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The way you're saying it, "prolific" isn't the right word for The Bug Club. You've got to say it with the trademark Welsh lilt and pay due homage to this inimitable band's origins in the renowned hit factory of Caldicot, South Wales. Do that, and you're about right with how to summarize a group who've released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band's name, all since 2021, and while playing 200+ gigs a year. Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music's Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work. Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There's B-52's call-and-response fun mixed with AC/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo "War Movies" and "Quality Pints" sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. "Quality Pints" deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R's as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. If it's that important, which it is, it's worth saying again. "War Movies" dresses distorted chugging with a comprehensive 'best of' list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions. And "A Bit Like James Bond" tackles the UK's sleaziest undercover export at the same time as the embarrassing ego problem that besets much of its population - but it's only heavy(ish) in the fun, loads-of-riffs sense. So, that's what they've been finishing up during their massive month-long break from gigs. In a bid to avoid being branded layabouts, The Bug Club will support their upcoming Sub Pop release with a springtime tour of the UK and Europe beginning May 10, before heading out to the US in September.

First ever vinyl edition of Deuce’s only album from 1995 (UK Album Chart #18). Specially
pressed in Dayglo lime green vinyl. The Phil Harding (PWL, East 17, 911, Boyzone) and Ian
Curnow written and produced album contains all of Deuce’s Top 40 singles chart hits ‘Call
It Love’ (UK #11), ‘I Need You’ (UK #10) and ‘On The Bible’ (UK #13) and, for the first time,
also includes, as a bonus track, their fourth and final single ‘No Surrender’ (UK #29) as
produced/mixed by PWL legends Mike Stock and Matt Aitken.
Deuce were the brainchild of pop impresario Tom Watkins (Pet Shop Boys, Bros, East 17,
Electribe 101). Remastered by Kinky Roland.

Human Worth are proud to present the killer second album ‘Celestial Devastation’ from UK supergroup COWER, featuring members of The Ghost of a Thousand, Petbrick, USA Nails, Yards, The Eurosuite and JAAW, with a portion of proceeds donated to charity. Featuring the musical might of Tom Lacey (Yards, The Ghost of a Thousand), Wayne Adams (Petbrick, JAAW, Big Lad) and Gareth Thomas (USA Nails, The Eurosuite) Cower is a collaborative project of 3 friends celebrating a lifetime of music exploration together. Each bringing their own distinct flavour to this new record, which pushes the boundaries even more than their acclaimed debut ‘BOYS’, exploring further into the realms on gothic darkness, but still with a real kick, highlighting the trio’s noise roots.

Recorded, mixed and mastered at Bear Bites Horse Studio by Wayne Adams, ‘Celestial Devastation’ explores the idea of technology becoming the guiding light in our lives, for better or worse. In the words of the band’s lyricist Tom Lacey “We give up a lot of decision making to the algorithm more and more, so these songs are an attempt to make sense of that. I think that kind of power speaks to certain type of men, they seem to want to try and harness it, make others see it’s value, so this record speaks a lot to tech bros and the weird cult of silicon valley.” Human Worth have pressed up a limited run of ‘Celestial Eco Mix’ vinyl, housed in a gorgeous package designed by Thomas Lacey using MidSommar AI – linking perfectly with the album’s themes. Featuring a super high gloss cover, with additional photographic inserts illustrated by Daniel Holloway. 10% of all proceeds will be donated to Hackney Foodbank, supporting people in crisis or trapped in poverty with compassion and dignity.

Human Worth are proud to present the killer debut EP 'God Pile' from Leeds duo Grub Nap, featuring members of Thank, Dvne and Cattle, with a portion of proceeds donated to charity. Grub Nap are a 50/50, double headed, four legged, semi haggered, party at the front business at the back mash up of Dan Barter (Dvne, Joe Pesci) and Steve Myles (Thank, Cattle, Groak, Khuda). They first played together in a hardcore band in their late teens and have teamed back up to churn out sludgecore for folks with short attention spans and no interest in wizards or flag waving. A reunited earful, a midlife distraction, a questionable whiff from the back of the fridge. Crawl on in, the water’s foul. 'God Pile' is a golden brown, 15 minute, crumbly, introspective riff lattice. Snappy(ish) songs about greed, crippling anxiety, suburban nuclear mishaps and flagellant rozzers – 6 knuckle dragging clods of down tuned insolent rage. So pummelling is their racket, that they caught the ears of "supergroup" Empire State Bastard (featuring members of Biffy Clyro, Oceansize and Slayer) who invited the duo on the debut UK tour. Human Worth have pressed up a limited edition of black vinyl, with a stunning etching on side B featuring the art of Steve Myles, with 10% of all proceeds donated to Leeds Mind – promoting positive mental health and wellbeing and providing help and support to those who need it most.

