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Pedro Lima was certainly the most iconic singer from Sao Tomé Island. Born in 1944, his career began at teenage, with his faithful band Os Leonenses, who were mostly members of his family and shared most of his musical life; and lasted until his death on January 31st, 2019. Until the very end, he kept performing big events all around the country, and was among the very few singers and bands from Sao Tomé & Principe that recorded in Luanda Angola for N'Gola and Merengue labels in the 70's, and in Lisbon for the essential IEFE imprint in the 80's.

Sababa 5 finally deliver their long-promised, and self-titled album of original instrumentals, built around the band"s distinct mix of Middle Eastern psych, funk and disco groove. Across these eight songs, the group blends the Afro disco, reggae, jazz, funk and a plethora of Middle Eastern traditions, whilst traveling time and space, drawing a musical, cultural and geographical line from Somalia to Iran, via Ethiopia, Sudan, Egypt and Turkey, from the late 70s & early 80s to today. Thus Sababa 5 create a unique psychedelic groove that builds on the approach that the likes of the Daptones have taken to working independently, writing, producing and recording original music, with their own modern take on 70s soul and funk.

Zu Beginn der 1980er-Jahre zählten sie zu den größten Acts des Planeten, und ihre Reunion-Tour füllte 2007 weltweit die Hallen und Stadien: The Police. Wie kaum eine andere Popband profitierte das Trio von Einflüssen afrikanischer und vor allem jamaikanischer Musik. Songs wie "So Lonely" und "My Bed"s Too Big Without You" wären nichts ohne Stings parallel zum Gesang gezimmertes Bass-Fundament, und "Walking On The Moon" ist wahrscheinlich eine der wenigen Reggae-Killer-Basslinien, die außerhalb Jamaikas entstanden sind. Zeit für eine Würdigung der besonderen Art: "DubXanne" ist das wohl erste Dub-Showcase, das komplett auf Police-Riddims basiert. Eingespielt wurde das Album von Okada, der Backing-Band des Reggaekünstlers Zoe, und vielen Gästen wie Earl 16, Rankin Rogers, Eased (Seeed) und dem Dichter Benjamin Zephaniah. Das Ergebnis sind gesättigte Bässe, ein dynamisches, repetitives Gleichmaß, Sound-System-Atmosphäre und vor allem: Synchronicity - eine Rückkoppelung der abstrahierten Reggaeelemente von The Police mit deren jamaikanischen Wurzeln.

For their fourth release, Selected Works are reissuing the classic South African record from the legendary Beaters, Lost Memories. Fusing R&B, Funk and Soul this collection of tight instrumentals was initially released on CBS in the late 60s. This band would later morph into the legendary South African outfit Harari. Psychedelic soul masterpiece on the CBS LAB imprint. First ever reissue only from Selected Works. Deluxe vinyl repress based on the original CBS pressing with all original artwork in Tip On Covers. Fully licensed and remastered.

A new record from Turnover arrives this fall. Myself in the Way is the band’s fifth full-length album, and it follows their first pause in consistent touring in almost 10 years. While the world was shut down, Turnover’s four bandmates spent time meditating, painting, volunteer firefighting, skateboarding, and working in state parks - deepening interests and growing roots in places they hadn’t been able to while living life on the road for so long.

Over 18 months, these individual experiences acted as the soil in which Myself in the Way grew into Turnover’s next album. Returning to Pennsylvania to track with longtime friend and producer Will Yip, vocalist & guitarist Austin Getz cites Quincy Jones, Chic, and Dark

Seit ihrem Durchbruch mit dem umjubelten Debütalbum Black Holes haben die Blue Stones mitreißende Live-Shows abgeliefert, die die Gesetze
der Physik außer Kraft setzen und allein durch die beiden Bandmitglieder einen unfassbar massiven Sound erzeugen.
Auf ihrem dritten Album Pretty Monster fängt das Duo das kontrollierte Chaos und die brennende Energie ihres Live-Sets zum ersten Mal vollständig
ein - und baut dabei auf dem starken Songwriting und dem klanglichen Einfallsreichtum auf, den sie auf Black Holes (eine Veröffentlichung aus dem
Jahr 2018, die ihnen eine JUNO-Award-Nominierung als "Breakthrough Group of the Year" einbrachte) und dem 2021 folgenden Hidden Gems (eine
JUNO-Nominierung als "Rock Album of the Year") gezeigt haben. Trotz des kolossalen Wachstums, das sie seit ihren Anfängen in den Spelunken ihrer
kleinen Heimatstadt erfahren haben, versprühen The Blue Stones in jedem Stück gleichermaßen ungebremste Leidenschaft und einen fröhlichen
Abenteuergeist.
Pretty Monster wurde hauptsächlich vom mehrfachen GRAMMY-Preisträger Joe Chiccarelli (The White Stripes, The Strokes, Spoon) produziert und
entstand in 35 aufeinanderfolgenden Aufnahmetagen in einem Studio in Kingston, Ontario. In dieser Zeit arbeiteten Sänger/Gitarrist Tarek Jafar und
Schlagzeuger/Backing-Sänger Justin Tessier unermüdlich daran, die rohe Vitalität der Demos des Albums zu bewahren und gleichzeitig jeden Song
mit so vielen unerwarteten Details zu versehen (düstere Beats, rastlose Grooves, elegant frenetische Texturen). Das Ergebnis ist ein triumphales
Werk, das sich von dem eher atmosphärischen Sound von Hidden Gems abhebt (ein weithin gelobtes Werk, das drei Top-5-Radiohits in Kanada
hervorbrachte) und die harte Dynamik des Rock'n'Roll mit den unauslöschlichen Ohrwürmern des Pop verbindet

The genre defining Heavy Metal band Black Sabbath smash out their ‘Heaven And Hell’ record with epic vocals from Roni James Dio. This 2CD/LP re-issue contains previously unreleased bonus material. This platinum selling album was released in 1980 and is regarded highly worldwide.

