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E. Myers returns just in time for the summer, with two heaters of contrasting styles. 'I Am Alive' is a celebration, cooked up from heavy drums, percussion and bass synth, coming together with pads and arpeggiated synths for full blown elation.

'Dreamland' keeps its poker face on throughout it's entire 9 minutes. Threatening to break out but staying cool with its restrained bump, it's equally at home in basements as it is on beaches.

Myers returns, fresh off the back of a debut show at Field Day and with a two track 12" nodding to the past and the future.

'Taps' is a relentless drum machine driven, synth directed monster, that comes at you like it's about to punch you in the face, but actually picks you up and chucks you on its shoulders. 'Rabona' is a restrained, smooth but rugged roller, with subtle shifts that previews another layer to the Myers palette. Having taken steps out into the real world, expect a lot more to come over the next year

Following on from this year's Hate/Love 12", E. Myers returns with more basement music in the form of 'Untitled'. The original will no doubt appeal to the House slickers that still like to go a little rogue.

For those who wanna get loose, turn to the 'Heat Mix' with it's sprinkling of Miami arriving at just the right season. Rounding it off, for those who always need one more, the 'Beat Mix' is a 4 minute drum middle of the night cap.

Karen Gwyer's indomitable Rembo LP receives remixes from four producers at the cutting edge of house and techno, Via App, Ron Morelli, E. Myers and M/R. Vinyl only, no digital. Artwork by Karen Gwyer.

The incredible talent that is Jamie Myerson returns with another stellar EP packed with old school sensibilities and atmospheric charm. A1 - Photosphere Photosphere opens with a warm synth and filtered beats before a raucous kaleidoscope of breaks take over your senses, while a devilishly simple piano melody, layers of airy vocals and sampled effects jostle for your attention adding texture to an already immense array of sounds. All elements are clear and distinct in the mix, offering something new with each listen in exceptional detail and clarity. A2 - Naked Eye Changing up the vibe with a twist, Naked Eye is a a deeply atmospheric piece that opens with synths and light percussion before a relaxed old-school breakbeat and bassline drop and kick start a gloriously laid-back journey which builds and builds with trademark JLM Productions panache - adding a flurry of strings, micro melodies across the soundscape and a perfectly-tuned amen layer to the breaks. AA1 - Evolution Operator Next up: enter the sounds of Evolution Operator, opening with a DJ-friendly filtered break intro coupled with intriguing, intense padwork which builds towards a drop of dancefloor two-step beats featuring none other than the legendary Apache break. Combining driving atmospheric energy delivered from a plethora of melodies and effects with old school sensibilities results in another fine floor filler for the discerning setlist. AA2 - Lightlike Completing the EP we are treated to Lightlike, another gloriously reminiscent piece of music reflecting yesteryear with JLM’s crisp, detailed approach to production. Opening beat-free with glistening pads, subtle drums are gently added before classic Airtight breaks drop with a cacophony of synthwork, cymbals and crafted melodies swirl throughout the elements to create a classic yet modern collage of atmospheric drum & bass. Words by Chris Hayes (Spatial/Red Mist)

In early 2025 Oakland-based Jerod S. Rivera released his second full length Dot-Dash, featuring a collaboration with CST co-founder Cat Lauigan and Jonathan James Carr. From the beginning we were mesmerized with the result, a perfect melding of Cat's processed spoken-word and Jerod's Buchla experimentations.

The thought of remixes presented immediately, the material extra ripe for interpolation. Enlisting friends from geographically and sonically disparate locations to present an ideal remix 12". Something for everyone, something for every setting, a tool with multiple functions...

The mysterious dub/techno/leftfield mastermind behind False Aralia dives further into territory explored on iri.gram, uptempo and dancefloor-ready in a more maximal Perlon-ish way while still embracing a half-time dub feel. Philipp Otterbach (Music from Memory, Offen, RIO) goes deeper into the guitar zone he’s been exploring, channeling Earth 2, Boris, and the like for some heavy drone. Oakland duo DJ ML and Wonja adopt their Motoko & Myers moniker (Future Times, Soda Gong), zeroing in on some choice vocal snippets that mesh perfectly with a live drum break and bassline for a Seefeel-esque version that could have come from a 90’s UK studio. Finally, Slowfoam embraces the more experimental elements of the original with a remix that starts sparse and minimal but builds into a glitchy rhythmic climax.

