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In Order To Understand Waajeed's Artistic Profile, It Helps To Look At The Musical History Which Informs It. As A Child Of Detroit Who Grew Up Just As Encapsulated By Hip-hop And Soul As He Was Techno And House, He Is Driven By A Commitment To Finding The Sweet Spot Between These Paradigms. In A City Full Of Dualities, His Productions Are Underpinned By An Inherent Awareness Of Both Sides Of The Coin. 'growing Up In The D, I Spent Monday Thru Thursday In The Studio With Slum Village. Friday And Saturday Nights We Partied All Night To Techno And Early Sunday Morning I Went To Church With My Pastor. This Is What I Sound Like. This Is The Sound Of Detroit. This Is From The Dirt.'

Coming hot on the heels of his debut on Distant Horizons, London breaks-master Yosh joins the core label family with a killer 4-tracker on Lobster Theremin.

As one of the most recognisable names from the emerging UKG re-rise (it never went away, y’know), Yosh has developed a reputation for dutty 2-steppers and screw-face breakbeats designed to delight and devastate the rave.

‘My Fire’ is a jungle-influenced cut of broken breaks - malfunctioning, soulful and electric - the perfect accompaniment as day turns to night, the atmosphere loosening as it does. A sun-setting stepper brimming with v i b e s.

‘Hold On’ sees Yosh venture towards his traditional garage territory - low-swung percussion, wubby stabs and ambient dreamscape aesthetics spraying contemplative thought patterns into the air as we sway from side-to-side, before ‘I Feel’ reignites the junglist inspiration with its rumbling bassline, bouncing breaks and underground energy.

We reach our climax with the most ‘heads down’ cut on the record; ‘Outa Sight’ maintains that light and dark sensibility that has become such a staple of Yosh’s productions, simultaneously taking us from moments of sweaty intenseness to moments of blissed-out ecstasy.

After the 1974 release of The End…the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)… Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes “Purple Lips” but adds the tracks “Saeta” and “Vegas” released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground’s “I’m Waiting for the Man” and David Bowie’s “Heroes”.

Gene Pitney was a musician’s musician. Having begun his career as a songwriter, he was not content merely being the faceless pen behind his peers’ success, becoming a singing star in his own right. He did this during a time when America’s shores were being invaded by a wave of British talent led by The Rolling Stones and The Beatles. Pitney turned the tables by finding success in the UK and went on to enjoy a 45- year career. 1962 was Pitney’s breakout year in the US. He shot to Number 4 in April with the Burt Bacharach and Hal Davidpenned hit (The Man Who Shot) Liberty Valance, intended as the theme for the John Wayne
flick of the same name. He followed that up with his highest-charting US single, Only Love Can
Break A Heart. It would go on to be covered by numerous artists, Dionne Warwick attempting
her own version in the late Seventies. He left behind a four-decade career that saw him notch
up 16 US Top 40 singles and 22 in the UK. His legacy is also evident in the hits of others, like
Orbison, Bobby Vee and Ricky Nelson. This collection showcases the best of Pitney’s early
work, and gives an insight into one of America’s most gifted musicians, a man who found his
own voice.

The multi-instrumentalist duo that comprises Hermitude - Luke Dubber
(aka Luke Dubs) and Angus Stuart (aka El Gusto) - were in Japan when
Covid became a stark reality
Just making it back to Australia before the borders closed, they quietly slipped up
to Angus' place just outside of the Blue Mountain town of Blackheath as the rest
of the world went into meltdown.
The two holed up together in Angus' childhood home with a pared- back music
setup and began a process that was all about taking back control over how and
why they make music as Hermitude. As Luke says, "they say the artist is your
inner child, so it was like the children were out at play. There were no rules or
expectations; we just threw stuff at the wall. It was really fun, which is why we
started making music in the first place." A year and a half later, Mirror Mountain
was finished.
The album acts as a reawakening, a place to draw strength as time goes by..