Vinyl-Wiederveröffentlichung des HIM-Debütalbums "Greatest Love Songs Vol. 666". Die finnische Band um Ville Valo hat hier bereits das große Potential gezeigt, das ihnen im weiteren Verlauf ihrer Karriere diverse #1-Alben bescherte

Slade were unstoppable throughout the seventies becoming one of Europe's biggest bands, releasing 6 smash hit albums, including three UK No-1’s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era. First released in 1973, this splatter vinyl of ‘Sladest’ hears the band smash through a series of hits and covers including Cum On Feel The Noize, Mama Weer All Crazee Now and Coz I Luv You

Mit dreißig Jahren aktiven, schändlichen Dienstes unter ihren Gürteln sind NECROPHOBIC unbestrittene Legenden des Death- und Black-Metal-Undergrounds. Die 1989 von Schlagzeuger Joakim Sterner gegründete Band aus Stockholm vertrat von Anfang an eine einzigartige und furchtlose Vision und bestätigte ihr Können 1993 mit dem mittlerweile legendären Debütalbum 'The Nocturnal Silence'. Indem sie den selbstbewussten Dilettantismus und die primitiven Klänge, die viele ihrer Kollegen schätzten, hinter sich ließen, schufen NECROPHOBIC eine kühne und lebendige eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version von makaberem Extrem-Metal hervor, die seitdem von unzähligen weniger bekannten Bands nachgeahmt worden ist. Mit 'The Nocturnal Silence' veröffentlichen NECROPHOBIC ihr ursprünglich 1993 erschienenes Debüt-Album neu. Wie die bereits erschienenen Wiederveröffentlichungen 'Hrimthursum' und 'Death To All' wurde auch dieses Album von Dan Swanö im Unisound Studio remastered. Das Album wird als Ltd. CD Jewelcase im Slipcase, 180g LP inkl. LP-Booklet mit einem A2-großen Poster und als digitales Album verfügbar sein.

Mit modernster Produktion schlägt We Got Love eine musikalische Brücke zwischen Kelly Klassikern wie
„An Angel“, „Fell in Love with an Alien“ oder „Why Why Why“, die jeder noch im Ohr hat, und neuen
Songs einer The Kelly Family wie man sie noch nie gehört hat. Neu arrangiert und neu aufgenommen
wissen The Kelly Family mit ihren Klassikern und neuen Songs auch 2017 Hysterie-Stürme auszulösen.
Die komplette Überarbeitung der Kelly-Hits war der Band ein Anliegen, dessen Prozess die Musiker auch
immer wieder selbst verblüfft hat: „‚An Angel’ zum Beispiel singt Angelo gemeinsam mit seiner 11-jährigen
Tochter Emma, die diesen Kelly-Klassiker als Special Guest absolut berührend singt. Ein Highlight! Neben
den neuen Klassikern und der Coverversion von „Stand By Me“, sind 4 weitere Neuaufnahmen auf We Got
Love zu hören. Darunter auch neue Kelly Eigenkompositionen: „‚Brothers and Sisters’ stammt von Patricia
und geht mir besonders unter die Haut“, verrät Joey. Vor dem Hintergrund, dass es tatsächlich ein kleines
Wunder ist, dass die Kelly-Geschwister sich musikalisch wiedergefunden haben, hätte auch „Miracles“, das
Duett von John und Kathy, der Name dieses Album werden können – aber für das kleine Wunder war eine
große Portion Liebe notwendig und so passt der Titel We Got Love am Ende perfekt.
2017 auf CD und nun endlich!!! kommt dieses großartige Album auf Doppel-LP im Gatefold und 180g
Vinyl daher. Mit 19 Titel + 2 Bonus-Songs ein absolutes Must Have für Vinyl-Liebhaber und Fans.

Massachusetts's finest indie punk outfit, Born Without Bones, have returned to announce their upcoming new album, Dancer, due out November 4th from Pure Noise Records. Since their formation, Born Without Bones have put together an impressive catalog that ranges from heart-on-sleeve punk, to biting alternative rock, to sweeping indie, and more. Now on Dancer the band sound undeniably like themselves, bridging all of their different influences into their own distinctly hook sound. Produced by Mike Sapone (Oso Oso, Taking Back Sunday, Cymbals Eat Guitars), Dancer is bursting at the seams with massive melodies and personality to spare.

Das Debütalbum der siebenköpfigen Amsterdamer Band Personal Trainer folgt auf die exzellente Debüt-EP 'Gazebo', die dieses Jahr auf dem Tastemaker-Label Holm Front (Walt Disco, Krush Puppies, Sports Team) erschien. Die 10 Tracks auf 'Big Love Blanket' zeigen eine spielerische Vielfalt an Klängen und Einflüssen, die zu einem ganz eigenen Sound zusammenfließen, der als 'rapturously fun' (Ones To Watch), 'incredibly catchy indie-led pop' (Record Of The Day), 'curious and endearing' (Steve Lamacq), 'remarkable' (CLASH) und von Marc Riley (BBC 6 Music) sogar mit LCD Soundsystem verglichen wird. Die erste Singleauskopplung 'Key Of Ego" wurde zum NME 'New Banger', und das zu Recht.

This extraordinary NYC trio combines free jazz and post-punk with pointed commentary about issues of race, gender, the pandemic, and political autonomy. Rose Tang, a Mongol from Sichuan, sings/recites and plays guitar, piano, and percussion. Tenor saxophonist Ayumi Ishito, from Japan, plays in a plethora of bands along the jazz/rock spectrum. Drummer, composer, and educator Wen-Ting Wu, from Taiwan, combines jazz drive and classical rigor.

Steve Thomas Lacy-Moya ist ein amerikanischer Sänger, Musiker, Songwriter und Producer. Er wurde als Gitarrist der alternativen R&B-Band The Internet bekannt. Sein zweites Album GEMINI RIGHTS ist endlich auf Vinyl erhältlich.