The 12” includes a 2-sided riso insert and a download code with access to an additional remix by close collaborator Jon Carr that twists the vocals into a throbbing industrial caucaphony.

Opsin- the new collaborative alias of longtime friends and producers Keydell and Kincaid - announce their debut LP on wax, Through The Wall, from London-based record label Hypnic Jerks.

Artist Info:

Opsin is the debut project between artists Keydell (Liam Keydell Myers-Cook) and Kincaid (Joe Arthur). The Pair have previously released on the following labels: Well Street Records, Banoffee Pies, Redstone Press & Bliss Print.

Both have extensive work in sound design and collaborated on the soundtrack for Mithridate at London Fashion Week 2024. Kincaid also produced the soundtrack for Alexander Whitley's Anti-Body Ballet.

Release Info:

The album is named after the birthplace of its creation. Sharing files between bedroom walls during COVID-19. Keydell's meticulous Ableton-based resampling of found audio and modular synth racks, and Kincaid's Reaktor-driven synthesis in Logic.

Draws on a wide spectrum of electronic influences the album infuses elements of rave, techno, industrial and ambient sounds, whilst never quite landing in any specific genre.

Second release from London label Hypnic Jerks on 4 sides of 180 gram vinyl, in a gatefold sleeve designed by Jacob Wise and mastered by Rashad Becker.

A followup from their first release - Toumba's debut physical release 'Rosefinch', which saw later releases from Hessle Audio and Nervous Horizon.

Human Engineering LP started with a performance photograph, taken during the first stages of the global Coronavirus lockdown in a disused municipal building in Easthampton, Massachusetts. Taking the form of a proficient and emphatic high-jump, with a recording of its sound, and a spoken text, amplified through the strings of an abandoned piano occupying the same space. The resulting photographic and sound documents formed the basis of an audio correspondence between Rick Myers, Andy Votel and Sean Canty which was recorded and arranged between Easthampton Mass. and Manchester from 2018 to 2024.

Spanning a decade of sophisticated funk from the Motor City, two midtempo picks from the crates of Mr. K get his trademark classy edit treatment on this Detroit-themed 7-inch.

G.C. Cameron was a solid singer in the Motown stable, a vocal chameleon whose range extended from clear tenor to soaring falsetto. Though this agility is most easily heard via his lead vocal on the Spinners’ “It’s A Shame,” he shows off the same versatility in the rare groove classic “No Matter Where,” a 1973 Curtis Mayfield-esque burner that’s the subject of Mr. K’s latest release on Most Excellent. For Krivit this has been a lesser known & hard to find floor filler for years. Intro cleanly extended, now ready for the big stage and modern club play.

Our flip side stays in midtempo, rare groove Detroit territory but jumps ahead a decade to the early ’80s with Candye’s “Time Is What You Need.” Candyce Edwards got her start in the Detroit funk powerhouse One Way (her predecessor was Alicia Myers) and soon became connected with the group’s wunderkind songwriter/multi-instrumentalist Kevin McCord. McCord had already taken Myers to the top with “I Want To Thank You,” and seeing if lightning could strike twice with Edwards. Although only resulting in this solo debut, time and the untiring excavations of latter-era vinyl junkies have subsequently made her collaboration with McCord (a union that briefly included marriage) a sought-after boogie gem in the rough. Mr. K plucks perhaps the most winsome LP-only cut and subtly extends intro and outro to provide a useful 7-inch version that should get plenty of warm weather play.

Both tracks have been carefully remastered for this release & have never sounded better.

“God Is A DJ” is the new full-length by Joe T Vannelli, an album the DJ and producer has been working on for years, 13 to be exact, since his latest LP came out. The album features sixteen unreleased tracks and features huge names from all over the musical scene, both italian and international. God Is A DJ is already a cult musical project, that the house music lovers all around the world have been waiting for for years.

The two LPs take the listener through a musical journey mixing different sounds and styles: the first four tracks on Side A lean towards a melodic house sound, the very same genre that JTV took to the top of the game with his “Live On Tour” series of streaming – 62 streamed gigs from different places in Italy, from April 2020 throughout the pandemic. Fifteen million views with a valuable representation of the italian territory.

Amongst the tracks on Side A, the 2022 remix of “Voice In Harmony”, one of JTV's biggest hits, and the long-awaited new version of “Children”, by Robert Miles, which was taken to the top of the charts by the same Joe T Vannelli in 1996.

