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The eagerly anticipated debut album Build A Problem, due for release on 26th March 2021. At just 25, dodie has already done a lot of living. Some of that has played out online as she made a name for herself as a singer and writer, amassing millions of fans with her disarmingly honest videos and affecting, intimate singing style. She has scored two top-ten EPs, headlined and sold out London’s Roundhouse, and the Hollywood Palladium and New York’s Terminal 5, and become an ambassador for Depersonalisation charity Unreal. It’s hard to believe she has yet to release her debut album. dodie has released 3 EPs which have charted in the UK, US Billboard, and Australian album charts. Most notably, her recent release the “Human” EP (2019)reached no #5 in the UK charts. Her previous EP ‘You’ reached #6 in the UK Albums Chart in late August 2017. Build A Problem is available to pre-order in CD, vinyl, deluxe CD, deluxe vinyl and cassette formats.

A decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion. Seek Shelter — Iceage’s fifth LP and first for Mexican Summer — is proof that their lives are still happening through their music, and that they remain determined to harness it. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce, Seek Shelter sees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound, Seek Shelter radiates warmth and a profound desire for salvation in a world that’s spinning further and further out of control. In an extraordinary and unexpected run following the release of their debut LP, Iceage went from the fertile hyperlocal Copenhagen scene to stages all over the world. Their recordings reflect their journey: 2012’s You’re Nothing was hard, fast and raw, a bold doubling-down on the aggression of youth in the first record as well as the weight of expectation. Plowing Into the Field of Love (2014) and Beyondless (2018) saw a softening of the band’s hardest edges and the arrival of a certain world-weary vaudeville in the Iceage sound. The band’s past two records — all filtered twangy guitar riffs, sparse piano arrangements, and slinky, slow-moving rhythms — ventured into an intoxicated but knowing swirl, surveying the party at the end of the night. They’d seen it all, at least once, and their music rode the crest of that chaos. Seek Shelter, the band’s first record made with an outside producer, is the place they have been called to next. The LP was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn’t reach the mics. Sonic Boom arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, the Lisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to Rønnenfelt’s incantations. Singer and primary songwriter Elias Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. “We wanted a partner that had some noise that we didn’t have, more a wizard than a producer. “When we started, I think we were just lashing out, completely blindfolded with no idea as to why and how we were doing anything. For Seek Shelter, we had a definite vision of how we wanted the album to be carved out, yet still the end result came as a surprise in terms of where we sonically were able to push our boundaries.” He’s speaking of the new record and also of their entire existence as a band, a travelogue that has catapulted these four friends far past the horizons of punk. “Some of that we wanted to remain intact. We try to keep the mystery. If there's no sense of mystery in it for us, then it's not fun.” Seek Shelter is a record that now exists at a moment of a collective unknown, when every beating heart wonders what will happens next.

Two bodies dancing hot in the New York City winter before being pushed inside for the rest of 2020. Two hearts that, in the span of 6 months, faced the loss of both of their mothers, the matriarchs that bore them to this planet full of wonder. They held on tight to the beauty of living, together. With this shared language and the confines of quarantine they lost and loved even harder. Battling packed boxes and lost jobs, the two celebrated their tragic journey with broad shoulders forcing power chords and the harmonized chants of utter release. They huddled together for the future while leaking their hearts into pop melodies that collide effortlessly with both a shared melancholy and simultaneous hope. MAN ON MAN (also M.O.M.) is a new gay lover band made up of Joey Holman (HOLMAN) and Roddy Bottum (Faith No More, Imperial Teen, CRICKETS, Nastie Band). Their upcoming self-titled record, MAN ON MAN, is infused with indie-rock distortion and soaked in gay pop confidence while still maintaining the dry acerbic sense of humor they both share. M.O.M.'s music videos take their magical collaboration to another level with otherworldly cinematographic dimension, and of course, the subversive playfulness of two gay lovers unmistakably flirting with their audience and each other. Upon the release of their debut single, “Daddy”, their video (chock full of the pair dancing seductively in their white briefs) was removed from YouTube for violating their “sex and nudity policy.” At this moment, the band solidified their political visibility as queer artists who are not ok with being silenced or removed from history because of their age or size. Bottum told Rolling Stone, “There’s enough representation in the gay community of young, hairless pretty men." Roddy and Joey’s love for each other and their own bodies, histories, and truths are what make this project so tender and lovable. MAN ON MAN’s music transcends both genre or decade, creating a timeless appeal for so many kinds of listening. The varied influences and textures of the record are a meditation on the myriad of emotions of lockdown, as well as this particular moment in their own lives, collectively and independently. The shoegaze whirlpools of “Stohner” transition into the square wave synths of “1983” with ease, while tracks like “It’s So Fun (To Be Gay)” open us up to a new type of queer anthem for the 2020s.

"What's The Rush?" is the second full-length album from Cold Moon - the Bay Area based band consisting of members of The Story So Far and Set Your Goals. "What's The Rush?" is the follow up to their 2019 debut "Rising". Cold Moon's sound has been described as raw and artistic as Stiched Sound describes, "...there is a rawness felt in the music. Jack Sullivan’s voice adds a dynamic aspect, instead of vocals being a driving force behind the tracks, the lyrics accent each individual track giving us a complete and balanced sound that rises and falls with each individual track".

Clear Vinyl

Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with his new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri's most eerily pertinent music to date.