Rising UK label Human Worth proudly present TORPOR's third full length album Abscission. A fine tapestry of sludge metal, lumbering doom riffs, forward thinking post-rock dynamics, cerebral drone passages, ambient textures and stark spoken poetry. Recorded by producer Wayne Adams (whose credits include Wallowing, Green Lung, Possessor and more), 'Abscission' is a paean to earth shattering tones, subtle detailed textures, immersive sound design and most importantly... ABSOLUTELY CRUSHING HEAVINESS. For their third album, TORPOR were compelled to withdraw into the bleak and elemental vistas of rural Wales, embracing isolation and solitude in order to craft this autumnal sonic landscape. The trio brought producer and frequent collaborator Wayne Adams (Petbrick, Big Lad) out of his London city studio to work at Giant Wafer Studios.

TORPOR's excursions into the wilderness can really be felt across these lengthy songs. Bludgeoning riffs show a new found density and weight reminiscent of gallant trees standing tall amongst battering wind and rain. All of this sonic magnitude has been finely captured by Adams, with the final master by James Plotkin (Khanate) completing this all-encompassing experience – quite fittingly the trio were also invited to showcase the album in full at the 2023 Roadburn Festival, on the day that Khanate headlined! Abscission is the sound of Torpor fully realising their visceral and cinematic vision, turning an unflinching gaze towards the unrealised lives we all carry with us. Human Worth have pressed a limited edition of environmentally conscious Eco-Mix Vinyl in a stunning packaged designed by Jack Burley, featuring a 12" foldout insert, with 10% of all proceeds donated to charity Second Step – a leading mental health charity in Bristol and the South West.

Wenn wir einmal nicht grausam sind, dann glauben wir gleich, wir seien gut by Robert Stadlober, released 30 August 2024, includes the following tracks: "Der Pfau", "Zuckerbrot & Peitsche", "Die blonde Frau singt", "Sie zu ihm" and more.

This version of Wenn wir einmal nicht grausam sind, dann glauben wir gleich, wir seien gut comes as a 1xLP.

The vinyl is pressed as a to be confirmed disc.

Chants by Tau, released 30 August 2024.

This version of Chants comes as a 1xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a red disc.

On Goose Bumps, Connecticut's Boyscott present ten upbeat tracks that forge together elements of surf rock and bedroom pop. Weaving these supple sounds of yore into the techniques of today, Boyscott's distinct bedroom-recorded bops betray the limitations of their modest studio situation with a sonic depth not commonly associated with lo-fi projects. Originally released in 2015, Goose Bumps is getting its first vinyl reissue with a co-release by Topshelf Records and Babe City Records. Although it took a few years of rotating casts, various makeshift studio experiences, and over a hundred shows, Boyscott have clearly carved out their own place in the world, garnering millions of streams and selling out many DIY physical pressings in the process.

Cryptic Hatred was formed in 2019 by four friends bound together by their mutual passion for music and death metal. In summer 2020 they quickly released their first demo Free from the Grave to positive international feedback. The demo then received a CD release from the US-based Desert Wastelands label, as well as a release in Europe via Finland-based The Other Records. Soon after, the debut album Nocturnal Sickness dropped in early 2022 (again via The Other and Desert Wastelands), elevating the band to even greater standing in the global death metal underground. The feedback was overwhelmingly positive from both the fans and the metal media, highlighting the leaps the band made in terms of both musicianship and songwriting. Nocturnal Sickness sold over 1000 physical copies and streamed over 100 000, with high praise coming from metal press (such as the esteemed US metal magazine Decibel). The songs on Nocturnal Sickness were notably in the vein of classic Florida death metal - but it also had moments of unhinged melody and savagery which highlighted the band's movement towards their own, identifiable sound. "Internal Torment" is a testament to Cryptic Hatred's ability to craft music that speaks to the soul. It is an invitation to explore the shadows within, to confront the demons that lurk in the recesses of the mind. With each listen, new revelations await, making this album a haunting journey of self-discovery. Prepare to be spellbound by the subtle intricacies of "Internal Torment," as Cryptic Hatred invites you to lose yourself in the haunting beauty of their mesmerizing cryptic metal sound.

