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Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

They drift with phantom ease from spare, intimate, literate alt-country to a nuanced, weighted music bearing the marks of rock'n'roll history..." Classic Rock 8/10 // ”...slow burning, emotional intensity" Mojo **** // ”Alluring and seductive." Uncut **** // Morton Valence’s eighth, and eponymously titled album, comes to you, courtesy of Cow Pie Recordings, featuring 11 new songs, produced by the legendary BJ Cole. Robert ‘Hacker’ Jessett and Anne Gilpin, who form the nucleus of Morton Valence, effortlessly take the country music genre, which is generally considered a uniquely American musical form, and create something uniquely English, without ever compromising their authenticity. The atmosphere that BJ Cole brings to the album is palpable, in both production values, and his unmistakable pedal steel guitar performances, on songs such as the plaintive ‘Together Through the Rain’, where an estranged Anne and Hacker reunite under the shelter of an umbrella, walking through the rain and trading verses along the way. Or the more upbeat country rock of ‘I’ve Been Watching You/You’ve Been Watching Me’, which is almost as if Richard and Linda Thompson had touched down in some Nashville backbar before heading for the bright lights. And of course, the scintillatingly down-beat opener, and instant urban-country classic; ‘Summertime in London’, where Hacker reflects on his home city from afar, through simultaneously tear-stained and rose-tinted glasses. What gives the album its country hallmark, are the narratives in the songs. However, they forego the typical Americana for an altogether more kitchen-sink aesthetic. We see the return of MV alter egos Bob and Veronica in ‘Bob and Veronica’s Big Move’, as they make their way from the big city to what could only be the arcadian blue-collar tranquillity of Hastings, or Skegness perhaps? There’s the bewildered small-town homecoming of a wannabe prodigal son in ‘A Town Called Home’. And a conversation with ‘Jim’, a seemingly old-school kind of bloke, with a penchant for midday drinking and late-night city shenanigans. As well as BJ Cole’s steel guitar, there are other collaborations too. ‘Like a Face that’s Been Starved of a Kiss’, co-written with Band of Holy Joy front man, and lyrical visionary Johny Brown. Flamenco guitar genius, Amir John Haddad, sits in on the urban-cowboy ballad, ‘Me & My Old Guitar’, the skewed violin of Dylan Bates brings something of the vaudeville to songs such as ‘It Isn’t Easy Being an Angel’, Guy Jackson adds his sublime keyboards throughout, and the whole thing is held together by unsung rhythm section heroes Jamie Shaw on drums and Josh De Mita on bass. As with all Morton Valence albums, along with the shade, there is always some light, in particular the escapist cosmic romp of ‘It’s a Brand-New Morning’, or the wryly observant, ‘It Isn’t Easy Being an Angel’, where the protagonist discovers that he’s living in some weird kind of purgatory where even the late Johnny Thunders has quit smoking. This is an ambitious album, formed through a unique symbiosis of musical characters, which is ready to redefine UK country music, put ‘urban country’ centre-stage, and should be heard by everyone

. It started in a cafe in Chico, California, with a flier, covered in glitter, wires, feathers, and assorted melted items, with a three-word advertisement: “Noise person wanted.” It wasn’t a sign. It was a sample. A tiny piece lifted from the visionary environment that the band XDS would continue building over the next couple of decades, hoarding an eclectic stockpile of collage materials/influences/approaches for assembling psychedelic dance-punk jams played with homemade instruments, blown-out samples, off-kilter drumming and dub baselines. Shoko Horikawa had come from Japan to (the small, music-crazy college town) Chico for school, and responded to Jesse Hall’s mysterious flier and a pitch to collaborate on making interesting sounds. The partnership would end up featuring her syncopated polyrhythmic drums alongside his vocals (through a duct tape-and-PVC-pipe mic) and custom-built Guitar-o-bass, plus synths/samplers and various noise-making devices. The two-piece Experimental Dental School eventually morphed into XDS as the duo moved the operation from Chico to Oakland to Portland and back to Chico, touring the world (playing alongside the likes of Deerhoof and other innovators) and releasing 11 recordings (on Cochon Records, German label TCWGA, etc.) as they went. On the new XDS album, Bicycle Ripper, the band’s genre-bending roots are as deep as ever, but the goal now is to be less “noise” people and more “fun” people. The songs are weird yet cohesive, with jittery grooves and inventive hooks. Throw a dart at the album and hit “Hot Panther, Cold Moon” for one random sample: an unrelenting fuzzed-out bass dances with a insistent drums; a sharp turn into sparse tin-can-guitar break; then a return to the dance floor with a bonus overdriven bass riff and full-throttle drums. The Panther stays hot whether she’s under the “hot hot sun” or the “cold cold moon.” It’s all very irresistible and, yes, really really fun