Auf dem dritten Album von Ghost Funk Orchestra klingt jeder Song wie der Soundtrack zu einer Szene aus einem imaginären Film. Die Musik könnte einem romantischen Drama, einem Action-Thriller oder einer modernen Variante eines klassischen Film Noir entstammen. Der sparsame, kaskadenartige Gesang unterstreicht die üppige instrumentale Orchestrierung, komponiert, gespielt, arrangiert und produziert von Multi-Instrumentalist Seth Applebaum. Er nutzt die klanglichen Mittel der Exotica aus der Mitte des vergangenen Jahrhunderts und die der prägnanten Pop-Orchester, die die Hitparaden der 60er und frühen 70er Jahre dominierten. Er vermischt Eindrücke aus dieser vergangenen Ära mit dem Ausdruck seiner aktuellen Erfahrungen als junger Filmemacher im 21. Jahrhundert, wobei er Einflüsse wie Sharon Jones & The Dap Kings und Antibalas aufgreift. A New Kind of Love referenziert die Vergangenheit, ohne zu versuchen, sie nachzubilden. Das 10-köpfige Ghost Funk Orchestra erweckt sein Material zum Leben und läutet mit diesem anspruchsvollen Werk die neue Ära der Band ein.

Finnish electronic maestro, Turunen's previous solo ventures without his Morphology cohort are rare. The last time was a track for AC Records in 2013 (which was remastered earlier this year for Bandcamp), but appearances have also cropped up on Abstract Forms, Muhk and Bliq in previous years.

Rolando Simmons - a revered name in certain acidic circles - joins Utter for the 'Human Remains' EP, a wildly inventive 8-track adventure that deftly dabbles in rave, IDM, Techno and beyond in classic RS style. The project is the creative brainchild of Mattias Östling, who has been on a prolific production streak since the late 2000s, firstly under the name Trackermatte before settling into work under his current moniker.

This particular release is a missing puzzle-piece of sorts, compiled and sequenced by Utter's Alex Egan from a self-released digital collection titled 'Human Touch' which initially surfaced on Bandcamp during the producer's golden 2016 'Walk On Strawberries' and 'World Building' era.

'Human Touch' was a curious selection of unmastered oddities - the first Östling made using audio signal processing environment Cecilia5 - which remained largely overlooked due to its digital limbo. The tracklist itself shifted, with bonus tracks appearing then disappearing. While the excellent Dutch label 030303 cherry-picked the original version of the title track for a 2019 2xLP of the same name, the rest of the material remained frustratingly unavailable on vinyl and elsewhere, including the elusive bonus track which prompted Egan to reach out to Östling in the first place, the stunning 'sq1_mc4_iloveu03a_149unedit'.

That track is firmly at the core of this new EP, under its new title 'Nueva Traditional', as well as the alternative CV Beszállás edit of 'Human Touch'. They are surrounded by every other un-pilfered gem that originally appeared alongside them - however briefly - with all material freshly mastered and cut by Anne Taegert at D&M. The artwork and large fold-out poster (included with the 12") were designed by the Timpani Mystique Agency.

No stone left unturned!

Paving the way for independent artists with songs about love, loss and life, Low Island release their highly anticipated sophomore album, Life In Miniature, promising more ‘delicious alt pop’ (Clash) as the group follow in the footsteps of fellow ‘Oxford bands Glass Animals, Radiohead and Foals’ (Rolling Stone Germany).

It comes fresh off the back of their debut album, If You Could Have It All Again, which placed #17 in the Official UK Album Sales Chart and won them plaudits from Gigwise (‘truly engrossing’), Line of Best Fit (‘arena ready’), Double J, KCRW, Radio1, 6music and Zane Lowe, who described the bands ‘intellectual, soulful creativity.’ Their second album, Life In Miniature, sees Low Island continue to broaden the scope of their ambition, with a record that exquisitely balances stirring electronics, euphoric indie and infectious pop. It’s a record described by the band as a ‘timecapsule, a sonic photo album that captures three years of accelerated change that felt like a lifetime. Leaving home, falling in love, losing loved ones, trying to capture full complexity of emotion that all of those experiences engender.’

Setting that heartfelt lyricism against such a diverse range of sonic backdrops is something that Low Island have been devotedly fine-tuning over the years, firmly rooted in an independence that extends to everything from managing themselves and releasing their music on their own label, Emotional Interference. Its lead to an electrifying live show, which has seen them play festivals from Glastonbury to Lollapalooza Berlin, support synthpop legends Hot Chip and pack out their own shows everywhere from London to Berlin, Prague and Paris, prompting 6music’s Tom Robinson to prophesise that ‘we’ll have them rocking the Pyramid Stage yet, mark my words’.

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

"Stockholm Soul" is the third album by the Swedish synth-darkwave band T.G.T.B. Sounds and composition reveal a more mature level, engaging the listeners in almost 50 min of danceable dark electronics.