The world of ENDON is one of constant evolution and revolution. The Tokyo-based ensemble of Taichi Nagura, Koki Miyabe, and Taro Aiko have made a name for themselves with their relentless exploration of sonic extremes in the vein of artists such as the Boredoms and Merzbow. The resulting music is a powerful emotional release for both artist and listener. Their commitment to evolution and dystopian noise as a playground for exploration and pure expression carried them through the recent departure of their drummer Shin Yokota and the tragic death of brother and band member Etsuo Nagura in 2020. Where some might have tried to replace members, ENDON"s core pressed forward with an autobiographical work exploring these changes and the shifts in their lives. Honest and raw emotions delivered with uncompromising sonic intensity, Fall of Spring is a thrilling tidal wave of sound and raw emotions born of the psyche of three individuals musically congregating into one tumultuous voice. Fall of Spring captures the electricity and unpredictability of ENDON"s live performances in vivid detail. The album harnesses the power of their storied performances through unpredictable movements, deft arrangements and an exhilarating textural palette. By imbuing their sound with raw feeling at every edge of obliteration, the trio are able to create what they call "organic music with inorganic material." For ENDON, those moments of suspense and surprise are the core of their music. As with their shows, Fall of Spring is a vessel for band and audience to share moments, to suspend time and move through grief and pain, and to bask in catharsis and resilience. ENDON continues to be a mercurial force in the world of extreme music.

Dazed’ is the new single by recent FatCat signings and Netherlands power trio, Abdomen.

Sometimes described in the Dutch press as ‘postgrunge garage’, Abdomen themselves are keen to avoid any pigeon-holes or genre labels: “We’ve been influenced by so many things. Right now punk, post-punk, and noise are important inspirations, but there are a lot, lot more. Rap, hip hop, electronic music, IDM, electro, and techno, for instance.”

‘Dazed’ is heavy, heavy hypnotic groove, with a chanted vocal and wall of phased, psychedelic shredding. There are echoes of outfits such as Loop and Spacemen 3 - their stoned / stoner aesthetics, albeit turned up to 11.

It began as a demo set at a frantic pace before producer Rasmus Bredvig suggested slowing it down - “Something like 5 times” - morphing, mutating, the track into an epic, melodic, psyche mantra.

A head-banging, trance-inducing, transcendental raga, with its sights set on spiritual lift-off, the piece aims to create a path away from the negative toward a more positive way of life.

Bomp Records of Burbank, California was likely the most significant American independent record label of the 1970s. In 1979 Voxx was founded as a subsidiary of Bomp as a specialty label for '60s-styled garage and psychedelic inspired music and was home to the debut album of the Pandoras. The Pandoras really got started back in 1982 when triple threat Paula Pierce (guitar, vocals AND songwriter) met singer and guitarist Debbie Mendoza at Chaffey College Rancho Cucamonga, one of those dozens of small communities that make up the greater Los Angeles area. According to stories told around the campfire, Paula had posted an advertisement on the bulletin board inside the college's cafeteria. The ad was both simple and direct: Wanted: female musician to jam with. As legend has it, the ad also stressed a keen interest in 60's garage punk music. Debbie answered Paula's ad, and soon the two girls were bringing guitars to school and holding impromptu jam sessions between classes. A little later that year, Paula brought in Gwynne Kahn on keyboards and second guitar, and Debbie convinced drummer Casey Gomez to join. People who were around at the time pinpoint December 1982 as the official beginning of the Pandoras as a band. The Pandoras didn't waste any time getting down to business. They started gigging regularly, and their repertoire of tasty garage nuggets expanded substantially, fueled both by Paula's talented songwriting and also no doubt by her relationship with Unclaimed frontman Shelley Ganz and his extensive knowledge of obscure 60's gems. The Pandoras unleashed their first recordings on the world in 1983 with the "I'm Here, I'm Gone" EP on Moxie records. It was a meaty slab of girls in the garage punk rock, and while maybe not as polished as subsequent efforts, it clearly showed off the talent of the band. Greg Shaw had been alerted to the band a few months earlier, and always one to know a good thing when he heard it, he quickly signed them. "It's About Time" saw the light of the day in 1984 on Voxx Records and became one of the first and best efforts of authentic 1960's-styled garage punk to emerge from the revival scene. It was pure garage gold! Today, 40 years after its original release date, we are thrilled to reissue this essential '80s garage punk gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes 3 bonus tracks and liner notes by Gravedigger V's John Hanrattie. "Paula Pierce refused to play it cute. On The Pandoras' debut album she out-snarled, out-screamed, out-fuzzed and out araged the male-dominated competition-like a well-aimed go-go boot to the jugular." - Mike Stax, Ugly Things Magazine "As good a '60s punk record as any contemporary combo is likely to make." - Trouser Press

