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English blues outfit Tramp had a fleeting existence in the late 60s and early 70s—here today, gone tomorrow. Based around former John Dummer Blues Band vocalist/ guitarist Dave Kelly and sister Jo Ann on harmonies and occasional lead, the group got a boost from Fleetwood Mac mainstays Mick Fleetwood, Danny Kirwan, and Bob Brunning, as well as former Savoy Blues keyboardist, Bob Hall. If not quite as compelling as their 1969 debut, this 1974 LP has the hallmark touches that made the Mac leaders of the British blues scene. Fleetwood Mac devotees and British blues lover, get stuck in!

‘SUNNY DAY’ PRO UNO presented by THE REGIME

Smooth loved-up and sun kissed soul, melting over jazzy road-trip and summertime vinyl dust. The Regime’s sophomore release is strictly vintage, playfully psychedelic, smothered in funky soul, and irrefutably ‘on the One’.

Spawned from 70s soul, jazz and funk, combined with the plethora of free time the covid pandemic demanded, THE REGIME’s jazzy-soul outfit PRO UNO rose from the ashes, dousing the public with a whiff of the good ol’ days, where music was real, authentic and pure. Their 70s aesthetic and full in house production combines sounds reminiscent of Al Green, Steely Dan, Bill Withers and America, to create a state of total nostalgia and peace love n harmony vibes. This iteration of the Funk Collective THE REGIME is their most exciting and tasteful project yet. Expanding on the original hip hop, funk niche, ‘SUNNY DAY’ in undeniably one for all, and indeed all for one.

The genesis of "Nosthaigia" is as fascinating as the music itself. Onra spent several years living in Thailand, immersing himself in the vibrant culture and scouring local record shops for rare gems. The result is a collection of Thai songs from various genres, all sourced on 7 inches. These short instrumentals serve as time capsules, transporting listeners to a bygone era filled with nostalgia and longing.

Produced entirely on the MPC1000 in 2017 and revisited in 2020, "Nosthaigia" is a testament to the power of serendipity and artistic evolution. What began as a casual exploration of unfamiliar musical territory blossomed into a deeply personal and meaningful project for Onra. Amidst a series of unfortunate life events, he found solace and inspiration in the beats he had crafted years prior.

Each track on "Nosthaigia" is a reflection of his journey, a sonic expression of longing and introspection. Onra describes the process of creating the album as a cathartic release, a way of letting go of old memories and embracing the present.

Despite the somber undertones, there is a quiet beauty to "Nosthaigia" that is impossible to ignore. Onra's vintage production skills breathe life into each track, infusing them with warmth and depth. From the haunting melodies of "Until The End" to the hypnotic rhythms of "Close Your Eyes And Remember" every moment feels poignant.

Onra's decision to "remove all the bangers" from the album speaks volumes about his artistic integrity and dedication to authenticity. "Nosthaigia" is not about flashy beats or catchy hooks; it's about raw emotion and genuine expression. It's a reminder that music has the power to heal, to uplift, and to connect us to something greater than ourselves.

In the end, "Nosthaigia" is more than just an album; it's a testament to the human experience. It's a reminder that even in our darkest moments, there is beauty to be found, if only we're willing to listen.

With Pere Ubu on hiatus since 1982’s excellent ‘Song Of The Bailing Man’, David Thomas had recorded a` much-praised solo album and the band had now signed to a major label. In a period of rampant world commercialism, what would happen next? Another crucial era for the band unravelled, Pere Ubu’s journey charted new undulating territory and so began a three-album escapade that retooled our understanding of what pop music is. Things were further obscured with ‘Cloudland’ when they released “their industrial strength equivalent of a class Beach Boys album from musicians more familiar with factories than surf.” (Greg Kot, Chicago Sun Times).

Although For The Longest Time She Has Been A Chicago Resident, Ruby Andrews's Wonderfully Dramatic Vocals Sounds Like Straight From The Deep South Of The Usa. Actually, That Is Where She Was Born In Hollandale, Mississippi, In 1947. She Recorded At Least Six Albums That Are Each Highly Treasured By Soul And Funk Fans All Over The World. Black Ruby, The Brilliant Second Lp From This Marvelous Soulsinger First Appeared On The Zodiac Label In 1972. Just One Minor Nationally Charted Hit Came Off The Lp. But As A Whole It Is Even More Revered Than Her Hit-laden Predecessor Among Soul Aficionado's. It's Considered An Exemplary Classic Of A Deep- And Chicago-soul Album. The Music Has Re-appeared Some Times In One Form Or Another But The Lp Was Never Before Fully Reissued On High Quality Vinyl! Everland Is Thus Very Proud To Re-present The Black Ruby Album In Closest To Original Format With That Beautifully Designed And Shiny Psychedelic Album Cover. A True Gem Indeed.