Winston 'Niney' Holmes AKA The Observer, must be one of Reggaes finest Roots Rebel producers. Capable of making some of the heaviest, innovative music, not only in sound but also in the Cultural/Political sense.
Born George Boswell, Montego Bay, Jamaica 1951, and name checked 'Niney' due to losing a thumb in a workshop accident. He began his career in music by organising bands to play at school dances. But his first steps learning the musical ropes came working under the tutelage of producer Bunny Lee around 1967, organising sessions for Bunny's stable of artists. He moved on to work alongside Lee Perry at Joe Gibb's 'Amalgamated' label setup, where on Lee Perry's leaving in 1969 to start his own 'Upsetter' label, Niney became chief engineer.
Inspired by Perry's success it wasn't long before his own 'Destroyer' label was under way. It was 1970, and his first production entitled 'Mr Brown' by DJ's Dennis Alcapone and Lizzy, proved to be a minor hit, but his own 'Blood and Fire' track released in December of that year would become a major hit. After initial problems with it's likeness to Bob Marley's track ' Duppy Conqueror' being ironed out, it's reissue on his now named 'Observer' label, saw it go on to become, Jamaican Record of the Year 1971. Far out selling Bob Marley's track to the tune of 30,000 copies in Jamaica alone. A roots classic...
Niney's reputation for building great roots tracks, was furthered with more success working with singer Max Romeo. Issuing cuts such as 'Beard Man Feast', the great 'Reggae Matic' and 'Aily Ailaloo' and renewing his friendship with Lee Perry on the track 'Rasta Band Wagon', who's production credit read Perry, Niney, Maxie. In 1973, Niney began working with Dennis Brown, who was already an established star from an early age, they found a chemistry that went on to produce some of Dennis' finest work. The 1973 hit 'Westbound Train' was followed in 1974 by 'Cassandra', 'I am the Conqueror' and the timeless 'No More Shall I rOam'. Another important connection around this time was the great King Tubby who Niney would take his tapes along to and even record some of his tracks at Tubby's house, 18 Drummlie Avenue, Kingston, which doubles as his Studio of Dub.
It's these tracks that we are concentrating on here. Tubby would strip the tracks back to the bone and rebuild then sometimes leaving off the hook line. Whether that be the horn line or keyboard line and adding effects over the top that could disguise the cut even more. Even Niney stating that when Tubby had finished with a cut, he found it hard to recognise the track himself. Its these tracks as dub plate specials that Tubby would play on his Hometown HI-FI Sound System and it's these such tracks that we have compiled for this release. Dub Plated that have not seen the light of day since tragically the great Osborne Ruddock AKA King Tubby was gunned won and murdered on the 06th December 1989. For a few dollars and a gold chain, reggae music has lost one of it's most creative, inventive forces.

Niney also cut tracks with many other Reggae giants such as Gregory Issacs, Michael Rose, Junior Delgado, Horace Andy and Delroy Wilson to name but a few. As in house producer at the legendry Channel Studios and supervising sessions at Dynamic and Randy's Studio 17, his magic touched many. DJ, Arranger, Producer, his Roots Rebel music still stands the test of time.
Hope you enjoy the set.....

'Ride with the Rasses' was an unequivocal statement of Prince Lincoln's
Rastafarian faith and a discernible demonstration that his "determination
(was) inexhaustible"
The LP found favour with listeners worldwide, but, without the extensive,
expensive promotion and publicity a major label could provide, the album went
relatively unheard outside of those who had kept the faith with conscious music
making. This Burning Sounds re- release will, hopefully, secure a long overdue
measure of re-appraisal and positive reassessment.
Vocals – Prince Lincoln Thompson
Album first released 1983
Released on 180 gram RED vinyl
Promotion across social media platforms
Advertising in Riddim, Black Echoes and Record Collector Magazine

Dove Award-nominated band We Are Messengers, who has amassed over
187 million on-demand streams and played to over 2 million people
worldwide, is back with the brand-new album, 'Wholehearted', which
features current radio single "Come What May
" Lead singer Darren Mulligan shares, "Like most artists, our world kinda fell apart
when touring got shut down. So we did what every good songwriter should do, we
catalogued every feeing imaginable and tried to make sense of a strange new
world. We danced in the darkness, wrestled with doubt, reconnected with God in a
really authentic way, and found the beauty in the forced simplicity of our lives. We
gave ourselves fully to the process of telling the truth again and not caring about
what the world thought of us. This album captures the heart of a follower of
Jesus in one of the most wonderful and horrific times we have faced in modern
history. We went all in, held nothing back. This one is 'Wholehearted'."