Issued for the very first time the original tapes of material that would go on to be re-recorded for the critically acclaimed 'Heaven & Hull' posthumously released album.o Limited vinyl pressing of 500 copies, includes four page libretto o Features guest vocals by David Bowie, Chrissie Hynde and Ian Hunter o CD features three extra studio tracks plus six live recordings. Presented in card gatefold sleeve with 8 page booklet. Mick Ronson was one of the rock 'n' roll world's lost legends. Although quiet and unassuming, he left a legacy of his brilliant work with the likes of Michael Chapman, David Bowie, Lou Reed, Bob Dylan and the Ian Hunter Band along with scores of other artists, where Mick would give his talents as producer or arranger. Side A Vinyl Tracklisting 1/ Life's a River 2/ When The World Falls Down 3/ Colour Me 4/ Like A Rolling Stone (David Bowie vocals) Side B 1/ Don't Look Down 2/ Take a Long Line 3/ Trouble With Me (Chrissie Hynde vocals) 4/ When The World Falls Down II (Ian Hunter vocals) CD Tracklisting 1. Life's a River 2. When The World Falls Down 3. Colour Me 4. Like A Rolling Stone 5. Don't Look Down 6. Take a Long Line 7. Trouble With Me 8. Life's a River II 9. Don't Look Down II 10. Maria (You & Me Demo) 11. FBI 12. Marseilles 13. Don't Look Down 14. Sweet Dreamer 15. Trouble With Me 16. Take A Long Line Tracks 11 to 16 Live in Sweden 20th October 1991. Coloured vinyl LP or bonustrack CD available.

Incognito virtuoso Lambert, known for his playful personality, bold vision, stunning neo-classical compositions, and of course his ever-present horned Sardinian mask, is back with brand-new album Actually Good. Initially intended as the score for a gritty crime drama and debut film entitled ‘The Stranger’, which, due to reasons that will become clear with time, was swiftly curtailed, the now retitled soundtrack, Actually Good, is not only ready for release, but so is a remarkable mini-documentary about the making of this crime catastrophe. Featuring rolling piano arpeggios, sedate strings and staccato synths, Actually Good combines tension and elegance in equal measures for a truly cinematic experience.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
“Sweet Rain” gilt als eines der besten Alben von Tenorsaxofonist Stan Getz und führt dennoch so etwas wie
ein Schattendasein. Aufgenommen hat er es im Anschluss an seine ungemein populäre Bossa-Nova-Phase
mit einer neuen Band aus Pianist Chick Corea, Bassist Ron Carter und Schlagzeuger Grady Tate, die ihn zu
neuen solistischen Höhenflügen inspirierte und wesentlich freier aufspielen ließ als in den vorausgegangenen
Jahren.

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity.

There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process.

We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

Also available on Red Vinyl - Limited Edition of 200 Copies.

Issued on vinyl for the first time and pressed on 2 x 140g black vinyl, Juno Reactor’s 2004s album, ‘Labyrinth’, their 6th long player. Ben Watkins is an essential innovator of modern electronic music and a pioneer of Trance. Over the course of nearly 30 years, Watkins has created a unique driving fusion of electronica, orchestral and global music executed on an epic & symphonic scale. Juno Reactor was formed as an art project in 1990. Ben Watkins wanted to collaborate with other artists, producing exciting projects that were not commercially driven. He wanted to create experimental music and non-musical soundtracks that would work with installations, art pieces, and film projects. Labyrinth ranges from orchestral, industrial, and techno as well as containing Juno Reactor's trademark tribal sound (possibly as best featured in Conquistador II). The album also features two songs from Watkins' collaboration with The Matrix composer Don Davis on the films The Matrix Reloaded and The Matrix Revolutions, "Mona Lisa Overdrive" (from Reloaded) and "Navras" (from Revolutions). As well as releasing a string of influential albums as Juno Reactor, Watkins’ tracks have been placed in numerous highprofile feature films, television programmes and computer games and Ben Watkins composed large sections of the original score for the films The Matrix Reloaded and The Matrix Revolutions, as well as composing the entire orchestral score for Japanese anime feature film Brave Story.