One of Rafael Anton Irisarri's most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments' Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri's standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we're currently living in, a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, 'Karma Krama' and 'The Faithless', seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

'Rh Negative' marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri's own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on 'Sky Burial' aims to deal with Irisarri's very own mortality - something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he's already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

Divine Invasions is the sophomore release from Welsh electro post-rock duo Ritual Cloak. The album builds on the cinematic soundscape themes of their debut, with the addition of vocals scattered throughout the record.
Work on Divine Invasions began as soon as the first album had been finished back in September 2019. The first album saw sparing use of guitar, instead mainly writing around piano. When it came to writing the second, Sanders and Barnett didn’t want to fall into the same routine, choosing to embrace exploring new sounds, experiment with new effects, making guitars sound like synths and using vocals for the first time.
The title Divine Invasions is inspired by the Philip K Dick biography. Dick was plagued by nervous breakdowns and driven to near insanity by visions of God.
For Fans Of:Mogwai, Radiohead, Sigur Ros, Kiasmos

Liverpool’s legendary Death Metal pioneers Carcass (who still tour
extensively to this day) are often credited with shaping the entire
death metal genre.

Pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. Heartwork is widely renowned as the best Carcass album with its melodic intricacies.

These albums have been specially recreated using ‘FDR’ - full dynamic range mastering - pressed from the original master tapes, allowing the music’s nuance to shine through and giving these classic albums a more ferocious and dynamic sound, enabling the listener to immerse themselves in the full audio heaviness

The Slovakian-Norwegian orchestra Angrusori releases its debut-album “Live at Tou” on Hudson Records in May 2021.
This album combines, and at times fuses two distinctive spheres of musical culture: on the one hand, an ancient migratory song tradition, and on the other, contemporary, experimental improvisation. Since 2016, a group of musicians from the Norway based Kitchen Orchestra and the Slovak Roma community have collaborated on the project Phuterdo re (open ear), now renamed as the band Angrusori (ring).
New connections have been developed between contemporary improvised
music from Norway and traditional Slovak Roma music, beautifully re-composed and hybridized by Nils Henrik Asheim and Iva Bittov - helped along by
contributing musicians and hours of collaborative work.
For a number of years, researcher Jana Beli ov has worked with the Roma
population in Slovakia, collecting and documenting songs rarely heard outside
the Slovakian countryside. This album offers a collection of these songs in a
remoulded and repackaged format, inviting both old and new listeners of Roma
music, and appealing to diverse audiences within and outside the Slovakian
vernacular.
These are songs from an otherwise secluded society, songs usually shared in
people’s homes and kitchens. They are songs telling stories of a different European reality, encompassing experiences of social segregation, abject poverty
and ill health, or love, jealousy and loss - stories of specific and universal human
tragedies, which nevertheless bear within them enduring qualities of resilience
and togetherness.
It is music that seeks to give renewed hope for our shared and interdependent
humanity, through its ability to cross borders.

Driften is a room that you enter. It holds no space for distractions. It holds no riffs, nor melodies, nor choruses. You enter it.
You close the door behind you. You’re Blindfolded. You’re probably naked too. You’re alone, or with someone dear to you. You’re at your most perceptive (a state only you know how to achieve) You rely on us.
Jenny Wilson is a musician and producer.
Chris Ekvall is a translator of fiction and a singer/guitarist in Octopus Ride

Daughters of Darkness is a 1971 English-language Belgian horror film. Directed by Harry Kümel this cult erotic vampire film stars Delphine Seyrig, Danielle Ouimet, John Karlen, and Andrea Rau. The film was well received, and a retrospective poll by Time Out in the early 2010s placed the film at number 90 in their top 100 horror films.

Its score was created by multiple award winning composer François de Roubaix. It has long been a much sought after title, with De Roubaix’ son Benjamin commenting that the “composer achieves a perfect balance and the result is a bleak and eerie soundtrack that stands on a par with the music of Ennio Morricone in A Lizard in a Woman’s Skin or - in a different style - that of Isaac Hayes for Shaft”. Parts of score would eventually be sampled by several hip- hop artists, including American rapper Lil Wayne on his song “President Carter”.

Shocking Blue was a Dutch rockband from The Hague that was at their peak in the sixties and seventies and gained major cross-Atlantic success. The band was founded in 1967 and after recruiting vocalist Mariska Veres, they soon became huge. With their single “Venus” they became the first Dutch band ever to reach the first spot on the American Billboard Hot 100. The band had a series of subsequent hits but decided to call it a day in 1975. Their influence reached well beyond their generation: even bands like Nirvana and The Prodigy used Shocking Blue’s ‘Love Buzz’.

3rd Album is, strangely enough, not their third full-length album but their fourth. It was originally released in 1971. This reissue comes with six bonus tracks consisting of singles and b-sides.

This release is available as a limited edition of 1500 individually numbered copies on turquoise coloured vinyl.

Aged only 15, Lulu burst onto the pop scene in May 1964 with “Shout”, her unforgettable cover of the Isley Brothers’ timeless favourite. On EMI’s Columbia label she enjoyed a string of hits produced by Mickie Most, including US # 1 “To Sir With Love”, “The Boat That I Row”, “Me, The Peaceful Heart”, “I’m A Tiger”, and the joint winner of 1969’s Eurovision Song Contest, “Boom Bang-A-Bang”.
After Lulu recorded the title song for James Bond film “The Man With the Golden Gun”, David Bowie produced her versions of his songs “Watch That Man” and “The Man Who Sold The World”, the latter a UK # 3 hit. And in 1993 collaboration with Take That on “Relight My Fire” reached # 1.
Pressed on 140g vinyl, this 13-track set contains her best-loved hits.

a a1. SHOUT Lulu and The Luvers











[radio version]

Kleistwahr is the solo project of Gary Mundy, the legendary power electronic and noise-rock musician who is a founding member of Ramleh and runs the highly influential Broken Flag label. Solemn drones and elegiac long-form passages gird Kleistwahr’s Winter, which often chimes, glistens, and glows through a unhurried constructs for organ, synth, guitar, and electronics. Yet Mundy pivots throughout with triumphant explosions of shrill noise, redlined overload, and harrowingly anguished vocals from the great unknown. Quintessential Kleistwahr.