"The wash of flangers & shimmery reverb have been the foundation in Cali psych ever since the Byrds went electric. And while that sound might've dropped off occasionally, it never dropped out. The Velvets minimalist stylings were infused into the mix by The Dream Syndicate in the early 80's & thus a game changer was born. Clay Allison, Opal, Green On Red all took their charge from that current. Then the Shoegaze scene of the 90's looked at those bands as vectors, things got a little more drenched, so yet more seeds were sown into the fertile terroir. Cut to current climes & the bay area is teeming with the latest iterations: Children Maybe Later, Now, & Cindy easily come to mind. But curiously the band most steeped in the mohair constitution is April Magazine, who (thus far) have been content in the shadows. Up till now they've seemed like characters plucked out of a Kazuo Ishiguo novel-mysterious & ethereal-but perhaps this pressing of last year's cassette only release will flush them out. 'Wesley's Convertible Tape For The South' shows the band defly balancing all those that have come before them while also incorporating flourishes of Les Rallizes DeNudes, Hallelujahs & Nagisa Ni Te into the pageantry . So in a way, April Magazine is transforming the landscape yet again; denser, fuzzier, lush & wistfully challenging. 'Wesley's Convertible Tape For The South' is the band's 1st vinyl release stateside (an LP of older tracks was released last year via a UK only label) so no import tariffs! What were once whispers are now proclamations. Just because you don't know them doesn't mean you can't love them. So grab a copy & hug it out amongst yourselves." -- Tom Lax (Siltbreeze Records)

For their fifth collaboration Marc Barreca and Kerry Leimer set aside their more abstract creative approaches to composition in favor of basing the music of Arrhythmian on beats. Using rhythm as texture, the tracks gravitate to concussive and bass voices, high bpm rates, and constantly evolving timbres shaped by granular synthesis, sampling, heavy processing, audio manipulation, rich distortion, with the maximum dynamic range vinyl can offer. “We’re always thinking about sound quality, about what’s possible in a recording for vinyl demands a very specific approach. Pitch, dynamics, layering, density all play a more significant role in analog recording and reproduction,” says Leimer, as Barreca continues, “Let’s just say it’s not music you can dance to...” Arrhythmian is released as a double disc vinyl set, produced to safely allow the grooves their maximum possible excursion while giving one’s stylus a rewarding and demanding workout. Marc Barreca and Kerry Leimer have worked on a nearly parallel musical course for more than forty years. Nearly parallel because their musical paths do occasionally cross. First in 1980 with “Four Pages From An Unfinished Novel” on K. Leimer’s first solo album Closed System Potentials. Again during the live performance of Music For Land And Water and for the massive loop piece “Heart Of Stillness” from The Neo-Realist (At Risk) by the virtual group Savant. K. Leimer founded Palace Of Lights in 1979 and has been actively producing music since the mid 1970s. Marc Barreca has created and performed electronic music since the mid-1970s. His 1980 vinyl album, Twilight, was among the first releases for Palace of Lights Records. Their work is part of the Collection of the British Library. With Steve Peters, Leimer and Barreca form the collaborative trio Three Point Circle

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

“Memo PST was formed in 2022 by longtime associates Orville Neeley and Chris Shaw. “The band released a self recorded cassette demo and played a handful of shows in California before setting up shop at Discount Mirrors (the neighborhood studio owned by John Dwyer and Eric Bauer) to lay down an LP. “Recorded the first five days in May of 2023, the debut album from Memo PST features twelve blasts of raw and primitive Los Angeles punk rock, with Orville Neeley (Bad Sports, OBN IIIs) handling songwriting duties and Chris Shaw (Ex-Cult, Vile Nation) handling vocals and lyrics. “The debut long player from Memo PST is everything fans have come to expect from the two longtime fixtures in underground rock, but also features some of their most memorable songs yet, including ‘I Used To Be A Pretty Boy’ the debut single from the band that sold out in hours via record label In The Red. “The black and white album cover photo (taken behind the iconic rocker shop Worship) and the stark presentation that Memo PST has thus far deployed is a clear statement that this is punk made for punks, and the band has little to no regard for current trends created and championed by those less informed. “Written, recorded, and released in Los Angeles, this is the latest chapter in the LA transplants discography, and only the beginning of what we can expect to hear from the songwriting duo. “Rounding out the live lineup is life long Los Angeles punk Danny Clodfelter on bass and San Clemente surf punk Jackson Todd on drums. Crumple up your scribblings, this is Memo PST.”

