Search:the prisoners

Nach einer phänomenalen Konzertreihe im Dezember 2022 zum 40. Jubiläum ihres Debütalbums "A Taste Of Pink" (1982) beschlossen die britischen Kult-Garage-Rocker The Prisoners neue Musik zu machen. "Morning Star", ihr erstes neues Album seit 1986, wurde in nur zwei Tagen in den Abbey Road Studios aufgenommen. Gegründet in der Spätphase des Mod-Revivals Anfang der 1980er, inspirierte ihr einzigartiger Sound aus 60er Garage-Punk (The Who) und Psychedelia (Small Faces), dem Groove von Booker T & The MGs und der Intensität der Punk-Bewegung eine ganze Generation zukünftiger Musiker von The Charlatans über Inspiral Carpets bis zu den Happy Mondays. Ihr Organist war/ist übrigens die spätere Jazz-Funk-Koryphäe James Taylor.

Jóhann Jóhannsson's original score for Denis Villeneuve's film The Prisoners (the Hugh Jackman/Jake Gyllenhaal blockbuster) on double vinyl, with double sided full-color. insert.

The Prisoners are one of the most influential bands of the 1980s, an astounding live act whose records were the opposite of what pop radio demanded in that era. Raw where they were smooth and full of character where those records needed to be blandly conformist. They hardly sold a record and yet they can count the likes of Noel Gallagher and political journalist John Harris as their fans. Steve Lamacq devoted a whole chapter of his book to his love of them whilst Tim Burgess of The Charlatans once said that at that time he only checked for The Prisoners and New Order. At least two UK hits used their arrangement on Joe South’s ‘Hush’ as their basis.  ‘In From The Cold’ was the final shot at success by The Prisoners the only problem was they didn’t want it. Signed by Eddie Piller to his Stiff-backed subsidiary Countdown they were put in the studio with Troy Tate (Teardrop Explodes / The Smiths) and made this astounding album which they then disowned.  By 1986 they were an incredible live band and had released three albums of their distinctive 60s influenced garage rock. A four-piece featuring Johnny Symons on drums, future Acid Jazz hitmaker James Taylor on organ, Allan Crockford on bass and backing vocals and the compellingly soulful Graham Day on vocals. Graham also wrote fantastic songs. Ten years later and they would have been lauded as heroes in Brit Pop land but the mid-80s had no place in the mainstream for a band with their influences.  ‘In From The Cold’ is full of amazing songs from the hard edges of ‘All You Gotta Do Is Say’, ‘Ain’t No Telling’ and ‘The More That I Teach You’, to the mournful ‘Wish The Rain’ and ‘Be On Your Way’. It is no surprise that Mojo journalist Lois Wilson described this as her favourite album by the band.  This reissue on coloured vinyl is the first time the album has been issued in its original form since 1986 when, due to Stiff’s imminent demise, it was deleted very quickly.

Most bands after nearly 20 years of classic albums, touring , line-up changes and a definitive legacy might be forgiven for putting their feet up and kicking back for a while, but then most bands aren’t the juggernaut that is Motörhead. We Take No Prisoners takes in a collection of singles and promos from the period of 1996-2005, during which the band, now a taut powerful trio, continued on their relentless journey with even more of the same quality, ear-shredding riotous rock ‘n’ roll than ever before. This Box Set containing nine 7” records, brings together some of the classic singles from the era alongside rare and live material including a lost interview with Lemmy and Mikkey Dee. There is also a CD version that features all this alongside tracks exclusive to that format. Descriptions: - 7" Singles Box Set containing nine 7” singles (on black – eight 7” contain two tracks on each and one 7” interview with Lemmy/Mikkey Dee). - Standard digisleeve with 2CD with 20pp Booklet. Features several tracks exclusive to the CD edition only.

'Comrade Detective' ('Tovaraul Detectiv') is an
American buddy cop series created by Brian
Gatewood and Alessandro Tanaka.
Each episode is a different 'lost' episode from a
fictional Romanian television show that had been
commissioned by the Communist Party to promote
communism during the Cold War.
The episodes were filmed in Romania with local
actors and later dubbed into English for effect.
The episodes feature the voices of Channing
Tatum, Joseph Gordon-Levitt, Nick Offerman,
Jenny Slate, Jason Mantzoukas, Chloë Sevigny,
Jake Johnson, John DiMaggio and others.
The soundtrack features rare versions of
'Flashdance, What A Feeling', 'Obsession' and the
smash hit 'I Can't Wait' by Nu Shooz along with
Joe Kraemer's original score

First things first, I want to thank Nectax for his patience, because he's been regularly sending me his music for well over 2 years & I was so swamped with other music being sent to me on a regular basis from other people, that I never made the time to actually check most of what he was sending me or to properly get back to him in response to the tracks of his that I did check. It's hard making time for listening to demos submitted for Future Retro London, amongst all the other commitments I have to take care of on a day-to-day basis, but he kept at it until I was finally able to realise what I had been sleeping on for so long.

Now that's out of the way, I was first made properly familiar with his music through his release on Over/shadow, as well as seeing some of his sets in London and hearing other people supporting his music, which made me more vigilant towards any music he'd send to me.

He sent me "London Bridge" and I really liked it, so much so that it gave me some ideas that I wanted to add to it & we turned it into a collab. He also sent me "Akaizen" which to me, is my favourite track of his that I'd heard of everything he'd sent me (that I actually made effort to check!), which Harmony has done a great job remixing. And then to complete the release, he met up with Champa B (who's based near him) to work on "Prisoners Of Psilocybe", and like that, it all came together in the end!

Big thanks to Nectax for his music (& again, sorry for being so consistently slow to respond!), to Harmony for his quality version of "Akaizen" & to Champa B for collaborating on "Prisoners Of Psilocybe".

JTQ Return to Acid Jazz… At the very birth of Acid Jazz there was the James Taylor Quartet. Hammond player extraordinaire James Taylor was fresh from the split of The Prisoners when he recorded Herbie Hancock’s ‘Theme From Blow Up’ and signed with Eddie Piller’s Re-Elect The President label, the precursor of Acid Jazz. Then, in 1993, after albums for Polydor and Big Life, Acid Jazz and James hooked up again and released ‘In The Hand Of The Inevitable’, for many the finest JTQ album. In March this year James found himself backstage at the Royal Albert Hall - The Brand New Heavies were about to take the stage - with Acid Jazz’s Eddie Piller and Dean Rudland and a plot was hatched... James returns to the label with this brand new 7-inch single: ‘Wildflower’ b/w ‘Guiding Light’.

The A-side is Bossa-nova tinged slice of sunshine pop featuring James’ vocals. It sounds like an old private-press 45, unearthed in a dank warehouse basement in Oregon, and is another JTQ classic. The flip takes us into jazz funk territory. Presented in a one-o^ version of the latest Acid Jazz house-bag, with classic labels.

Two Drumcode mainstays, Layton Giordani & Bart Skils, join forces on rapturous but dark-edged techno thriller ‘Deadly Valentine’. Skils is globally renowned for his chart-invading take-no-prisoners techno. The Dutch producer’s last release on Beyer’s imprint was the 2024 ‘Sakura’ EP comprising collaborations with SUDO and Drunken Kong. Giordani, also a chart topper, at the forefront of an exciting new genre-bending sound, combines influences of melodic house, progressive, and indie dance with techno. His last DC outing was a recent rework of the seminal ‘Let’s Go Dancing’ from Tiga and Audion, and the otherworldly but peak time ‘Freaks At Night’ single last June.

The duo have a history of playing B2B at massive events like Drumcode, Loveland and Awakenings. This is their first collaborative standalone single (their ‘Midnight Magic’ was on Layton’s 2020 Drumcode LP). 'I was listening to Spotify and going through an indie dance rabbit hole’ Layton says. ‘I stumbled upon this track, was instantly hooked, and knew Bart was the right guy to collaborate with on this record.’ ‘Layton sent me the vocal idea and I turned it into an arrangement with a rolling groove’ Bart says. ‘After that the track was updated several times and mixed with a new vocalist for release.’ ‘Deadly Valentine’: complex, steady percussion with insistent techno beat gives a dark questioning edge to the high, sweet vocal, fast, echoing, often layered or harmonising with itself, singing the apparently romantic wedding ceremony lyrics in French & English.

Spin Desire Records is proud to present its first release of the year, a stunning EP by Namur, key member of the renowned Parisian collective :

Beau Mot Plage

Equally talented as a producer and DJ, Namur delivers a new EP featuring four captivating tracks that skilfully blend house, proggy hints and touches of breakbeat. With deep grooves, mesmerizing textures and finely crafted soundscapes which make for a perfectly balanced energy.

This release is sure to connect with both dance floor regulars and those seeking refined electronic music. We could not be more excited to unveil this one as it’s been in the pipeline for quite a while now. A hot take on modern days tech house and timeless addition to any record collection.

Liverpool’s breakout techno star Massano’s second solo release on Drumcode, ‘The Lights’. Following this year’s stellar three-tracker EP ‘Telepathic’ after Massano’s track on last year’s Drumcode A-Sides Vol. 12, Adam Beyer welcomes him back to his imprint.

Massano’s rise continues meteoric, with thunderous festival performances at Tomorrowland, Kappa Futur Festival, Ultra, & ElRow, sold out headline shows at Mute, Brooklyn Mirage, and Hi Ibiza … alongside releases on Afterlife and his own label Simulate which reflects his technology-dominated futuristic vision.