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.

Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

Adam Beyer and Green Velvet’s behemoth co-production ’Simulator’ gets a trio of fresh remixes.

Something special happens with Beyer collaborates with Curtis Jones aka Green Velvet, with last year’s ‘Simulator’ a timely reminder of their musical synergy, following the 2019 classic ‘Space Date’ with Layton Giordani.
A year on from its release, Drumcode treats us to three contrasting interpretations that epitomise the sonic breadth of the label in 2024.

Mha Iri is first up having established herself as one of Drumcode’s most vital go-to producers in recent times. The Scottish artist turns in a blazing masterclass, taking the nasty bass stabs of the original and utilising them as thunderous motifs throughout her remix, as she brings intensity in spades with plenty of thrilling builds and drops along the way.

Emerging Australian artist Odd Mobb is next, whose music has been championed by the likes of Fred Everything and Skrillex. He brings the energy throughout the four-minute rework, amplifying all the low-end elements, while adding fresh bursts of colour. It’s a dynamic reinterpretation that will keep listeners on their feet.

Chris Avantgarde, whose contributions to Drumcode have so far comprised an outstanding collab with Kevin de Vries ‘Mind Control’ and an A-Sides contribution ‘The Last Time’, returns with the goods and lives up to his boundary-pushing pseudonym. This has more sides than a rubix cube and shows the German’s sound design class, encompassing elements of breaks, bass, electronica and techno, yet still manages not to sound like anything else out there.

Pressed on Limited Edition Neon Green Ripple Effect vinyl in the DC House bag.

For Fans Of... Ralfi Pagan, Kent Gomez, Joe Bataan, Boogaloo Assassins. Pressed on limited edition clear with black swirl vinyl (indies only). Second Dewey Kenmore 45 to be released under Cosa Records. Produced by Joey Reina. Features West Coast legends, The Boogaloo Assassins. Crack open the fire hydrants and break out the popsicles, as Dewey Kenmore hits us with another bonafide block-party staple! "It's Never Too Late" is the highly anticipated sophomore 7" single, a sun-drenched, Latin-soul sure shot that is arriving just in time to burn off that winter gloom. Also joining Dewey & co. this time around are the West Coast legends, The Boogaloo Assassins, on background vocal duties, adding a little sweetness under Dewey's raw vocal stylings.

Your summer anthem has arrived!

Six Nine Records Ltd. UK proudly presents another release from the
undisputed talkbox champion Winfree, first name David.
Out of Toledo, Ohio, comes this banging two-sider with the amazing
modern boogie funk tunes “Friday Night” (remixed by Yuki “T-Groove”
Takahashi) and “The Way She Makes It Bounce”. These fine compositions
will sound lush played from vinyl and preferably out on a big sound
system!
Definitely not to be missed as it is a limited UK press with full colour
printed picture cover!

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Leif Maine and Jackson Mathod are thrilled to announce the August release of their album, "Volte-Face", with a single of the same name. This collaboration marks a bold new chapter in contemporary jazz, blending traditional and modern elements with great artistry and a willingness to explore many genres on one project.

"Volte-Face"is a sonic journey that showcases Maine's innovative compositions and Mathod's masterful trumpet performances. The album features a rich tapestry of sounds, from soulful melodies to intricate improvisations, capturing the essence of their dynamic synergy. Each track is meticulously crafted, promising an immersive listening experience for audiophiles and jazz enthusiasts alike.

Volte Face, the single, features rapper and Washington DC transplant (born and raised in NY), J Scienide. J has been around the great in underground Hip Hop. He shared a manager with the late and great MF DOOM, released and recorded with D-Styles from the World Famous Beat Junkies/ Invisibl Skratch Piklz, worked with super producer Daringer (Griselda Records/Action Bronson). He is regularly supported by FunkMaster Flex, Peter Rosenberg, Dj Premier, Dj House Shoes, Statik Selektah and many more.

While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

Endlich erscheint das gefeierte 2019er Album als luxuriöse Doppel-LP!
Auf den 12 Tracks von 'The Situation' das zusammen mit seinen langjährigen Freunden und Wegbegleitern Kuma Harada, Walter Latupeirissa (beide Bass) Max Middleton (Keys), Juan van Emmerloot und Jeff Allen (beide Drums) entstand, erleben wir den Bluesmeister einmal mehr in Höchstform.