Old Saw, the enigmatic New England collective led by Henry Birdsey (Tongue Depressor), return with their third long-playing record, Dissection Maps. It is not enough to trace the fields. The choreo-cartographic demands the casting of stone, a grassfire, a carnival; something with which to rupture the horizontality of existence and imagine the vertical. Earth is the eighth morning, folded against the week's work. The field is a line drawing of oblivion. The house is a forest in the shape of a womb. America is a quarry in the image of god. (Aidan Patrick Welby – 2024) “The band captures the American stretch, the spaces in-between and the hollowness that haunts us along those routes…fades the radio to static to let the nothingness linger among the soul.” (Raven Sings the Blues) “evokes an ambience of prayer-like solemnity that celebrates something decidedly terrestrial, what the label describes as “a rusted and granular shadow world where the dive bar meets the divine.” It recalls one of those junkyard shrines built by some sincere eccentric, improbably wonderful forms of weathered stone and scrap metal standing like totems to an unrecognised religion rooted in the earth around us.” (Various Small Flames)

Pressed on chocolate covered strawberry splash colored vinyl. Limited to 300 hand-numbered copies. includes the bonus cut "Stars" and all instrumentals. Che Noir brings you The Color Chocolate Vol. 1, on her own imprint Poetic Records. The Queen MC of Buffalo NY has been steadily dropping gems and gaining momentum the last few years, with countless guest appearances and solo projects (After 12, Food for Thought, The Last Remnants, Noir or Never) and has much more in store for 2024. Whether on an introspective and autobiographical angle, or just spitting straight rawness, Che shows why she has been standing out from an overcrowded field of female MCs over the last 5+ years, and making a claim as the best rapper in NY, male or female. With contributions from Evidence, Your Old Droog, Ransom, and more, this EP is the perfect way for existing fans to witness her rise to excellence, and for new fans to get familiar with her greatness. Production by Playa Haze, welcome2dlolife, and Graymatter round out what is already being called the Best EP of the Year. This exclusive limited-colored vinyl pressing features a bonus song, “Stars” featuring Jynx716 and produced by frequent collaborator JR Swiftz and Motif Alumni, and also includes complete Instrumentals on the flip side.

Sonny Stitt replaced John Coltrane when he left the Miles Davis Quintet in April 1960.




[c] B1 Walkin [incomplete]

Lenticular Sleeve / White Vinyl. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

January 2023, Dorset. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin. Not a setting typical for a rebirth. But for Loma, this is where they bring their band back from the brink. "It's like a demon enters the room, whenever we get together", writer, singer and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album Don't Shy Away, Loma's three members were cast around the globe and the band-not for the first time-entered a deep sleep. Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in Don't Shy Away's central Texas heart, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, even being in the same room was impossible, and attempts to start a new record faltered. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house-once a coffin-maker's workshop-where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a padded coffin as a vocal booth. It was a turning point. They scrapped much of what they'd made, letting a new place set a new course. The one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber-surprising hillwalkers who peeked in to find them singing to no one-and the sounds of Cross's chilly workshop wormed their way into the recording: a leaky pipe, a drummer's brushes on a metal lampshade, the voices left on an ancient answering machine. What emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we're all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. "I Swallowed A Stone" is like a nightmare with a happy ending; "How It Starts" and "Broken Doorbell" reflect on the challenge (and necessity) of wrestling with agoraphobia. Though the record nods to the trio's separate lives- a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances-the core of Loma's sound remains intact: earthy, organic and deeply human, anchored by Cross's cool, clear voice. Loma's previous album, Don't Shy Away, was galvanized by the unexpected encouragement and contributions of Brian Eno. This time, they found inspiration in another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent her a photo from his book-in-progress about the once and future life of Antarctica; Anderson's AI responded with two haunting poems. "We used parts of them in a few songs," he says. "And then Dan noticed that one of its lines, 'How will I live without a body?' would be a perfect name for the album, since we nearly lost sight of each other in the recording process." In the end, Loma's efforts to reconnect with one another are the album's central focus: what do you owe a shared past, when everyone and everything has changed? "Making this record tested us all," says Duszynski. "I think that feeling was alchemized through the music." Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. But maybe 'relaxed' isn't the right word. It's more like a feeling of relief, of making it through a tough journey together.

SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for

“More than ever, people need to hear songwriters talk about their lives. We don’t always have to search for monster hits. We can just write about our lives and maybe that might actually work. That’s what this record is a lot of. A lot of massive songs, but also a lot of me just writing authentically and honestly about my life. Flyin symbolizes the next phase of my career. I feel like I'm flying into this chapter where I’m the best version of myself that I've ever been. Y’all better catch-up or you’re getting left behind. I’m on fire!”

Following a 21-year hiatus since their last album release, UK-industrial-metal pioneers KILL II THIS return with a new album, Variant. KILL II THIS guitarist Mark Mynett spoke about the album title and artwork: "We originally had a much more complicated title for the album but the Variant title came about during the Covid lockdown period. It also echoes previous KILL II THIS album titles, especially 'Deviate,' and the roman numeral V signifies that this is the fifth album. The artwork was created by Andy Pilkington at Very Metal Art and we are delighted with what he has come up with. There are some really clever touches and the detail is incredible. We've recorded a very strong album with Variant and it needed powerful artwork to match."

Joanna Gemma Auguri releases her new album "Hiraeth" on 28th June via Duchess Box Records Joanna Gemma Auguri is a Berlin musician, songwriter and actress. In the various stages ofher musical solo and band projects, she incorporates influences from folk, ambient andavant-garde music.Being five years old she escaped with her parents from Poland, which was under martial law,and had to learn at an early age what uprooting means. This experience is reflected in her music as an expression of personal sadness, compassion, but also despair about the state of the world.2021 she released her solo debut "11" on her own label Lavender Music. It was mainly characterized by accordion, zitherand her vocals. Her new album "Hiraeth" was recorded at Candy Bomber Studios in Berlin by Ingo Krauss, with a large number of musicians. Besides choir, double bass, lap steel guitar, drums, cello, horns , different organs and keyboards her original instruments accordion and zither still shine through from time to time. Joanna's voice sits unmistakable on top of the majestic,nearly monumental compositions which despite their richness always stay basic and delicate. "Hiraeth" is an untranslatable Welsh word that describes the longing for a home, a place or a feeling that no longer exists or never existed.The album will be released June 2024 on Duchess Box from Berlin.

"Multiplatinum hitmakers Fastball are remembering it's okay to have hits. Reflecting on their meteoric rise with chart-topping debut “The Way,” guitarist/vocalist Miles Zuniga wryly remarks, “I like to say that ‘The Way’ gave us the freedom to continue doing what we do.”

And what Fastball does is write hits. Their latest, Sonic Ranch, produced by David Garza (Fiona Apple) and John Fields (Demi Lovato, Miley Cyrus), is ten sing-along gems, combining pop smarts & the wisdom of 30 years together."

Repress!
Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

This epic loot sees the epoch-making score for time-hopping action RPG Last Epoch blessing heavyweight wax.

28 tracks chosen by composer Erik Desiderio have been specially mastered for vinyl and will be pressed onto heavyweight discs. These slip into a deluxe double gatefold sleeve with artwork by the team at Eleventh Hour Games.

Desiderio had to cast his mind through time to soundtrack each of the game’s four different epochs of Eterra, with the music of this release focusing mainly on the brighter Divine Era and the darker, apocalyptic Ruined Era. Most eras of the game have a natural, acoustic sound to them with more traditional instrumentation, while the Ruined Era focuses on warped synthetic and acoustic sounds. Over the course of the game’s Early Access period, the composer was able to gather fan feedback, which in turn helped shape the final score.

Some less well-known instruments and techniques colour the music. The sound of the lute helped capture the beauty of the world, while the scratchy, intense tagelharpa embodied the conflict of a war-torn land. In the Ruined Era, fretless bass guitar and expressive Ebow serve to create a sense of unease, with melodic material returning from earlier eras.

Choral lyrics were sung in Old Norse, in particular on the “Last Epoch Theme” with its stirring refrain “Fyoern Oowled” (trans. “Ancient Era”). Vocalists include Ffion Elisa, Colm McGuiness, Mason Lieberman and Matt Lambert.