Library Music: Volume One is a sixteen track double LP collecting the North London drone pop band’s 7” singles, one-offs and compilation tracks spanning the first 14 years of the group’s existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band’s current home, Where It’s At Is Where You Are. The compilation is a happily cohesive document of an inventive band that rarely stand still for long. The band says, “We wanted to gather all our early, scattered work before we move on to our next album, to remind ourselves (and others) of some of the poppier and less characteristic things we’ve done. We’ve always felt a lot more relaxed and freer making one off things for people – it’s a chance to try things that might otherwise be daunting on a full record”. Always a prolific group this is by no means an exhaustive collection, the title giving a clue to how much more they have left to share. “We have been introduced to loads of bands that we love initially through non-album compilations – Broadcast, The Chills, Stereolab, Piano Magic, Flying Saucer Attack amongst others – we wanted to add our own to that (admittedly slightly daunting) lineage.” The Leaf Library are formed around the core group of singer Kate Gibson, former Saloon and Singing Adams guitarist Matt Ashton, guitarist SJ Nelson, drummer Lewis Young and bass player Gareth Jones. They have released three studio albums (Daylight Versions, About Minerals and The World Is A Bell) as well a number of electronic and experimental albums and EPs, remix compilations and long form tracks. They have also released five Monument CDRs; an on-going series of experimental solo and side projects on their Objects Forever imprint. The band have collaborated with musicians as diverse as Alasdair MacLean of The Clientele, singer Ed Dowie, noise group Far Rainbow and string collective Iskra Strings, and have provided music for a number of exhibitions, films and performances. A collaborative album with Japanese artist Teruyuki Kurihara is due in late 2022 on the Mille Plateaux label. Tracklisting: 01 Agnes In The Square 02 Goodbye Four Walls 03 City In Reverse 04 Walking Backwards 05 Soundings 06 Diagram Loop 07 The Greater Good 08 Losing Places (ISAN Remix) 09 A Stone In Water 10 Architect Of The Moon 11 Tired Ghost 12 The Still Point 13 Wave Of Translation 14 Badminton House 15 Tranquility Bass 16 A Gap In The Trees

Limited Edition of 7,000 on Purple & Green Vinyl. Limited Edition of 3,000 on Purple & Green Vinyl w/ Bonus 7“. Celebrating the 15th anniversary since its original release, Dinosaur Jr. is reissuing “Beyond” on limited edition coloured vinyl with a special edition white vinyl 7”. With J Mascis on guitar & lead vocals, Lou Barlow on bass and vocals, and Murph on drums, the 2007 album was the first from original lineup Dinosaur Jr. since 1988’s “Bug," kicking off a Dinosaur Jr. reunion which has lasted longer than the band’s original run. "Less a theme park of the past and more of an actual trip there… Beyond is nostalgic for everything but the band's own glory days. If anything, it's an exercise in making their entire twenty-year output sound contemporary again.” - Zach Baron for Pitchfork // "very existence of this new album is a surprise, but the real shock is that Beyond is a flat-out great record, a startling return to form for J Mascis as a guitarist and songwriter and Dinosaur Jr. as a band… Beyond isn't merely a worthy album from a reunited band, it's simply a great record by any standard.” - Stephen Thomas Erlewine for Allmusic Guide // "There is something almost eerie about how exactly the Dinosaur Jr of 2007 sound like the Dinosaur Jr of 1988: on occasion, listening to Beyond feels discombobulating, like meeting an old school friend 20 years on…" - Alex Petridis (The Guardian).

Limited Edition of 7,000 on Purple & Green Vinyl. Limited Edition of 3,000 on Purple & Green Vinyl w/ Bonus 7“. Celebrating the 15th anniversary since its original release, Dinosaur Jr. is reissuing “Beyond” on limited edition coloured vinyl with a special edition white vinyl 7”. With J Mascis on guitar & lead vocals, Lou Barlow on bass and vocals, and Murph on drums, the 2007 album was the first from original lineup Dinosaur Jr. since 1988’s “Bug," kicking off a Dinosaur Jr. reunion which has lasted longer than the band’s original run. "Less a theme park of the past and more of an actual trip there… Beyond is nostalgic for everything but the band's own glory days. If anything, it's an exercise in making their entire twenty-year output sound contemporary again.” - Zach Baron for Pitchfork // "very existence of this new album is a surprise, but the real shock is that Beyond is a flat-out great record, a startling return to form for J Mascis as a guitarist and songwriter and Dinosaur Jr. as a band… Beyond isn't merely a worthy album from a reunited band, it's simply a great record by any standard.” - Stephen Thomas Erlewine for Allmusic Guide // "There is something almost eerie about how exactly the Dinosaur Jr of 2007 sound like the Dinosaur Jr of 1988: on occasion, listening to Beyond feels discombobulating, like meeting an old school friend 20 years on…" - Alex Petridis (The Guardian).

Ringleaders in new Rock N Roll Massive Wagons have announced their
new album 'Triggered' out on Earache Records
Having grown from beloved local heroes (becoming the first ever Lancashire
band to achieve a UK Top 40 album with their UK #16 album 'Full Nelson' in 2018)
to national treasures within the New Wave of Rock'n'Roll, Massive Wagons have
crafted an all new album of heavy duty rock'n'roll that stays true to the band's
influences whilst also pushing past the boundaries of what fans have
experienced on previous albums. Adding twists of tough punk and twinkles of
yacht rock, whilst keeping frontman Barry "Baz" Mills' iconic lyricism and the
band's electrifying no-nonsense rock recipe, the album proffers tracks which will
prove to be huge anthems in the live arena.
Baz explains how 'Triggered' stands out compared to the band's previous albums:
"I think this album is a lot more British sounding. I think we've managed to bring
our sound more up-to-date, it sounds fresh and exciting. It has much more of a
punk vibe about it, that being said, it’s still full of everything we love about guitar
music."
He continues:"There are some very angry, passionate songs in there. We all dug
really deep writing this one, some of them were a real labour of love. I think we
truly have made our best album yet. I know that's a cliché, but our other albums
felt like they had a foot in the previous one somehow, be it leftover songs, a
certain sound or style... But I think this one stands alone as a unique sounding
Wagons album."

After an extended hiatus punctuated by rare live performances, The Shaolin Afronauts returned on September 16th with The Fundamental Nature of Being, an epic five LP box-set release that expands the sonic vision of the ensemble to towering new heights of burning afro-funk alongside esoteric and ethereal new sonic excursions.

The Fundamental Nature of Being's expanded musical journey further explores the wide spectrum of the band's musical identity – with each of the five parts designed as both standalone records, while also offering a singular listening journey across the band's expansive musical world. This, the first part in the collection, draws on the band's rich influence of 1970s West and South African music, alongside American jazz, psych rock, soul, and cinematic soundtracks of the same era.