Winter was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.

With the necessary reissue of Winter, The Helen Scarsdale Agency will embark upon the reissue of much of that material from On Corrosion.

First time on vinyl

The always-innovative John Beltran surprises us with his first release on a Romanian label. The circularity of Energy Circle, the beauty of The Cycles EP, sets a typically Beltran soundscape, a melodic mood for this three-pieced beauty. The Sun Also Rises on the flip side, making it the rather bright beast of the release, while the marching B2 – Going Uphill Fast (hope on the horizon) — is a granular techno classic, closing Eufonic Records' first release on a very Detroit note.

In many ways, DJ Black Low's debut album, Uwami, shows the signs of an artist's first offering in any musical genre. Showcasing fluency in a broad range of styles and stuffing a number of ideas to the record's brim is the 20 year-old producer's attempt to both introduce himself to a wide listenership and stamp a recognizable sound in their minds. In other ways, somewhat out of the young South African producer's control, Uwami goes against the grain. The album comes at a time when South African electronic music is being fundamentally disrupted. Amapiano, the electronic music movement which first gained popularity with a small, core group of followers, now dominates the mainstream. Well-known and pervasive, amapiano borrows from a diverse palette of musical styles which are popular in South Africa's largely Black townshipsjazz, kwaito, dibacardi, deep and afro house among them. Instead of pandering to the seemingly insatiable local appetite and growing global penchant for amapiano though, on Uwami DJ Black Low seeks out the limits of the sound du jour and tries to stretch them. On his solo productions, he uses the samples and compositional norms that make amapiano hits the bedrock on which to experiment and improvise. With collaborators, DJ Black Low improvises within the boundaries of listener-friendly grooves. The sound he creates has foundations of what could easily have progressed into captivating amapiano songs on their own. But he uses improvised but structured electronic percussion and distortion sounds to drive the tracks in a particular direction. What remains is something like a deconstructed amapiano. For a young producer living in the townships of the greater Pitori area of South Africa's Gauteng province, there were few avenues available for Radebe to pursue a career in music. His trajectory shows the vulnerability of this pursuit. "I had started producing in 2013 and it so happened that I lost my equipment in 2014. I couldn't afford to buy equipment. In 2017, a friend of mine who had been making music found a job and decided to quit music. He gave me his equipment and I was able to start producing again. That's when I started getting back to it. I tried to pick up where I had left off, with hip hop and commercial house but I found that amapiano was the popular music. I liked it, so I started producing it."

Fifth UK album by the Hollies and their second released in 1966. Retitled Stop! Stop! Stop! for the US and Canadian markets and issued with a different, full-color cover image of the group in the US. This reissue grasps the original feeling of the first album entirely composed of original material, with more adventurous arrangements and more personal, folk-rock-influenced compositions.

This is Gianni and Erika third album, after two works released by Voodoo Rhythm Records and produced by Jim Diamond, musician and producer for two iconic bands from Detroit, The Dirtbombs and The White Stripes.

The record features former Screaming Trees vocalist - and acclaimed solo artist - Mark Lanegan and Chilean multi-instrumentalist Alain Johannes (Queens Of The Stone Age, Spinnerette, Ten Commandos, The Desert Sessions).

“The title track of the new album was born during our last day of re-cordings” - says Gianni Blacula and Switchblade Erika.. “Alain is an enthusiast of strings instruments, and on the last day he arrived at the studio with a Neapolitan mandola he bought in the historical centre of Naples. We were astonished about how a traditional instrument as the mandola can get a rock sound, so we followed up went to the recording room. Alain at the mandola and vocals and us on guitar and drums. There was suddenly the right atmosphere that to Alain reminded “ the Desert Sessions” , so much that the song came out at the first take. Then Alain wrote the lyrics and the last line “Beast Must Regret Nothing” affected us , we have chosen it as the title of the album because it totally reflects his mood, and it does taste of Devils!”

Gianni and Erika got in touch with Alain for the first time in September 2019, during a Spanish tour, while they were looking for inspirations for their new record.

In the same moment Alain was on a European tour which ended in Italy. The collaboration was born in a spontaneous way, for a mutual esteem between the Devils and the famous producer and musician. The album have been recorded in Naples, Italy, with a two weeks session in a historic studio equipped with a large tracking room with truly unique acoustics. Alain actively collaborated in the production of the album taking part to creative process and helping them with the arrangements.


The Devils formed in Naples in 2015 and their first two albums “Sin,You Sinners!” in 2016 and “Iron Butt” in 2017 were produced by Jim Diamond (The White Stripes, The Sonics and the Dirtbombs), pub-lished by Voodoo Rhythm Records. From 2016 the duo constantly tour, and has played everywhere doing over 400 shows between Europe and Canada. The Devils are the sound of desolation and chaos; their style is primitive, filled with sex, sin and rock’n’roll. They are wild, loud and sexy.