Die in Los Angeles ansässige Dark-Melodic-Metal-Band Witherfall präsentiert ihr viertes Album über DeathWave Records. Der Vorgänger 'Curse Of Autumn' konnte großes Lob in der relevanten Fachpresse sowie die # 20 in den deutschen Album-Charts als auch US-BILLBOARD-Charts verbuchen.
Das neue Album wird von einem ehrgeizigen Zeitplan mit sieben Singles begleitet, von denen jede ein offizielles Video enthält, das die Geschichte des Albums voller Herzschmerz, Wut und Hartnäckigkeit erzählt. Das sind Witherfall, immer bereit, die Extrameile zu gehen, um endlich zur Speerspitze der internationalen Metal-Szene vorzudringen. Witherfall wurde 2013 in Los Angeles gegründet. Seitdem hat die Gruppe drei vielbeachtete Alben veröffentlicht. Die band macht keine Abstriche und engagierte für 'Curse Of Autumn' u.a. den international anerkannten Top-Drummer Marco Minnemann (The Aristocrats, Steven Wilson, Jordan Rudess). Die Band engagierte erneut den Produzenten/Studio-Zauberer Chris "Zeuss" Harris (Rob Zombie, Queensrÿche, Shadows Fall) als Ingenieur/Co-Produzent sowie für Mix und Master
Das Cover von Blake Armstrong (In Flames, Megadeth, Kataklysm, Harry Potter) bietet einen visuellen Gegenpol zur Musik auf dem Album sowie zu Michaels kompromissloser Text-Offenheit.
Neben der CD gibt es schwarzes Vinyl sowie zwei limitierte farbige Versionen!

Die in Los Angeles ansässige Dark-Melodic-Metal-Band Witherfall präsentiert ihr viertes Album über DeathWave Records. Der Vorgänger 'Curse Of Autumn' konnte großes Lob in der relevanten Fachpresse sowie die # 20 in den deutschen Album-Charts als auch US-BILLBOARD-Charts verbuchen.
Das neue Album wird von einem ehrgeizigen Zeitplan mit sieben Singles begleitet, von denen jede ein offizielles Video enthält, das die Geschichte des Albums voller Herzschmerz, Wut und Hartnäckigkeit erzählt. Das sind Witherfall, immer bereit, die Extrameile zu gehen, um endlich zur Speerspitze der internationalen Metal-Szene vorzudringen. Witherfall wurde 2013 in Los Angeles gegründet. Seitdem hat die Gruppe drei vielbeachtete Alben veröffentlicht. Die band macht keine Abstriche und engagierte für 'Curse Of Autumn' u.a. den international anerkannten Top-Drummer Marco Minnemann (The Aristocrats, Steven Wilson, Jordan Rudess). Die Band engagierte erneut den Produzenten/Studio-Zauberer Chris "Zeuss" Harris (Rob Zombie, Queensrÿche, Shadows Fall) als Ingenieur/Co-Produzent sowie für Mix und Master
Das Cover von Blake Armstrong (In Flames, Megadeth, Kataklysm, Harry Potter) bietet einen visuellen Gegenpol zur Musik auf dem Album sowie zu Michaels kompromissloser Text-Offenheit.
Neben der CD gibt es schwarzes Vinyl sowie zwei limitierte farbige Versionen!

Look through the lens of Tom Mansi & The Icebreakers and what will you see? A passion for the blues and raw rock ’n’ roll manifested in a band who have been playing together for the last 26 years. Full to the brim of delicious grooves and swirling sounds, the Icebreakers have reignited their burners and brandished us with a hot new release — their first on Lunaria Records. The band pride themselves on delivering outstanding live performances, and their ability to recreate this in the studio. Eyeball follows their celebrated album, ‘Rock ’n’ Roll On Bones’ and pays homage to the band’s rock ’n’ roll and blues roots

2LP - schwarzes, schweres Standard-Doppelvinyl; enthält einen exklusiven Hidden Track, bei dem der handgeschriebene Liedtext auf der D-Seite eingraviert ist.

