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After more than a decade of lighting up Australia's soul scene and stages across the country, Fulton Street is all grown up with the release of their sophomore album 'Hard Truths' – and they aren't holding back. Raw and real, 'Hard Truths' is forthright funk that shoots straight from the heart.

Made with great reverence to the roots of funk and soul, 'Hard Truths' is made up of 11 songs recorded directly to tape. Produced and mixed by Fulton Street's very own Jamie Stroud, the album was recorded with Alex Bennett from Sound Recordings in Castlemaine and is a tribute to the rawness of analogue recording, resulting in a sound that makes you feel like you are right there in the room.

From their Uni days, Fulton Street has retained a truly vibrant sound that has only grown into a lion's roar. Recorded and produced to perfection, 'Hard Truths' is a record for retro music lovers who are looking to hear something true.

Fulton Street has lit up festival stages across Australia's biggest events, as well as continuously selling out feature shows. They have enthralled crowds at Moomba Festival, Tasmanian Wine Festival, Caloundra Music Festival, Boogie Festival, Brunswick Music Festival, St Kilda Festival, Melbourne Music Week, Stonnington Jazz Festival, as well as Bluesfest sideshow support slots.

Coming to full form in Melbourne's most iconic and sweatiest soul venues, Fulton Street is regularly featured nationally on the stations where the true music aficionados live: PBS, Triple R and Triple J.

VSION 02 is the soundtrack to when the club's heartbeat matches yours; the first sip of water while cavernous drums engulf you. Kasra V's latest offering appeals to the glory days of the tribal side of 90s electronic music: sacred rhythms that echo influences from NYC clubs of past times and the freaky side of abstract dance music, while still retaining a unique flavor from his creative V-sion. Drawing a direct line from the shadowy corners of late 90s club culture to the avant garde, Kasra's world building is on full display, calling to mind both the full-bodied spirit of Victor Calderone's primal grooves and the voodoo beats of Exquisite Corpse. His most dancefloor oriented work to date, Kasra infused the energy of spontaneous jams into refined and layered sonic alchemy, utilizing vintage gear and pedals to evoke spiritually timeless flavors. The record is artistically represented by a Pierrot-esque visual, a perfect symbol for the playful psychedelia that is still entrenched in a hedonistic flair. There's more time in our ritual dance, take another sip.

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

Free Help is Minnesota trio Heart to Gold's celebration of the titular idea, conceived while broken down on the side of a road in Georgia. Recorded at Will Yip's Studio 4 and releasing on Memory Music, it's an expertly arranged, arena-sized rendering of the group's scrappy, bold guitar rock, a heartening mix of melodic punk, cavernous post-hardcore, and '90s alt-rock. It's the sound and feeling of a band growing into adulthood and maturity_singer Grant Whiteoak's writing is subtle and figurative, a result of deepening introspection spurred by years of touring.Free Help represents a push beyond Heart to Gold's long-time community, and a broadening of the boundaries of the project. The rich, spacious single "Can't Feel Me," released in February, evidenced this new sound and space, and record opener "Surrounded" leaves no room for doubt: This is Heart to Gold operating on a new level. It's a sleek, pit-ready thrasher, tearing at the seams with energy and intention, loaded with melody. There are classic, pedal-to-the-metal bangers, like "Get It Back" and "Blow Up the Spot," alongside the down-tempo drift of "Pandora," and the multi-movement epic "Belonging." Here it is, from Heart to Gold to you: Free Help.

Remember Bones Brigade Video Show, Future Primitive, Animal Chin featuring the skating of Tony Hawk, Steve Caballero, Tommy Guerrero, Mike McGill, and more? How many times did you and your friends watch these videos? Over and over and over. Did you know there was also original music by various artists playing while you watched these videos? This is the first ever vinyl pressing, double black and red vinyl gatefold jacket with mp3 download card and 2-sided fold out poster. You will instantly be transported back to this visual feast of skating, or if these videos are new to you, you will fall in love with the music from these classic skate videos.