The name of the band was chosen has tribute to the movie “The Devils” by Ken Russell and they have been on tour with Jon Spencer, The Sonics, Boss Hog and The Monsters, and has open act around Europe for Mudhoney, Nashville Pussy, Guitar Wolf, Kid Congo and many more.

black vinyl in mirrorboard gatefold jacket with die-cut! Much like the New Orleans-born artist who created it, Second Line is an unapologetic genre bender that pushes boundaries, expands possibilities, and shatters expectations. It's more than just an album: Second Line is a cohesive sensory experience that questions traditional ideas of sound, production, and visual aesthetics as they relate to music. Its interlocking parts tell an epic story about the quest for artistic expression, with Dawn describing her project as "a movement to bring pioneering Black women in electronic music to the forefront." She elaborates: "You never see women appreciated as producers and artists alike _ especially Black women in the electronic space. The time is now for us to start recognizing their talent, not only in electronic music but in all genres. I wanna be the reason why a young Black girl from the South can be whoever she wants to be musically, visually, and artistically." Second Line cuts to the chase with its opening suite of dancefloor bangers, immediately displaying Dawn's mastery of layered production and melodic hooks. Second Line treats Louisiana Creole culture, New Orleans bounce, and Southern Swag as elemental, allowing Dawn to weave in and out of house, footwork, R&B, and more. As she says, "I am the genre." The story of Second Line centers on Dawn's persona King Creole, assassin of stereotypes, a Black girl from the South at a crossroads in her artistic career. To move forward, she decides to look back, but where previous album New Breed took influence from her father, Second Line is illuminated by Dawn's mother. Her proud repeated proclamation of "I'm a Creole Girl" introduces the ecstatic dancehall pop of "Jacuzzi," and later, on the cinematic album centerpiece "Mornin | Streetlights," she answers Dawn's question of how many times she has been in love. Intimate conversations like this between the two are interlaced throughout Second Line, giving credence to how the protagonist came to be, and direction to build a lane forward. It's no surprise that King Creole's story parallels Dawn Richard's. As a founding member of Danity Kane, and later with Diddy's Dirty Money, Dawn was able to explore the ins and outs of commercial pop music. As a solo artist, she opted to selfrelease her music. Over the span of five critically acclaimed full-length albums, Dawn has made the message clear that she will not bow down or bend to industry norms. All the while, she's built her resume with enough extracurriculars to make your head spin: Cheerleader for the New Orleans Hornets? Check. Animator for Adult Swim? Check. Owner-operator of a vegan pop-up food truck? Check. Martial arts expert? Check! Second Line embodies the heritage of soul music and the roots of New Orleans, all surrounded by the influences of electronic futurism. "The definition of a Second Line in New Orleans is a celebration of someone's homecoming," says Dawn. "In death and in life, we celebrate the impact of a person's legacy through dance and music. I'm celebrating the death of old views in the industry. The death of boxes and limits. I'm celebrating the homecoming of the Future. The homecoming to the new wave of artists. The emergence of all the King Creoles to come." Dawn Richard is bold, confident, purposeful, and a King throughout Second Line. Are you ready to dance?

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Punk Dancehall fusion .. A Collision between African Headcharge and CRASS.. Born from the ashes of an early 1980’s Northampton based anarcho collective of musicians & artists – with a shared love of reggae and a punk neo industrial ethos – came REDUCER – We had to do things with an edge – to cut through the shit – that post punk new wave safe pop with a renewed knife of Joy & Righteous Anger – love & hate – life & death – banged out in a massive industrial reggae punk soundscape – our gigs were audio visual shock & awe – total commitment to the moment and the creativity – video projection,, incence & pyrotechnics, covering the venue walls with backdrops – it was a fully immersive experience. We never sought music business recognition- we weren’t in the music business! We were in the experience business! We recorded about 30 odd tracks in all, in order to try & catch the passion, energy & raw power of when we played live, the tracks were recorded over a period of 7 years. Each one unique, unrehearsed, spontaneous & improvised – one take, one mix onto cassette and a vershun if wanted & were done – capturing the raw passion & life energy that was pouring through us. About 5 years ago years we decided to set up a website & release what felt at that point may have been our 1st, last & only chance to get something on vinyl, & set up a website in order to tell the remarkable story of what happened in that little town in the Midlands 40 years ago and after we decided to digitize our archive of recordings and put them on the site and other platforms just as a “We were here & We did this” statement of public record – incredibly a Reducer Renaissance was born – the website mushroomed & we got US Radio airplay, we suddenly sold out our 1st vinyl release – Product & 35 years on a new audience got to hear & see what the myths & legends are about and they want more so, here it is, 5 tracks 5 videos. 35 Years old – Sounds like it was Recorded Yesterday. Think you’ve heard everything? You haven’t heard Reducer.

Los Angeles-based harpist Mary Lattimore returns with Silver Ladders, the full-length follow-up to acclaimed album Hundreds of Days. Since 2018, Lattimore has toured internationally, released collaborative albums with artists such as Meg Baird and Mac McCaughan, and shared a friends-based remix album featuring artists such as Jónsi and Julianna Barwick. At one of her festival appearances, Lattimore met Slowdive’s Neil Halstead: “A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he’d be into producing my next record.” He was. Lattimore traditionally records her albums holed up by herself, so the addition of Halstead’s touches as a producer and collaborator leave a profound trace. “I flew on a little plane to Newquay in Cornwall where he lives with his lovely partner Ingrid and their baby. I didn’t know what his studio was like, he’d never recorded a harp, but somehow it really worked

Recorded over nine days at Halstead’s studio stationed on an old airfield, Silver Ladders finds Lattimore exercising command and restraint. Her signature style is refined, the sprawling layers of harp reigned in and accented by flourishes of low end synth and Halstead’s guitar. The music can feel ominous but not by compromising vivid wonder, like oceanic overtones that shift with the tides. This material is colored by specific memories for Lattimore; “Neil has this poster of a surfer in his studio and I’d look at it each day, looking at the sunlight glinting on the dark wave. In these songs I like the contrast between the dark lows and the glittering highs. The gloom and the glimmer, the opposites, a lively surfing town in the winter turned kinda rainy and empty and quiet.”