WUCAN are a young heavy retro rock band from Dresden, Germany with
deep roots in the late 60s and early seventies with a dash of blues, folk,
progressive and Kraut rock
This sort of time- warp music is covering the gamut from the Woodstock
generation to the modern rock sound, starting with acoustic guitar, traverse flute
and Hammond organ and ending at the modern rock sound of the heavy kind.
WUCAN made the right choice of partners with producer and owner of the Big
Snuff Studios in Berlin Richard Behrens and with Andreas € Lupo € Lubich of
Calyx Mastering for a successful debut in the retro rock scene. Richard Behrens,
who is bassist of the 70s band HEAT and live toning of the genre heroes
KADAVAR additionally to his producing duties, created an authentic 70s sound by
using analogue machinery. Combined with the modern heavy surround of the
band unfolds a fresh mix of yesterday and today, which bursts with lust for music.

A gonzo crew of shaved-headed, sax-blowing, reverb-stomping maniacs,
the fivesome tore it up on the stages of unsuspecting West Coast teen
haunts and hit the big screen via the 1964 B-Movie Bikini Beach
The album features Penetration, one of the undisputed all-time surf cornerstones!
Back in the 1960s, when surf music was burning up and down the beaches of the
Southern California coastline, it was often a gimmick that made one band stand
out from the others. The Surfaris had the laugh at the beginning of "Wipe Out."
The Chantays had the great guitar run at the beginning of "Pipeline." The
Tornadoes tried Shootin' Beavers ; The Pyramids simply had great surf music and
bald heads.
Their big hit, Penetration, stayed in the top ten (Billboard) for 13 weeks reaching
as high as #4 nationally. Only The Beatles kept the song from going higher. The
Pyramids appeared on American Bandstand (twice), The Bob Eubanks Show,
Shebang, Dave Hull's Hullabaloo, and The Lloyd Thaxton Show. The band went on
to record a handful of killer singles and one album before splitting up in 1965.
Now back in print after 25 years, the Pyramids are back in action and ready to
rock!

The Vee-Gees (previously known as the Versatile Gents) were from Greensboro, N.C. The versalite Gents started the Group in 1967 originally as "the African Americans" performed at a talent show at Gillespie Park School, Geensboro, North Carolina. Soon After Virginia Massey a Senior Music Major at A&T joined the group and the name was changed to Gin And The Gents. After one year Massey left the Band and their name was changed to The Versatile Gents. They reformed and called themselves the Vee Gees in the early 70’s. The Members are Robert Evans (Vince Evans of the NFL's brother), Nathaniel Herring, Anthony Quick, CC Stewart, Cecil Young.In their band. Carlton Morales that wrote "Vallotte" and played with Julian Lennon on guitar. Kevan Tynes on drums. Walter Carlton on bass. They recored a beautiful sweet soul side call It’s hard to say so long on Jump in 1973. They came back to the studio in 1974 and cut the incredible Talkin on Jump off records. Vee Gees Talkin is the ultimate crossover tune, Spun by some of the best deejays in the world in the last 3 decades including Arthur Fenn, Keith Money, Andy Burns, Buey, Andy Dawes, Alexander Dimitriades Bentley, Jens Chreisti, Steven Clancy and many others. We’re sure you will be singing all day “Hey brother, brother, just had a talk with the man yesterday.. what did he saaaaaay? “

Next on Extra Soul Perception, we're very proud to welcome a new artist to the label, Paddy Fred, with three tracks of antipodean psych soul for his 'Spells' 7".

Paddy Fred is a musician based on the south coast of Wellington, New Zealand, where he grew up. He's played guitar since he was a teen, and went on to study music performance, and toured with a number of bands throughout his twenties. When these bands dissolved in 2011, he began beat making and music production of his own, losing himself in the freedom of making music on his terms.

Inspired after hanging with Flying Lotus & the Brainfeeder crew and clubbing at Low End Theory in Los Angeles, Paddy created his first release, 'Laminate', which dropped in 2013; the same year Paddy entered fatherhood.

After emerging from the "survival zone" of the first five years of parenting, Paddy emerged a little lost, separated from the momentum of his musical career. There then followed a period of self-reflection. As he ran up and over the same coastal path repeatedly, he slowly but surely rekindled his passion for music making, and the work began again…

Paddy came to the attention of the Extra Soul Perception crew courtesy of fellow New Zealander, Mara TK (who provided the label's highly acclaimed 2021 album 'Bad Meditation'). When the guys heard the demos, they signed him on sight.

The lead track 'Spells' consists of big sludgy drums, a growling synth bass, ethereal guitars and spacey vocals, mixing the washed-out slow-mo beat construction of Toro Y Moi with the heady psychedelic soul of Tame Impala and Mildlife. On the flipside 'Found You' is a more tranquil affair, with languorous drums befitting DJ's Khruangbin rhythm section, whilst closer 'Kids' (digital only) offers a robust yet airy finish with an uptempo instrumental akin to the sound palette of late 00s Four Tet.

'Spells' is the first taste of Paddy's new material. Inspired by lost love, babies feet, social fatigue and universes held within rock-pools, this is Paddy Fred at his most true to self, and just a small sample of what's to come.

Melody Tomb is the first album in a new collaboration between Tokyo artist Teruyuki Kurihara and London drone pop band The Leaf Library. The nine tracks here have in common a metallic hum and a minimal, austere kind of beauty that recalls Teru's work on his 2020 Frozen Dust album (Mille Plateaux). Machine tones mix with static, noise and warm drones, whilst in other places the lineage of classic mangled Warp hardware is visible. In March 2020 The Leaf Library sent their friend Teru a batch of synth drones to play with in the hope a new collaboration would be born. "From the first time we heard Teru's music we knew we wanted to make something with him," say the band. "It has been such a pleasure seeing him take our minimal synth parts and turn them into something really strange and beautiful." The track Kite Beach was the first to arrive, featuring on The Leaf Library-curated Object Ten compilation on Objects Forever in 2021, with the rest of the album slowly appearing over the last year. The artists hope to continue the collaboration with another album in the near future.

