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With words as weapons and public infrastructure as his blank slate, John Fekner's City Squad are always questing for the ineffable, even as they yearn for concrete change - Make no mistake, Idioblast is a serious party where everyone is welcome.

Released in 1984, Idioblast is a lost classic, a future shock narrative ahead of its time, and yet completely of its era, like few artifacts before or since. The cover tips you off from the jump--a crude but effective collage featuring classic Fekner slogans like Toxic Junkie, Growth Decay and Soft Brains Watch The Screen And Buy The Jeans. In an uncanny and tragic coincidence, the very first lyric on the album--"The place to be is on the space shuttle/if you're brave enough to get on it"--seems to anticipate the Challenger disaster just two years later.

But for the most part, the tracks on Idioblast directly reference the concepts that inspired Fekner's visual art. Musically, "Rapicasso" utilizes pneumatic pounding with an industrial edge as Fekner equates the great and controversial painter with risk-taking graffiti kids bombing trains and billboards across the city. Art is in a constant state of exploding--forms, paradigms, outdated ideas.

Splitting the difference between hip-hop and new wave, the Santaniello-sung "The Beat" is like Thomas Dolby meets Run-DMC and should've been a radio staple for at least one sticky summer. It could soundtrack either a couples roller skate or a drug-fueled evening out. Channeling Fekner's slogan-stencil aesthetic, "Travelogue The 80's" is a tour de force reminiscent of Negativland's experiments in audio culture jamming. As Fekner details, "I grabbed all of the sounds via a shortwave radio picking up transmissions from LaGuardia airport and the TV. I recorded and edited on a Sony Pro Walkman and an Aiwa dual cassette deck."

Knapp drei Jahre war es still um die selbsternannten Söldner
von Funker Vogt. Nach dem Ausscheiden von Chris L. im
Sommer 2021 hat man zunächst eine einjährige
Schaffenspause eingelegt, bevor Gerrit Thomas und René
Dornbusch den Sänger und Shouter Bastian Polak zum
vollständigen Trio rekrutieren konnten. Der „Neue“ am Mikro
dürfte vielen bereits durch das Duo Intent:Outtake bekannt
sein. Da Komponist und Produzent Gerrit Thomas bereits für
diese Formation Gesangsaufnahmen sowie Mix & Master
getätigt hat und man sich daher schon kennen und schätzen
lernte, war es für einige Fans sicher keine große
Überraschung, dass Bastian Polak für Funker Vogt angeheuert
wurde.

Der Sound auf „Final Construct“ dürfte reichlich Epos mit sich
bringen, da sich die Band stark auf das Songwriting konzentriert und den hymnischen Charakter mehr denn je in den Fokus gesetzt hat. Nahezu jeder der insgesamt 19 neu komponierten Titel hat den sogenannten Single-Charakter. Herr Polak beweist auf allen Songs dieses Albums und dessen

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

This is the most ambitious project of Tim Garland's stellar career, with a celebration of Lighthouse Trio's 20th Anniversary (Gwilym Simcock and Asaf Sirkis), along with a stunning display of Tim's prowess as a composer and arranger with the Britten Sinfonia, featuring violinist Thomas Gould, along with trumpet ace Yazz Ahmed performing as a special guest on one track. Tim describes the project: “That Moment of Departure, from the known, the notated, towards something new is a shout of fearless freedom. The compositions on this album all have crucial and varied relationship*s with improvised music, from string orchestra to intimate trio, and completely free-form music. Classical influences and visual art have informed me, as much as my jazz heart. The series of paintings called ‘Sail To Hope’, by Esra Kizir Gokcen, provide a backbone of inspiration for the first disc’s music. The subject of journeying into the unknown, as well as the influence of Turkish rhythms, create the background atmosphere whilst maintaining the spaciousness and freedom for the jazz soloists.”