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

Am 9. September erscheint von der Band KISS der nächste Teil der beliebten offiziellen Off The SoundboardLive-Bootleg-Serie – „KISS - Off The Soundboard: Live In Des Moines 1977“.

Das Album wurde, während der bahnbrechenden und aufwendig produzierten KISS Alive II-Tour aufgenommen und bietet eine authentische und kraftvolle Performance klassischer KISS-Konzertklassiker wie ”Love Gun”, ”Rock And Roll All Nite”, ”Shout It Out Loud” und ”Beth”. KISS - Off The Soundboard: Live In
Des Moines 1977 fängt einen monumentalen Augenblick in der KISStory ein und ist eine Hommage an die legendäre Band, die den Rock ’n’ Roll-Fans das ultimative Live-KISS-Erlebnis bietet.

Freddie is the fourth studio album from acclaimed rapper, Freddie Gibbs. One of the most consistent and polished artists from the blog era, Freddie Gibbs has yet to release an album that does not achieve widespread acclaim, proving that he’s able to compete in any era. At 10 tracks, the album comes at a blistering yet concise pace, showcasing his raw and energetic flow over thundering trap-influenced beats. Aside from a tasteful appearance from 03 Greedo, Freddie Gibbs mainly relies on himself to carry the album, and features production from hip-hop heavyweights such as Kenny Beats, Dupri, RichGains and more. Marking the 5 year anniversary since release, Freddie is back in print for the very first time.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Multiple GRAMMY® Award winners Bruno Mars and Anderson .Paak are releasing their award-winning album An Evening With Silk Sonic on vinyl for the first time on 12th August 2022. The track list includes the hits “Skate”, “Leave The Door Open” and “Smokin Out The Window”. Silk Sonic won International Group of the Year at the 2022 BRIT Awards and are set to open the 2022 GRAMMY Awards. The album entered the UK Album Chart at #9 and remained in the chart for 16 weeks. The focus track on album launch “Smokin Out The Window” peaked at #12 on the UK Singles Chart.

Their debut single “Leave the Door Open,” earned them Best Group at the 2021 BET Awards, entered the UK singles chart at #20 and is now certified Gold in the UK. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

ABOUT SILK SONIC:

The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 2 billion streams with over 510 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

Proud internet motormouth and Pittsburgh mainstay Thomas Cox finally returns with a second release on his QED Recordings label. The tracks were made in February and were road-tested over DEMF weekend. Each one, he says, was made on hardware in one take, so they have a naturally rugged edge and dynamic feel that makes them all the more real.

'Desire Paths' again betrays his love of Omar-S with its layers of grimy drums and perc and distant cosmic chords, while 'Thunderhead' has a busted drum funk feel akin to Theo Parrish's famously fucked up work. Another worthy outing from Cox, then,

“Enter a path few can follow, but many can appreciate. A studio or sound’s dub-plates are like a Shaolin monk’s sacred teachings. London-based Alpha & Omega take us into their world of mesmerising roots and divulge their exclusive ‘specials’.”
MUZIK

“Through minimal manipulation, (Alpha and Omega) deliver the listener to a place of great sonic peace.” OPTION MAGAZINE

“The compelling presences at the heart of these airy sonic worlds have a harder edge than some of their ancestors.”
WIRE

“Massively thunderous bass lines, galloping drum tracks and a willingness to tastefully adorn dubs with digital flutes and various electronic sounding washes.”