Der muntere Opener und Namensgeber des Albums lädt verheißungsvoll ein. In seinem unnachahmlich zurückhaltenden, "understated" Stil beleuchtet Snowy auf den folgenden Tracks unterschiedlichste Lebenslagen, stets untermalt und kommentiert von seinem markanten Gitarrenspiel. Das Ergebnis ist ein reifes, in sich schlüssiges und immens zufriedenstellendes Album.
Das erstmalig auf Vinyl erscheinende Album kommt als 180Gr. Doppel-LP mit Lyric-Sheet, wattierten Innenhüllen und markantem Spotlack-Effekt im Artwork, bei dem das Hauptelement herausgestellt wird. Die edle LP-Version ist streng limitiert auf 500 Stck.

Die Presse schrieb zum CD-Release:
Rock Hard 7.5/10: "Auf "The Situation" (Snowy White/Soulfood) begeistert der passionierte Les-Paul-Spieler einmal mehr mit einem wunderbaren Solo-Ton, aus seiner rauen, zerbrechlich wirkenden Stimme spricht darüber hinaus die pure Lebensweisheit. Geschmackvolles Blues-Album von einem Mann, der nichts mehr beweisen muss, es aber trotzdem tut."

Guitar 4.5/5: "…zwölf fantastische und lebhafte groovende Nummern…"

Good Times: "Starke Refrains, eingängige Melodien, reichlich Energie…"

Jazz Thing: "…eine Menge guter, von einer gewiss auch altersbedingten Nachdenklichkeit geprägter Songs. Sehr schön."

Break Out: "Eine Platte in die man ganz tief versinken kann."

Rocks 8.5/10: "White führt ein exzellentes Bluesrock-Dream-Team an…"

Classic Rock 7/10: "Eleganter Soft- und Bluesrock…"

eclipsed 8/10: "Grandiose Musik für ruhige Momente, die durch die warme und organische Einspielung gewinnt."

Legacy 12/15: "Auf jeden Fall ist Snowy & Co. ein hochwertiges Genre-Album gelungen, dessen zusätzlicher Reiz es ist, eben über die Grenzen dieses Stils hinauszuwachsen!"

Evolution ist der Motor für Langlebigkeit. Within The Ruins drängen unerbittlich nach vorne, verbrennen Selbstgefälligkeit und erschaffen Neues aus
ihrer Asche. Das Quartett aus dem Westen von Massachusetts sprengt alle Konventionen, indem es mit polyrhythmischem Geknüppel, kopfnickenden
Grooves, eindringlichem Gesang und lebendigen Erzählungen die Sinne angreift. Ihr kontrolliertes Chaos hat zu zig Millionen Streams geführt (eine
Seltenheit für so kompromisslos harte Acts), zu ausverkauften Häusern auf Tour und zu weitreichender Anerkennung durch Alternative Press,
American Songwriter, Loudwire, Metal Injection, Phoenix New Times und viele mehr. Jetzt entwickeln sie sich auf ihrem siebten Album Phenomena II
MNRK Heavy weiter. "Wenn ihr uns zuhört, hoffen wir, dass ihr das Gefühl habt, frischen Metal gefunden zu haben", sagt Joe. "Wenn man etwas
lange Zeit gemacht hat, kann man leicht in seinen Gewohnheiten stecken bleiben. Deshalb versuchen wir immer, etwas zu präsentieren, das man
h nicht gehört hat - und das man nirgendwo anders bekommt."

First-ever release of the long-lost original full length versions of tracks from Sheena’s 1985 hit collaboration with super producer Nile Rodgers. Remastered from the original master tapes and pressed on orange coloured vinyl with brand new artwork including full lyrics and rare photos.

Features the previously unreleased uncut versions of singles ‘Jimmy Mack’ and ‘Magic Of Love’, original alternate ‘Break Mix’ of ‘Do It For Love’ and 7 minute+ take on the rock-funk
workout ‘Don’t Turn Your Back’
This orange vinyl ‘Uncut Nile Rodgers Sessions’ edition of 1985’s dance-R&B orientated ‘Do You’ features eight previously unreleased full-length versions of tracks from the hit album.

