiotemporality and the architecture of music. The series aims to collapse the artist, their intention and resonance with the public into one object, an artifact of beauty and functionality, the emblemized transparent 10-inch. In choosing a less common format for the Totem series, Stroboscopic Artefacts aims to reinforce the cognition that each of these pressings is a unique object, carrying a message that will develop as the record's existence moves through space and time

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

The seventh album, The Night Before, by the Belgian band Hooverphonic was originally released in 2010 and marked a new period in their existence. Singer Geike Arnaert left the band and was replaced by Noémie Wolfs. The new formation worked out well, since the album went platinum in Belgium. The two singles “The Night Before” and “Anger Never Dies” entered the top five of the Flemish single chart.

The Night Before is available on black vinyl.

‘Hex’ is the eighth studio album of Spanish post-rock outfit TOUNDRA. Like many bands all across the globe, 2020 forced a new and unexpected reality upon the Madrid natives, who found their touring plans cut short due to the pandemic and would begin shifting their focus towards recording new material under unusual circumstances. Frequently traveling between Madrid and the Cantabrian Coast in 2020, the band would grow to embrace these uncomfortable conditions, and ultimately use them as inspiration to make a record unlike anything previously found in their catalog. Their newest effort, ‘Hex’, is decidedly an album that is divided into two sides. Side A will consist of a single, 22-minute-long track, titled “El Odio” (Hatred), and Side B is made up of four new tracks. Available as extra heavy 180g vinyl housed in a gatefold sleeve (incl. album on CD as bonus), eco-friendly limited edition CD format in mini-gatefold packaging & digital album

Repress

Following his highly praised Defining Persuasion EP in 2019, rising French producer Hadone presents on Taapion his very first LP "And Then You Were None".

Navigating effortlessly between hard floor techno, IDM, ambient & jungle, the album expresses Hadone's sonic interpretation & perception of time, reflecting on how we use and consume it through our existence. Thanks to this long-playing format, the artist can finally unveil his full potential and delivers a wonderfully mature journey across 2 records.

3-LP on 180-gram vinyl, housed in a two-piece box. Limited-Edition of 9,000 (WW). Liner Notes By Jesse Jarnow & Michael Parrish. Audio timing and speed correction by Plangent Processes and newly mastered by Jeffrey Norman. Available for the first time on Vinyl. Not available in other official physical or digital formats. Produced for release by David Lemieux.

Sudi Wachspress returns to Tartelet Records with Dance Planet, a third LP of emotionally-charged house music to welcome us back to the dancefloor. The spirit of true house runs deep in the sound of Space Ghost. Oakland native Sudi Wachspress is intuitively plugged into the romantic, mystical energy of 4/4 club music as a unifying force of empowerment and liberation, carrying the torch from vital forebears like Larry Heard, Alton Miller, and Blaze.

His new album, Dance Planet, carries a greater responsibility to spread spiritual affirmations. As the global dancefloor community emerges from a mentally-taxing recess and confronts their social self like it’s the first day of school, Space Ghost’s message couldn’t be more supportive.

“Don’t be afraid to be yourself, don’t be afraid to let go,” he intones on “Be Yourself.” More than just a beat and a hook, his music is pointedly created to heal and energize. “I’m a big fan of old-school house vocals that have a positive message,” says Space Ghost, “tracks that can perhaps enhance your mood or strengthen your confidence in yourself.”

Wachspress has always represented a beacon of musical uplift, both on his previous Endless Light and Aquarium Nightclub LPs for Tartelet and on his swathes of self-released music and last year’s Free 2 B on Apron. Compared to most house-oriented artists, he places emphasis on the long-player format to create an encircling experience for the listener, smoothing out psychic wrinkles and massaging areas of tension for a fully holistic hit.

This the debut is being repressed for the first time in a few years. Red Fang is the formation of long time friends and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). Unleashed on New Year's Eve of 2006 in Portland, Oregon, Red Fang stormed out of the gates, introducing a sweaty, seething basement to a new kind of unforgettable fist-pumping, beer-chugging rock music. Since that night, the band has continued with the same intensity, energy, and intimacy to quickly become a touring juggernaut, playing shows all over the US with bands like The Melvins, Big Business, and The Sword, to name just a few. Residing somewhere between Black Flag and Black Sabbath, Red Fang recall a time when rock was more urgent and horrifying. Synthesizing a variety of heavy music influences into their own distinct musical identity, the band easily shifts from barn-burning punk to mid-tempo, hyper-distorted bass destruction all while maintaining a cohesive sound. Red Fang create gigantic rock songs that are easy to listen to (not easy listening, mind you) and qualify the simultaneous usage of both the thinking and the banging head, which are usually mutually exclusive. Their instrumentation is fluid and effortless, and the vocals are delivered melodically and forcefully, with enough rasp and effect saturation to fit nicely within the music. Paired with elemental imagery, the lyrics are immense and satisfying without any pretense.