With chart topping success and the prestigious honour of having a BBC R1 Essential Mix, Massano’s aggressively powerful techno and rattling, insistent percussion interspersed with strong melodic riffs is clearly in ever-increasing demand. ‘The Lights’: with typical insouciance, Massano audaciously and successfully melds contrasting scenes/cultures/times – a bubbling, arpy bass and breakdowns of melodic, ‘hammered synth’ notes bring a North African/Middle Eastern vibe, until an interlude of building tension, with demanding drums, siren call, hard stabby chords and a huge drop, introduces a spacey, dystopian, futuristic techno sound. Fast, furious, takes no prisoners, dancefloor-compulsive.

A sonic portal to a parallel universe where neon-soaked dreamscapes transform the stark realities of a post-pandemic world. Music for a forgotten future, where echoes of the 80s cast long, enigmatic shadows through a rich tapestry of emotion that charts a journey from isolation and fear towards healing and hope. This is the journey of Season One and Season Two, the debut companion albums for the solo project of Italian composer Battaglia, both out this fall on Four Flies Records.

In 2020, as the world retreated onto itself due to the COVID-19 pandemic, Battaglia entered the recording studio. Driven by a desire for experimentation, she decided to focus on the classic synths that have made history to create a sonic and emotional alchemy that reimagines the 80s to resonate with our current experiences and sensibilities.

Drawing inspiration from the cinematic magic of iconic early-80s films, and especially the haunting soundtracks of Tangerine Dream and John Carpenter, she crafted a soundscape that goes beyond nostalgia to capture the spirit of a generation navigating uncertain times.

Season One and Season Two explore the complexities of a world grappling with lethal pandemics, climate catastrophes, and nuclear disasters through themes such as longing, fear, and hope, set against a scenario that blends elements of dystopian and post-apocalyptic science fiction and, at times, horror.

Season One delves deeper into the darker aspects of this new reality, evoking a sense of unease and uncertainty, occasionally interspersed with soothing flashes of light. In Season Two, while darkness still lingers, the sonic landscape is infused with a sense of optimism and determination, offering glimpses of a possible salvation.

With Battaglia's signature blend of dark wave, synth-pop, suspenseful electronica, and cinematic vibes, Season One and Season Two create a sonic world that is at once hauntingly familiar and utterly captivating -- the perfect soundtrack, one is tempted to say, for the countless sci-fi/horror-fantasy series that have been flooding streaming platforms in the last decade.

The covers of both albums were designed by Eric Adrian Lee, who conceived them as two sides of the same image, two versions of a world in crisis but whose ruins contain the potential for rebirth.

Battaglia's Season One and Season Two will be available on black vinyl LP starting from October 25th. Digital versions of both albums will also be released on the same date, featuring five bonus tracks (two on Season One and three on Season Two).

The first contact is a common science fiction theme about the first meeting between humans and extraterrestrial life. The theme allows authors to explore a variety of philosophical concepts by adapting the anthropological topic of the first contact with extraterrestrial cultures. But then what are the Topics of a possible “Second Contact”? What would have happened to civilization if the extraterrestrial life force returns. Are they ready to greet it?

In this case, the second contact comes in the form of SEELEN. Label head and part-time intergalactic traveller Janein’s second full EP on the Imprint. And he hasn’t returned to take prisoners.

The Title track takes you for a wild ride from the second one. A warbling, acidic texture marks the foundation of what is an absolutely destructive and fiery cut. One of Janein’s heaviest percussion tracks to date takes the mood to an absolute frenzy while the acid-textures and metallic Chords can almost singe your eyebrows off if you get too close to the speaker.

In comparison, Gaja tones it down somewhat with mellower synths and an absolutely funky Bassline. But do not underestimate this track in comparison to Kobald M. This track will ensnare you into its hypnotic chokehold. It is the kind of cut you can play in any situation and not a single person will leave the dancefloor.

Meeting the Alien for a Parlay, translating its transmissions on this record are musical linguists Somewhen and Peryl.
While Somewhen has leaned into Kobald M’s destructive potential, adding a chaotic, out-for-madness kind of energy, that is sure to bring insanity to any warehouse, Peryl, known for his cathartic breakbeat excursions, has absolutely deconstructed Gaja making it into a track that sounds like the moment an unknown flying object enters the atmosphere of the earth.

It's been 32 years since Hyper Go Go's 'High' crashed into life, combining the best of Italo House and rave into an exuberant, floor destroying piano anthem.

Fast forward to 2024 and HOOJ reissue this 92 classic with the Original & Cloud 9 Mixes on the A side with 2 newer remixes on the B side.

Remixes come from Fast rising Scottish duo Testpress, who strip things back a bit, working the original riffs around a thumping kick and hooky new synth line & Kyle Starkey, the youngster takes no prisoners, tearing into the OG with slamming 135bpm drums, big drops, the odd snare roll, and lots of drama, for an energy driven update.

After three so elegant, as well as successful EPs on the mother ship, you can sometimes get cocky. Jonathan Kaspar invites himself to the Speicher Party and really lets his hair down. “Topper” may or may not refer to Charlie Sheen’s epic performance in ‘Hot Shots’. It certainly takes no prisoners either. The track rattles and squeaks like an old feather bed while… oh, let’s leave that to your imagination. After such an exhilarating burst of exuberance, comes “FEZ” to smooth the waters. An arpeggio that seems quite serious at first glance doesn’t quite manage to get past Jonathan’s riotous mood unscathed. Half he pulled it, half it sank into him. Nobody gets out of here without a hangover.

Nach drei so eleganten, wie auch erfolgreichen EPs auf dem Mutterschiff, kann man schon mal frech werden. Jonathan Kaspar lädt sich nun selbst zur Speicher Party ein und lässt so richtig schön die Sau raus. “Topper” nimmt vielleicht Bezug auf Charlie Sheen’s epische Schauspielkunst in den ‘Hot Shots’ Filmen. Er nimmt jedenfalls auch keine Gefangenen. Der Track rattert und quietscht wie ein altes Federbett beim… ach, überlassen wir das Eurer Fantasie. Nach einem derart erquicklichen Ausbruch von Übermut, kommt “FEZ” um die Wogen zu glätten. Einem auf den ersten Blick recht seriöses Arpeggio gelingt es nicht ganz, ungeschoren an Jonathans Krawall-Laune vorbeizukommen. Halb zog er es, halb sank es in ihn hinein. Ohne Kater kommt hier keiner raus.

DJ Girl is a DJ and producer who was raised in Detroit, but since the pandemic has been based in Austin, Texas. She's the co-founder of the up and coming Eat Dis Records and her recent releases have been generating excitement in all the right places.
In some ways, 'Hellworld' feels like a direct relation to a lot of early 2000s Planet Mu releases. It could sit neatly alongside Hellfish or Neil Landstrumm, with a similar anything-goes, gleeful attitude, but instead DJ Girl mashes together a driving sound that is founded upon Detroit techno and electro, Chicago juke and Miami bass, with an old school/new school production style that's finessed with distortion and sparse IDM production.
It's a midwest USA style that takes a leaf from DJs and producers such as the wild-style hard techno of Lenny Dee, the tough midwest acid of Woody McBride and the system wrecking electro of Dynamix II, with a joyful, take-no-prisoners bounce.

'Hellworld' kicks off with the industrial juke of 'Get Down', followed by the powerful electro of 'Opp Pack Hittin' (the first of two tracks to feature MC Malik McFly).

'Technician' is a chirpy old school electro track that gets crazier as it progresses, while 'Lucky' mashes together samples and rough beats like an electro version of breakcore.

'Gallery' again features Malick McFly and switches between footwork beats, pumping techno and electro.

'So Hot' is hard 8-bar electro while 'When U Touch Me featuring Irish producer Lighght feels like a very manic take on hyperpop.

The album ends with the tough, spiralling acid of 'Groover' which wouldn't be out of place on a late nineties Jeff Mills mix. The fun is infectious on this one.

Chilean-born Francisco Allendes returns to Crosstown Rebels for the first time in six years this May. Serving up the three-track What You Do, the title number has already received global airplay via Damian Lazarus himself. Now, the full release will be made available next month and includes a remix by US-legend Harry Romero.

A contemporary dose of four-on-the-floor house, What You Do leaves few prisoners in its wake, as rampant drum patterns converge on a heady combination of kicks, synths and irresistible vocals right the way through. There’s an infectious energy to the track, paving the way for Harry Romero’s similarly up-tempo remix. It’s feel-good, club-ready dance music at its best, packed full of low-slung groove that opens neatly into the closing sequence: Maratone, a stripped-back, techy cut that bears all the hallmarks of a true Ibiza anthem.

Hailing from Chile and now based in Ibiza, Francisco Allendes is a leading light in today’s scene. Be it Loco Dice’s Desolat, Steve Lawler’s VIVA or Damian Lazarus’ Crosstown Rebels, his productions have graced some of the industry’s most well-respected labels. Such quality hasn’t gone unnoticed - he picked up the ‘Best Ibiza’ DJ Award in September 2019 and has gone on to complete several South American tours. A much loved affiliate of ANTS, Francisco has a long standing residency at both Ushuaïa in Ibiza and their affiliated tours, in addition to hosting the weekly radio show.