Side B features collaborative works with some italian producers fresh off the top of international house charts: Moreno Pezzolato for “Doctor House” and “Paradise” remixed by Federico Scavo e Cassimm, licensed worldwide by Happy Music and Kontor Records.

Side C opens with the Angelo Ferreri remix of “Where Is My Man”, #1 on Traxsource, then moves on to two big featured artists: the first one is Saturnino. His bass is perfect, on this 70s funky style piece which echoes the biggest and boldest productions of music history. The second one is the remix of “Paradise” by Mario Biondi, made by JTV
himself who gives the track a soul/funky mood and an international sound inspired by Alicia Myers, who already worked as a muse for “Thank You” by Busta Rhymes. A song like “Sacrifice” by The Weeknd works along the same lines.

Side D, instead, is pure, distilled Vannelli-sound: house music for house music lovers, led by the afro-house beat by Silvano del Gado for “Booma Beat” and followed by the “Harlem” remix by Angelo Ferreri, and “Across The Universe” reinvented by the young producer from Veneto Reboq. The album closes with “Shavasana”, a meditative yoga number inspiring total relaxation.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

DEVO’s Hardcore documents the group’s beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of “devolved blues” that could hold its own alongside the beatnik groove of 15-60-75 (a.k.a. The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock ’n’ roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. It’s no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early DEVO sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and DEVO’s long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of “Mongoloid” and the spastic bounce and sputter of “Jocko Homo” (two anthems presented in their earlier and superior versions here). Cult favorites like “Mechanical Man” and “Auto-Modown” make Volume 1 essential listening. Superior Viaduct and Booji Boy Records are proud to present DEVO’s Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha’s stunning cover photography. As David Bowie said in 1977, DEVO is indeed “the band of the future.”

Over sixty years into a life in music, Amina Claudine Myers revisits old compositions with a quiet force on Solace Of The Mind, her first solo record since receiving an NEA Jazz Master honours. Recorded for Red Hook Records and produced by Sun Chung, it hears Myers at the piano, Hammond B3 organ and mic, reinterpreting personal standards such as 'African Blues', 'Song For Mother E', 'Cairo' and 'Steal Away' with patient, spacious phrasing and the tonal sensitivity she's honed since her days with the AACM. Chung's production renders every harmonic shimmer and pause with startling clarity; a glistening move compared to last year's duo release with Wadada Leo Smith, adding a returnal layer to an otherwise eclectic discography, spanning free jazz and blues-rooted experimentalism. In her words, "I wanted to play (the originals) differently this time."

Far above the skylark sings And beats the air with joyful wings Till all the sky with music rings At high noon of the day With 2022's critically acclaimed album Ghosts, enigmatic Shropshire group HARESS markedout their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals - not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance The Gallows Pole, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centrepiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself - a primal, joyful gut punch to the system. "This blissed-out psychedelia is not quite pastoral – there’s nothing twee about these unwinding grooves – yet evokes water and wood, light and shadow, a place of forgotten labour and the absent human form with a beguiling grace" - Luke Turner on Ghosts, The Quietus Albums Of The Year 2022 "That timelessness of the old sounds but with an added tripped out modernity and dissonance hooked into the past by the power of drone is magical and exhilarating stuff – they are truly spellbinding – ancient and modern like British ragas or a damp searching for the soul of England take on the desert blues of a Tinariwen" - Jon Robb reviews Krankenhaus Festival 2023, Louder Than War

Eine faszinierende neue Sammlung von nie zuvor gehörten Auftritten des legendären Altsaxophonisten Art Pepper, »An Afternoon in Norway: The Kongsberg Concert«, erscheint als luxuriöses 180-Gramm-Zwei-LP-Set bei Elemental Music.

Dieser bemerkenswerte Archivfund wurde von dem preisgekrönten »Jazz Detective« Zev Feldman in Zusammenarbeit mit Laurie Pepper und dem Art Pepper Estate produziert.