Wiseblood is one of the most well-known Corrosion of Conformity albums and was released in 1996 as the fifth studio album by the American heavy metal band. The album charted on the Billboard Top 200 Album Charts and peaked at #104. The history of Corrosion of Conformity in modern heavy music is highly significant, not least due to guitarist Pepper Keenan’s formation of all-star project Down, along with Pantera’s Philip Anselmo and members of Crowbar.

Wiseblood includes the tracks “Drowning in a Daydream”, which was nominated for Best Metal Performance at the 40th Grammy Awards, and “Man Or Ash”, on which Metallica’s James Hetfield provides backing vocals.

Wiseblood is available on black vinyl.

The brand new single from The Delines - whom will be releasing their new LP next Feb 2022 - much of which is inspired by Amy Boone and Willy Vlautin's shared love of Tony Joe White. Little Earl will be the lead track for the new album and Myrna and McCaughey will be exclusive to this single on physical formats. Recorded with longtime producer John Askew in Portland over 2019/2020 just before Covid hit. It features the classic line up of the band whom gave the world 'The Imperial' lp which was number 1 for two weeks on the official Americana charts with Amy Boone (vocals), Willy Vlautin (guitar/songwriting), Sean Oldham (drums), Freddy Trujillo (bass) plus the amazing arrangements by Cory Gray (keys and horns).

• Strictly Limited to 450 copies of each format • All of these versions recorded 3rd August 1972 at Strawberry Studios, Chateau d’Hérouville, France and are different recordings to those released at the time. • Images on the picture disc taken from ‘top of the pops’ performance of children of the revolution including the rehearsal • Image on the picture sleeve is backstage at ‘top of the pops’ for the recording of children of the revolution • These are the very last in the highly successful series of ‘alternative singles’ • Taken from returned tapes to the Bolan family with all royalties going to The Light of Love Foundation for the Marc Bolan School of Music & FilmA

Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r'n'b and rock 'n' roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Os Brazoes formed in Rio de Janeiro in the late 1960's. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after 'Black Soul Brothers' LP in 1977, which became an important record in the 'Black Rio' movement. Mr Bongo released the title track from that LP, on the 'Brazilian Beats: Brooklyn' compilation in 2006 and recently as part of their Brazil 45's re-issue series.

'Os Brazoes' features covers of Gilberto Gil's 'Pega a Voga, Cabeludo' and Jorge Ben and Toquinho's 'Carolina, Carol Bela'


The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.

* taken from the digital version of bio-rhythm 3 and not included on the vinyl version of the album.

Network’s two groundbreaking bio-rhythm albums in 1990 were each accompanied by much loved 12” preview samplers of tracks from the iconic compilations.

For the third release - a mere 31 years after the first sets - Network have added a fresh twist. The sampler this time around contains 2 tracks from the bio-rhythm 3 vinyl release and 2 that will only be otherwise available on digital format.

It makes the sampler a must have for all electronica vinyl junkies.

Nexus 21 “Silicon”, a mainstay of the duo’s much acclaimed live sets, was recorded in 1991 but not released at the time. Memories are thin as it why such a gem was ignored but the most probable explanation is that the transformation of Nexus 21 into Altern 8 took attention away from the track. After being found in the tape vaults it has been remastered for the bio-rhythm 3 project.

It is joined on side A by the Octave One remix of 10th Planet “Strings Of Life” - which is not on the album vinyl. There is a proper labyrinthe story behind this remake of the Rhythim Is Rhythim classic of classics. Kool Kat, the predecessor to Network, arranged for Rhythim Is Rhythim to play live supporting Inner City at a London Town And Country Club concert in September 1989. The label recorded the show which featured Derrick May and his guest Carl Craig.

Fast forward to 1995 and the tapes were handed over to Ashley Beedle to reconstruct and remix for a release on Network under Ashley’s 10th Plane moniker, . On to 2003 and Network’s Neil Rushton was running the suSU label where an attempt to record a vocal of Strings Of Life with none other than Shara Nelson on vocals was made using the 10th Planet parts. That never came to completion, but at the time Neil was working with Octave One and they conjured up this recreation, which has only ever been previously released as a track on a suSU compilation. FIRST TIME ON VINYL ANYWHERE FOR THIS AMAZING VERSION OF “STRINGS OF LIFE”.

“Neurosilence” - Doggy is previously unreleased recording by Birmingham’s Peter Duggal. His bleep classic “Labyrinthine” would have been totally at home on Kool Kat/Network and in recent months both label and artist have both been shaking their heads as to how it didn’t happen. The release of the stark “Neuroslince” finally sees an 0121 alliance bond together.