Seminal American house talent Harry Romero is a well-established figure on the worldwide music circuit. A prominent global DJ and producer since the ‘90s, early productions on Cutting Records and Cutting Traxx helped set the tone for Harry’s career trajectory, opening the doors to a coveted BBC Radio 1 ‘Essential Mix’ in recent years.

Rocko Garoni knows what a techno dance floor wants. He’s learned it through countless hours spent on the floor himself as a punter, and through DJing at some of the best clubs and festivals in his hometown Berlin and all over the world. He knows exactly the type of productions that thrill crowds, and he brings this wealth of knowledge and experience to his third EP for Second State, Ammoniak.

The title and first track ‘Ammoniak’ drags you straight into the zone; a pounding, take no prisoners cut laced with stormy synths creating a vague sense of paranoia. ‘Gece‘ cranks the energy up with trancey, bouncing synths and a cool, clipped female vocal. Instantly, you’re pulled into the very sort of club that Garoni knows so well. ‘No Border‘ is the kind of expansive track that seems destined for huge warehouses or vast festival dancefloors. There’s an insistent, brooding bassline, robotic repeated vocals and a mid-track shift in tone that will send the crowd to a heightened state of reverie. The blend of post-punk vocals and eerie beats on ‘It’s All Yours‘, a track featuring Cook Strummer on the vocals, is at once highly unusual and completely compelling. It’s the track to play when the crowd are losing themselves in the best possible way. Closing the EP is ‘Helio‘, another completely different track that showcases the extent of Garoni’s range. Faint, echoed chanting lends the track an almost holy atmosphere. Combined with tunnelling synths and spindly percussion FX, the effect is euphoric, acting as a delicious palate cleanser between heavier tracks.

Put simply, Ammoniak is another first-class EP from a dynamic act who’s fast becoming a Second State star.

F*CLR Records are delighted to release Dublin based producer and remixer Glenn Davis’s outstanding new EP, Namida (Tears of Happiness), the eagerly anticipated follow up to his hugely acclaimed Body & Soul’ 12”.

With remixes from Ashley Beedle & Darren Morris’s Afrikanz on Marz production unit, it has already been given the legendary François Kevorkian seal of approval with massive support on his Worldwide FM show. Mr Davis has been busy in the studio this year creating complete dancefloor and radio fire - house music to lift you up and save your soul.
The original mix of Namida (Tears of Happiness) would sit comfortably next to anything on the Nu Groove label roster, the Burrell Brothers would be saluting Glenn for his beautiful attention to detail.

Ashley Beedle x Darren Morris take their Afrikanz on Marz remixes onto a cosmic disco level and with a bass line that takes no prisoners, deliver a sparkling remix + dub. With the addition of the properly late night sleazy bizniss UGetting Down, it’s party time for deep headz. Enjoy!!

There must be something in the air just now over in Italy with a steady stream of brilliant disco and house releases emanating from the country. Of all artists doing the business recently DJ Rocca has definitely stood out as being behind more than his fair share of incredible music.

Rocca is a veteran of the scene producing since the 1990’s. Recently he has had stand out tracks working with some of the key artists of the scene including Dimitri From Paris and Daniele Baldelli. There have also been a huge number of solo projects and remixes for everyone from Blaze to Andrew Weatherall to Soul Clap. It’s a varied and expansive list which shows the depth of his production skills.

His latest release a three track EP ‘Journey to Kizimkazi’ comes courtesy of one of the stand-out labels of 2019 in Samosa Records. This one is heavy on the Afro Disco feels with Combo Rox, Ju Ju Jackie and Kuma Rox all coming from slightly different angles of the genre.

Lead track ‘Combo Rox’ is peak-time hands-in-the-air disco goodness. Huge brass hooks cruise next to a bounce of a bassline, ever so funky guitars, smooth keys and a monster vocal hook. This is a track with everything in needs to cause a serious dancefloor commotion.

On the flip ‘Ju Ju Jackie’ combines a much heavier percussive drum line with multiple percussive motifs, it’s a track which will take no prisoners. Yet more off the wall vocal hooks merge perfectly with the carnival atmosphere of the percussion and some crazy brass licks. A unique and exciting track.

Last up is Kuma Rox a deeper hypnotic groove of a track, warm tribal vocals, smooth keys, a sparse but hooky bassline and brilliant percussion give this one a real timeless class.

Another top of the class release from Samosa.

Sebastian Heda's new EP is a auditory glimpse into the insides of the haywired central nervous system of a man machine. The opener DISSOLUTION takes no prisoners and sets the direction for this exploration in modular-made attacks from a dystopian future. Followed by no less than two great remixes by ARCHITEKTUR and CAREMAJOR. The next and eponymous track CV GUERILLA is at arms and aims at you with relentless, percussive drum fire and another well executed version by ENDLEC. Finally you get short bursts of radio traffic from a RANDOM SOURCE, leaving nothing but silence and a big grin on your face.

"Swedish modern rock unit SELF DECEPTION is set to unleash their Napalm Records debut, One Of Us, on May 15, 2026! The band is known for their fiery fusion of anthemic modern metal and powerful melodic rock. Since their 2009 debut, they have shared stages with the likes of Electric Callboy, Danko Jones, and Adept, while racking up millions of streams and video views – including their viral 2022 hit, “Fight Fire With Gasoline”, with tens of millions of streams. Written on the road during the heaviest touring of SELF DECEPTION’s career so far, One Of Us is a cohesive album full of character, made for the stage – and the pit! Bone-crushing album-opener and title track “ONE OF US” takes no prisoners, unleashing the heavy modern metal side of the Swedish powerhouse: fusing relentless hardcore energy, in-your- face lyrics, and high-voltage attitude, the track hits with unstoppable force. Following track “TIME'S UP” features an absolute hit chorus, fresh hooks and high-energy instrumentals, while emotional “DON'T B E L O N G” addresses the difficult themes of addiction and mental health battles – the combination of hauntingly beautiful melodies, multifaceted vocal performance and heavy rhythm section carry this sentimental track.

Further highlights on SELF DECEPTION's new 10-track offering include “THE WEDDING”, an energetic modern rock anthem with a particularly dark and twisted storyline, and “BREAK!"", with its heavy-hitting drums, electronic influences and yet another irresistible sing-along chorus. Final track “ENTERTAINED” wraps up the album impactfully, featuring one of the heaviest breakdowns on the album. From massive pit churners to creative storylines and choruses full of hit potential, the energy on One Of Us is unmatched. The band has a busy festival summer following the album’s release, so fans will get the first chance to experience these new tracks live at several major European rock and metal festivals. With One Of Us, SELF DECEPTION is ready to push contemporary rock to the next level!"

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

First EP from a new project formed in 2023 by Allan Crockford (The Galileo 7, The Prisoners,The James Taylor Quartet etc) and Ian Button (Papernut Cambridge, Swansea Sound, Death In Vegas etc)

Both writers bring their influences to the four songs here, with dual lead vocals and a mix of Medway psych, horror- garage, and kitchen sink new- wave pop vignettes. There's paranoia and psychosis, a cautionary tale about gullibility, and a love song straight out of 1978...

Recorded in Rochester and Folkestone, and released jointly on Button's Gare du Nord and Crockford's Fool's Paradise labels, this 7" is the first to be pressed on the new bioplastic compound Evo-vinyl.

Cold Steel's patented brand of aggressive, hardcore thrash metal takes no prisoners on 'Discipline & Punish'. To bring the album to life, the group decamped to Philadelphia and teamed with producer Arthur Rizk (Blood Incantation, Power Trip, Cavalera). In the studio, they drew on influences like Metallica, Machine Head, and Slipknot while sharpening and solidifying their own signature sound.

Love & Rage, the brilliant 2024 debut album from London Queercore trio Shooting Daggers turned many heads with its jaw dropping depth and melody as well as blinding energy, feminist fury and angst. It has to be said that the band are not just bashing it out here. The playing is knockout and the vocals in particular are a standout. Singer Sal proving that she can do hard and fast and cool and melodic with equal aplomb. Add in some really inventive vocal arrangements and harmonies, and you have a band that is pushing that hardcore envelope big time. 2nd edition in Pink vinyl, full colour single outer sleeve, with a full colour printed inner sleeve, with an exclusive A4 poster included as well as a full download code. `Shooting Daggers may well have already made 2024's finest punk album'- Metal Hammer 'a ferocious brand of self-styled queercore punk rock that takes no prisoners' - Kerrang. 'a truly empowering album' - Noizze.

Release 18 on Atom Trance Force, this time from label favourite Micropulse. Here they deliver three rip roaring hard trance tracks in the form of 'Ecco', 'Evil Twin' and title track 'Heaven's Gate' that take no prisoners, with an ode to yesteryear, just how we like it!

Heaven's Gate & Ecco channel classic hard trance energy with high pace and melodic. Evil Twin slows it down to 140 for a more serene yet driving take.