For fans of: Autechre, Biosphere, Ben Frost

MADFISH PRESENTS STEVE HILLAGE'S PREVIOUSLY UNRELEASED
LEGENDARY GLASTONBURY 1979 PERFORMANCE. On Friday 21st June
1979, the Steve Hillage Band performed a headline set of soaring
psychedelic guitar riffs of cosmic aspirations
The summer solstice night was a pivotal point in Steve Hillage's musical journey
& this recording, provided from Steve's personal archives, will cement the
performance as historic.Prior to the festival, Steve & the band spent two weeks
rehearsing in a barn at Worthy Farm, site of the Glastonbury Festival. They crafted
a set fitting & psychedelically uplifting enough to truly celebrate the longest day
of Summer at such an auspicious location. Steve was an integral member of the
Glasto team alongside Michael Eavis, Pyramid' Bill Harkin & Turbosound/Funktion
One's Tony Andrews. Their work focalised the 1979 Fayre, helping the rebirth of
the first of the modern Glastonbury Festivals. After spending the 80's in music
production, Steve & his partner Miquette Giraudy returned to recording & live
performance in the 90's with the dance-oriented System 7 & was fundamental in
the introduction of the Dance Stage to Glastonbury in 1995.
Presented on CD in deluxe media book with 24-page booklet and LP w/ Gatefold
sleeve.

The Trashmen's defining moment, 1963's "Surfin' Bird," is perhaps the
ultimate lightning-in-a-bottle record
Their first true studio recording, it captures the group's interminable energy and
mastery of live performance. But it also is the culmination of spirit and
experiment that turned it into something new and, from the perspective of 50
years, unique.
This collection shows them to be variously a first- rate surf band, a great
protopunk outfit, solid rockers with the raw essence of the earliest originators of
the sound, and adept enough to work in some comedy and country. This scope of
ability and interest is probably the true basis of the band's following now. But
"Surfin' Bird" has more tenacity than other bands' entire better- performing
catalogs, and with it, the Trashmen created a work that is arguably today the
most relevant release from that storied decade.

Hitting play on SEAMOSS2, the latest missive from Portland noisetinkerers Sea Moss, is like punching the big red button on a cartoon
bomb before it explodes into a multicolored mushroom cloud
From the second Nap Time revs up, vocalist Noa Ver and drummer Zach
D'Agostino absolutely clobber the listener with a distorted hodgepodge of sounds
as raw and violent as they are winkingly playful, as if Black Dice and Melt-Banana
were caught in the middle of some kind of psychotic square dance together.The
duo's setup "which involves a primitive assemblage of hacked feedback
oscillators, colorful Rococo tin boxes, and a contact mic plugged directly onto
Ver's neck to capture her barking intonations " harkens back to an era of DIY
where live performance meant everything. Blurring the line between reckless
improvisation and tightly- knit compositions, the band achieves a disorientingly
complex interplay. Though Sea Moss's music may initially seem to be an act of
pure blunt force, the duo's true prowess lies in the intricacy of their rhythmic
interplay. As freeform as it all might seem, SEAMOSS2 contains the band's most
potent, precise compositions yet, refining the distinct style they forged on
disorienting releases like Bread Bored and Bidet Dreaming into a thrilling act of
controlled chaos.
In an era where the communal spirit of DIY feels more difficult to achieve than
ever, Sea Moss embody the classic ethos of weirdo punk music in all its absurdity
and wonder. It's this same sense of scrappiness that's earned them attention
from legends like Lightning Bolt and Machine Girl, and SEAMOSS2 illustrates why
they're every bit as deserving of their own trophy in the noise-rock hall of fame
one adorned in broken contact mics and scuffed-up scratches from one too many
bloody basement shows.

Describing herself simply as a ' modern English musician', Eliza Carthy is
one of the most recognisable faces in British folk
From the purest unaccompanied traditional songs to original music incorporating
myriad influences, she has moved through English folk music like a force of
nature, both stirring it up & putting it back on the map, and as a member of big
bands The Imagined Village, and the musical force- of- nature that was The
Wayward Band she has headlined main stages at festivals around the world. With
a wealth of musical & life experience under her belt, Eliza's talent has matured
and is flourishing. She continues to bring new audiences to English folk through
well- judged recordings, performances, and collaborations with the likes of Paul
Weller, Jools Holland, Patrick Wolf, and Kae Tempest. 2022 sees Eliza celebrating
an incredible 30 years in the music business with album Queen Of The Whirl,
featuring new interpretations of fan- selected favourites from her previous
albums, recorded with her band Eliza Carthy & The Restitution.

If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of "ifsonever". This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in "one takes". A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences.

Trying to appreciate the recent times of silence and deceleration, Daniel Helmer aka ifsonever has quickly developed a tonal language as a solo artist. With a non-compromising approach he would visit his studio, a cozy garden shed, to record one new track a day in strictly analog fashion as "one takes". His aim for this project was to capture the innocence and instinctive creative energy of the present moment. These 9 timeless pieces invite the listener to explore hypnotic and meditative atmospheres such as on the opener "transpose" or on "jonesy dreams of birds", as well as gloomy and almost mystical sounding tracks such as "total global" or "an unexpected error has occurred". ifsonever is a wonderful amalgamation of organic, laid-back sounds and electronic, club oriented elements.

Recorded at a time when social contact was forbidden and culture was at a standstill, many professional musicians felt challenged not to feel useless when performances and sessions in public were cancelled, while the need for expression, participation and communication persisted. What happens when you've read all your books, when you're tired of looking at screens, and when you're digitally saturated? Then the unbearable lightness of being will begin. Daniel Helmer decided to let his creativity flow into a picture depicting that moment in time. He gave himself the opportunity to reflect this period through the creation of music. Not always an easy thing to do when the only social interactions would be cats passing by or the sound of children playing nearby. However that can be exactly the perfect tranquil surrounding to ground oneself in the here and now and draw inspiration from the inside. This self titled album reflects a peaceful journey from start to finish.

Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie "Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for "jonesy dreams of birds"' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise.

Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote "an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club "Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe.

Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band "Gudrun von Laxenburg" with album releases on the legendary Skint label, collaborated with Sam Irl on "International Major Label" as the production duo "Mantra Mantra" and released an album as "Yogtze" on Gerd Janson's imprint "Running Back Incantations", together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria.

"ifsonever" offers a timeless ambience to help you slow down, reflect and enjoy the beauty of nothingness. It might help us to learn and accept a state of being unutilized without feeling futile and benefit from this rare silence.

The cover artwork is a collaboration between Jazz & Milk graphic designer Tim Schmitt and photographer Frank Hulsbömer. A scan of the artist's head, hand and foot was 3D printed, photographed and transformed into an otherworldly scenery that visualizes the musical atmosphere.

Storyville Records is proud to present Michel Petrucciani – Solo in
Denmark

This album features French piano prodigy Michel Petrucciani in a solo recording
from Silkeborg Church, 1990. MP was one of the most popular pianists in the
1990’s due to his extraordinary technique, his astounding musical outlook and
extremely dynamic playing style. His music is simply timeless and magical,
seemingly coming straight from his soul. As he is often quoted: “I’m not playing
to your head, but to your soul. When I play, I’m like a bird flying over the landscape,
and I can land anywhere.” Recorded on June 23, 1990 at the Riverboat Jazz
Festival in Silkeborg, Denmark, this album is a tour de force that leads the listener
through a series of the most iconic motifs in jazz, all of which are deconstructed
and transformed by an outstanding craftsman and embellished along the way by
a true master. And he also allows himself to insert unexpected twists and turns
that are guaranteed to make the listener smile. Pay special attention to his small
rhythmic and melodic tags, little hints for the well- trained ear. They reveal a
musician who never grows complacent or takes himself too seriously. Here, the
totality of MP’s talents are exhibited in an intimate setting, where he stuns the
crowd with his inventive and blindingly rapid playing. The music emanating from
the man simply grabs everybody’s attention. Arrangements by jazz legends like
Duke Ellington, Thelonious Monk and Miles Davis gets the cheeky Petrucciani
treatment with his rather audacious approach to ‘established’ jazz standards. MP
had the ability to effortlessly travel through the history of jazz on his piano,
fascinating his audience in the process. This church concert clearly displays why
MP quickly developed into a truly exceptional member of the international jazz
scene. For MP, joyful playing with the music was a necessity of life. He lived and
breathed for the opportunity to show it his love and respect. And all we have to do
is open our ears, mind and soul and accept the gems from a musical individualist,
who has made an indelible impression on millions of jazz listeners around the
world. Solo in Denmark is simply another chapter in the remarkable story of a
man, who perceived himself as a servant of the music. BIOGRAPHY Michel
Petrucciani was a highly charismatic and high- spirited character, despite being
hindered by a genetic disease called osteogenesis imperfecta or brittle bone
disease. He was extremely short, standing at three feet. Luckily, his hands were
perfectly normal, but he had special modifications to reach the piano’s pedals. He
started playing in the family band with his guitarist father and bassist brother. At
the age of 15, he had the opportunity to play with Kenny Clarke and Clark Terry,
and at 17 he made his first recording. MP moved to the US in 1982, where he
convinced Charles Lloyd to get out on the road again, and tour with his quartet.
Behind the grand piano, MP was a giant with h

Freedom is both an integral and multi-layered topic for improvised music, describing its mechanics, aesthetics, and values and often an underlying political dimension as well. In the case of free jazz specifically, the word carries additional weight given the music's deep connection to the black liberation movement of the 1960's and 70's.

The passionate and unclassifiable work of Calgary-based improviser Jairus Sharif embraces each of these definitions of freedom and others, albeit strictly on its own personal and idiosyncratic terms. Since early 2020, the 34 year-old autodidact has been generating a steady stream of homespun solo recordings that forge unprecedented connections between hip-hop abstraction, cosmic skronk, outsider jazz, and staunch post-punk DIY ethos.

Leading up to the pandemic, Sharif's immersion in spiritual and exploratory jazz had culminated in him deciding to purchase an alto saxophone. Unbeknownst to him this instrument would be a catalyst for him to discover his own ardently individualistic artistic voice.

Prior to that point, he had always been somewhat of a solitary musical traveler. In 2002, he acquired his first instrument—a pair of Technics 1200s — but struggled to find local collaborators that had equal investment in hip hop culture. Ultimately, Sharif picked up the guitar, turning to the resilient local punk community, that had also nurtured both of his mothers some time earlier.

As Black Lives Matter gained momentum in the wake of George Floyd's murder, Sharif was suddenly flooded with an acute awareness of his own identity. It compelled him to zealously plunge headlong into open-ended spontaneous solo creation. Water & Tools, his strange and stirring debut for Toronto's Telephone Explosion Records (home to full-lengths from the likes of Brodie West's Eucalyptus, Mas Aya, and Joseph Shabason), offers a glimpse into this ongoing hermetic journey.

As Sharif dedicated himself to uncovering his own deeper musical truths, he assembled a home studio in his basement, cobbling together a drum kit from bits his bandmate had left at his house pre-pandemic, chaining effects together and outfitting the entire space with microphones. Somewhere between the chaos of child's treehouse and the tidy import of a shrine, this space (pictured on the album's back cover) consecrated his own imagination. He laid it out to maximize access to any and every tool in his arsenal, providing him a freedom to explore that he had never permitted himself to consummate before.