Music lovers will be familiar with his love of Caribbean pearls from the compilations "Ritmo Caliente" and "Message from the Islands" as well as other releases such as "Los Yoyi", "Mighty Shadow" and "Wild Fire". Now Tom Sky, the former creative head of Black Pearl Records, is pulling another tropical discovery out of his travel treasure box on his new record label Sound Essence.
Lloyd and the Joys is truly a real holy grail and one of the most sought-after funky hotel records from the Caribbean islands. Deep, groovy synth Soul with the song "That Look Of You" meets jazzy funk breaks with the strong tune "The New York Business". There are also two stylish 70s postcards from Lloyd himself in a vintage design in each sleeve. The release is a must for all tropical music connoisseurs.

This re-issue faithfully replicates the original 1970 Island Records UK release in gatefold sleeve and is pressed onto high quality 180g vinyl. After their 1969 album Liege and Leif paved the way, Fairport Convention pushed further into traditional music, led by charismatic and renown fiddle-player Dave Swarbrick, who had joined the group in 1969 after making his name with Martin Carthy earlier in the decade. Vocalist Sandy Denny and bassist Ashley Hutchings left after Liege and Leif, and for the first time since the group's inception in 1967, there would be no female voice on a Fairport album.Guitarists Richard Thompson and Simon Nicol took vocal leads with Swarbrick and, with new bassist Dave Pegg joining drummer Dave Mattacks, the group made Full House, released in July 1970. Picking up where its predecessor left off, and again recorded with Joe Boyd at London's Sound Techniques, the album continued the standards set by their previous four albums. Four of the seven songs on Full House were adapted from traditional folk melodies, such as Dirty Linen and Sir Patrick Spens, while of the originals, Thompson and Swarbrick's nine-minute opus Sloth gave the group one of their all-time anthems. The sleeve sent up their new role as ambassadors of the rustic by inventing a string of traditional British games that didn't really exist.

Ramkot is a wrecking ball from Ghent, Belgium, playing powerful yet danceable rock music. After two EP’s and building a reputation as one of the most exciting live bands around, the spring of 2023 sees the release of debut album In Between Borderlines, a razor-sharp 25-minute uppercut aiming for both head and hips. They tour extensively, playing a hefty 100 shows in just one year: from steamy venues and sun-drenched festival stages (Pinkpop, Down The Rabbit Hole) to even opening for Metallica in Amsterdam. For their sophomore album, instead of producing it themselves again, Ramkot enlist producer Alain Johannes (QOTSA, Eagles of Death Metal, Them Crooked Vultures), who invites them to the Joshua Tree desert. For three weeks, Ramkot reside in the legendary Rancho De La Luna studio, famous for QOTSA frontman Josh Homme’s The Desert Sessions. ‘We pulled out all the stops, not pushing our foot down on the accelerator all the time, which allows the music to breathe more. There’ll be a couple of softer songs the fans will not be expecting from us.’ But rest assured, every single note still sounds very much like Ramkot. The band will only play a handful of shows this year, including 2000 Trees (UK), Sziget (H), Pukkelpop and Lowlands.

I want nothing more than to be a loner,” Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It’s a startling admission coming from a songwriter who, just a year ago on Dehd’s critically acclaimed Water, wrote eloquently about the joys and pains — more than anything, the necessity — of love, compassion, and companionship. But then, “admission” isn’t really the right word here, given the stridency of Kempf’s tone. “Loner” is a declaration.

The record ups the ante on Dehd’s sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf’s songwriting, even as it captures them at their most strident. Balla’s guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping “ooh!,” pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady’s one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache.