Feldman sagt: »Art Pepper ist eine der am meisten verehrten Persönlichkeiten der Jazzgeschichte, und seine Musik inspiriert nach wie vor Zuhörer auf der ganzen Welt. Diese bisher unveröffentlichten Aufnahmen fügen seinem Vermächtnis ein weiteres Kapitel hinzu. Wir legen großen Wert darauf, Peppers Werk auf bestmögliche Weise zu präsentieren, um sicherzustellen, dass diese Pakete den Fans über Jahre hinweg Freude bereiten werden.«

Sowohl die LP- als auch die CD-Ausgabe des Pakets enthalten einen Essay des renommierten Jazz-Experten Marc Myers, exklusive Kommentare von Laurie Pepper, Tony Dumas, Carl Burnett und den Saxophonisten John Zorn und Rudresh Mahanthappa sowie seltene Fotos vom Konzert. An Afternoon in Norway enthält Aufnahmen von Art Peppers denkwürdigem Auftritt beim Kongsberg Jazz Festival in Norwegen aus dem Jahr 1980. Aufgenommen im Kongsberg Kino mit seinem herausragenden Quartett - dem Pianisten Milcho Leviev, dem Bassisten Tony Dumas und dem Schlagzeuger Carl Burnett - liefert Art Pepper eine kraftvolle und ausdrucksstarke Darbietung, erfüllt von der Leidenschaft und Brillanz, die seine Karriere ausmachte.



[a] Y.i. blues [aka untitled #34]

Heated compilation of 81-1990 rarities.

"Club Méduse’s Charles Bals joins forces with Norman Gervais of Bayetë fame to deliver a 10-track melange of languorous seaside serenades and beach-kissed AOR slow burners/bangers.

Each song evokes wave glimmer and synthetic textures on this first drop by Beirut-via-Saint Tropez label Pocket of Light, one for the listener that’s crossed the last frontier of the registry and needs just a little more.

Is it the Baleares or the Caribbean? Is it hopeful anguish or mature happiness? And with captains like this, does it matter at all…?”

Nach fünfundzwanzig Jahren Musikkarriere mit fünf Grammy-Nominierungen, zwei RIAA-zertifizierten Goldenen Schallplatten und der jüngsten Veröffentlichung von 'Desolation: A Heavy Metal Memoir', einer ehrlichen Reflexion über sein Leben in der Musik und darüber hinaus, befindet sich Mark Mortons kreative Energie auf einem Allzeithoch.

'Without The Pain', sein zweites Soloalbum, ist eine Hommage an seine langjährige Liebe zum Südstaaten-Rock und wurde von seinem langjährigen Weggefährten Josh Wilbur produziert. Auf dem Album als Features vertreten sind einige der größten Namen aus Americana, Rock und Country:

Der Outlaw-Country-Star Cody Jinks liefert zwei kraftvolle Songs, darunter das eindringliche 'Brother'; Blackberry Smoke-Frontmann Charlie Starr tut sich bei 'Come December' mit Americana-Superstar Jason Isbell zusammen, während Jaren Johnston (The Cadillac Three) beim Eröffnungstrack 'Hell & Back' eine Performance voller Hingabe liefert.

Der Country-Hitmacher Travis Denning - ein aus Georgia stammender Künstler mit einer früheren Nummer 1 in den US-Country-Airplay-Charts - arbeitet an zwei bewegenden Stücken mit, die beide subtile und zarte Gitarrentexturen aufweisen und eine andere Dimension von Mortons Songwriting zeigen.

Troy Sanders (Mastodon) singt bei 'Nocturnal Sun', einer donnernden Doom-Klage und dem schwersten Stück des Albums, während Blues-Gitarren-Phänomen Tyler Bryant sich mit Morton bei dem psychedelischen Blues-Rummel 'Forever In The Light' ein Gitarrenduell mit Feuerwerk liefert.

Für Fans von: Lamb of God, The Cadillac Three, Whiskey Myers, Travis Denning, Clutch, Brothers Osbourne, Blackberry Smoke, Black Stone Cherry, Lynyrd Skynyrd

- Ltd. Col. LP: (Orange Vinyl)

Alicia Myers - I Want To Thank You & Don't Stop What You're Doin' are staple classics and for the first time since their initial release in 1981 are together on one piece of vinyl. A serious double header!

Both tracks are produced by Kevin ‘Mr Groove’ McCord, heralded as Dam Funk’s favourite producers and one of the founding members of Al Hudson & The Soul Partners & One Way before going on to contribute to hundreds of r&b, funk, disco, and boogie dancefloor movers in the ’70s and ’80s.