Otherness" ist das zweite Studioalbum von Ferris & Sylvester. Die Musik erstreckt sich über ein Spektrum von psychedelischem Folk, Blues, Rock und Soul - und doch sind die Songs durch das starke und lebendige Storytelling des Duos verbunden. Anklänge an Alabama Shakes, Madison Cunningham und die Teskey Brothers schwingen mit. Aufgenommen im Studio der beiden auf einer Bandmaschine aus den 1960er Jahren und veröffentlicht über ihr Label Archtop Records, widmet das Ehepaar das Album "jedem, der sich als Außenseiter fühlt".

“Let us advance our mortal bodies up Where hearts and minds will go Let’s walk, let’s roll.” So sings Madeleine Peyroux on the upbeat title track of her captivating tenth album, Let’s Walk, the acclaimed singer-songwriter’s most assured, courageous work to date. Powered by the distinctive, honeyed croon that delivered her from the Paris streets to concert halls, these ten unabashedly personal songs, all co-written by the versatile Peyroux, deftly interweave jazz, folk, and chamber pop, with themes ranging from the confessional to the political, from whimsy to yearning. In every note, Peyroux digs deep, rendering this exquisite work with the disarming grace and gravitas of an artist in peak form. Let’s Walk was a long time coming, but well worth the wait. Following Peyroux’s 2018 album, Anthem, the enforced isolation of the global pandemic made any real-time community gathering impossible. From a creative standpoint, however, Covid offered Peyroux a silver lining: she seized the opportunity to hunker down with longtime collaborator, multi-instrumentalist Jon Herington (Steely Dan, Lucy Kaplansky). The pair reflected on the seismic era at hand and wrote and re-wrote in what Peyroux calls “a shadow of reckoning.” When multi-Emmy-and-Grammy-winning producer Elliott Scheiner (Fleetwood Mac, The Eagles) heard a sampling of the new material, including “Let’s Walk,” he mandated “no covers” for the album. The longtime studio veteran knew the time was ripe to highlight Peyroux’s incisive, often topical lyrics meshed with Herington’s ear for melody and arrangements.

Eine raue und schroffe Sammlung von alten Klassikern, die Schwärme von Killer-Beats inspiriert haben. Mit einem Kopfnicken zu den Klängen der Shaolin haben die zwölf Kammern von Shanghai'd Soul sowohl lyrische Meister als auch Produktionsgenies beeinflusst, einige ihrer bedrohlichsten Hip-Hop-Songs zu komponieren. Roher Funk und smoother Soul, später gesampelt von J. Cole, The Game, Cappadonna, The Avalanches, Kanye West, Hudson Mohawke, Anderson.Paak, Loyle Corner, Meek Mill, T.I., Quavo, Danny Brown und 100 anderen.

Die erste Live-Veröffentlichung von The Murlocs ist ein Set mit 22 Songs, das im Teragram Ballroom in Los Angeles aufgenommen wurde. Die Show bildete den Abschluss eines ereignisreichen Jahres 2022 für die in Melbourne ansässige Band, das die Veröffentlichung ihres sechsten Albums 'Rapscallion', einen Auftritt im Red Rocks (im Vorprogramm von King Gizzard, mit dem sich die Band zwei Mitglieder teilt) und ihre bisher größte Headliner-Tour in den USA beinhaltete. Auf 'Live at The Teragram Ballroom' sind unter anderem 'Rolling On' und 'Noble Soldier' zu hören. Gepresst auf grünem Splatter-Vinyl.

Born and raised in west Texas, her upbringing pours through her songwriting in tales of desert highways and the hustle and bustle of oil towns. Laced with heartache, joy, loss and female angst, her songs are ingenious and uniquely her own. On June 28, 2024, Singer/Songwriter Kat Hasty will release her 2021 debut album "Drowning in Dreams" on CD & vinyl for the first time.

“Black Magic Man is arguably the pivotal Joe McPhee release. It bridged the span between the regional and the international, bypassing the national altogether. “Recorded in the same sessions that produced Nation Time, Black Magic Man consists of music not chosen for that LP. Like its much-feted sister, technically it falls under the domain of CjR, Craig Johnson’s herculean effort in support of McPhee. An erstwhile painter, Johnson became a self-taught audio engineer, acquiring equipment expressly to document McPhee’s music. In December 1970, five years after Johnson and McPhee had met, they recorded two days of activity —a concert followed by an additional day of recordings—at Vassar College where McPhee was teaching in the Black Studies department. About half of the material was used to make Nation Time. While they had planned to issue a follow-up, the money wasn’t there, so the tapes sat dormant. “Fast-forward five years—Werner X. Uehlinger, a Swiss businessman who worked for Sandoz Pharmaceuticals, contacted Johnson while on a trip to the US, and over dinner with McPhee, they discussed putting out some of the unused tracks from the Nation Time sessions. With this casual encounter in 1975, Hat Hut Records was inaugurated. The new label’s maiden release was Black Magic Man, dubbed Hat Hut A, the first in what would become Hat Hut’s letter series. Along the way, the series would feature seven Joe McPhee records, including the first four in a row.” —John Corbett (excerpt from the liner notes)