Schwedischer Death Metal seit 1990, möge die HM-2 mit dir sein!

Obwohl Entrails in den frühen 90er Jahren gegründet wurde und somit zur "First Wave of Old School Swedish Death Metal" gehörte, wurden sie im Jahr 2008 wiederbelebt, um in den folgenden Jahren zu emblematischen Mitglied dessen zu werden, was man mit Recht als "New Wave of Old School Swedish Death Metal" bezeichnen kann.

Die Aufnahmen der Band überzeugten schon immer durch Kraft und Atmosphäre, aber es gibt immer Raum für Verbesserungen, oder? "An Eternal Time of Decay" markiert jedoch eine willkommene Abwechslung, denn es stellt einen dringend benötigten Neustart dar, mit ausgefeilteren und originellen Songs, die auch eine ausgewogene Technizität beinhalten, ohne dabei die old-schoolness zu verlieren. Entrails scheinen sich einfach nicht um die neumodischen Wege zu kümmern, die sie gehen. Sie lieben ihr geliebtes Genre und versuchen einfach, es zu ehren; hey, wenn es nicht kaputt ist, warum es reparieren, oder? Diese Musik ist unverkennbar Old School, ganz im Sinne von Bands wie Grave und Dismember, und auch mehr als 30 Jahre nach diesen Bands, gelingt es Entrails, einen sehr rohen Geist für dieses Genre und diese Melodien zu bewahren. Fans des "Stockholm-Sounds" werden sofort die wunderbar horrenden

Töne des Boss HM-2-Pedals wiedererkennen, das jede Note in reinen Klangbrei verwandelt... und wir Fans beschweren uns nicht, wenn wir es als solches bezeichnen. Irgendetwas an diesem Ableger des skandinavischen Metals ist so schön hässlich, und diese Band trifft es genau.

Mit diesem Album ist es Entrails endlich gelungen, ihren eigenen Stil zu finden, indem sie die Horrorfilm-Riffs, die ihre Songs durchdringen, vermischen und gleichzeitig viel von dem retten, worum es geht: eine düstere Atmosphäre mit punkigem Schlagzeugspiel und melodischen Riffs, die gut mit einem respektablen Maß an technischer Komplexität gemischt sind. Dies ist eines der besten schwedischen Death- und Death Metal-Alben, die man je gehört hat. Das allgemeine Arrangement und die Platzierung der Songs sind angemessen und es fühlt sich zusammenhängend an.

"Emotional Rescue continues its 10th anniversary by again presenting Jorge Reyes’ collaborative album with Antonio Zepeda – a masterpiece and therefore, worthy of the time and effort to share.

From cult artist to becoming an essential musical discovery, Jorge Reyes is an example that no one discovered or owns the music beyond the writer and creator.

Growing up in Mexico’s 2nd City, he spent much of his life dedicated to travelling and learning music traditions and instruments. While at University to study Flute, he was involved in several influential bands of the era before going on to travel the world to further his learning, before returning to found the seminal Chac Mool group.

By the early 80s he went solo, exploring an increasing interest in the use of Prehispanic instruments mixed with electronics. In the opening songs, I-Cana and A La Izquiedra Del Colibri, the interplay between flute, guitar and vocals with TR-700, Poly 800 and DX7, all fuse his vision perfectly.

The additional contribution of Antonio Zepeda’s percussion creates a timeless mystique to the album, taking you on a journey deep in the mind of one of Mexico’s most important experimental artists.