The 4th track “In The Presence Of Beauty” is taken from the digital release of bio-rhythm 3 and is a truly beautiful “Reprise” take on the version on the vinyl album.

For Memory Pearl’s »Music for 7 Paintings« Moshe Fisher–Rozenberg traveled to art galleries throughout North America searching for paintings which would enrapture him.

Like the experience of being drawn into the worlds of those paintings, these seven tracks — each one directly referencing a single work by Joan Mitchell, Robert Ryman, Lee Krasner, Helen Frankenthaler, Franz Kline, or Jackson Pollock — are love letters to the sympathetic vibration of one creative mind encountering another. They trace the way art inspires and generates art. Each resonates with the reconstructive energy that comes from translating the visual to the auditory.

One might expect a jagged, alienating angularity, given the modernist and postmodern source material. Instead there is warmth and depth of sentiment, accented by the analogue and digital synth pitch–shifts and cascades. The pieces crackle with the energy of translation: something new is created as the medium changes, mediated across the boundaries of genre. There are associations, asides, tangents as each work is »read« into its new format. There is no alienation, no cold distance: only engagement and warmth. The album’s lead track, Natural Answer, 1976 opens with sounds that feel like the gaze being caught and drawn into an intimate emotional connection with a work. Cupola, 1958–1960 begins with a thickly layered wash of sound as nostalgic as a train ride through the outskirts of a city at night, then expands into a cavernous memory–scene of personal association.

Fisher–Rozenberg brings a vast experience to bear on the paintings that inspire »Music for 7 Paintings«. While this may be his debut full length as a solo artist, he is a consummate collaborator (Alvvays, Fucked Up, U.S. Girls, Youth Lagoon, Man Forever) best known as the drummer and synthesist in Absolutely Free. Also clear is his visual sensibility — his instinct for how to translate the emotive context of visual art into sound, honed in collaborative work on kinetic sculptures, immersive installations and film scores. But what most comes to the fore is perhaps his recent graduate work in music therapy, and the sensitivity learned through his leading of music therapy sessions at Toronto's Centre for Addiction and Mental Health. This direct encounter with music’s power to heal lends the tracks a sacred, therapeutic quality. They are suffused with curative frequencies that connect the isolated individual to a world of contemplative beauty.

»Music For 7 Paintings« catalogues the energy in the gaze of a seasoned musician, translating brushstroke to sound.

• Strictly Limited to 450 copies of each format • All of these versions recorded 3rd August 1972 at Strawberry Studios, Chateau d’Hérouville, France and are different recordings to those released at the time. • Images on the picture disc taken from ‘top of the pops’ performance of children of the revolution including the rehearsal • Image on the picture sleeve is backstage at ‘top of the pops’ for the recording of children of the revolution • These are the very last in the highly successful series of ‘alternative singles’ • Taken from returned tapes to the Bolan family with all royalties going to The Light of Love Foundation for the Marc Bolan School of Music & FilmA

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

The very first live stream on 9128.live broadcast from the studio of Rafael Anton Irisarri, as he and Thomas Meluch (Beno�t Pioulard) pieced together a completely live improvisation, christening the newly created 9128 airwaves and setting the bar for many more live takeovers. With one album between them as Gailes, and profound work individually (also together as Orcas), Rafael and Thomas are masters of the ambient craft, combining intricate field recordings, guitar, pedals, vocals and heady reverb across a 40-minute non-stop immersive listen, split into two 20-minute sides for the inaugural 9128 vinyl release. The 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release. Gailes - Session Two, will be available as a digital download and 12", printed in a reverse-board die-cut sleeve, black vinyl.

Acclaimed US DJ and producer Maceo Plex has announced the release of his long awaited studio album ‘Solar’. The climax to a lead up that included last year’s 7-track ‘Journey to Solar’, and 2015’s 2 track ‘Solar Sampler’, ‘Solar’ is due for release on his brand new label Lone Romantic on the 16th June.

Lone Romantic is a new electronica based label; it will focus on albums and will also open its doors to releasing more avant guard and leftfield singles.

Meanwhile, the ‘Solar’ album allows Maceo to utilise the long format to explore and expose his less explicitly club leaning and more reflective side, taking the listener on a journey through shades of electronica, techno, breakbeats, dub and more. Named after his son Solar, the album also chronicles his new found fatherhood; “the ups and downs in the first few years and its effects on life, marriage and more”.

There’s still dancefloor suitable music within the album; opener ‘Sparks of Light’’s propulsive drums make for an attention grabbing first track, just as the driving 4/4 bassline of closing track ‘The Tesseract’ is a memorable climax. ’Polygon Pulse’ also features the hefty low end that Maceo has become known for, yet underneath breakbeat style drums and sighing vocal snippets.