Everybody's still talking about the good ol 'days! A rough and rugged collection of ol' dirty classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the twelve chambers of Shanghai'd Soul have moved lyrical chefs and production geniuses alike to compose some of their most ominous hip-hop. Gods and Earths a like will appreciate the raw funk and smoother-than-a-Lexus soul that come to gether like Voltron on this special compilation. As sampled b y J. Cole, The Game, Cappadonna, The Avalanches, Kanye West, Hudson Mohawke, Anderson.Paak, Loyle Corner, Meek Mill, T.I., Quavo, Danny Brown, and hundreds more.

Everybody's still talking about the good ol 'days! A rough and rugged collection of ol' dirty classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the twelve chambers of Shanghai'd Soul have moved lyrical chefs and production geniuses alike to compose some of their most ominous hip-hop. Gods and Earths a like will appreciate the raw funk and smoother-than-a-Lexus soul that come to gether like Voltron on this special compilation. As sampled b y J. Cole, The Game, Cappadonna, The Avalanches, Kanye West, Hudson Mohawke, Anderson.Paak, Loyle Corner, Meek Mill, T.I., Quavo, Danny Brown, and hundreds more.

Bona fide all-girl bands the Hairem, the Girls, the Debutantes, the Missfits, the Beat-Chics and the Ace Of Cups are stars of the show on this new vinyl volume in our ear-grabbing “Girls With Guitars” series, providing further confirmation that girls can do what the guys do.

This collection opens with ‘Get Away From Me’ by the mean-sounding Angels (probably not the ‘My Boyfriend’s Back’ group of that name), a slice of feisty she-rock recorded circa 1965 that remained on the shelf at Philadelphia’s Swan Records until Ace rescued it about 40 years later, and closes with ‘Glue’ by the Ace Of Cups, a hippy outfit raved about by Jimi Hendrix in a Melody Maker interview back in 1967.

Elsewhere, ballsy-voiced Joyce Harris (think Wanda Jackson meets Tina Turner) teams up with Texas bar band the Daylighters to tear the roof off ‘I Got My Mojo Working’, teenage ice skater Debbie Williams sings lead with male garage band the Unwritten Law, guitarist Chiyo fronts the Crescents on the instrumental ‘Pink Dominos’ and, well, you get the picture. Those so inclined can learn more about all the tracks on the swanky inner bag containing a picture-packed 3,000-word track commentary by series compiler Mick Patrick

1993 Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - unveiled the second incarnation of the Elektric Band. With the brand new lineup of guitarist Mike Miller, bassist Jimmy Earl and drummer Gary Novak, and saxophonist Eric Marienthtal (the lone holder over from the first iteration of the Elektric Band,) Corea, approached this ambitious outing in the same way he had done everything throughout his career, by pushing the boundaries of what modern jazz is.

With material written with these specific players in mind, Corea gathered this group of remarkably flexible musicians into Mad Hatter Studios in Los Angeles. Recorded almost entirely live in first takes, the album is notable for its “less is more” approach to Corea’s particular style of genre bending composition. Though the focus may have been more on acoustic piano than synths, the same proficiency, spontaneity, impeccable execution and jaw-dropping display of chops that characterize the five first Elektric Band albums applies.

Of special note here is the inclusion of the track “Final Frontier”, originally released exclusively on the Japanese and European editions. This all out burner is the lone tune on the record featuring Corea on a synthesizer.

Written as an answer to “Got A Match” from 1986’s The Chick Corea Elektric Band album, it’s an uptempo showcase for the players to stretch out and the kind of track that exemplifies the jazz fusion that Corea and his groups came to define."

With a squall of guitar and a crash of drums, two years on from the release of their exhilarating debut EP, Chicago noisemakers Babe Report finally release their debut album in 2024, in the form of the rough-and-ready Did You Get Better, released this Spring via Exploding In Sound. Formed of ten new songs, and all wrapped in under half an hour, it’s an immediate and breathless arrival.