Lattimore and Halstead reformed three existing demos and improvised the remaining four songs. Among the batch she brought with her, the title track recalls a trip she took to Stari Grad, Croatia on the island of Hvar. “I spent some days there just swimming in the bay, silver ladders right into the sea.” The image stuck with her when she found herself performing at a cliffside wedding overlooking the Pacific. “Before anyone showed up, I had time to set up and play and this song came to me, ‘Silver Ladders (to the sea)’, so I made a little recording on my phone to remember it.” This sketch expanded; a delicately glittering harp melody comes over the horizon, swelling and rolling towards the shore on ebbs of synth and refractory delay.

Pudel Produkte boldly strides from strengh to strenth.

The enigmatic 47IN4 and RVDS (Pudel Produkte, Smallville, Bureau B) have coalesced as Cosmic Car, with one spontaneous gig under their belt with Börft’s Erik Jäähalli at the Golden Pudel and their debut release, Pudel Produkte 35.

Cradling tonality, detuned dischordant melodies which drift in and out of your subconcious, rhythms that collapse on themselves. The duo provide a record that floats between creeping acid and Mu-sique Concreté.

A delicate touch made with a unique use of tape machines, radio, and traditional techno hardware, it is pure sonic alchemy.

Artwork courtesy of the genius, Alex Solman

It’s time for the label founders to take control over our spaceship. Clusterhead offers four slices of proper abstract techno for those who know.
Release starts with Alteración del orden: a broken kick spiced with elastic synth washes and microdrones sets the pace while the rest of the percussive elements appear softly in the arrangement. The main sequence grows and mutates as minutes go by, reverb and stereo treatment goes heavier until repetition makes the desired effect on the virtual dancefloor.
Second cut Resiliencia Incesante again relies on broken kicks and processed synth lines. The BPM rate is higher here and the percussive elements are snapper and tighter. Sounds twist and change over time as the frequency range grows. An industrial ode to obscurity.
On the flip side, Automutilación creativa brings us again into oblivion, shuffled grooves obsessive sequences continuously moving and high pitched synthetic drums running through the stereo field.
Closing the release we have Notzing on board, still recovering from his amazing experimental work on our label, we give him again the commands of our spaceship to translate his mental obsessions in this superb rework of Automutilación creativa.
One more time we push the sound boundaries on behalf of timeless futuristic music in touchable format.
ESPAÑOL
Es hora de que los fundadores del sello tomen el control de nuestra nave
espacial. Clusterhead ofrece cuatro rebanadas de techno abstracto para aquellos que saben de lo que hablamos.
El disco comienza con Alteración del orden: ritmos rotos condimentados con sonidos elásticos de sintetizador y microdrones marcando el ritmo, mientras que el resto de los elementos percusivos aparecen suavemente en el arreglo. La secuencia principal crece y muta a medida que pasan los minutos, la reverberación y el tratamiento estéreo se vuelven más presentes hasta que la repetición produce el efecto deseado en la pista de baile virtual.
Como segundo corte Resiliencia Incesante nuevamente se basa en bombos rotos y líneas de sintetizador procesadas. La tasa de BPM es más alta aquí y los elementos de percusión son más rápidos y ajustados.
Los sonidos se retuercen y cambian con el tiempo a medida que aumenta el rango de frecuencia. Una oda industrial a la oscuridad.
En la cara B, Automutilación creativa nos trae de nuevo al lado oscuro, grooves mezclados, secuencias obsesivas en continuo movimiento y percusiones sintéticas de alto rango recorriendo el campo estéreo.
Cerrando el lanzamiento tenemos a Notzing a bordo, todavía recuperándonos de su asombroso trabajo experimental en nuestro sello, le damos de nuevo los comandos de nuestra nave espacial para plasmar sus obsesiones mentales en esta soberbia reelaboración de Automutilación creativa.
Una vez más empujamos los límites del sonido en nombre de la música futurista atemporal en formato táctil.

After contributing to the genesis of the label, the pioneering techno artist Zadig returns to KR3 with a 6-track EP inclusive two remixes by Adriana Lopez and Mod21.
Silent Warrior is an intense, deep and emotion-filled work dedicated to the memory of a beloved friend. A personal outburst that focuses on the hypnotic and triggering effect that music can have on each of us.

'Without You' is the second release from Athens of the North house band, it's a lovely deep house side with obvious influences. 'Without You' came together while warming up some new gear that had landed in the studio during lockdown and as often happens when you're not trying too hard something just comes together. For the vocal we had a multitrack tape of Avelino Pitts from the band Gold (Sadly he passed a few years ago) and Edinburgh singer Lucy (more to come from her soon). While we may be known for disco and funk AOTN crew grew up in the early 90s, so house is our bread and butter, so you will be hearing more.

On the flip side is something we have been wanting to do for some time, I always loved Mary Love's 'Come Out Of The Sandbox' but felt the structure of the track was a little tricky to play out. We went ahead and restructured the track as well as adding synth parts and created a 12-inch mix that never was (but should have been). We brought to the mix to Ady Croasdell at Ace Records (who currently own the rights) and asked if he would let us release the track legitimately, thankfully Ady liked it and kindly gave us the green light, so delighted that it's not only out but licensed correctly.

We started First Word Records in late 2003. The core team is based in London, but our roster is comprised of artists from all over the globe. As we look ahead to our 20th anniversary, and hit our 200th release, this EP is a collaborative effort from some of our current artists.