20TH ANNIVERSARY DELUXE EDITION

“One Day,” the critically acclaimed Bambu Station album now celebrating its 20th Anniversary with this Deluxe Edition Double Vinyl and digital release. Bambu Station believes “Vibes is everything” and their impact on fans and their community activism have been just that. Founded in 1997 by lead singer, songwriter, producer Jalani Horton, of St. Thomas, Virgin Islands, Bambu Station is the culmination of a lifetime of love for music and the quest for sharing and uplifting through sound, poetry, words, and action, which has since grown to a musical force supported by roots fans around the world. The sound of Bambu Station is best described as heavy, natural and
relentlessly captivating. From its conscious roots music to its powerful, insightful and timeless lyrics, Bambu Station's sound is very percussive, profound and inviting.

As the explosion of roots reggae music from Jamaica in the sixties and seventies turned to dancehall, unexpectedly there came a resurgence of roots reggae from the Virgin Islands. Bambu Station was a main progenitor of that resurgence. It would be a band that would create music and write songs that reach into the difficult spaces in the lives of people. It would be a band that would have a positive impact on the lives of people. It would strive to keep a mighty torch lit -- lit by ancestors and musician-prophets alike. On the first release of their breathtaking third album “One Day”, many songs quickly became instant favorites. Fans, writers and industry experts all continue to praise the album as “classic”, “very powerful”, and “one for the ages”. From The Beat Magazine, Reggae Reviews, Urban Ambience Journal and countless others, critics dubbed Bambu Station’s “One Day” as one of the most significant albums of the modern reggae scene. Creation Steppin’ Radio selected “One Day” as its “Album of the Year” for 2003. The D.C. Annual Reggae Awards selected “One Day” as “Album of the Year 2003,” the song “One Day” as “Song of the Year 2003” and Bambu Station as “Producer of the Year 2003.” Terry Wilson ‘Midnight Ravers’ on WBAI FM, NY says, "Bambu Station is the best and most important band in Reggae music." “This is a fabulous album that demands a place of pride in every cultural fan's collection.”

Many of the instant favorites on “One Day” include the provocative opener “Humanity Bawlin’,” “Gunsmoke”, the first single from “One Day”, a very deep, roving and powerful reflection of the rampant gun violence that hit the Virgin Islands hard and haunts us in America and around the world today. "The anthemic “Fya!”, and the mesmerizing “Move On”. "Pass It" captures the passion and spirit of the roots rockers era, while the haunting title track "One Day" is reminiscent of The Specials at their best. The heart wrenching tribute to “Amadou Diallo” is in memory of the brutally slain innocent West African immigrant in New York. “Eyes of Men” is a call for female dignity and homage to Betty Shabazz, Malcolm X’s widow.

* The Blackstones were formed by Leon Leiffer in 1974. Since the initial group formation, there have been several line up changes, currently the group consists of: Leon Leiffer, Tony Mahoney, Jr. Bailey, and they have recently been joined by A.J. Franklin (Chosen Few, Federals). On tours they have supported Curtis Mayfield and the Impressions, Rufus Thomas, Dennis Brown, Owen Grey, John Holt, Alton Ellis and many more Soul / Reggae greats.

Over the years they have worked with many notable Jamaican producers, Count Shelly, Fatman, Phill Pratt, Lloyd Charmers, Lindel Lewis, Tony “Ruff Cut” Phillips, Winston Curtis, Jah Larry, Tony Owens, and the late great Bunny ‘Striker’ Lee and the legendary, Clement "Sir Coxsone" Dodd, at Studio One in JA.

This release features two rootical vocal sides of their consistent repertoire. The 4 track EP features a re-work of “Selection Train” (Orig,”Selected Few”-JA) and “Hell & Heaven” (Orig-Lloyd Clarke-JA). The vocal tracks are replete with Instrumental Versions from Alvin Davis (Horns / Steven 'Marley' Wright (Guitar) / Asha B (Perc/Congos)..

Cardiff's Buzzard Buzzard Buzzard returns with Skinwalker - a garage- rock romp and follow-up to their Welsh Music Prize nominated debut album Backhand Deals.

Taking raw rock 'n' roll cues from tracks frontman Thomas Rees produced for emerging talent - such as Panic Shack, Do Nothing and The Bug Club - and teased by recently released singles "Chew" and "Therapy", the record marks the band's move towards a heavier and disquieting sound, inspired by Rees' revitalised devotion to acts such as Ty Segall, Thee Oh Sees and Black Sabbath.