Passing away at just 56, Jorge Reyes work was cut short, however he has left over a dozen albums to be explored. While critics increasingly question the valedictory of reissues, the premise on whether something should be heard is if it’s good. Therefore, let A La Izquierda Del Colibri be heard."

Part of The Optic Sevens 4.0 Reissue Series.
Limited to 1000 copies worldwide. Please check your allocation with your sales rep.
Pressed on Blue Vinyl Includes postcard and poster. Non-Returnable.
This version is A brand new band approved stereo mix of the only single by Liverpool cult legends The Wild Swans
Due to studio inexperience, the single originally ended up being perhaps the only 12′′ in history with the A-side recorded in mono and the B-side, God Forbid, in stereo. Despite this , The 12′′ received rave reviews, becoming single of the week in numerous music papers. John Peel played it to death and it quickly gained cult status by ending up as the last record ever released on Bill Drummond’s cult label Zoo Records (Drummond himself went on to proclaim it “the best single we put out on Zoo”).

Das zweite Album der US Thrasher ATROPHY erstmals seit 1990 erhältlich als limitierter Vinyl LP Re-release!
Im Vergleich zum Debütalbum der Band, bietet "Violent By Nature" eine gewisse musikalische Weiterentwicklung, wobei das Material ein größeres Bewusstsein für Melodien und einen etwas weniger extremen Ansatz aufweist.

Das zweite Album der US Thrasher ATROPHY erstmals seit 1990 erhältlich als limitierter Vinyl LP Re-release!
Im Vergleich zum Debütalbum der Band, bietet "Violent By Nature" eine gewisse musikalische Weiterentwicklung, wobei das Material ein größeres Bewusstsein für Melodien und einen etwas weniger extremen Ansatz aufweist.

Das zweite Album der US Thrasher ATROPHY erstmals seit 1990 erhältlich als limitierter Vinyl LP Re-release!
Im Vergleich zum Debütalbum der Band, bietet "Violent By Nature" eine gewisse musikalische Weiterentwicklung, wobei das Material ein größeres Bewusstsein für Melodien und einen etwas weniger extremen Ansatz aufweist.

A rigorous recollection of all the music that went into last year's Netflix smash The Queen's Gambit. You were probably too busy trying to keep up with actress Anya Taylor-Joy's timer-stopping and piece-placing chops to notice the ingenuity of the soundtrack; packed with contemporaneous music to the time in which the series is set, from Donovan to The Monkees to The Vogues, we're duly thrown back by this new 2xLP edition (which comes to a special black and white colour vinyl). Check it, mate.

Ramrock Records are hugely excited to announce the forthcoming release of Ghetto Priest’s ‘Big People Music’ LP, the long awaited follow up to his 2017 album, ‘Every Man For Every Man’. The idea for this LP was originally floated in 2018 and was intended to be a 6 track EP called ‘Songs for my father’. However, once Ghetto Priest got in the studio, the idea expanded as he went the extra mile adding his personal favourites, conjured up from childhood memories of his father’s tunes being played on the family radiogram with additions from his youthful excursions. A magical mixture of tracks associated with the greats – Nat King Cole, Dean Martin, Slim Smith, Ken Boothe, Aaron Neville – ‘Big People Music’ can lay claim to being the 21st century’s equivalent of John Holt’s ‘1,000 Volts of Holt’ – an absolute essential on every Blaupunkt radiogram on a Sunday and a blues party staple.

The combination of standards and righteous releases were mixed down by the Bishop of Dub, Adrian Sherwood who blessed the project with the title ‘Big People Music’, a powerful acknowledgement to those tunes which filled many a Caribbean household with immeasurable sentiments that echoed down through subsequent generations.