As a label, we've often championed musicians that create sounds that fall within the cracks of more defined-genres. Our aim has always been to highlight unique talent where we find it, and ultimately find things we deem worthy of inclusion in the great mixtape of life! Quite often the links may not seem apparent, but we feel blessed to have been able to slowly build a family of artists that not only have great respect for each other, but will quite often collaborate together without any prompts from us. This collection of music is a series of examples of that. 'A Family Affair'.

For this vinyl EP, there is a heavy dancefloor vibe, with four tracks that nestle within the realms of broken beat.

Following her debut EP 'Light It Again' for us in late 2020, Allysha Joy's track 'Better' is re-visited by the don Kaidi Tatham, who reworks the track in his own inimitable way; starting on a half-tempo neo-soul vein, before switching to his trademark fusion of bruk, boogie and jazz mid-way.

After a lengthy absence we're delighted to welcome back Quiet Dawn and Sarah Williams White, with a collaborative piece between the two entitled 'One By One'. You can expect longer projects from them both later in the year, but here's a little vibe to wet your whistle. This, the 'Bruk It' version doing exactly what it says on the tin.

On the flipside, we have a delicious rub of Takuya Kuroda's 'Fade' featuring the vocals of Corey King and taken from Takuya's highly-acclaimed LP 'Fly Moon Die Soon'. The remix work on this one courtesy of a killer combo in their own rights, KEARL aka Earl Jeffers (Darkhouse Family) and K15 (Profusion).

Speaking of K15, this EP closes out with his interpretation of Teotima's 'But I Can't' originally from their 2019 album 'Weightless'. Taking elements of the original vocal from Ellie Rose Rusbridge, K15 transforms this one into a dreamy boogie-tinged groove - previously supported by Mary Anne Hobbs and the like.

Two of these tracks have never been available on vinyl before, whilst the other two are brand new tracks being released for the first time on any format.

*Repress*

Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018.

The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity.

The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.

Dynamite Cuts are proud to have the opportunity of presenting this amazing Dj dance floor diamond, by the legendary funk n soul band S.O.U.L. “Burning Spear” is an upbeat Drum and Bass groove with a super funky flute and all time classic sample. Sampled by hip greats like Pete rock & C.L Smooth & Organized Konfusion to name a few, a pure rare-groove club anthem, I remember those nights, funky-ing down to this awesome rhythm.
Dynamite Cuts’ issue of this monster, is a double-sider of the ultimate versions of “Burning Spear”. The A side cut is taken from the superb “What it is?” LP. On the B-side is the rare and more collectable version; slightly different, more percussive recording which was released on 7” in 1971 on the Musicor record label, but sadly on the hissing, breakable styrene, and not on the lovely VINYL. You’d be lucky to find a copy that doesn’t hiss, pop and crackle. But with thanks to; Mr Simon Watson, who had a mint stock copy almost un-played; and to the A-Lister Dynamite Cuts’ mastering magicians - Andy Pearce (de-noises) and Stuart Hawkes (remastering to get that full-on funk effect). Now what are the chances of that!!!
The name S.O.U.L means Sounds Of Unity and Love, consists of four men from Cleveland, Ohio USA, the band was formed around 1970.
Lee Lovett, a Libra - Lead singer, Bass and Baritone;
Gus Hawkins, a Scorpio - Vocals, Saxophone, Flute
Paul Stubblefield, an Aquarius - Vocals, Drums
Walter Winston, a Pisces - Guitar.

Brooklyn based Starrk debuts with this 4-track EP of experimental & industrial techno records. Through dissonant synths, harsh distortions, and powerful kicks, "The Club Is Now An Empty Room" is a reflection of a 2020 that deprived us of the catharsis of a dancefloor. The release is influenced by artists such as Tommy Four Seven, Swarm Intelligence, Ansome, and L A V E N, and the sounds will be familiar to fans of these artists.

Starrk himself is a NY based producer who is affiliated with the local techno venue Basement, and organizes various parties and music-related events under the SYITS organization.

Despite the troubles globally faced in 2020, it's safe to say that The Allergies bucked the trend and came back by ultimately having a rather glorious year. Releasing their fourth stu-dio album, achieving the 'A List' on BBC Radio 6 Music and Radio Eins in Berlin, climbing high in the NACC US college charts, and generally receiving critical acclaim from a world that had an understandable appetite for some joyful and fun music in their lives.

2021 shows no signs of things slowing down. The heat continues for their 2020 album Say The Word with Pioneer, Liptons and IAMS all taking Allergies tracks for their global advertis-ing campaigns. Rather than rest on their laurels, though, the guys went full lockdown crea-tive and have their fifth album due for release in September, 2021.

"Jumping Off" was the first new track from the album to be debuted at the end of 2020 – A self-sampling version of their 2018 track "Main Event". As with all Allergies tracks of late, the limited 7" release caused a Discogs feeding frenzy.

Now, The Allergies power forward with the first single of the 2021 album campaign – An absolute dancefloor destroyer featuring legend of the mic, Dynamite MC, entitled "Lean On You".

The Allergies first hooked up with Dyna on previous album Say The Word for the fan favour-ite "Hot Sensation". But, scheduling clashes with Dynamite's own album release meant that a single outing for that track was not possible.

No such issues this time round means The Allergies kick off their 2021 album with a serious club and radio contender to move things to the next level.

It's a stylistic new lane for the Bristol-based beatmakers. Their trademark heavy drum chops now flowing on half time tempos, with blues guitars riffs front and centre. The perfect back-ing, then, for the UK rap legend to find his theme and raise the roof.