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

This release follows Chantal's earlier musical odysseys, including Let Your Hands be My Guide (2013), The Sparkle In Our Flaws (2015), Bounce Back (2017), Puwawau (2019) and Saturday Moon (2021). Each album, a testament to her artistic evolution, has resonated with audiences worldwide.

Silently Held comes to life with the collaborative brilliance of accomplished musicians. Bill Frisell with his beautiful understanding of Chantal’s flow of melody, Eric Thielemans who brings his percussive mastery to the mix. Jozef Dumoulin playing the piano with immense calmth. Thomas Morgan's who seems to be picking magic out of the skies with his bass and Shahzad Ismaily's golden touch as a multi-instrumentalist contribute to the album's rich texture. Colin Stetson, renowned for his avant-garde saxophone work but also his work for Bon Iver, lends his unique voice, creating moments of emotive intensity.

And Joachim Badenhorst, Niels Van Heertum and Kurt Van Herck finishing the album with their beautiful brass. Guided by the skilled production of Philip Weinrobe (known from his work for Dirty Projectors and Adrienne Lenker) the album's sonic landscape is carefully crafted. Most of the songs recorded in one take. One breath to keep close to the realness and rawness Chantal was looking for. Meanwhile, the experienced touch of mixing engineer Phill Brown (Talk Talk, Mark Hollis,..) who has been very present on Chantal’s journey for years.

In the quiet embrace of the music, Chantal unveils a raw and authentic portrayal of vulnerability, where every flaw and feeling is held close. The album becomes a sanctuary, inviting listeners to join in this silent communion with the intricacies of the human experience. Through each note and lyric, Chantal Acda crafts a space where imperfections are not only acknowledged but celebrated, creating a profound and intimate connection between the artist and the audience. "Silently Held" stands as a testament to the beauty found in the closeness of our flaws and feelings, inviting us to embrace them with grace and authenticity.

Silently Held by Chantal Acda & The Atlantic Drifters, released 3 May 2024, includes the following tracks: "Above ", "The Friends Parade ", "Taking Part ", "The Barn " and more.

DIY scene in San Jose, CA. Saoirse, Thomas, Chris and Jeremy are four best friends that spent their formative years together in a house called Hotbox. They are in­uenced by 90s power pop, jangly UK twee, Lorena's Taqueria, Ono Hawaiian BBQ, South Bay hardcore, 4th street bowl, skramz, road trips, J Mascis, and the feeling of sitting in a dirty backyard with your homies on a beautiful day. Star 99 makes music for their friends. “The 26-minute LP whips by and feels like a trip back to the indie-punk era of bands like Lemuria and Swearin’, with great hooks and a scrappy, lo-‑ aesthetic

Lemos by FadeFace, accompanied by a remix from heavy hitter Thomas Hessler. The German born artist creates a nostalgic atmosphere with ethereal synth sounds and groovy percussion, while NY native FadeFace explores the depths of hypnotic minimalism. Expect lots of movement, dynamic drones, deep textures and a heavy kick.

Reissued for the first time, Maximum Joy's fourth 12", led by their amazing Timmy Thomas rendition and originally released on Garage Records in 1983. Includes an unreleased and restored version of the title track plus three extra live tracks recorded in Germany in 1982.