Vocals are a prominent defining feature of ‘Solar’ that mark it out as a departure towards more of a home listening, experimental album. ‘Indigo’ marries Maceo’s characteristic signature sounds with a slower tempo and gritty male vocals for a stirring, downbeat piece of indie electronica, whilst following track ‘Separation’s breathy vocals and subtle DnB cymbals feel more relaxed.

‘Kepler’s Journey’ marks a stylistic break midway through the album, before the vocoded vocals of ‘Solar Wind’ and ‘Wash Away My Tears’ (the 12” mix of which was included in the Solar Sampler) bring to mind a forward thinking, indie take on French touch. Elsewhere, the lilting, dub techno influenced ‘Swan Dive’ sees this effect take on a more eery, thoughtful tone.

The release of ‘Solar’ sees Maceo Plex enter a new, more developed chapter of his long career - taking the sounds that have made him so popular and building upon them to push himself forward artistically, the album is a very personal use of the long format and an education in the producer’s musical influences.

Freestyle Records in association with Rare Sounds USA present a stellar repress of Speedometer's 2003 debut LP This Is Speedometer.

Originally released on Clive Johnson's Blow It Hard (started after the demise of the well-loved weekly Soho club night of the same name, and home to the New Mastersounds first releases alongside choice cuts from JTQ and others) This Is Speedometer showcased the sounds of one of the UK's premier acts in the deep funk scene of the early noughties for the first time on the long player format.

Starting out back in 1999, Speedometer started out as an instrumental quartet gigging in small clubs in the Southeast of England, paying homage to classic funk tunes by artists such as The Meters and The JB's. The band soon expanded and began writing original material, adding the highly regarded horn section and vocalists in 2001, which enabled them to deliver the powerhouse deep funk sound on display here. In addition to their own albums, singles and live shows, Speedometer have backed many US funk & soul legends including Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones & Lee Fields and more.

Now coming up on 20 years since it's original release, you can now marvel at Speedometer's classic, original soul-funk sound thanks to a sparkling new cut. Dig in!




d 04: Just Keep On (Doin the Do) feat. The Speedettes

‘.dev’ was yet another collaborative piece from Agoria, aka Sebastien Devaud. As well as Blasé and STS, who returned after featuring on ‘Drift’, Devaud worked with Domino’s Ela Minus, flamenco innovator Niño De Elche, and the unique hip hop delivery of Rome Fortune across the LP, with additional collaborators including Sacha Rudy and Oscar winner (The Sound of Metal), Nicolas Becker.



Sonically, the LP saw Agoria presenting a kaleidoscopic haze of cinematic and evolving electronica that touched on house, techno, electro, hip hop, and beyond but beneath the aesthetics, ‘.dev’ was the work of an artist asking himself questions in order to create worlds out of his answers.



Beyond looking to question the very systems of the traditional album format, his holistic approach to AI and NFT’s within the thematic world of his work were laid out front and centre through the visual and conceptual identity surrounding the album.

An impressive live album by Marvin Peterson who was one of the finest trumpetersAin the 60's-70's is making its return on vinyl format.

"UMC celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with a 2CD and 180-gram half-speed-mastered black vinyl. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set and CD configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.
Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both the album and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering. The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package."

**LIMITED BLACK VINYL** Rival Consoles returns with a resonant
and explorative soundscape of original
music, composed for renowned
choreographer Alexander Whitley’s
contemporary dance production
Overflow.

Exploring themes of the human and emotional
consequences of life surrounded by data, the piece
echoes the concept of social media, advertising,
marketing companies and political factions
exploiting our data to gain wealth, political
advantage and sow division. Key reading for the
project was based around the contemporary
philosophical work Psychopolitics: Neoliberalism
and New Technologies of Power by Byung-Chul
Han.
“The piece opens with Monster which has a kind of
drunken madness to it, highly repetitive to mirror the
repetitive nature of how we as humans engage with
technology such as social media. It’s sometimes
edging towards chaos but yet always returning back
to the same starting point, but eventually giving way
to exhaustion. I wanted to create a bold opening
piece for Overflow,” states West.

I Like features the mapping of data from dancer Tia
Hockey’s personal monologue, which allows chords
to be heard - but only based on the activity of her
voice, drawing attention to things happening behind
the curtain, invisible systems, algorithms.
The album also features the previously released
standalone slice of euphoria, Pulses of Information
— described by UK mag Clash as “typically
entrancing, Pulses of Information seems to
encourage a form of internal dialogue, between our
inner and outer selves.”

Overflow was premiered by the Alexander Whitley
Dance Company in May 2021 at the Sadler’s Wells
in London and is scheduled to tour through theatres
in Europe in spring 2022. The score will be released
by Erased Tapes on limited edition vinyl and CD as
well as digital formats on December 3.

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.