The 7" is backed by "Working On Me" – A classic Allergies-style screamer with a taste of funky swamp rock, updated for your favourite dancefloor/kitchen/outside space, with five other people…

Banoffee Pies Records 16th Original Series release comes via a 4 track Split EP collaboration between Kincaid, and Zenzizenz, the ambient moniker of techno producer Viers. After a long year behind us, and likely ahead, this record takes a temporary step into the calm and adds reflection to the blurred months that passed.

The release is a collection of textural bumps and melodies opening with Kincaid's 9 minute "Slow Stumble Home" - an aptly titled down tempo trip through a confused space, layered with composition, like a Playstation home screen theme on Mushrooms. Calm follows with two tracks from Zenzizenz - "Returning From Home", a steady meditation through rumbling sounds soon shift to a new mood on the B side. "Falling Off" offers a more lethargic wandering mood through the marshland before BP016 comes to it's close with "Single Cell", the 2nd Kincaid track, which concludes with a chaptered 4x4 structure and slow bursts of energy within. Time to absorb. Love BP x

Over the past several years, the recorded output of Carl Stone has been turned on its head. In previous decades, Stone perennially toured new work but kept a harboring gulf of time between the live performances and their recorded release. This not only reflected the careful consideration of the pieces and technical innovations that went into the music but also the largely academic-minded audience that was themselves invested in the history and context of the work. The time span of Stone's recorded output in both sheer musical duration and year range was generously expansive. Following multiple historical overviews of Stone's work on Unseen Worlds and a re-connection with a wider audience, the time between Stone's new work in concert and on record has grown shorter and shorter until there is now almost no distance at all. Stone's work has often at its core explored new potential within popular cultural musics, simultaneously unspooling and satisfying a pop craving. On Stol en Car, the forms of Carl Stone's pieces have also become more compact, making for a progressive new stage in Stone's career where he is not only creating out of pop forms but challenging them. Stolen Car is the gleeful, heart racing sound of hijack, hotwire, and escape. Stone carries the easy smirk and confidence of a car thief just out of the can, a magician in a new town setting up a game of balls and cups. With each track he reaches under the steering wheel and yanks a fistful of wires. Boom, the engine roars to life, the car speeds off into the sunset, the cups are tipped over, the balls, like the car, are gone. "These tracks were all made in late 2019 and 2020, much of when I was in pandemic isolation about 5000 miles from my home base of Tokyo. All are made using my favorite programming language MAX. However distinct these two groupings might be they share some common and long-held musical concerns. I seek to explore the inner workings of the music we listen to using techniques of magnification, dissection, granulation,, anagramization, and others. I like to hijack the surface values of commercial music and re-purpose them offer a newer, different meaning, via irony and subversion." - Carl Stone, Los Angeles, September 2020

‘The Watchful Eye Of The Stars’ is Adrian’s ninth studio album.
Produced by luminary John Parish (Aldous Harding, PJ
Harvey), this sublime collection of ten songs invites us to join
Adrian at his storytelling best, regaling us with tales of travel
and wonder, by sea, by road, all quietly transfixing,
transformative and wholly captivating.
Suffused with a hazy and surreal quality, Crowley describes
‘Watchful Eye’’s poignant narratives as those which insisted
themselves upon him. After the fact, it seemed these songs
came to him more or less fully formed. “It’s a beautiful and
mysterious thing,” he says. Perhaps it is a tendency to hold onto
memories (“It’s taken me so long to write to you / Well I just
couldn’t find a pen,” he laments in ‘Bread And Wine’), that
allows him to unleash them lyrically in completion. For Crowley,
the creative process is an organic event rather than a practice
he feels compelled to regulate or control. He approaches lyrics
much like he does short story writing. “The songs straddle the
conscious and subconscious world and some are even
psychedelic in my mind, but to me they are all at once true
stories and born of another place,” he shares.
In making the album, Crowley moved between studio and at
home recording, while John Parish produced. The pair worked
from tracks made initially by Crowley on a charity shop ¾ size
nylon string guitar or Mellotron: “In this way, John wanted to
keep some of the magic of that first take,” says Crowley.
Contradictions and complexities are left intact, initial recordings
were limited to one or two takes and the songs feel more like a
dream recounted upon waking.
Jim Barr of Portishead contributed double bass and was
brought in to engineer parts of ‘Watchful Eye’ in Bristol. Nadine
Khouri and Katell Keineg were invited in as guest backing
singers.
The heavyweight vinyl includes a digital download card.

“After all is said and done, after 30 years, after a
pandemic which shattered the world, after
thousands of kilometres travelled and many more
thousands of notes played and sung, what
remains?
“A deep love and respect for great music and the
greatness in music, a deep love for the humanity
that is brought to life by it, a deep appreciation for
the gift of friendship and for the power and
resonance that brought and kept us together all
these years, and for that curiosity and passion, that
meticulous quest to unveil the deepest mysteries
of music, that drives us always onwards.
“Finally, we’ve given it a name: ‘Afterallogy’.” - Noa
LP pressed on 180g vinyl.

Womack updates his material for the 80s, creating grown-up sensual soul.

The passion for earthy R&B seemed to have dimmed as the 80s began.

Synthesised confections abounded and veteran Bobby Womack, the Midnight Mover, was at a crossroads. His peers were either in the wilderness (Marvin Gaye, James Brown and Isaac Hayes) or otherwise indisposed (Sam Cooke, Jackie Wilson, Sly Stone), so it was left to Womack to fly the flag for down-to-earth, quality soul.

Womack had been a recording artist for best part of two decades when he made The Poet. After making his name with The Valentinos in the 60s, he cut a string of heartfelt, emotional albums for Minit, United Artists and Columbia throughout the 70s. The Poet was written with great optimism; Womack was out of contract and was approached by agent Otis Smith to set up on his new label, Beverly Glen.