REISSUE OF THEE HEADCOATS' FINAL ALBUM IN THEIR ORIGINAL INCARNATION! Originally released by Friends Of The Buff Medway Fanciers Association Records in 2000! The final studio release by Thee Headcoats (until last year's Irregularis: The Great Hiatus) gets a long-awaited vinyl reissue! Includes eleven Billy Childish originals plus a cover of Bo Diddley's 'Great Grandfather'! Recorded at May Road & Red Studios. Engineered by Graham Semark. "Thee Headcoats, who put out their first album in 1989, have recorded raw, primordial romps that seem inspired by American Delta blues musicians like Sonny Boy Williamson or the Southern swamp rock of Hasil Adkins, while maintaining a decidedly English sound. They've recorded under a slew of monikers, and issued an amazing discography of full-lengths, EPs, 7"s, and what-have-you for virtually every cool indie label since they formed (including US-based labels like Sub Pop, Get Hip, Sympathy for the Record Industry, and K, among others). Whether he's covering songs with a Bo Diddley beat, garage rock chug, or playing one of his angry young man/dysfunctional family rantings ('The Day I Beat My Father Up', for example), Billy Childish has built up a solid and somewhat rabid fanbase by releasing songs that you wouldn't normally think would attract a huge audience to begin with. However, I Am the Object of Your Desire has the distinction of being the last album by this band, as their prolific leader Billy Childish moved on to a new band; they're called the Buff Medways, which is apparently an ancient and now extinct breed of chicken which had feathered legs. It's also the name of the UK imprint this record was released on. This collection kicks right off with the album-titled track reveling in pure Headcoats fashion: that warm, fuzzy vibrato guitar with Childish's fuzzy, electronically distorted voice (an effect repeated throughout the album); Johnny Johnson's soft, flowing bassline; and Bruce Brand's primeval drums. The group keeps this sort of mid-tempo riffage going for the next couple of tracks. Johnson plays a mean harp on 'Hurt Me (Slight Return)', but things don't really take off until 'In a Dead Man's Suit' and the swaggering, Texas blues 'Chatham Town Welcomes Desperate Men'. The band's punk roots show up in songs like 'An Image of You' and 'Your Crying Means Nothing to Me' while 'Come into My Mind' has a definite Kinks influence. All in all, an excellent album from this soon to be sadly missed band." - Review from 2000 by Bryan Thomas (All Music Guide)

Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time.

AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks."

The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences.

This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

'This Is Mod' ist Teil einer neuen Serie, die sich an Vinylkäufer richtet, die eine genrespezifische Compilation suchen. Kuratiert von Dean Rudland, der auch die Liner Notes schrieb, führt 'This Is Mod' in die dunklen Keller von Soho, wo jeder die schicksten Klamotten trägt und zu den feinsten, tanzbarsten Klängen aus dem schwarzen Amerika tanzt. Soul, R&B und ein Hauch Jazz sind an der Tagesordnung. In den Grooves finden wir düsteren Southern Soul von Clarence Carter und Jimmy Hughes, den Sound von Memphis mit freundlicher Genehmigung von James Carr, Danny White und Timmy Thomas sowie R&B von Lowell Fulsom und Richard Berry. Dazu Northern Soul, unter anderem von Mary Love und Darrow Fletcher. Klassisch, schwarzes Vinyl!

Fundamental Frequencies teams up once again with the master of the dark arts DJ Fokus for the first-ever reissue of his second mythical 94 jungle scorcher released on his own Suicide Records.

Having broken out with two 12”s on Monroe Production’s Blueprint Records, DJ Fokus quickly followed up at the Monroe Studios, under the watchful eye of legendary engineer Pete Parsons (Voyager), with two self-funded 12”s on his Suicide imprint before putting pen to paper with Lucky Spin Recordings. Now regularly demanding three figure sums both releases have achieved cult status amongst jungliests both young and old.

Available for the first time since its initial 1994 pressing with the lacquer cut by Beau Thomas (Babylon Timewarp/Intense).

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

2024 Repress

Since their first release as Extrawelt 'Soopertrack' dropped on Border Community in 2005 Arne Schaffhausen and Wayan Raabe have had a remarkable run. They relentlessly toured the world with their highly esteemed live show and released plenty of killer releases on labels like Traum or Cocoon. Naturally, our ears were wide open when the Hamburg-based couple sent over a bunch of new productions to the KOMPAKT HQ. Announced as what they call a new, alternative path of production for them, more precisely "less computer, more hands on" we were directly intrigued by the power and rawness of their new sound.

In particular, two cuts stood out: 'PINK PANZER' is pure analog funk. A sluggish beat is paired with a highly effective synth riff. The idea is as simple as it gets but it's executed in such a masterful way. You can drop this track anywhere and anytime - it'll certainly set things on fire right away. 'ARGONAUT' follows an equally simple recipe but ups the tempo and energy levels by 100%. Heavy prime time saw tooth techno for the new generation that recall vintage Thomas P. Heckmann – perhaps if he were to wake up in a funky mood.