Support from:

Adam (Last Of The Mohicans) Apple FM, Ben Corner Love Summer Radio, DJ Panda, DJ Strahl Discover Trance Radio, DJs Present, Devastate Gabberhead / Uprising, Dimitri Kechagias, Giuseppe Ottaviani, Hellraiser, J.O.E Tomorrows World, J.O.E Tomorrows World, Jake Nicholls [Uprising], James Brolly, Loki [Terminal Trax], Louk / Hidden Identity, Matt Handy [Contact], Mind Control [Noise Pollution], Paul Nineham [Brisk], Paul-O [Uprising], Remnis, Renegade System, Rennz [Distorted Dreams], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Tjerk Coers, TripleXL.

Wiederveröffentlichung des zweiten Milkshakes-Albums als schwarze Vinyl-Stereo-LP! ,Vom eröffnenden Raspeln von ,SEVEN DAYS" bis zu den ausklingenden Tönen von ,WO' NOW" geht der rasende Beat weiter. Sogar die ruhigeren Tracks sind mit dem unverwechselbaren MILKSHAKES-Branding versehen, was darauf hindeutet, dass THE MILKSHAKES die unbestreitbaren Anführer des World Beat sind!", heißt es hier. Nach dem imaginären internationalen Erfolg ihres Debütalbums ,Talking Bout...", und der 45er Single "It's You" c/w ,Please Don't Tell My Baby" beschlossen die Milkshakes, das wenige Geld, das sie noch hatten, für einen weiteren Longplayer zu verschwenden. Das Ergebnis war das clever betitelte, wenn auch etwas prahlerisch klingende ,Fourteen Rhythm & Beat Greats". In der Tat, wenn man die Augen schließt und den Plattenspieler ausschaltet, könnten alle 14 - zähle sie (wenn du das nächste Mal deine Augen öffnest) - fein gearbeiteten Stücke auf dieser LP fast als ,großartig" bezeichnet werden, je nachdem, wo du musikalisch stehst. Mit Live-Favoriten wie ,Black Sails In The Moonlight" und ,Red Monkey" war der allgemeine Konsens, dass dies das bisher beste Werk von THE MILKSHAKES sei (fragt sie selbst). Das muss zum Teil stimmen, denn das renommierte Londoner Label Big Beat Records fand das Album gut genug, um es auf seinem eigenen renommierten Label Big Beat wiederzuveröffentlichen - und das gleich zweimal. Aber das war vor über 40 Jahren, also versucht bitte, eure Begeisterung zu zügeln und bildet eine geordnete Schlange... obwohl, je schneller sie ausverkauft ist, desto eher kann sie - wieder einmal - nachgepresst werden. Bassist Russ Wilkins erinnert sich an die Aufnahme der LP: ,Die Aufnahmen fanden in Herne Bay in Oakwoods zweitem Studio statt. Ich glaube, ich war gerade mit den Prisoners dort gewesen und hatte "Taste of Pink" aufgenommen. Ich benutzte meinen Framus Star Bass und fing gerade an, einen Fender-Bassverstärker zu benutzen, der mich im Studio im Stich ließ, also musste ich einen AC30 Top verwenden, der ziemlich verzerrt und nicht das war, was ich wollte, aber wir mussten damit arbeiten. Man kann es bei "No-one Else" hören, das bei den Proben großartig klang. "Can You Tell Me" war der Beginn des Strippings, bei dem wir versuchten, so minimal wie möglich zu sein, und ich schaffte es später, es auf nur zwei Noten zu reduzieren. Es gab natürlich auch die Wall City Version der Platte, die von Hansi Steinmetz in Berlin herausgebracht wurde - mit einem andersfarbigen Logo auf der Vorderseite. Da sind auch viel mehr Backing Vocals drauf. Ich denke, dafür muss ich etwas Verantwortung übernehmen. Es wurde eher wie die vorherigen Pop Rivets-Alben aufgenommen, indem wir uns alle zusammen in einem Raum aufstellten und live spielten, mit sehr wenigen Overdubs, abgesehen von dem einen oder anderen Solo. Wir haben noch ein weiteres in dieser Art gemacht und dann die Richtung geändert, als wir die sieben Alben an einem Tag oder was auch immer veröffentlichten." RUSS WIILKINS, MAI 2025

James Taylor has been writing/recording albums and touring for the past 43 years, starting with The Prisoners and then The James Taylor Quartet (JTQ) from 1986 onwards, to great acclaim. Taylor was the pioneering force that spear-headed the Acid Jazz movement in the 90's, which saw a renaissance in live music. He has also virtually single-handedly driven the rediscovery of the Hammond organ, his trademark keyboard. He has developed his composition and arrangement skills and with these has recorded over 20 library albums. The most recent of the library albums include the four tracks on this very EP, which feature Taylor's innovative horn arrangement skills, placing JB style horns over a funk groove, but in this case he had the novel idea of incorporating two guitars; one funky, one rocky. Sort of James Brown meets The Rolling Stones, and the result can be heard on this slab of vinyl. The current live line-up for The James Taylor Quartet is James Taylor (keyboards and orchestration), Mark Cox (guitar), Andrew McKinney (bass) and Pat Illingworth (drums).

Die schwedischen Punkrocker City Saints kündigen die Veröffentlichung ihres mit Spannung erwarteten neuen Studioalbums an: "Explosiv!" ist das sechste Album der Band seit ihrer Gründung 2012 in Göteborg. Seitdem tourte die Band mehrmals durch ganz Europa und erreichte Millionen von Streams. City Saints haben sich einen Namen gemacht für ihre "take no prisoners "-Attitüde immer auf "High Voltage" und ihren eingängigen Refrains. "Explosiv!" ist da keine Ausnahme. Das Album kann als liebevolle Hommage an die Heimatstadt Göteburg der Band verstanden warden. Sowohl in den Texten als auch durch den musikalischen Einfluß der Göteborger Punkszene der späten 70er und frühen 80er Jahre sind die neuen Songs dazu passend wieder in Ihrer Heimatsprache aufgenommen worden. "Explosiv!" beginnt mit einer Überraschung im von Ennio Morricone inspirierten "Göta Älv". Diese stimmungsvolle Nummer ebnet den Weg für eine Reihe von rasanten, hymnischen Songs wie "Majorna" und "På G", bei denen ein Hauch des Ramones-Spirit sofort spürbar ist. Die Liebe der Band zu ausgeprägt verspieltem Down- und Dirty-Rock'n'Roll mit rotzigem Gesang und voller Tempo ist in "Blod & Bly" und "Kranarnas Stad" deutlich zu spüren. Weitere Überraschungen gibt es in Form des Titeltracks, in dem ein wildes Bass-Solo dem Namen "Explosiv!" alle Ehre macht, und des Outros "Fan Ta Er", einem kurzen Live-Cut, der in einer intimen Umgebung nur mit Gesang und Mundharmonika zum treibendem Beat gespielt wird. City Saints haben für das neue Album erneut mit Produzent Chips Kiesbye zusammengearbeitet, der für seine Arbeit mit The Hellacopters und Michael Monroe bekannt ist. Das Ergebnis ist eine natürlich klingende Platte, die an die reduzierten Produktionen aus dem goldenen Zeitalter des Punkrock erinnert. Die Band nutzte Kiesbyes Talent voll aus und konnte zudem den Sänger und Gitarristen von "Sator" bei "Explosiv!" für die Mandoline und Akkordeon zu einem Gastspiel ins Studio einladen. Die LP kommt als Collectors Edition auf 180gr. Vinyl im Gatefolder und neben klassisch schwarzem Vinyl auch in 2 limitierten farbigen Variationen

Die schwedischen Punkrocker City Saints kündigen die Veröffentlichung ihres mit Spannung erwarteten neuen Studioalbums an: "Explosiv!" ist das sechste Album der Band seit ihrer Gründung 2012 in Göteborg. Seitdem tourte die Band mehrmals durch ganz Europa und erreichte Millionen von Streams. City Saints haben sich einen Namen gemacht für ihre "take no prisoners "-Attitüde immer auf "High Voltage" und ihren eingängigen Refrains. "Explosiv!" ist da keine Ausnahme. Das Album kann als liebevolle Hommage an die Heimatstadt Göteburg der Band verstanden warden. Sowohl in den Texten als auch durch den musikalischen Einfluß der Göteborger Punkszene der späten 70er und frühen 80er Jahre sind die neuen Songs dazu passend wieder in Ihrer Heimatsprache aufgenommen worden. "Explosiv!" beginnt mit einer Überraschung im von Ennio Morricone inspirierten "Göta Älv". Diese stimmungsvolle Nummer ebnet den Weg für eine Reihe von rasanten, hymnischen Songs wie "Majorna" und "På G", bei denen ein Hauch des Ramones-Spirit sofort spürbar ist. Die Liebe der Band zu ausgeprägt verspieltem Down- und Dirty-Rock'n'Roll mit rotzigem Gesang und voller Tempo ist in "Blod & Bly" und "Kranarnas Stad" deutlich zu spüren. Weitere Überraschungen gibt es in Form des Titeltracks, in dem ein wildes Bass-Solo dem Namen "Explosiv!" alle Ehre macht, und des Outros "Fan Ta Er", einem kurzen Live-Cut, der in einer intimen Umgebung nur mit Gesang und Mundharmonika zum treibendem Beat gespielt wird. City Saints haben für das neue Album erneut mit Produzent Chips Kiesbye zusammengearbeitet, der für seine Arbeit mit The Hellacopters und Michael Monroe bekannt ist. Das Ergebnis ist eine natürlich klingende Platte, die an die reduzierten Produktionen aus dem goldenen Zeitalter des Punkrock erinnert. Die Band nutzte Kiesbyes Talent voll aus und konnte zudem den Sänger und Gitarristen von "Sator" bei "Explosiv!" für die Mandoline und Akkordeon zu einem Gastspiel ins Studio einladen. Die LP kommt als Collectors Edition auf 180gr. Vinyl im Gatefolder und neben klassisch schwarzem Vinyl auch in 2 limitierten farbigen Variationen