‘Do You’ finds Sheena Easton hooking up with Nile Rodgers at his imperial 1980s superproducer peak - following mega hit productions for the likes of David Bowie, Madonna and Duran Duran. Easton fully embraces her new upbeat, pop-funk direction on tracks like the Top 30 US dance hits ‘Do It For Love’ and classic Motown cover ‘Jimmy Mack’, as well as sensual groove ballads like ‘Magic Of Love’ and ‘When The Lightning Strikes Again’.

Sandy Bull war ein amerikanischer Folk-Musiker, der mit einer Reihe von Alben auf dem Vanguard-Label in den 1960er und 70er Jahren bekannt wurde. "Still Valentine's Day 1969" stammt aus zwei Live-Shows, die 1969 im The Matrix in San Francisco aufgenommen wurden, wo Bull schimmernde E-Gitarre und Oud spielt, begleitet von Tape-Loops. Zuvor auf CD erhältlich, aber inzwischen in allen Formaten vergriffen - dies ist die allererste Vinyl-Pressung und enthält die Original-Liner Notes von Byron Coley.

After spending years out of print, The Prodigy have re-pressed their third album in time for its 20th anniversary.

10 years after its release, Lydia Loveless sits down at the piano for an intimate reimagining of her landmark album, Somewhere Else. Title track featuring guest vocals by Jason Isbell. “Over the last 10 years I’ve been told by countless people, emotional and earnest, that their favorite record of mine is Something Else. I love that, and I nod in amused reverence to it here. The me of 2012-2013 was drowning in pain and insecurity and my own press, pissed off that nobody could see me for who I really was, what I had really been through, and how hard it was to be me. I was walled in by fears and worries that I would never be good enough. I was struggling with my voice after a debilitating virus and a six week tour. I had rented a little room in the Grandview neighborhood of Columbus and was plugging away on my splintered acoustic guitar with a tape recorder.

I was frustrated as could be, not coming up with anything that I felt was 'me' or even remotely song like. One day, when I finally thought I had a nugget of something, I read the lyrics aloud to my then husband and he looked at me confused and said, 'what are you even trying to say in this, though? Who is the narrator?' I don’t remember what I said to that but I’m sure it wasn’t kind. When I went back into the studio with my friend Caeleigh Featherstone recording me this go round, she looked at me at one point and said, 'Were you singing these songs in front of old dudes? Like, your husband?' Yes, I was, I told her. We both shook our heads and laughed at the hubris on 22-year-old Lydia Loveless.” - Lydia Loveless

Gregory T.S. Walker’s Minstrels & Minimoogs was self-published by a young, nomadic composer and virtuoso in 1988 to accompany an immersive multimedia performance at the University of Colorado Boulder’s Fiske Planetarium. Created with this outer, and other, world setting in mind, the four tracks find Walker stretching toward an ancient-to-future vision where Egyptian myths and Hieronymus Bosch-ian tableaus are rendered in a screaming three dimensional circuitry of electronic drums, synth guitars, and, of course, Minimoog. Given the musical terrains and outmoded topics traversed, and that this entirely DIY effort was originally released as a micro one-sided 12” edition, Minstrels & Minimoogs is as perplexing and euphoric a document lost-to-time as it is now found.

Born in 1961 into an intensely musical family spanning four generations, Gregory’s mother Helen Walker-Hill was a noted musicologist specializing in the rediscovery and work of historical Black female composers, while his father, George Walker, was the first African American composer to win the Pulitzer Prize for music. Both parents studied with the famed (and famously strict) Nadia Boulanger in Paris in the 1950s, and held to lofty aesthetic standards in their home life. Walker began studying the violin as a child, but when a burgeoning interest in the electric guitar and rock music as a teen manifested, it was largely verboten in the household. The rule was that the music played in the home was to be acoustic and classical. Although the elder Walkers eventually relented and allowed Gregory’s guitar to be plugged in for a brief interval on the weekends, the remaining days he settled for strumming it sans amplification.

Gregory, conditioned and eager for a life in music but looking to get out from under the influence and yoke of his famous composer father, ultimately chose to study computer music at the University of California at San Diego, where he earned a Master of Arts. This was followed by another MA in electronic music composition at that hotbed of West Coast experimental music, Mills College. Intermedia and multimedia in the arts was the rage in the 1980s, and Mills was one of the centers for it; audacious spectacle meeting visionary performance, such as one of the realizations for Anthony Braxton’s music for multiple orchestras a young Gregory performed in with his violin.