At the height of his career he produced his One Way band members, Alicia Myers debut solo album, Alicia featuring both tracks on this release. I Want To Thank You, a certified classic that never fails to elicit a joyous reaction anytime it’s played & Don't Stop What You're Doin' famously sampled by J Dilla for ‘What It’s All About’ by Slum Village feat. Busta Rhymes on the legendary ‘Fantastic Vol.2’ album.

Another fully licenced and remastered essential release from the South Street family!

Esteemed US musician Mike Viola is bringing his new album Rock Of Boston to our shores with a handful of shows in November, forming a special pick-up band with members of The Zutons and The La’s for the tour. Mike Viola is a producer, musician, songwriter and singer best known for his work with Panic! at the Disco, Andrew Bird, Dawes, Ryan Adams and Jenny Lewis. However his solo career stands on its own, starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 8 critically adored solo records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Rock Of Boston was recorded over the winter of 2023 on 8 track ½” tape at Barebones, Viola’s home studio in Los Angeles. Once again joined by his friends Jake Sinclair (Weezer, Sia, Panic! at the Disco) on bass and Brendon Urie (Panic! At The Disco) on drums. For UK shows Mike has roped in Sean Payne (The Zutons) and Jay Lewis (The La's, Cast) to join Jake Sinclair and himself on the road. Viola says, “I’m always writing songs, or pieces of songs, or riffs. My writing process changes every song, so I never get trapped in a method. I let the song lead me. While I was on a world tour playing guitar for Panic at The Disco, I wrote the bulk of this record on the bus between soundcheck and showtime. On the days off, I’d find a recording studio wherever we were and I’d book studio time to sneak away to lay down a few ideas. When the tour finished, Jake and Brendon came home to LA and we never stopped playing music together. We just switched from touring with Panic! to recording Rock Of Boston pretty seamlessly without a break. Maybe that’s why the riffs seem bigger on this record, we had spent all those months in hockey arenas around the world playing big music.”

This rare Brit Funk 12” was originally released in 1984 and is now officially reissued for the first time. Licensed from producer Lindel Lewis, the 12” was heavily influenced by US Boogie and Disco and there’s a Dub influence at play as Lindel was also producing a lot of reggae around this time, most famously ‘Night Over Egypt’ by Mystic Harmony.

The 12” includes a previously unreleased Dub Version of ‘I Need You’ and was produced on two Analogue classics, Lindel says “I used a Linn Drum for the drums and played all synth parts using a Roland 106. I’m a classically trained musician and also a sound engineer, I worked at Mark Angelo Recording Studios for 18 years and have produced a great many artists. Steve Jones real name is Steve Myers, but I didn’t like the surname so changed it to Jones which felt more soulful. The name The Fat Boys came about because of the big bellies of myself the flute player Mike Appoh, my trainee engineer at the time. Ray Carlass played the sax solo, they have both now sadly passed”.

This long overdue reissue revives a standout moment in Brit Funk history, making it an essential addition for fans of classic Boogie and Disco. A 140 gram pressing in 3mm spine disco sleeve with labels and sticker designed by Bradley Pinkerton.

3 years in the making and dynamic young ELECTRO SWING producer, New Zealand's ODD CHAP, finally presents his COLLABORATIONS album, available for the first time on Limited Edition green vinyl!

A 10 track album featuring an incredible selection of special guest vocalists including Little Violet, Elle & The Pocket Belles and Loredana Grimaudo (as well as one bonus track with Glenn Miller). What could have become an omni-shambles in less skilled hands has instead become a showcase for the distinctive and immediately recognisable production style of ODD CHAP.

Die Musik zur Netflix Serie von Mike Myers. Aus der Feder von Paul & Phil Hartnoll, den legendären, kultigen, britischen Elektronik-Pionieren ORBITAL.
ORBITAL hat Musik beigesteuert zu: The Saint, Event Horizon, xXx, Spawn, Test Drive 4, Mortal Kombat, Mean Girls, Peaky Blinders, The Beach, Wipeout, Hackers, Teen Spirit, American Ultra und vielen mehr.

Doppel-LP gepresst auf Metallic Gold & Schwarzem Vinyl.