Die schwedischen Punkrocker City Saints kündigen die Veröffentlichung ihres mit Spannung erwarteten neuen Studioalbums an: "Explosiv!" ist das sechste Album der Band seit ihrer Gründung 2012 in Göteborg. Seitdem tourte die Band mehrmals durch ganz Europa und erreichte Millionen von Streams. City Saints haben sich einen Namen gemacht für ihre "take no prisoners "-Attitüde immer auf "High Voltage" und ihren eingängigen Refrains. "Explosiv!" ist da keine Ausnahme. Das Album kann als liebevolle Hommage an die Heimatstadt Göteburg der Band verstanden warden. Sowohl in den Texten als auch durch den musikalischen Einfluß der Göteborger Punkszene der späten 70er und frühen 80er Jahre sind die neuen Songs dazu passend wieder in Ihrer Heimatsprache aufgenommen worden. "Explosiv!" beginnt mit einer Überraschung im von Ennio Morricone inspirierten "Göta Älv". Diese stimmungsvolle Nummer ebnet den Weg für eine Reihe von rasanten, hymnischen Songs wie "Majorna" und "På G", bei denen ein Hauch des Ramones-Spirit sofort spürbar ist. Die Liebe der Band zu ausgeprägt verspieltem Down- und Dirty-Rock'n'Roll mit rotzigem Gesang und voller Tempo ist in "Blod & Bly" und "Kranarnas Stad" deutlich zu spüren. Weitere Überraschungen gibt es in Form des Titeltracks, in dem ein wildes Bass-Solo dem Namen "Explosiv!" alle Ehre macht, und des Outros "Fan Ta Er", einem kurzen Live-Cut, der in einer intimen Umgebung nur mit Gesang und Mundharmonika zum treibendem Beat gespielt wird. City Saints haben für das neue Album erneut mit Produzent Chips Kiesbye zusammengearbeitet, der für seine Arbeit mit The Hellacopters und Michael Monroe bekannt ist. Das Ergebnis ist eine natürlich klingende Platte, die an die reduzierten Produktionen aus dem goldenen Zeitalter des Punkrock erinnert. Die Band nutzte Kiesbyes Talent voll aus und konnte zudem den Sänger und Gitarristen von "Sator" bei "Explosiv!" für die Mandoline und Akkordeon zu einem Gastspiel ins Studio einladen. Die LP kommt als Collectors Edition auf 180gr. Vinyl im Gatefolder und neben klassisch schwarzem Vinyl auch in 2 limitierten farbigen Variationen

The Tattooist of Auschwitz is a 2024 six-part TV miniseries based on the international bestselling novel by Heather Morris, inspired by the real-life story of Holocaust prisoners Lali and Gita Sokolov.

The story follows one man, Lali, a Slovakian Jew, who, in 1942, was deported to Auschwitz, the concentration camp where over a million Jews were murdered during the Holocaust. Shortly after
arrival, Lali was made one of the Tätowierer (tattooists), charged to ink identification numbers onto fellow prisoners’ arms. One day, he met Gita when tattooing her prisoner number on her arm, leading to a love that defies the horrors around them. The cast features Harvey Keitel, Melanie Lynskey, Jonah Hauer-King, and Anna Próchniak.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES 4-PAGE BOOKLET
• ORIGINAL SOUNDTRACK TO THE 2024 SKY TV MINISERIES STARRING JONAH HAUER-KING, ANNA PRÓCHNIAK, MELANIE LYNSKEY AND HARVEY KEITEL
• MUSIC COMPOSED AND PERFORMED BY LEGENDARY FILM COMPOSER HANS ZIMMER AND KARA TALVE
• SOUNDTRACK NOMINATED TWO TIMES AT THE PRIMETIME EMMY AWARDS
• FEATURING “LOVE WILL SURVIVE” PERFORMED BY BARBRA STREISAND
• BLACK VINYL

Music for the series was composed by multi Academy Award-winning composer Hans Zimmer and Kara Talve. The soundtrack also features the brand new song “Love Will Survive” by global music icon Barbra Streisand. The music for the show received 2 Primetime Emmy nominations, for “Outstanding Original Music and Lyrics” and “Outstanding Music Composition for a Limited or Anthology Series, Movie or Special (Original Dramatic Score)”

The Tattooist of Auschwitz is available on black vinyl and includes a 4-page booklet.

The classic X-Static EP gets the remixes treatment from three huge talents in the scene: When released, Murderous Style was way ahead of its time, and these remixes bring showcase its strengths as both an early jungle track and old skool rave masterpiece.

Danny Styles, one of the original jungle dons, gives us a smooth and deep remix, with lush basslines and rolling breaks. Dj Terrace takes a ruffer approach with a remix that leans into the harder side. Meanwhile, Kniteforce regular Paul Bradley smashed a more stab laden remix of Ready 2 Go, a track that leans more uplifting than jungle but still takes no prisoners!

The Prisoners were a regular live act in London’s psychedelic and mod revival scene of the early 1980s. They recorded some fantastic material blending garage-punk, soulful vocals, and electrifying Hammond organ, but never quite made it. They called it a day in 1986, and most band members went on with new musical projects, including The Prime Movers and The James Taylor Quartet. The love of the Prisoners’ music has grown ever since though, and the original four members have done several re-unions over the years on stage and released a long-awaited comeback album this year. Their lasting influence can be detected on subsequent generations of musicians, including many of the Madchester bands of the early 90s, notably the Charlatans and the Inspiral Carpets, and serves as a blueprint for Britpop and beyond. Now we release The Prisoner’s best songs on the LP Hurricane with great packaging, liner notes and rare photos.

JTQ experimentieren ständig mit verschiedenen Musikstilen, nach Soul- und Jazzalben, einem Chor- und einem Orchesteralbum, nehmen sie jetzt ein Funk-Rock-Album auf, das eigentlich die nächste The Prisoners-LP hätte sein können. Funky, teils punky Rock-Elemente wechseln sich ab mit Hammond-Funk-Instrumentals im Stil von Jimmy McGriff. James Taylor nahm viel mit Billy Childish und The Prisoners auf und fand es an der Zeit, seine Jazzband auch an diesem eher rock'n'rolligen Sound auszuprobieren. Während die Funk-Rock-Tracks auf BBC 6 laufen, spielt Jazz FM die Instrumentals.

A punky romp with a beast of a chorus, JTQ here kicking up some dust with a tune that hails back to James' time in the Prisoners supporting The Ramones on a UK tour in 1986. James recalls 'The Ramones were one of the most incredible things I've ever seen, I watched their entire show, 3 hrs, every night on the tour and as a 21 yr old it made a huge effect on me. I've waited to being 60 yrs old to find a way to somehow act on that. Although I'd say JTQ have always had a punky Rock n Roll thing going on our live gigs.' This whole thing now feels completely new and fresh. a real discovery. Despite having always being there on some level.

From the first bars of the immediately recognizable ‘Alamode’, this album is an explosion of beauty. This first sextet iteration of Art Blakey’s Jazz Messengers includes a young Wayne Shorter (tenor saxophone), Lee Morgan (trumpet), Curtis Fuller (trombone), Bobby Timmons (piano) and Jymie Merritt (bass). The band ferociously pushes the pace with each track, leaving no prisoners in their wake. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Since forming in 2008, Falling In Reverse have racked up a fanatical fan base, so much so that the band"s legendary videos have been viewed over 30 million times. The attitude of the 1980"s Sunset Strip, the bravado of battle-ready rap, the take-no-prisoners bottom end of metalcore and the boundless revelry of underground EDM parties have all beautifully converged in this one band and this new album. It"s for everyone on Instagram, on Twitter, or anyone with a brain and two ears. "My dad raised me on metal, but my first serious love was hip-hop," Ronnie explains. "When I heard Dr. Dre"s The Chronic, that"s when I fell in love. I didn"t know what the hell they were talking about, the beats were intertwined, and it came inside of me and took me over. When we added hip-hop elements I was thinking, "Should I do this? This sounds crazy! Are people going to like this?" Now I"ve never been so proud of something. The final product, Fashionably Late, is the best work I"ve ever done." First time pressing on limited edition Clear w/Hot Pink Splatter vinyl to celebrate the album"s 15th anniversary!

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


The James Taylor Quartet proudly release their brand new single 'Hung Up On You', from their forthcoming studio album.

A slice of Medway style punky/new wave Rock'n'Roll, 'Hung Up On You' is a fast and furious rant about an obsessive unrequited love that refuses to die. Since covid James has been working again, writing and playing, for his original band from the 80's, The Prisoners and making albums of late with Billy Childish.

"The track (Hung Up On You) was left over from a writing session for my other band 'The Prisoners' and it was interesting to see how my JTQ guys, usually funk players, took to this approach. We had a lot of fun in the studio and I think you can hear that in the recording.' - James Taylor.