After a series of solo synthesizer concerts around California, Gregory followed a girlfriend on a mid-country move to Boulder, Colorado. After picking up yet another composition degree at University of Colorado Boulder, his life as a composer really started, writing a piece for extended technique for guitar, a passacaglia for vocoder and orchestra, as well as Minstrels & Minimoogs.

Envisioned as a multimedia performance such as the kind he’d experienced at Mills (which was all but unknown in Boulder at the time), Gregory roped in a number of college going or aged friends of varying skill levels and musical sympathies to accompany him with distorted sax or oblique spoken interludes. Confronted with a lack of finances, but driven to get his ideas captured in a complete musical package, the album was recorded in his brother’s apartment. If not every player assembled was on Gregory’s virtuosic level, so be it; it was more about capturing the spirit of his intentions and embracing the serendipity of mistakes.

An inspired attempt at world building, Minstrels & Minimoogs draws on the deep well of musical knowledge Gregory gathered from his parents and teachers, but all the while subverting that historical basis by incorporating mutant strains of prog and pop music. The work accumulated is not unlike the playful 1980s work of Gregorio Paniagua, where medieval estampies and rondeaus are wrenched into an anachronistic present where Hildegard Von Bingen and Kate Bush are contemporaries. Ars nova, new art, a 20th century minimalist jester and troubadour.

A one sided LP was the cheapest option Gregory found to have Minstrels & Minimoogs memorialized on vinyl, so somewhere between 50 to 100 copies were pressed. There was no distribution, outside of copies that were handed out to friends or sold at the performances at the planetarium. Gregory T.S. Walker’s cosmic-futuristic forays into oblique pop and baroque subversion could forever reside perfectly in both the domed simulacrum of our universe for which it was composed, in the formats it is being reintoduced now, and our own biblical firmament. For in the words of Gregory, straight from the original liner notes: “God Is A Minimoog”

Gregory T.S. Walker’s Minstrels & Minimoogs arrives again August 23, 2024 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music's outermost fringe.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Eine Zeitreise ins Jahr 2014 zu einem grandiosen Konzert des Wayne Shorter Quartet auf dem Stockholm
Jazz Festival ist „Celebration, Volume 1“, die erste in einer Reihe geplanter Archiv-Veröffentlichungen, die
Wayne Shorter noch selbst vor seinem Tod im Jahr 2023 kuratierte.
Diese energetische Live-Aufnahme fängt Shorters gefeiertes Quartett mit Pianist Danilo Perez, Bassist
John Patitucci und Schlagzeuger Brian Blade in Top-Verfassung ein. Zu hören sind Shorter-Klassiker wie
„Zero Gravity“, „Orbits“, „Lotus“ und „She Moves Through The Fair“.
Ausstattung 2-LP: 2 x 180g, Gatefold, Otimal-Pressung

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhüllen.
Nach ”The Look Of Love” erscheint mit “When I Look In Your Eyes” jetzt ein zweites Diana-KrallAlbum als aufwändiges, audiophiles Doppel-Vinyl in der VERVE ACOUSTIC SOUNDS SERIE. Unter Regie
von Produzentenlegende Tommy LiPuma zeigte sich die Pianistin und Sängerin auf diesem Traumalbum
von zwei Seiten: einmal mit einem von Johnny Mandel arrangierten Orchester, dann wieder in intimerem
Rahmen mit wechselnden Duo-, Trio- und Quartett-Besetzungen. Das zeitlose Meisterwerk brachte Diana
Krall ihren ersten Grammy für das beste Jazz-Vokalalbum 1999 ein.

Prelusion is the debut album from iconic recording artist Patrice Rushen, originally released on Prestige Records in 1974. The album effortlessly zigzags between Post-Bop and Jazz Fusion, and features contributions from legendary saxophonist Joe Henderson. Reissued on vinyl for the first time in 50 years as part of Jazz Dispensary’s Top Shelf series, the album was cut from the original analog tapes by Kevin Gray, pressed on 180-gram vinyl at RTI, and packaged in a gatefold tip-on jacket.

Serge Geyzel marks the 3rd release on the Barcelona-based label Adepta Editions with ''It's Cancelled'', a strong and comprehensive collection of six tracks with mind-blowing tectonic tempos, low-flying bass-beats, and magnetized electro-nics. Comes with printed sleeve and is a strictly limited pressing of 200 copies!