Experimental black metal from Brooklyn featuring members of Pyrrhon, Krallice, Sigur Rós, The Glen Branca Ensemble, Steve Reich. Recorded by Colin Marston (Dysrhythmia, Krallice, Liturgy). Follow-up to the bands well received 2022 debut Aveilut. The Promise Of Rain, the sophomore album of the experimental black metal band Scarcity, is an embodiment of the hard-to-believe truth that burdens are easier to bear when distributed, a realization Brendon Randall-Myers (conductor of the Glenn Branca Ensemble) grappled with extensively while writing this record. This is a sweat-drenched album about dispersion, about spreading, about the collective relieving of burdens through shared experience: one doesn’t have to go through everything alone. When Scarcity’s debut album Aveilut was written in early 2020, Randall-Myers and vocalist Doug Moore (Pyrrhon, Weeping Sores, Glorious Depravity, and Seputus) never expected to be able to play their songs live. The cathartic experience of playing something that came from a place of isolation out to people in a live setting is the root of the intensity in The Promise Of Rain. The Promise Of Rain begins where the craziest climaxes of Aveilut end, and is the first Scarcity record to include Tristan Kasten-Krause (Sigur Ros, Steve Reich, LEYA) on bass, Dylan Dilella (Pyrrhon) on guitar and Lev Weinstein (Krallice) on drums. Rather than building density with the quasi-orchestral layering on Aveilut, Scarcity challenged themselves to document what five people in a room could do, recording most of The Promise Of Rain in one or two takes, capturing the physical effort and urgency of a live performance. Scarcity forges a completely fresh sound in The Promise Of Rain with their alarming guitar work and melodic arpeggiating, shedding dead skin and breaking ground with sheer vulnerability. The lyrics for The Promise Of Rain were inspired by a trip Moore took to the high deserts of southern Utah in 2023. “To thrive in the desert is an act of abnegation—” he observes, “you do right by the land and receive its gifts, or it does away with you.” The necessity of adaptation is as evident in the desert as it is to the landscape of the human experience. The transformation of ideas and beliefs, the grief of losing relationships that had to end, and the fear involved in forming new ones under the grip of mental illness is conjured over and over again on this panoramic album.

Over the course of a couple of years in the mid-1970s, several musicians from the St. Louis, Missouri area gave notice to club and festival crowds that they were there to rock the house down. Their cover and original songs were accentuated by a bedrock rhythm section, heavy guitar riffs and tasty solos, topped off with powerful vocals. Rockers that witnessed them agree—Back Jack created solid songs and high-energy performances. Beginning in 1971 as Trellis, the band members changed their name to Back Jack when they saw the bumper sticker that Kim McKinney’s dad, Jack McKinney, distributed during his election bid for the Mayor of Pacific, Missouri, home of the core three-piece band: Kim McKinney, Mike Collier, and Hans Myers (RIP). The 1974 version of Back Jack was active from very early 1974 to late-fall of 1974. The core three-piece band, Collier, McKinney, and Myers, recorded several tracks during their tenure and four of those tracks are included on this release. Temporary band members not on the recordings were Gary Reed (piano, RIP), Greg Witt (guitar, keyboards), Paul Cockrum (guitar), and Bill Niehoff (drums). The four-piece, 1975 version of Back Jack was a merging of members of Back Jack 1974 (Mike Collier and Kim McKinney) and another local band, Osage Lute (Jeff Ballew and Mike Lusher). They were active from late-fall of 1974 to late-summer of 1975. Four of the tracks on the Back Jack LP were recorded by these four musicians.

Originally released in 1987, Life Time is the full-length debut by Rollins Band. This reissue—released on ROLLINS’ 2.13.61 label—has been remastered for vinyl by TJ LIPPLE and includes updated artwork by JASON FARRELL. Henry Rollins on Life Time: “Life Time is the first studio record by the Rollins Band. We did our first practice on 04-07-87 and went out on a long tour of America and Europe. On the road we wrote songs and put them into the set. By late October we finished the shows in London, UK. We went up to Leeds where Chris had a place to live and booked studio time at the same place that he and I did the Hot Animal Machine recordings a year before. I had no producer for this record and feared that since everyone in the band had strong opinions on how it all should be done that if we tried to do it ourselves we would do more harm than good. I called Ian MacKaye and asked for help. He got on a plane and came right out. That's Ian. We got straight to work as we had little time or money. All twelve songs were cut and mixed in a few days. We would do a take and Ian would tell us that it was good and we were moving on. When someone would say that they wanted to do it over again, he listened patiently and then asked again which song we wanted to do next. We got it all done and dragged it back to America for about 3,200 dollars. My, how things have changed. The album cover was drawn on the back of a diner place mat by Stephen Myers as a gift for my then roommate, Laura. Only the offset reproduction of the piece remains as the original went with her when she gave up her room. She shot herself a few years ago. Special thanks to Ian for coming to the rescue on such short notice. Thanks to you for checking this out.” Download code for full album plus live tracks. Also comes with lyric insert.