These days, singer-songwriter and actor David Blue tends to be remembered only in relation to Bob Dylan. A member of the supporting cast in mid-60s Greenwich Village and The Rolling Thunder Revue. Yet to categorise Blue in this way is reductionist, and does him an injustice. He was something of an archetype of the 60s generation of Greenwich Village singer-songwriters. Yet, esteemed by his peers, he was overlooked. He released seven albums in a decade, and his acting career was shaping up when he died suddenly at the age of just 41. His passing was barely noted in the rock press, and in the subsequent years Blue was all but forgotten. Of late, though, that’s changed. His albums started to reappear on CD on small labels and, in 2020, both Rolling Stone and Mojo magazines published major reappraisals. Blue – at last – was getting the attention denied him in life.



It wasn’t until 1965 that Blue, as Dave Cohen, released his first recordings – three songs on Elektra’s Singer Songwriter Project. All betrayed a debt to pre-electric Dylan. But then again, so did much else coming out of Greenwich Village at the time. Elektra contracted Blue to do his own album, and in 1966 David Blue was released – his first recording to appear under that name. Electric folk rock with a garage band attitude, somewhat in debt to Highway 61, it didn’t sell well. Shortly after the album’s release Blue formed and toured with The American Patrol, a four-piece rock band, recording an album for Elektra that was never released.



Now, for the first time, Hanky Panky and Mapache release those historical abandoned American Patrol recordings, along with the three tracks included on Elektra’s 1965 LP Singer Songwriter Project, as David Blue And The American Patrol The Lost 1967 Elektra Recordings & More and David Blue, his self-titled 1966 debut album, on two exclusive vinyl editions limited to 500 copies

On January 28, 2022, Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and triumph. The accolades the album has received in the year it has been out speak volumes. Performing on The Stephen Colbert Show, selling out multiple US tours, cleaning up in the best of 2022 lists, and then crushing an NPR Tiny Desk on the 1 year anniversary of the album.

Piece Of Me continues to find its way to new ears and has already proved itself a timeless classic. So where do you go from here? When Ghostface Killah reaches out and says he wants to do a remix of the title track you do that. The A side, "Piece Of Me" (Remix) features Ironman himself who puts down a verse about a relationship that ran its course but no one is sure they did the right thing in. Ghostface sounds right at home over the gully Leon Michels produced track and takes the already rock solid tune to another level. Then what do you do for a B side.... You call The Chocolate Boy Wonder, Pete Rock and get him to remix "Joy & Pain". Pete takes one of the stand out tunes on the album and gives it an entirely different energy with thundering drums and a bassline that shake the windows in the car.

The Side Eyes are back with the follow up to their 2017 self-titled debut album and are asking the question What’s Your Problem? Anyone suspecting that the Southern California band may have mellowed out in the five years between albums will have those suspicions shattered within the first twenty seconds of the opening track “Get Me Out.” If anything, the band is now harder, faster and angrier than they were the first time around. Vocalist Astrid McDonald is in fiery fine form calling out everything from phonies to shit-talkers to people that simply aren’t nice. Brothers Kevin and Chris Devine on guitar and bass and drummer Sam Mankinen thunder through the twelve tracks here at a breakneck speed that is positively pummeling. While The Side Eyes sound like a throwback to early Southern California hardcore punk rock like Circle Jerks and the Adolescents, the band also sites more recent bands like Ceremony, Glue and Babes In Toyland as influences. Produced by Steve McDonald (Redd Kross / Melvins) and clocking in at under twenty minutes (while spinning at 45 RPM), What’s Your Problem is a modern punk rock gem that blows past the sonic barriers of their past inspirations. This is great stuff!