2024 Reissue

Alphacut Records reloads its third wave with an upfront jungle plate. Meticulously selected over the years since the last allover amen statement Fundamentals EP as of cat.nr. ACR 3001, these four new killer tunes take no prisoners as well.

Sumone (with his Planet Mu fame) and Dan Miles (formerly Skubi like on Modern Ruins) as the midwest cowboys meet the North Sea sailors Istari Lasterfahrer (running his Sozialistischer Plattenbau) and Ill_K (on Nord and re:st)to execute this smashing Darka Mentors EP!

"Wicked Man Sound" is one of the most sinister jungle sciences we came across lately. Choppage on point, layerslike spread, stabbing basses, dark percussion, oldskool pads - you name it. "Crash!" feels like a UK hardcore banger, but is refreshingly switching breakbeats instead of gabba kicks. "Echo Chamber" drops an irresistible rave stab into the dubber dungeons and "Kuro" celebrates a very samurai style of a halftime cut to round up this breaksfest menu with ease.

Alphacut operates on a non-profit level, most releases cover their costs, if even. Half of any returns will be donated to Webster's Amen Break Gesture campaign II raising funds for the original creator of The Winston's Amen Brother breakbeat: Richard Spencer. With the deepest respect for this milestone of a sample!

Sugaray Rayford is a man with a message and a larger than life personality and voice to deliver it

Working with producer, songwriter Eric Corne for the past 3 albums, the soul-blues powerhouse has crafted an incendiary sound and narrative, combining classic soul melodies and funky R & B grooves with raw blues power.

The pair's first collaboration, 'Somebody Save Me', earned Rayford a 2020 Grammy nomination. Later that year he took home Blues Music Awards for 'Soul Blues Male Artist' and 'B.B. King Entertainer of the Year.' Rayford's follow up In Too Deep won a plethora of awards including the Blues Music Award for 'Soul Blues Album of the Year'.

His new release is entitled 'Human Decency'. The title track is a simple reminder that our similarities are stronger than our differences and in the end, there is no black or white or left or right, there are only hearts and minds.

About the leadoff single, "Run For Cover" a song that takes no prisoners, Q Magazine declares, "The bluesey soul of Rayford comes on full steam with this powerhouse single."

"We're calling people on their bullshit but we're having fun with them. That's my way. I'm gonna tell it to you straight but with love in my heart. I always bring some suga with the salt!" says Sugaray, bellowing with laughter.

An all-star cast lent their talents to the album, including guitarist Rick Holmstrom and singer Saundra Williams who are both from Mavis Staples's band, along with bassist Taras Prodaniuk (Lucinda Williams, Merle Haggard).

CLUB OF PROBLEMS ist eine ganz neue Band aus Freiburg im Breisgau - die vier Typen dagegen sind längst erfahrene Hasen auf dem Gitarrenpop-Dancefloor. Jeremy James, Purple Reinhard, John Pelzer, Jackson Bollock - man kennt sie u.a. von Gringo Mayer, Prisoners Of Freedom, The Seducers, Serial Off, Neo Rodeo, Backslide, BAR, Virage Dangereux, Nicolas Sturm, Jimi Satans Schuhshop, Achtung Rakete, The Hojos, Institute Of Modern Melancholy. Außerdem: Unbedingt "Öffentliche Telefonbuchlesung" antesten.. Endlich bringen sie für ein gemeinsames Debütalbum all ihre Qualitäten zusammen: Melancholisch und schwer, dabei tanzy und mindestens so beknackt wie diese Zeit. Zwischen Pop, Folk, RnR und Punkrockbasis, zwischen Irrsinn, Unsinn und Sinnlichkeit. 11 Songs, die unsere alltägliche Gegenwart demontieren und als absurd ohrenschmeichelnde Stücke neu zusammensetzen. As big as it get"s!

Holsten marks his arrival with his debut 'All Talk EP' on Rupture LDN.

Dark and menacing from the bass to the atmospherics, Holsten takes no prisoners with four tracks of dystopian pressure, including a collab with Overlook (for his first return since 'Gumshoe' in 2015).

Essential selections for the late night warriors from Holsten, with tight breaks and swarming lows, without ever losing the groove.

Zweimal Gimp Fist! Die Alben "UNIFICATION" und "ISOLATION"! Jeweils 15 Songs auf jedem Album und wie nicht anders zu erwarten, liefert die North-East Oi! Division wie gewohnt Songs der Extraklasse ab! Den klassischen UK Skinhead & Punk Sound mit abwechslungsreichen Mischung aus straight forward Punkrock-Hymnen, druckvollen Singalongs und mitreißenden Oi!-Shoutern beherrschen die drei Engländer bis zur Perfektion! Abgerundet durch das ausgeklügelte Songwriting und treffsichere Lyrics von Sänger Jonny Robson hat sich die Band seit 2005 weltweit eine riesige Fangemeinde erspielt. Nicht umsonst sind Gimp Fist auf dem Rebellion-Festival in Blackpool jedes Jahr einer der Headliner und von Craig Charles in seiner BBC Radio 6-Sendung fast in den Punk-Adel erhoben worden. Limitiertes rotes Vinyl mit blauen Spritzern!

Mood II Swing are giants of NY metro area club culture. On calibre with heavy-hitters like Masters At Work and Blaze, Lem Springsteen and John Ciafone's output boasts the bejeweled crown of deep house supremacy, spanning from the early 1990's to the latter part of the decade, molding and modeling a sound painstakingly tailored to the vanguard of minority and transgendered club scenes, pre-purge New York. One of their first and most explosive claims to the throne was 1992's "Wall of Sound" EP, a no-prisoners-taken masterpiece with the confidence and cockiness of two producers just out the gate and fully assured of their total domination of the craft. "I Need Your Luv" is, to this day, the indisputable measuring stick of cunty club tracks, opening as the curtain lifts with the outpouring of one fierce ruling diva, quickly picking up force in a storm of wide swinging-drum programs, punching bass drives and sparse, splitting synth stabs, all punctuated with unyielding vocal cut-ups and yearning cries. On the flip, "Penetration" delivers the same expert method, albeit with a more abstract, dreamy air about it, a bumping, endlessly ascending standard of the vocal-sample driven deep house track of the early 1990's, constantly building and morphing in its deceptive complexity. Brilliant, timeless and time-defying, "I Need Your Luv" & "Penetration" have finally been reissued for the first time since their original debut 21 years ago, the latest feature in Slow to Speak's ongoing CORE series, a testament to the formative years of NY house lore.

Crypt of the Wizard is proud to present Dipygus - Dipygus on vinyl and digital formats. Breaking bones, sucking the marrow dry and concocting its own mind-bending blend of cryptid death metal mutilations for over a decade now, Dipygus are a North American quartet powerhouse of crushing caveman gore grooves and monstrous neanderthal percussive slaughter. With already a blood hungry host of extended plays, splits and full-lengths under their gut string loincloths, Dipygus burst forth into 2024 with their self-titled third album—pushing the primitive psychosis of their sonic assault into new arenas of hallucinogenic cannibal combat. Rife with the foetid stench of mouldering mammoth corpses, Dipygus have spared no prisoners for their latest album; amping up their jungle fever dead dreams with skull smashing drumwork, monolithic bass brutality, captivating death hooks, venomous hypnotic leads, guttural flesh growls, ancient cryptid thematics and a truly diseased atmosphere, one that is as equally oppressive, as it is ferociously ominous. Freak induced fatalism from the backward fringes of time, Dipygus have once again laid morbid massacre to the audio waves and created their most potent slab of infectious caveman styled death metal to date, one that any cannibalistic monster marauder would be thrilled to sharpen their gnarled bone axes upon.

Grilchy Party presents another epic from Da Buze Bruvaz own Clever 1 and mysterious production wizard Lord Beatjitzu. This new adventure follows where the last one, Perverted and Drunken, left off. They have cooked up another album following the footsteps of their classic Perverted and Drunken LP. This new adventure follows where the last one left off. Introducing Master Sip, Legendary Teacher Of Bruce Lo Da First Drunken. It is illuminating one of the many chambers of their Drunken Fly Chi style, the martial arts mind states of Clever 1 and Lord Beatjitzu combining as the "Fly Chi School Of Da Drunken Artz". The duo pops the listener in the face With vicious, bloody Nunchuck Lyrics over high-velocity, swift kick-in-the-chest production. With these seasoned masters of their perspective arts, they form a powerful, unstoppable combo and truly take no prisoners in this Action-Packed sophomore foray. It's a pure Saturday morning Kung Fu sound theater where Wing Chun enters the world of Drunken Fist on Wax. Beware as you enter the Dojo and watch your step!

Since the early 80's Allan Crockford has been a major figure in Medway's garage rock scene, including playing for The Prisoners, Billy Childish's Thee Headcoats, the original line-up of the James Taylor Quartet, The Solarflares and many more. Since 2010 he has fronted his own band, The Galileo 7, as writer, guitarist, and lead vocalist. Their unique blend of powerful '60s garage rock'n'roll, psychedelic vocal harmonies and quality songwriting has now featured on no less than eight albums. Their ninth, You, Me and Reality, sounds like the work of a seasoned rock 'n' roll band dialling things up one and approaching its zenith. The group performances of the quartet of Allan Crockford, Viv Bonsels, Paul Moss and Mole ooze energy and dynamics - whether it's the garage ramalama of opener 'Can't Go Home', the woozy psychedelics of 'Slow Down', the chipper folk-rock of 'A Simple Man' or the '60s mod-pop stomp of the title track. As with 2019's last album proper, There Is Only Now, all four group members share lead vocal duties, with Viv's contributions adding an affecting indie-pop flavour that coyly suggests new directions. You, Me & Reality largely eschews its predecessor's predilection for ambling unplugged off the beaten path, instead sticking with up-tempo ensemble performances that showcase the players' musical chops and vocal interplay in the kind of warm, fizzy, analogue soundscape that's become a touchstone of many Medway bands.