Please be upstanding for Ghetto Priest and ‘Big People Music’.
'In memory of the Right Honourable Arthur Beresford Townsend - My Father'

»Tableau« is Rolf Hansen's second full-length album under his given name and acts as a sequel to his solo debut »Elektrisk Guitar«, released in 2019 through Karaoke Kalk. On the 14 new pieces, the Copenhagen-based composer and musician further explores the sonic possibilities of the electric guitar by opting for a radically different approach and putting great limitations on himself as a performer. »Tableau« is an experimental record in the truest sense of the word, eschewing conventional modes of playing the instrument and instead turning the guitar into a sound source for compositions that are at once abstract and concrete.

Already on his last album, Hansen had found a different approach to playing and composing, but this time went even further and created a set-up in which the electric guitar becomes a different instrument altogether. This is also expressed in its title: a tableau is, broadly understood, an image-forming momentary bodily pause in a dramaturgical or narrative process. In the context of the album, tableau is the form and sound that emerge when the musician’s usual approach to playing and the compositional practice is halted and transformed. To achieve this, the guitar is placed on a table with microphones installed around it and tuned in a static microtonal modality thanks to wooden replacement frets that have been inserted under the strings. This alters how the sounds are being generated with the instrument, which is now played from above, occasionally strummed or stroked with a tool.

The opener »Begyndelse« already sets the tone by punctuating dense layers of sound with a one-note melody that provides a rough rhythmic structure and harmonic anchor for the track that still seems to mutate wildly the further it progresses. Even in moments in which Hansen opts for a more directly accessible approach like on the following »Over Grænsen« or »Tid«, the pieces’ emotional qualities are greatly amplified by their sonic idiosyncrasies. This is best exemplified by the first track on the second side of the LP, »Højre hånd«. Using high microphone gain to magnify the high-frequency acoustic sounds of the electric guitar, Hansen captured a rich near-symphonic changing spectrum of overtones. This is typical for the attention to detail put into the overall record whose approach maximises the music’s affective impact by focusing on minute nuances.

»Tableau« is full of moments marked by almost unnoticeable shifts and changes, offering a wealth of sounds that are as evocative as they come unexpectedly. Despite their aesthetic differences, the kinship between its predecessor »Elektrisk Guitar« and these 14 compositions is undeniable. Both are based on self-imposed constraints, a radical form of reduction that made it possible for Hansen to broaden his sonic palette and compositional approach. Though mostly short, concise, and abstract-sounding, the pieces on »Tableau« speak a clear, varied and simple language.

Mark Korven's original soundtrack for 'The Lighthouse,' starring Robert Pattinson and Willem Dafoe, marks his second collaboration with director Robert Eggers (The Witch).
"Robert Eggers and I were rather like the two wickies that went insane in The Lighthouse, musically speaking. We travelled to some very dark harmonic and textural places. We both enjoy not just breaking the rules, but blowing them to smithereens. The spirit of experimentation was always present."
-Composer Mark Korven


"Composer Mark Korven and I developed a shorthand working together on The Witch. This made collaborating on The Lighthouse an incredibly enjoyable process. But it was not without its many challenges. Originally, I wanted a score with no strings at all. The Witch soundtrack was so string-prominent that I wanted a full departure. I only wanted horns, pipes, conch shells, concertina - things that sounded like the sea - or the lighthouse station's ominous foghorn. It would be a minimalist aleatoric soundtrack with a nod to sea shanties and ancient Greek music. As Mark and I embraced the sound of big brass sections, it quickly became a maximalist aleatoric soundtrack.

‘OOH DO U FINK U R’ is A gloriously sunny, optimistic and defiant Motown and ‘60’s R&B influenced stomper drawing on Suggs and Weller’s upbringing in Britain’s 1970’s comprehensive school system in London and Woking respectively.

Having known each other on-and-off over the last four decades, the seeds of this collaboration emerged in 2019 when Weller joined Suggs on his Radio Four series ‘Love Letters To London’ to talk about an ever changing Soho. As the world subsequently went into lockdown in 2020, the pair started chatting more and more frequently about music, clothes and football, eventually exchanging half finished songs, demos and sketches of lyrics. With its working class aesthetic, Motown influenced stomp, and uplifting brass, it’s an intuitive collaboration that sits neatly as a welcome addition to both men’s great songbooks.