High Roller Records, reissue 2023, black vinyl, ltd 250, lyric sheet, mastered for vinyl by Patrick W. Engel at Temple of Disharmony.

High Roller Records, reissue 2023, black vinyl, ltd 250, lyric sheet, mastered for vinyl by Patrick W. Engel at Temple of Disharmony.

Voyager Gold Vinyl

On Jupiter, Brooklyn trio Upper Wilds voyage deeper into the cosmos, mapping out the overwhelming enormity of the universe in soaring hooks and blistering noise. The third installment in the trio"s exploration of our solar system looks to its largest planet for a daring exploration of scale and perspective. New York underground mainstay Dan Friel"s melodic gifts and wry lyricism are magnified and propelled ever outwards by the thundering rhythm section of bassist Jason Binnick and drummer Jeff Ottenbacher, all immersed in rippling fuzz. Just like its namesake, Jupiter stands as Upper Wilds most colossal offering in their catalog. The raw power of their music is amplified to titanic proportions, sky-clawing riffs invoking the sheer awe that the heavens inspire. More than any Upper Wilds album before it, Jupiter makes humanity"s endeavors in space exploration an inseparable part of its sonic DNA . Recorded with Travis Harrison at his studio Serious Business in Brooklyn (Guided By Voices, Dope Body, The Men), the trio"s live recordings are inspired by the Voyager Golden Record - a double LP launched with the 1977 Voyager probe spanning field recordings to compositions by J.S. Bach and Laurie Spiegel. While the Voyager Golden Record"s intended audience may have originally been the extra-terrestrial beings that might encounter the probe, Upper Wilds bring cosmos-seeking sounds back to earth with a record made for and about humanity. Jupiter finds comfort in space"s unending expanse. Far from feeling defeated by the smallness of our existence in the face of an uncaring universe and ever-expanding infinite, Upper Wilds capture the power of creativity to extend our lifespans far beyond our limited time on earth

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GORGUTS, BOLT THROWER, AMON AMARTH, BLOODBATH

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

William Penn Fyve aka William Penn & His Pals were a regular presence on the early Bay Area scene, opening for the likes of Jefferson Airplane, Paul Revere & the Raiders and Them. Their line–up included lead singer / organist Gregg Rolie, later of Santana / Journey. In 1966 they recorded their lone single, "Swami" / “Blow My Mind”, for the Thunderbird label.

The A-side (written by guitar player Mike Shapiro and famous for being included on “Pebbles-The Acid Gallery”) is early acid-punk with fuzzed-out raga guitars and hilarious lyrics about a guru. The flipside is an energetic garage-punk number with swirling Vox organ and a fuzz rave up á la Yardbirds.

First ever commercial releases of New Orleans’ legend Alvin Batiste’s Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and, on Live, are paired with excellent John Coltrane, Miles Davis and Freddie Hubbard covers. They are some of the most sought after albums of Americas 70s jazz underground. Each album contains extensive booklet detailing Batiste’s life and his time spent honing and recording this remarkable band of young students. That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelies, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now. With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students’ music as Texas Thunder Soul, and the continued belief that beautiful music created by youth - even under the most adverse circumstances - can always inspire us.

A1 - Burst Transmission

ASC returns with another stellar solo EP and Burst Transmission dives straight in head first to kick things off, pulsing crafted breakbeats and computer FX intertwine and stack with smooth synths, keys and trademark vocal hits. A powerful undertone bassline perfect for the dancefloor keeps the momentum going with blissful speckles of detail in the composition, including expertly tuned bongo drums scattered throughout.

A2 - Whispers

Sci-fi vibes take center stage as ASC channels that classic 720 energy with Whispers, a track which utilises sharp stabbing snares in distinct, forceful drum patterns which develop and adapt over halcyon synthwork. Respite comes in the middle of the track as the breaks change and settle the vibe briefly, before we are thrust forward again with those epic breaks commanding our attention once more.