Previously Unreleased Album. In the Fall of 1993, between contracts with Capitol and RCA, The Smithereens ventured into Crystal Sound Studios NYC to write and record a new album for their own label. The results of those one month marathon recording sessions is this album, unheard by the outside world until now, and appropriately titled “Lost Album”. The Smithereens’ take no prisoners sound, reflecting their Garden State roots, has resonated with fans worldwide over the course of 17 albums and 2500+ live shows. They've also inspired generations of musicians, including Kurt Cobain, who counted The Smithereens as a major influence. Founded in New Jersey in 1980, The Smithereens have been creating electrifying, original rock’n’roll for 41 years. Jim Babjak (guitar) Dennis Diken (drums) and Mike Mesaros (bass) grew up together in Carteret and lead singer, the late Pat DiNizio, hailed from Scotch Plains. The Smithereens’ fame escalated, they were in heavy rotation on MTV and appeared on The Tonight Show, Conan O'Brien, and Saturday Night Live.

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.

Bring back my Bass Butches! They’re bossy & they mean business. Rag-tag rhythm riders Maara and Roza Terenzi come together for a freaky friday sound swap; trading auditory secrets only a mixologist would know to conjure up a 2 track tek-trailblazer. Not for the faint hearted deejay, the record flaunts their distinct signature sounds as they reincarnate the status quo of experimental club music one snare at a time.

Percussively penetrating the core ethics of composition, the A side flirts and squirts all over a rhythm so raucous, the bass battens down the hatches. Stir the pot, rock the boat, roll the dice and ride the bass, surrender to the unruly structure as the groove gets full custody.

The bareback B side breaks rules and regulations; leading you to high-tech temptation, fast and furious with an explosive temper that can’t be tamed.

Tickling the rim of electro and bass yet ditching the doctrine, Loose Lips Sink Ships is a take-no-prisoners secret source of dancefloor dopamine, the sleek modern rendition of a ritualistic beatdown destined to weave motifs together and breed atmosphere.

It takes 2 to techno, but these are the number 1 drum degenerates of the future wave party starters.

Referred to as "one of Reggae's quietest superstars" Jackie Mitto aka "The Keyboard King" had a remarkable path in Reggae music, a protege of Sly Stone, he started his career as part of Studio One's in house recording band and later went on to work with artists such as Bob Marley, UB40, Barry White, Peter Tosh and Oscar Peterson. This album was the result of a rare occasion of being on tour in Africa and establishing musical connections with musicians from Ghana, recorded in Accra and mixed in London. Predominantly instrumental, this album is essential to any dub conscientious record collection, as it culminates the career of a Reggae legend whilst under new influences in West Africa resulting in an unmistakably characteristic modern dub sound. Re-issued on vinyl with remixes previously only availably on CD format.

Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents is third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.

This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming together, making it through together. Written as private ritual magic, manifesting community during a time of isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop, Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal performance.

On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the eternal now.

Fresh from supporting Blur at Wembley Stadium this summer, Sleaford Mods are getting set for some of their biggest ever UK and Europe dates this autumn with the release of new six track EP, More UK GRIM, on 20 October. Recorded at the same time as their acclaimed 2023 album, UK GRIM, the freshly released songs not only continue Andrew Fearn and Jason Williamson's current dancefloor dominance, but with a mix of insight and wit, outrage and compassion, they critique and celebrate our turbulent times.à Lead single Big Pharma, shares a 'take no prisoners' lyrical approach with the band's recent album as it casts a doubtful eye down the 'truther' wormhole, although entwined around a slinky bass riff the track confirms the two-piece at their most dexterous musically. Big Pharma, which sets the tone for the More UK GRIM EP, is accompanied by a sharply satirical animated video directed by Sean Sears, who has applied his distinctive, stylised 2D vision to examining the consequences of a health 'philosophy' that prizes drinking urine over carefully researched medical treatments.à "Big Pharma was written in the opening chapters of autumn 2022 when Covid kicked in again. It carries a lot of the normal Sleaford Mods absurdism but also looks at the ongoing fascination with trying to find truths in information wholly pushed by very questionable people," explains Jason Williamson. Alongside the lead single, the More UK GRIM EP also features Under The Rules, Old Nottz, PO Crazeh and My 18hr Girdle, all previously unavailable.

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

Top Left Club are a budget Brighton band from the depths of 2020. Ease into the sleaze and get ready to submit to the filthy frequencies about to be unleashed. Raw, pure songs filled with visceral energy will saturate every corner of your mind, potentially changing the course of your life. Top Left Club take no prisoners

After the successful releases from Skitty and Double O, Threshold has added to the series of AKO VIPs and takes no prisoners on this release.

Humble in the jungle and AKO and dance floor classic. VIP finally comes out with another classic PAIN (the hazardous VIP) on the flip deep subs, pads, and edits in true Threshold style.

SuperBlue: The Iridescent Spree is the electrifying new album from jazz legends Kurt Elling and Charlie Hunter, following the success of their eponymous Grammy-nominated debut and acclaimed EP Guilty Pleasures featuring Nate Smith. With a vocal range that seamlessly blends jazz, R&B, and funk, Elling is a virtuosic showman and deep collaborator with a comedic edge. Hailed by The Washington Post as the most daring, dynamic, and interesting singer in jazz since the mid-1990s, he and Hunter have pushed the boundaries of jazz and lyrics to create a one-of-a-kind sound that is uniquely their own. Teaming up with hip-hop masterminds Corey Fonville and DJ Harrison (Butcher Brown), Elling and Hunter showcase their virtuosity, showmanship, and musicianship to offer a deluge of roisterous funk, indelible beats, and all-too-current lyrics that will have you grooving like never before. SuperBlue is more than just another jazz album. It's a punch in your face, take no prisoners masterpiece that showcases the sheer talent, passion, and unpredictability of these extraordinary musicians. Get ready to be blown away by the brilliance of Kurt Elling and his collaborators in this groundbreaking project!

Federica Grappasonni aka Mistura Pura is an Italian DJ, composer, singer, vinyl collector and music producer. She started to play and produce music at the age of 19 in Bologna, Italy. Before becoming a DJ she wrote and performed her songs live, either as a duo or with a complete band. In the ‘Acid Jazz’ era she was totally immersed in Bossanova, Jazz-funk and Jazzy Hip Hop music. At the time she wrote poetry and songs, singing melodies that burned in her mind. ‘Ed è…’ is one of the first songs she wrote. While ‘Vamo Vive’ is the result of the mix of more songs connected as part of her repertoire, made as a later piece of her musical puzzle.

At the end of the ‘90s and for the following decade Federica became known in the so called ‘lounge scene’ as a selector with Mistura Pura DJ sets in great demand, she gained residencies in the most beautiful and cool places in Milan, the isle of Panarea, Eolian Islands, and Sicily. Coming into the present day she decided to edit and rework some of her repertoire with both songs being revisited while keeping the original voice she recorded at the time and with the support of the pianist and co-arranger Alberto Napolioni and the flautist Carlo Nicita whom worked very well to define the harmonies of the musical works. After 25 years from that period and during the pandemic, Federica repeatedly told herself as a loop ‘go to live Fede’. It was during a walk on the beach that she remembered capturing a frame of a couple of children building a castle in the sand on the Adriatic sea with all the meaning and poetry that this image portrays; a sense of freedom, innocence and truth. In this sense ‘Vamo Vive’ and ‘Ed è…’ is a gentle scream of hope in a time when humanity was closed and living like prisoners in their own houses.

2026 Repress

Underground 3 deck vinyl legend Jeff Amadeus returns to Cluster with an epic journey of thumping beats, frenetic rhythms, and slowly building textures on Predators. The track lives up to its name being a monster slice of menacing 'chase and kill' techno - wholly individual and unique but capable of having a devastating effect on hard dancefloors. On the flip Bad Boy Pete delivers a slamming remix of tough beats and driving rhythms, whilst Chicago Loop adds his take with pounding kick, wobbly synths and attacking 303 stabs. 3 versions that take no prisoners!

RAR001 was featured in Resident Advisor's Best music of July list

RANT & RAVE
An enigmatic new sound is oozing out of your speakers. Seemingly self-tasked with reviving the essence of the techno rave style, Rant & Rave Records presents the world with an updated vision that sounds exactly like it should. Based in Berlin, the techno epicenter, It's a dangerous new label, unafraid to stir things up and break the rules. Run by Tresor resident and Sonic Groove recording artist Maedon, the label intends to inject some hard-hitting fun back into the techno underground. About to be revealed; EPs from Maedon, Lady Starlight, JoeFarr (of Turbo fame), and veteran industrial techno guru Mark Crumby, (aka Codex Empire, Konstruktivitis). Look for Rant & Rave records this summer at all fine record shops.