Within this cozy private universe, his recent purchase—the saxophone—assumed new meaning. It furnished a tangible connection to the black radicalism that mobilized free jazz, but also something far more personal. From a technical standpoint, the instrument was completely unfamiliar to him, yet rather than this being a hindrance to Sharif, his inexperience opened fruitful path forward, unencumbered by preconceptions. Resolving to shirk formal training, convention, and build his own understanding of it from scratch, allowed him to access his most raw, fundamental creative impulses. The Saxophone's inseverable bond with breath compounded this effect, echoing revelatory discoveries he had been making about breathing through yoga, research, and psychotherapy. Of course, the parallels with BLM's harrowing rallying cry—“I can't breathe”—were not lost on him either.

Water & Tools is a dense, contradictory statement with a blustery surface that shelters a soulful heart. It's generous music, exuding profound vulnerability—grappling with the loss of one his mothers, Lisa—all the while brimming with electric wide-eyed wonder. Almost every one of the nine pieces seems to carry some semblance of a groove, while remaining completely untethered from pulse. For Sharif, this collection is an expression of newfound lucidity, however for the listener his sonic concoctions act as powerful psychotropics. At points, there's a timelessness that's conveyed through the music's processional, ritualistic tenor, and yet there's an endless amount of wild, futuristic detail waiting to unspool at any given moment. Similarly, while this recording emerges from Sharif's private pilgrimage and personal emancipation, he also leaves room for collaboration. Woven throughout Sharif's one-man-ensemble textures, one finds Maxmilian Turnbull (of Badge Epoque, U.S. Girls, and Cosmic Range infamy) providing sundry keyboards and treatments, as well as his mixing skills.

Whether conjuring effusive psychedelia or plumbing introspective depths, the music that Jairus Sharif produces is singular, visceral, and wondrously unpredictable. Water & Tools sketches a raw, firsthand account of his nascent explorations within his own unbridled imagination.

Red vinyl LP. Lars Finberg, confirmed genius guy and poet laureate of sunken 21st century Rock, acts as manager in perpetuity of THE INTELLIGENCE, primary vehicle for his prolific creative swirl and a project that has taken on new shapes across myriad trials and shifts. The project began in his Seattle bedroom – a lad and his Tascam cassette 8 track – with the classic Boredom & Terror and has now landed in his Los Angeles studio apartment – an urchin and his Tascam digital 12 track – with Lil’ Peril, a new album that finds Finberg 1000% back at the controls. Over the course of 11 albums (!), The Intelligence has established a backbone that boogies through revolutions, allowing each jam-crammed dispatch to feel and sound admirably unique. The angular sharp shocks heard in earlier years have steadily evolved into the ballooning grooves heard on more recent releases (including Finberg’s recent solo work). Lil’ Peril is a dreamy gamble that captures this current bubbling penchant in The Intelligence’s inaugural homemade mode. With inspirational templates as far-flung as LES PAUL, THE SPECIALS, LEE PERRY and MARY FORD, Lil’ Peril pulls off the absurd shift “from ‘No-Wave SANTANA’ to ‘SCREAMERS recorded by JON BRION’”. Playing shoulder parrot to studio engineers has no doubt informed Finberg’s approach to home recording, specifically in how much further he can go without wincing budget-minded eyes staring him down. This is immediately sensed on the opener “Maudlin Agency,” which begins with canned minimal bleep and closes with a full recreation of the “Brass Monkey” hook. These surprise-attack conclusions are a running current throughout the Lil’ Peril’s program and demonstrates that the main lesson Finberg has learned in The Intelligence is to never reel it in. Centerpiece banger “My Work Here Is Dumb” ranks among the finest Intelligence moments existent and an apex in Finberg’s songcraft, boasting a bonkers arrangement and a thematic gnaw that is both brutal and playful. The collection closes with the epic “Soundguys,” a suite cut-up that fuses CAN and STEELY DAN into one of the most dastardly tunes available for consumption in the plague age. As Finberg himself states, “They may say this is ‘lo-fi’, but I say it’s ‘no-CGI’”. “The band disintegrated, so it devolved back to the core idea: if I do every aspect, it’s indestructible.” 20 years on and Finberg has finally let everyone know what The Intelligence actually means! All those wily experiments and warm flubs have come back full circle and the shit’s pure goddamn gold. Proof positive that there is always some sort of cute trouble, farcical tragedy and Lil’ Peril at play with The Intelligence. - Mitch Cardwell, 2022. Tracklisting: 01 Maudlin Agency 02 70's 03 Keyed Beamers 04 Purification 05 My Work Here Is Dumb 06 Lil Peril 07 Frog Prints In Preset City 08 Portfolio Woes 09 Soundguys

THE SECOND STUDIO OPUS OF MAJESTIC BLACKENED METAL FROM
1996 FEATURING MEMBERS OF ROTTING CHRIST & NECROMANTIA -
PRESENTED ON THE VINYL FORMAT WITH ORIGINAL ARTWORK &
LYRICS
Thou Art Lord is one of the early influential Greek acts to fly the flag for the much
respected & distinguishable Hellenic style of black metal; often raw & chaotic yet
also infused with a degree of melody & underlying atmospherics. Comprising
primarily of "Necromayhem" - aka Sakis Tolis of black metal gods Rotting Christ &
"Magus Wampyr Daoloth" from the also legendary Necromantia, along with
"Gothmog" on vocals, Thou Art Lord first entered the scene with the 'The Cult Of
The Horned One' demo in 1993, showcasing a style of black metal standing
proudly among the "second wave" black metal acts of the time & including
influences from their own respective bands.'Apollyon' was Thou Art Lord's second
studio album & was originally released in 1996. A fine continuation of the
groundwork laid on the band's 1994 debut, 'Eosforos', 'Apollyon' featured a slightly
more refined studio sound, whilst keeping the often chaotic "attack" elements to
the compositions alongside slower & mid- tempo sections. 'Apollyon' also
featured an injection of thrash metal styled riffing among the black metal, along
with the returning keyboard presence, draping sections in an eerie layer of
darkness & including more classically arranged type interludes.
This edition of 'Apollyon' is presented on the vinyl format, featuring lyrics & the
original art