AA1 - Psionic bond

ASC continues the retro sci-fi vibes with Psionic Bond, entering with zapping laser FX and a haunting vocal sample echoing before thunderous breaks thrash their way into the track, epic kicks and sharp thrusting snares dominate proceedings while through the wooshing layers of synthwork a distinctive bassy melody elevates the composition. This one is going to send the lucky discerning dancefloor into extra-sensory fever.

AA2 - Future Music

Ending the EP with something a little different, Future Music gives us a true taste of the old school brand new. A building intro lashes you with jabbing bass and effects, classic hi-hats rattle and slowly the 90's jungle breakbeat edits are released in waves as the piece progresses. The construction of the breaks is staggered sparingly, weaved with an influx of effects and samples creating a truly unique experience.

Martinou lands on Nous'klaer Audio with his debut album RIFT. Emerging from a waking forest entranced by sun-rays reflected in the morning dew and the sound of rustling leaves in the rising wind. RIFT is a captivating road through the riddles of an imaginary landscape, full of noisy and organic textures bound by hypnotic and soothing melodies. From the calm opener of Absorption (Citywide) to the breathtaking Cirrus Apparition, and from the piercing tones of Velvet back to the closing act ...in all it's splendor. An album consisting of twelve tracks for every moment, a triple vinyl suited for warming up and tearing down a dancefloor, but best listened to from start to finish. Artwork by Romee van Oers. Including download code.

Endless Skyways is Bobby Lee’s third full album and second release on Tompkins Square. Returning to the full band sound of his debut, the name Endless Skyways is borrowed from a line in Woody Guthrie’s This Land Is Your Land, one of the cornerstones of American music. That song’s mix of the terrestrial (“ribbons of highway”) and celestial consciousness encapsulates Lee’s brand of widescreen cosmic americana; a duality also evident in the album’s split between deep-fried rural rock and ambient country. Dusty boots but third eye open.

Bobby's 2019 tour ended in New York City and he had two days off before flying home to Finland. Leon invited him to the Diamond Mine to record some music. Bobby had been talking about wanting to stretch out lyrically and write about more esoteric subject matter, Leon was game. They recorded "Reasons" in one session which put the chemistry between the two on the world stage and sparked the idea of doing a full length album together. More than halfway through the recording process, they have decided to treat us to another two-sider of the new material. On the A side, "Whatcha Know" Bobby explores death and the human experience, putting his philosophical ponderings into his music. Michels' production and overall ethos is the perfect complement to Bobby's desire to stretch out his sound. EMA provides a gorgeous backing track that compliments Bobby's style and simultaneously broadens its scope. The B side "Losing It" is a dramatic and moving number that Bobby sings in Spanish and English. A gorgeous guitar riff is countered with eerie sound effects that crescendo when the drums come in. Bobby professes he's "Losing It" over a love too strong and El Michels Affair's production turns the whole affair into a saga that thunders through speakers.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GORGUTS, BOLT THROWER, AMON AMARTH, BLOODBATH.

Following the 2022 release of The Soft Moon's highly praised fifth full-length album Exister, 2023 sees the release of Exister Remixed, a harsh and textured collection of 5 remixes by some of Europe's boldest industrial techno EBM and experimental electronic artists: Phase Fatale, Unhuman, OTHR, Gael and Norbak. Hailed as "The Soft Moon's most expansive statement to date..." (Brooklyn Vegan) and a "meticulously crafted, vividly greyscale industrial post-punk" (The FADER), Exister is a post-punk industrial masterpiece engulfed in a brooding yet thundering atmosphere - and these reworkings offer an even greater layer of intensity. The Soft Moon's 'Exister' tour will continue through spring and summer 2023 across Europe, UK, Asia, and USA.

Exister Remixed is out June 23rd, 2023 on digital and vinyl 12" format. This is a joint-release between Sacred Bones Records and Bite Records (Phase Fatale's imprint).