RAR 001
Berlin-based American expat Maedon (Tresor, Sonic Groove) ushers in the arrival of Rant & Rave Records with a slickly produced debut EP entitled 'Cease and Desist'. '1989' opens with booming kicks, driving mechanical percussion, and hallelujah samples interspersed throughout. The droning rave synths sound eerily akin to kamikaze dive bombers heading directly for your brain. 'Grandstand' and the title track 'Cease and Desist' continue in this direction, abundant with hypnotic electronics and relentless energy. On 'The Worlds So', Maedon shares her thoughts on the state of world current events with looped vocals 'The worlds so fucked... all we can do is dance'. Gritty, dark rave tracks for peak time workout that provide a nice blueprint of what to expect from this label. No prisoners taken.

LDS takes no prisoners on this blistering new techno workout for Exos' Planet X & X/OZ labels.

Opener 'Karplusfunk' is a 100-mile-an-hour assault with caustic hit hats over clipped, kinetic drums. Manic synth lines ride up and down and the energy levels are off the chart. 'Mvoper FM' is slightly paired back but is still warp-speed icy techno to take dance floors on a white knuckle ride through the cosmos.

The Exos remix of 'LD5' has snares that sound like sheet metal blowing in the wind while solar clouds peel off the groove. The flip side offers two more cuts of head-melting techno experimentalism.

Rancid - the legendary Bay Area punk rockers are back with their 10th studio album, Tomorrow Never Comes on Epitaph Records. Emerging from the blue-collar swamps of Berkeley, California, Rancid has now been a living, breathing punk rock band for over a quarter century. Back in 1991, after the demise of their much beloved and still influential first band, Operation Ivy, founding members Tim Armstrong (vocals, guitar) and Matt Freeman (bass, vocals) decided to do the impossible — start an even better band. Thus, Rancid.

Signing with Epitaph Records, the band released their first album, “Rancid,” in 1993. Shortly thereafter, Lars Frederiksen (vocals, guitar) joined the band and they went on to release incredible records from “Let’s Go.” (1994) to their classic - platinum selling “…And Out Come The Wolves.” (1995). Drummer Branden Steineckert joined the band in 2003, cementing the line-up that rocks out till this day.

Young South Coast UK producer Lyra’s ‘Give It Up 2 Me’ has been a very 2023 entity so far, racking up 170k + streams as an unofficial Soundcloud upload, starting to make an impact on Tik Tok (especially via the L Major remix) whilst being, in 4/4 terms, on the nippier side of things.

Rocking along at an unapologetic 160bpm, ‘Give It…’ goes big on energy, and low on musical frills, as the song (a faithful cover of Ojerime’s original) and driving bass/drums combo do all the work for what is a minimal, avant - donk workout.

On the remix front, Limoux slows things down with a 135bpm 4/4 mix that feels like it has roots in LDN 2015 style foot shuffling, but with added sense of contemporary punch and reach.

Stepping up on an old school / new school junglist front, L Major’s mix takes no prisoners, with his rolling, cut up breaks and big Reese b-line set to cause damage to unsuspecting systems everywhere.

Closing proceedings, the Jag Limbo mix doesn’t seem to know if it wants to be Overmono or Giorgio Moroder, is in reality neither, and arguably none the worse for it.

Rancid - the legendary Bay Area punk rockers are back with their 10th studio album, Tomorrow Never
Comes on Epitaph Records. Emerging from the blue-collar swamps of Berkeley, California, Rancid has now been a living, breathing punk rock band for over a quarter century. Back in 1991, after the demise of their much beloved and still influential first band, Operation Ivy, founding members Tim Armstrong (vocals, guitar) and Matt Freeman (bass, vocals) decided to do the impossible — start an even better band. Thus, Rancid.

Signing with Epitaph Records, the band released their first album, “Rancid,” in 1993. Shortly thereafter, Lars Frederiksen (vocals, guitar) joined the band and they went on to release incredible records from “Let’s Go.” (1994) to their classic - platinum selling “…And Out Come The Wolves.” (1995). Drummer Branden Steineckert joined the band in 2003, cementing the line-up that rocks out till this day.

Rancid - the legendary Bay Area punk rockers are back with their 10th studio album, Tomorrow Never Comes on Epitaph Records. Emerging from the blue-collar swamps of Berkeley, California, Rancid has now been a living, breathing punk rock band for over a quarter century. Back in 1991, after the demise of their much beloved and still influential first band, Operation Ivy, founding members Tim Armstrong (vocals, guitar) and Matt Freeman (bass, vocals) decided to do the impossible — start an even better band. Thus, Rancid.

Signing with Epitaph Records, the band released their first album, “Rancid,” in 1993. Shortly thereafter, Lars Frederiksen (vocals, guitar) joined the band and they went on to release incredible records from “Let’s Go.” (1994) to their classic - platinum selling “…And Out Come The Wolves.” (1995). Drummer Branden Steineckert joined the band in 2003, cementing the line-up that rocks out till this day.

Die Heavy Metal Ikonen Alcatrazz aus LA liefern Songs im Warp Faktor 10 auf ihrem sechsten Studioalbum, das dritte in drei Jahren. Das Album umfasst 10 mitreißende, charismatische Tracks und in jedem ist die einzigartige Fusion von amerikanischem Classic Rock mit der harten Rock-Attitüde des britischen Metal zu erkennen. Take No Prisoners kommt mit der Energie von Alcatrazz, im Gepäck umfassende Melodien mit "Road Warrior" Riffs.

'Little Viper' hat eine Gitarre, die alles abmäht und dann in einem Gewitter endet, ein Angriff, den man von Dio kennt; aber es gibt auch ruhigere, umfangreiche Songs wie das epische 'Strangers' und das Album endet mit dem Brennpunkt 'Bring On The Rawk'. Ohne Frage:
Alcatrazz is kicking ass. Mit Doogie White (Gesang), Joe Stump (Gitarre), Jimmy Waldo (Keyboards), Gary Shea (Bass) und Larry Paterson (Drums) ist das Werk ein lautes und stolzes Classic Rock Album, produziert von Giles Lavery und Waldo. Take No Prisoners it ganz in der Tradition wie man Alcatrazz kennt, exzellente Gitarren,
donnernde Rhythmen und mit einem Gesang, der an die Dio/Rainbow Ära erinnert.

After 3 individual pieces on the Hamburg label PUDEL PRODUKTE, the longplaying work of the man from the Pension Stammheim is finally released. It quickly becomes clear that this is a real capacity record: 6 (on vinyl) or 8 pieces (on electricity) from the cosmos of a man who means business. You can already tell by the fact that the record is only called ROTTE and not something else. Rotte makes ROTTE and nothing named, nothing labelled, nothing carefree commodes and prisoners certainly not.

It is relatively easy to approach ROTTE. Just listen and do nothing else. No, nothing. Nothing at all. Don't give away flowers, smoke cows, talk yourself or listen to the net. Don't try to get out of the Bermuda Triangle in the process! Concentrate as if you were reading a book by Suhrkamp. Be action-less in the here and jazz. Beat the six kinds of wood out of the coffin and leave only the steel screws!

Take Rotte and ROTTE seriously. Man and work. With him, though, black is absolutely a colour. My ketamine is my petrol. First Takes only. Drilling without Club of Gore. Undisputed truth. No Lounge. The lyrics on Rotte are not a party.

It might seem a bit TOO colourless, a bit TOO intense, a bit TOO hard and dark. Too much psycho-babble. But the songs bring it and you. They are designed in such a way that nothing else works during them. Nobody would think of peeling an egg at Russian roulette. That's how you have to see it.

The songs were musically supervised by Jörn Elling Wuttke and Oliver Bradford (Thee Church Ov Acid House), by DIE NERVEN producer Ralv Milberg, by Douglas Creed (BPitch Control + Freude am Tanzen), Boris Nielsen (Käptn Peng) and Peter Armster.

There is a congenial mutual autocorrection between lyrics and music. Individually, this cannot be heard and it is not offered. By the way, you don't hear anything else at the Federal Criminal Police Office at the moment. So please.

A1 Fliege gegen Scheibe
Written & produced by Oliver Bradford, Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

A2 Butterbrot und Peitsche
Written & produced by Peter Armster, Christian Rottler
Lyrics: Christian Rottler

A3 Gaffa, Farbe und Zustimmung
Written & produced Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

B1 Autosuggestion
Written by Boris Nielsen, Christian Rottler, produced by Boris Nielsen, Marc Eggert
Lyrics: Christian Rottler

B2 Deichtorhallen
Written & produced by Oliver Bradford, Jörn Elling Wuttke und Christian Rottler
Lyrics: Christian Rottler

B3 Dunkelwach
Written by Mario Willms, Christian Rottler, produced by Mario Willms
Lyrics: Christian Rottler

"The new full length album from the legendary Metallica, their first since 2016's ""Hardwired... To Self Destruct"".
“72 seasons. The first 18 years of our lives that form our true or false selves. The concept that we were told ‘who we are’ by our parents. A possible pigeonholing around what kind of personality we are. I think the most interesting part of this is the continued study of those core beliefs and how it affects our perception of the world today. Much of our adult experience is reenactment or reaction to these childhood experiences. Prisoners of childhood or breaking free of those bondages we carry,"" comments Hetfield."