Ferocious Dog zählen neben The Levellers und New Model Army zu den führenden Folk/Punk-Bands im UK. "Kleptocracy", ihr zweites Album auf Graphite Records und Nachfolger von "The Hope" (2021, #1 der britischen Folk-Charts), vermittelt eine kraftvolle, dennoch provokante Botschaft, dass es einem kaum möglich ist, sich nicht inspiriert zu fühlen. Aus einer Anti-Establishment-Attitüde heraus werden Gegensätze wie Trauer und Hoffnung thematisiert und in Verbindung gebracht. Clear Vinyl LP mit 12 Tracks. CD-Deluxe-Edition mit 4 zusätzlichen Bonustracks.

"There's a celebratory barrel full of crowd singalongs from their impressive, furious and thoughtful Celtic folk-punk cannon." - Vive Le Rock

In the beginning, THERE WAS DOOM. The five piece gathers its forces together with the clear intention of celebrating in music one of the first raw appearances of metal: Doom! After a year or so of songwriting and the usual lineup setups, the 5-piece throws in what will become their first studio effort in 2005: a Heavy, Drunken, Doom, Metal demo (with their 700 sold-out copies, now fully downloadable due to popular demand), where the title "Heavy Drunken Doom" clearly and quickly reveals the attitude of the band. Cold Grave Marble, the 6th Doomraiser full doom length, is a frozen view in the darker side of life: Death, the Omega of our earthly dimension. The album is made up of raw riffing seasoned up in heavy, dark and gloomy dreaming atmospheres, and explores a plethora of styles with different sounds and solutions. The songwriting approach is rougher than before, experimental, suggestive, still preserving the classic Doomraiser characteristic sound.

Ltd. Marbled Vinyl. In the beginning, THERE WAS DOOM. The five piece gathers its forces together with the clear intention of celebrating in music one of the first raw appearances of metal: Doom! After a year or so of songwriting and the usual lineup setups, the 5-piece throws in what will become their first studio effort in 2005: a Heavy, Drunken, Doom, Metal demo (with their 700 sold-out copies, now fully downloadable due to popular demand), where the title "Heavy Drunken Doom" clearly and quickly reveals the attitude of the band. Cold Grave Marble, the 6th Doomraiser full doom length, is a frozen view in the darker side of life: Death, the Omega of our earthly dimension. The album is made up of raw riffing seasoned up in heavy, dark and gloomy dreaming atmospheres, and explores a plethora of styles with different sounds and solutions. The songwriting approach is rougher than before, experimental, suggestive, still preserving the classic Doomraiser characteristic sound.

Black Cherry. Fiddlehead's debut LP Springtime and Blind is an exploration of grief both introspective and through the insight of others. Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration. Springtime and Blind stemmed from Pat's loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. While the process of writing and recording helped Flynn cope with his personal loss there's no doubt it carries a universal message that can help ease others' loneliness. A contrast to itself, Springtime and Blind is a multidimensional and relatable journey through its cathartic message and spirited instrumentals.

Eclectic Beats Music release number 7 is Fradinho’s “Tropicafrica EP”, inspired by Ghana’s Highlife music.
On the A-side, Fradinho delivers two original Broken Beat tracks: “Tropicafrica”, which also names the EP, is a journey into a slower syncopated Highlife guitar track, with a lovely progressive harmony and guitar picks. “Highlife” has a more upbeat atmosphere, still with the Highlife guitars on a happy vibe and a faster beat structure.
On the B-side, there’s 2 distinct quality remixes:
Sun 793 delivers a journey into a darker, futuristic, yet contemplating sonic bruk experience, with lush keys contrasting with the overall deep feeling of their “Tropicafrica” remix.
Mr. Bird also remixes the track “Tropicafrica”, in a cross-genre fusion between house and broken beat, adding some vocal elements and brass, that results in this uplifting remix.

Ben Kaczor and Niculin Barandun reveal their debut album on Dial Records, dedicated to the healing properties of sound. »Pointed Frequencies« contains six mesmerizing compositions. The collaboration between Niculin Barandun and Ben Kaczor started in 2022 with a carte blanche for an audiovisual show at Digital Art Festival Zurich. While working on the performance, a common understanding of sound aesthetics emerged and the foundation for the duo’s project was laid. At that time Ben Kaczor studied sound therapy. Niculin Barandun was intrigued by the concept, and it became subject of the album's creation.