Opening track ‘Turtle of Reaper’ arrives in a flurry of noise and energy. Presented as an indictment of the fear-mongering in click-bait media, it’s a cacophonous two-minutes of scorched vocals and frenetic drums, the chorus a call back to 12/31/99, when all the news told people to turn off their computers before Y2K hit.

‘Universal’ offers something somewhat more refined, with occasional moments of restraint amid the commotion that arrives in a hardy whack of heavy riffs.

“This one is all about climbing up onto your neighbor’s back to succeed,” the band explain. “Most aspects of life are not a zero-sum game, but when they are, it feels ethically wrong to win.”

Elsewhere, ‘Allergy 2000’ is the album’s weighty centre-point, characterized by its soaring guitar lead line and stifled, murky vocals what might have started out as an experiment in writing a Yo La Tengo song soon comes into its own with a rabid tempo shift that feels indicative of the album’s fervent nature, never allowing the listener to rest on their laurels.

However it finds you or you find it, Did You Get Better finds a way to take the reins, ploughing headfirst into its journey and rarely looking back for approval, to even worry if anyone else is joining for the ride."

Danny Paul Grody's position within the modern instrumental guitar underground is unique - he isn't a polymath or a virtuoso. What he is is someone who plays with extreme feeling and deep emotion, sensations that pour through his audio to anyone listening. It has been this way for his work in his former band Tartentel as well as his solo work over the past 15 years.

2023's "Arc of Day" saw Grody step into a new environment, one where an album bearing his name featured other players, prominently his old friend Rich Douthit on drums / percussion. That glorious album was such an emotional success for the two players that they quickly recorded a sibling album in a darker tone. "Arc of Night" was born. The nature of writing was such that they re-titled the project the Danny Paul Grody Duo as well. Whereas the prior LP focused on "daytime" sounds, such as they are, with bright and ringing acoustic tones, this LP focuses on the darker side. Deep, shimmering electric tones take hold and guide the listener through those hours that can enrich, enchant and haunt us all.

Joined on some tracks by Chuck Johnson (pedal steel) and Trevor Montgomery (bass), this is an album that will make anyone tuned into material by Steve Gunn, William Tyler, Six Organs of Admittance, Jack Rose, Marisa Anderson, Eli Winter or Daniel Bachman quite excited. A great adventure that you and your inclined customers will not soon forget.

Deb Demure's powerful presence and hypnotic sound has firmly defined the identity of Drab Majesty. After releasing the debut album, Careless, Drab Majesty split time between touring and studios, piecing together the ideas for the follow-up album, "The Demonstration", an album depicting Deb Demure as only one part of Drab Majesty's overall being and storytelling saga.With "Induction", Drab Majesty sets up an ethereal backdrop for which the rest of the album follows. Tracks such as "Dot In The Sky" and "39 By Design" (a song pointing to the doomsday Heaven's Gate cult) use lush, shoegaze approach to portray the fragility of humanity's loss of self, looking only to the heavens for answers. "Cold Souls" flawlessly executes Drab Majesty's arpeggiated finger picking signature, complete with washes of hazy noise and atmospheric reverb. With the addition of Mona D. to Drab Majesty's mysterious portfolio, songs from The Demonstration perpetually create new meanings and depth with every listen. After Drab Majesty wraps up The Demonstration with "Behind The Wall", one is left wondering what kind of identity is truly their own Compact disc features two bonus tracks plus four exclusive remixes by Cold Cave, Drew McDowall, Silent Servant and Martial Canterel.

Madlib Invazion presents a colored vinyl issue of the long out of print 11th issue on the Madlib Medicine Show series - Low Budget High-Fi Music, on clear pink vinyl. In 2010, Madlib launched an ambitious series of releases known as the Madlib Medicine Show, which allowed the prolific producer to release new material on a monthly basis. The series touched on all the genres Madlib digs, and that’s just about any genre you can consider - from Jazz to Rock, Soul to Disco, myriad African musics, Brazilian and Reggae. On the 11th installment in series Madlib returned to his hip hop roots with Low Budget High-Fi Music. Featuring a run-down of regular Madlib collaborators who provide the Beat Konducta’s foil, it also included a hint of what was meant to come on the never-realized second Jaylib album, with a previously unreleased J Dilla collaboration."