Pittsburgh Downtempo hits its pinnacle with the 7th full length from THE LAST TEN SECONDS OF LIFE. Over the past decade, TLTSOL have cemented themselves as the undisputed kings of the Downtempo/Deathcore crossover movement. NO NAME GRAVES is the first full length to show the true power of the line up we saw in 2022's 'Disquisition On an Execution' EP, which featured new members Tyler Beam (vocals), Andrew Petway (Bass) and Dylan Potts (drums). Featuring production by Grant McFarland & Carson Slovak (Rivers of Nihil, Signs of The Swarm) and artwork by Caelan Stokkermans (The Acacia Strain, Lorna Shore) & guest vocal appearances by Ricky Myers of Suffocation, Ben Mason of Bound in Fear and Devin Swank of Sanguisugabogg,

Das lauteste Rock/Fusion-Instrumental-Power-Trio der Welt beschert uns ihr erstes Konzeptalbum: In DUCK flieht der Protagonist, eine Ente, vor einem Pinguinpolizisten nach New York, wo Aufreger und Gefahren auf ihn warten. Die Aristocrats - Guthrie Govan/Gitarre, Bryan Beller/Bass, Marco Minnemann/Schlagzeug - haben ein kaleidoskopisches musikalisches Universum erschaffen, in dem sie sowohl typische Genre-Pastiches als auch einfallsreiche neue Arrangements erforschen - einige davon überraschend gefühlvoll und sensibel -, um die Geschichte zu ihrem rasanten Ende zu führen. Und während ihre offensichtliche Virtuosität und die ihr innewohnende Absurdität wie immer vorhanden sind, wird sie nun in der bisher ambitioniertesten kompositorischen und klanglichen Produktion der Band eingesetzt. Die abwechslungsreiche Musik begleitet den Protagonisten von der Ente in einem Großstadt-Tanzclub ("Aristoclub") über den gewaltsamen Rauswurf aus einer Spelunke ("Hey, Where's MY Drink Package") bis hin zum düsteren Thema für seinen Pinguin-Verfolger ("Sgt. Rockhopper") und endet schließlich mit dem actiongeladenen Balkan-Fusion-Finale "This Is Not Scrotum", bei dem der Geiger Rusanda Panfili (Hans Zimmer Live) als seltener Aristocrats-Album-Spezialgast auftritt. Duck ist das erste neue Studioalbum der Aristocrats seit fünf Jahren und wurde und mit einem Original-Artwork von Lance Myers (Space Jam) versehen. Und es ist klar, dass die ARISTOCRATS ihre kollektive Kunstfertigkeit auf ein völlig neues, wenn auch absurdes, Niveau gebracht haben. Als Standard CD, CD Deluxe Package in Box mit USB-Stick mit Stunden an Bonus-Material, Schlüsselanhänger und mehr sowie Dopple-Vinyl-LP erhältlich!

On 23 February 2024 wildly creative free-form L.A. singer-songwriter and multi instrumentalist Laena Myers is set to release her highly anticipated debut solo album, ‘LUV (Songs Of Yesterday)’. Released on Taxi Gauche Records, the 11-track collection is the first to feature the genre-spanning composer, in-demand session player/singer and classically trained violinist putting her own name to her recordings.
Formerly known as Laena Geronimo and L.M.I. / Laena Myers-Ionita, Laena is perhaps best known as lead singer, songwriter and guitarist of critically-acclaimed and internationally touring rockers FEELS, but that is only the tip of the iceberg. She’s also known for her time as bassist for goth-punk band Numb.er as well as the Motown-inspired pop outfit The Like, and as the go-to-violinist for a myriad of artists from the L.A. music scene and beyond - contributing to released recordings by John Fru