Working with Patrick Moten, Womack crafted eight songs that sounded breathlessly contemporary. If this material had been put in the hands of a soul crooner, it could have sounded perfunctory. The Poet works because of the juxtaposition of Womack’s feral growl with the album’s sweet, smooth, urbane soundtrack. This is grown-up, sensual music; from So Many Sides of You to its epic closer Where Do We Go From Here, this is a luscious collision of Womack’s soul mastery and slick musicianship. It rises and falls, with Womack sidestepping cliché thanks to his preaching, heartfelt delivery. For example, when he cries “I wanna dedicate this song to all the lovers tonight / And I expect that might be the whole world,” on If You Think You’re Lonely, it sounds honest, simple and sincere.

The Poet put Womack back on the map, and gave him his first US R&B chart-topper and first mainstream top 30 album. It was adored in the UK, and sent many back to investigate his grittier 70s heyday as an albums artist. The album became the best-selling record of Womack’s career

Womack cut the equally sublime follow-up The Poet II, released in 1984.

Daryl Easlea – BBC

Womack updates his material for the 80s, creating grown-up sensual soul.

The passion for earthy R&B seemed to have dimmed as the 80s began.

Synthesised confections abounded and veteran Bobby Womack, the Midnight Mover, was at a crossroads. His peers were either in the wilderness (Marvin Gaye, James Brown and Isaac Hayes) or otherwise indisposed (Sam Cooke, Jackie Wilson, Sly Stone), so it was left to Womack to fly the flag for down-to-earth, quality soul.

Womack had been a recording artist for best part of two decades when he made The Poet. After making his name with The Valentinos in the 60s, he cut a string of heartfelt, emotional albums for Minit, United Artists and Columbia throughout the 70s. The Poet was written with great optimism; Womack was out of contract and was approached by agent Otis Smith to set up on his new label, Beverly Glen.

Working with Patrick Moten, Womack crafted eight songs that sounded breathlessly contemporary. If this material had been put in the hands of a soul crooner, it could have sounded perfunctory. The Poet works because of the juxtaposition of Womack’s feral growl with the album’s sweet, smooth, urbane soundtrack. This is grown-up, sensual music; from So Many Sides of You to its epic closer Where Do We Go From Here, this is a luscious collision of Womack’s soul mastery and slick musicianship. It rises and falls, with Womack sidestepping cliché thanks to his preaching, heartfelt delivery. For example, when he cries “I wanna dedicate this song to all the lovers tonight / And I expect that might be the whole world,” on If You Think You’re Lonely, it sounds honest, simple and sincere.

The Poet put Womack back on the map, and gave him his first US R&B chart-topper and first mainstream top 30 album. It was adored in the UK, and sent many back to investigate his grittier 70s heyday as an albums artist. The album became the best-selling record of Womack’s career

Womack cut the equally sublime follow-up The Poet II, released in 1984.

Daryl Easlea – BBC

First album by Selda Bagcan, originally released in 1976- A collection of well-known poems and folk-songs, recorded in cooperation with the most progressive Turkish musicians / arrangers of the 70s: Mogollar, Dadaslar, Zafer Dilek & Arif Sag.

Combining traditional instrumentation from Anatolia with Western psychedelic grooves: fuzz-wah guitars, electric saz, funk drums and above all, Selda's passionate vocals.

*Original artwork in gatefold sleeve.

*Insert with detailed liner notes by Kornelia Binicewicz (Ladies on Records).

*Newly remastered sound.

• When Lonnie Mack’s treatment of Chuck Berry’s ‘Memphis’ broke into the US Hot 100 on 8 June 1963 and peaked at #5 during its 13-week stay, he was initially pigeonholed as an instrumental artist. This perception was heightened by ‘Down In The Dumps’ on the flip, and furthered by his double-sided instrumental follow-up whose topside, ‘Wham!’, reached #28.

• Six months later the other side of Lonnie was revealed with his first vocal 45. The topside was a dynamic re-vamp of Jimmy Reed’s ‘Baby, What’s Wrong’, backed with a version of the gospel classic ‘Where There’s A Will’. Here you could hear him emoting in a way white singers never did – hollering, pleading and screaming in the very finest gospel tradition. The track was even picked up by some black radio stations in the south, but quietly dropped once it was realised that Lonnie was white.

• ‘Memphis’ was recorded at King Records Studio in Cincinnati on 12 March 1963. Carl Edmondson had been booked to produce a split session for Max Falcon, Kenny Smith and the Charmaines, but Edmondson’s band had recently broken up, so Lonnie and his crew were drafted in. With some time left at the end of the session, Lonnie was asked if he had anything he might like to record. ‘Memphis’ was the result. Edmondson thought the track had potential and suggested to Fraternity Records boss, Harry Carlson, that he should put it out. Within weeks it was climbing the charts, launching Lonnie’s long career.

• Post-Fraternity releases on Elektra, Capitol, Epic and Alligator cemented his reputation as the man who brought gospel, soul, blues, country and rock’n’roll together. He was one of the creators of blue-eyed soul, as well as the leading light for the legion of blues-based rock guitarists who plied their trade from the 60s onwards. It has to be said, though, that the bedrock of his legend rests on his Fraternity recordings, which highlighted both sides of Lonnie Mack – the vocalist and the guitarist.

New album by jazz pianist & composer Rolf Zielke on Agogo. "Beaches In Your Soul" is a reflection of Contemporary Jazz, Latin, Brazilian Jazz and music of the 'Middle East: The pianist Rolf Zielke has been a constant in the German Jazz scene for many years. The spectrum of his work, bands and projects is huge and he keeps surprising us with new ideas and concepts.