Seit „Soopertrack“, das erste Release von Extrawelt, 2005 auf Border Community veröffentlicht wurde, haben Arne Schaffhausen und Wayan Raabe einen guten Run. Ausgiebig betourten sie die Welt mit ihrer vielgelobten Live-Show und veröffentlichen zahlreiche Hit-Releases auf Traum oder Cocoon. Natürlich haben wir die Ohren gespitzt, als das Hamburger Duo uns einige neue Tracks ins Büro geschickt hat. Angesagt war ein neuer, alternativer Produktionsprozess, genauer, „weniger Computer- und mehr Handarbeit“ – von der rohen Kraft ihres neuen Sounds waren wir sofort fasziniert.

Besonders zwei Cuts stechen heraus: „PINK PANZER“ ist der reinste Analog-Funk. Ein schleppender Beat gekoppelt mit einem eindrucksvollen Synth-Riff. Die Idee ist so einfach wie genial und ausgearbeitet auf meisterlicher Art und Weise. Überall wo man den spielt –die Hütte brennt garantiert. „ARGONAUT“ folgt einem ähnlichen Prinzip, beschleunigt ist nur das Tempo und Energielevel. Schwerer Sägezahn-Techno für die Peak-Time und eine neue Generation, die sich noch an den alten Thomas P. Heckmann erinnern können – vielleicht, wenn er mal in einem funky Mood aufgewacht wäre.

Repressed clear yellow w/ red splatter vinyl! This is the 5th full length for London-based USA Nails full of post-punk noise rock that's as grating as it is catchy. USA Nails release their fifth album "Character Stop" on October 23rd 2020 through Hex Records. The new album from London-based USA Nails (and 2nd for Hex Records) is a post-punk, noise-rock platter that is as grating as it is catchy. The record was tracked live over 4 days at Bear Bites Horse in London with producer Wayne Adams. Though "Character Stop" still features the pummeling noise-punk that USA Nails have become renowned for, it's balanced with more sober, downbeat moments. On it they explore identity - like the online personas of aggressive twitter users, influencers and vloggers, as well as more introspective takes on mental health, giving up on dreams, the joy (and despair) of being a part-timer, and contemplating who they would be if they decided to hang up their guitars for good. Guitarist Gareth Thomas comments, "For me "Character Stop" is the best album USA Nails have ever made by miles. It's more varied than anything we've ever done before and I think it's stronger for it. I feel like it's more fully realized, and more complete as a collection of songs. Every time we get in a room together and write, the dynamic of our relationship as writers (and mates) develops a bit further, we get better at anticipating and complimenting each other. We've always tried to be efficient in our creativity, to do what feels natural and just let things flow. I'm obviously still really happy with all the music we've written up to this point, but on this record everything seemed to come together so sweetly. " Comes on clear green vinyl. USA Nails will tour Europe and the US in 2021, following a clutch of UK album launch shows in late 2020 - COVID permitting. In the last few years, USA Nails have toured with Sub-Pop lovelies Metz, completed numerous USA and European headline stints, and supported the likes of Mission Of Burma, John, Future Of The Left, Mclusky*, Cocaine Piss, Viagra Boys and Murder Capital. Ffo Pissed Jeans, Wire, Gang Of Four, Pinko, Blacklisters, Drive Like Jehu Press Quotes: 'Heavy, crushing, and aggressive post-hardcore' _The Needle Drop 'A mix of Drive Like Jehu headbangers, nods to psychedelia and a throttling of hardcore for good measure' _The Skinny

“Soundway presents a collection of 18 burger highlife, electronic afrobeat and reggae tracks, featuring rarities from legends including Pat Thomas, Rex Gyamfi and Gyedu-Blay Ambolley and deep cuts from lesser known artists like Abdul Raheem, Starlite and The Godfathers. Includes extended liner notes, original covers and never- before-seen photos.”

Please inform your stores of this announcement, and share the news far and wide.