The intention behind »Pointed Frequencies« is to explore the therapeutic potential of binaural beats and solfeggio frequencies, providing listeners with a healing experience. These elements are subtly integrated into the recordings, becoming a freeform blend of experimental and ambient music. A contemporary approach suspends the esoteric background common in this field. Instead, the focus is on crafting a unique sound that is appealing to those seeking a more accessible form of musical recreation. With the dynamics of free improvisation, Ben Kaczor and Niculin Barandun create virtuosly interwoven sound structures. Ambient timbres evoke the presence of the room and create an experience of wordless thinking. An immersive journey invites the listener to sense of intimacy and movement. Calmness and contemplation, beauty and melancholy meet unconventional and stochastic scenes of dramatic character.

The complete, known recordings from Jimmie Dale Gilmore, Joe Ely, and Butch Hancock • Available on CD and 3-sided LP with laser etched 4th side. • Liner notes from acclaimed author and multiple-Grammy winner Colin Escott Reflecting on The Flatlanders in 1990, Jimmy Dale Gilmore said, “The band probably has a higher reputation now than it ever did. Every time Butch Hancock and Joe Ely and I go out on the road, people want to know about The Flatlanders. We always say it was more a legend than a band.” And against all odds, the legend has grown. –Colin Escott You know how it is when you can’t stop talking up a record. Someone will say, “Okay, but who do they sound like?” Or, “Let’s go see them.” Flatlanders fandom hits a wall right there. By the time the first compilation of Flatlanders' work appeared in England in 1980, they'd been apart for seven years, and another ten before their music was available in the US. Sort of… Recorded in 1972 and scheduled for release the following year, All American Music was put on hold and went unissued, save for a few copies that were released on 8-Track. It took a 1980 UK compilation to collect all of the known Flatlanders material, with a now out-of-print German collection unearthing one more. Now, Omnivore Recordings brings all known Flatlanders tracks back to CD and on a three sided LP with the musical saw etched on side four. (Did we mention the musical saw yet?...). All American Music features 18 tracks, newly remastered by multiple Grammy-winner Michael Graves, with packaging featuring liner notes from author and Grammy-winner Colin Escott, helmed by Grammy-winner Cheryl Pawelski. As Escott says in his notes – "More than a half-century later, The Flatlander's' original music still sounds fresh. It was truly a sound like no other. It's a stretch to call an artist 'prophetic' if no one heard them, but in some ways The Flatlanders foretold the grab-all that became Americana Music."

History brackets Jan and Dean with friends the Beach Boys as
stereotypical young Californians – all-American surfers with bikiniclad girls on their arm. Yet they had a history before they fell in with
the Wilson brothers, beating Brian and company to the charts by a
matter of four years. Their success also helped Los Angeles emerge
as a musical centre of the United States. The major labels of the
time were based in New York and Chicago, and the city’s major
leisure industries were television and cinema. This album focuses
on the early years, including a couple of the rare Jan and Arnie
songs, to give the fullest possible background to a classic pop
partnership.

London based songwriter Louis Gardner offers his first mixtape, released via Goldsmiths University imprint NX Records. On For The Open Room, Gardner spirals artfully through outsider jazz, pop, folk and noise, landing sprawled in a territory all his own.

Tangled riffs and strange structures form the terrain for intimate, un-rugged vocals to float above. Starting life like brisk journal entries or misshapen doodles in digital fuzz, Gardner's stories bloom with stop-start tension, oscillating between tender and guttural, crude and complex.

For the open room captures a flow state of ideas, traces and associations - from the bubbling jazz congruence of "It's Hard", to plucked maximalist fragility on "Ten Zithers". Wrapping up with "Body Left in the Snow", Louis reveals mightily undulating piano chops - leaving us to wonder what else is withheld, and what might appear next.

Recommended for fans of Jandek, Mount Eerie, Arthur Russell.