Over the course of eight thrilling tracks, ‘Royal’ leads listeners on a topsy-turvy journey from Middle Eastern exotica to Spaghetti Western style scores, via scorching Mediterranean beaches.
Highlights of the album include the surf-meets-Western delights of “Silver Lining”, where irresistible guitar lines are piled high and topped with euphoric synths and rock drums, resulting in a timeless soundtrack for both headless nights in dive bars and heedless days at the funfair.
“Juda” follows, a deadly combination of Zepellin and Middle Eastern rock with subtle hints of synth funk. The track is named after living legend and Middle Eastern guitar hero, Yehuda Keisar, who also joins the band for this song, contributing a scorching solo. The thunderous guitar riffs are matched pound-for-pound by the irresistible percussive groove.
Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, 'Royal'. Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on
their first album for international ambassadors of Middle Eastern grooves, Batov Records.

Boom Pam “Rock the Casbah” on title track “Royal”, revealing another card up their sleeve, as they transform a famous 80's Israeli radio theme into a discoinspired super jam with a punk edge.

The band maintain their reputation for first-rate and distinctive surf rock on the fast paced “Daber Yafé” and “Monsour”.
The sonic imprint is both warmed and widened by the rare addition of a tuba supplying the lower frequencies.
Meanwhile, opener “Lava Tongue”, and “Golden” emphasize the melodic side to the band, conjuring dreamy sunset mirages to hypnotize the listener.

Boom Pam have established themselves as pioneers of modern Middle Eastern surf rock, combining sophisticated yet catchy guitar riffs, with roaring tuba basslines and fiery drums. In the past decade the band have frequently collaborated with and backed legendary Turkish folk singer-songwriter, Selda Bagcan, on stage and record, and performed at some of the world's most renowned festivals, including Primavera Sound, Lollapalooza, Fuji Rock, the Montreal Jazz Festival and many more.
An engaging listen from beginning to end, ‘Royal’ is the perfect representation of Boom Pam’s incredible 20-year journey, showcasing their superior skills in pushing the boundaries of their genre.

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY HAMPER - APRIL 2023

BLUE/TURQUOISE VINYL.

Echocord welcomes the return of Mathimidori to the imprint with his ‘Anata’ EP, accompanied by a remix from New Yorker and Novel Sound boss Levon Vincent.

Mathimidori is the dub techno leaning guise of Germany’s Mathias Kaden, known for his works under his own name on imprints such as REKIDS, Ovum and Freude Am Tanzen, while Mathimidori material has found a home on the likes of Mule Musiq, Raum, Ornaments and of course Echocord where he returns here following 2020’s ‘Akebono’ LP.

Opening the release is ‘Anata’, a texturally dense six-and-a-half-minute composition fusing pulsating subs, billowing synth atmospherics, spiralling dub echoes and sporadic dubbed out spoken word running atop a crisp 4/4 rhythm. ‘Zanziba’ follows and dives deeper via ethereal pads, snaking low-end pulsations, choppy stab sequences and heavily echoing reggae chants.

Levon Vincent steps up to remix ‘Zanziba’ next, delivering a typically raw and dynamic rework, upping the energy levels as dub stabs dynamically unfold and retract amongst a thunderous low-end drive, intricate synth flutters and low-slung drums across its ten minute duration.

Persekutor 'Snow Business' is pure black 'n roll heavy metal majesty. Conceived in a forgotten corner of Eastern Europe, PERSEKUTOR channel the tradition of early black metal champions like Venom, Celtic Frost and Bathory through the unflinching hard rock efficiency of AC/DC into their own infectious strain of Carpathian heaviness. No album ever demanded to be launched back through time and inserted as score into Escape from New York or The Warriors more convincingly than Snow Business. Bask in its glory or flee for your pathetic life. First album 'Permanent Winter' was on tastemaker label Svart Records! Limited to 300 copies ww, pressed on dark blue and permafrost yellow swirled/color merge vinyl!