Wild Child is an American indie pop band from Austin, Texas formed in 2010. The band consists of Kelsey Wilson (lead vocals and violin), Alexander Beggins (lead vocals and baritone ukulele), Sadie Wolfe (cello), Tyler Osmond (bass), Matt Bradshaw (keyboard and trumpet), Cody Ackors (guitar and trombone), and Tom Myers (drums). Their second album, The Runaround, was released on October 8, 2013 via The Noise Company and produced by Ben Kweller. "The Runaround has the ability to instill energy into the listener, as the poppy-folk charm is irresistible. (...) Wild Child created a very well-executed LP, and accomplished their goal of staying out of a restrictive style of music. Even though each cut is different from the all the others in terms of style, instruments used or theme, together they form a cohesive album." Theaquarian

For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals. Jason Grimes is all about making timeless music. The Cincinnati-based DJ and producer has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimes works with some of Cincinnati’s finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. As a teenager in the 90s, Grimes fell in love with hip-hop at an early age. He became comfortable scratching on a pair of 1200s and sampling records with an NPC in high school. After years of collecting records and working on his sound behind the scenes, he had compiled a huge discography of original songs – but he wasn’t sure how to share them. “I got pretty burnt out and I had to take a hiatus for a few years,” he explained. “There wasn’t much going on in the Cincinnati music scene, and it always felt like an uphill battle.” Then, on a casual bike ride with his wife through Loveland in 2015, Grimes came across a new record shop. “I heard some music playing and I saw a sign that read ‘funk/soul’ – I had to go in and see what these guys were all about.” He spoke with Terry Cole, co-owner of Colemine & Plaid Room Records. “It was a breath of fresh air to meet Terry. The interaction inspired me to start making records again.” A short time later, Grimes started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. “Doctor Bionic is a studio band of session musicians,” he shared. “The personnel changes on every record. It depends on the sound I’m going for.” For every record, the goal is to make timeless music. Grimes is responsible for writing, recording, producing, mixing, and releasing the records. Spiritual Conquest features several heavy hitters from the Cincinnati music scene. Brad Myers and Brandon Scott played guitar on a few tracks each. Marvin Hawkins laid down some live drums. The album offers a dynamic mix of instrumental hip-hop sounds. From punchy, head-bobbing beats to ethereal, floating piano lines, the mix offers a little something for everyone

Brontez Purnell has been making music since the ‘90s. The Southern-raised, Oakland-based American musician and writer has centered his queerness and Blackness in projects Gravy Train!!! and Younger Lovers as well as in his award-winning books ‘100 Boyfriends’ and ‘Since I Laid My Burden Down’. He is also a dancer, film maker and choreographer.
CRYSTAL CLEAR VINYL.
Hot on the heels of recent 7” singles for Sub Pop, PPM and his first solo electronic record ‘No Jack Swing’ (Dark Entries / Papi Juice), Brontez returns in DIY-punk band formation for a new album entitled ‘Confirmed Bachelor’, out Sept 15th on Upset The Rhythm. These twelve songs presented are of the no-time-wasted variety. Fuzzed-out pop songs, hotly delivered from the heart, often sassy, sometimes sappy, always snappy! Brontez’s band includes the multifaceted talents of Vice Cooler (who also produced and mixed the album), Sean Teves (of Younger Lovers) on drums, Kevin Preston (Prima Donna, Green Day) on guitar, Aaron Minton (Prima Donna) on piano and saxophone, and Laena Myers-Ionita on violin. The album was recorded in Los Angeles at The VCR earlier this year.
‘Bachelors Theme’ opens ‘Confirmed Bachelor’ and sets the scene perfectly with the heady, rush along swoon “That's when I heard the doctor singing to me, "Son; you got all those boys in love, I wish I knew what you were saying to them. Their storming castles are coming for you!” It’s a tour de force of bop and bravado. This is what the album does so well, it sweeps you off your feet first, making its lyrical disclosures all the more affecting.
‘Rude Life’ begins in lilting, measured contemplation. “You're the rudest boy I know, and I've a real rude life” confesses Brontez as the violin laces through his vocal. This is all shook up at the halfway mark though when the adrenaline kicks in and the drums pummel. ‘Sky Opens Up’ similarly dials up the tumbling, careening clamour and energy buzz. ‘Hellish Banger’ is more of slow dance meets grunge reverie. The album also boasts an amazing spiraling auto-tuned cover of The Amps ‘Bragging Party’. ‘No Cigarettes / Stay Monkey’ is pulse-grabbing rally of unadorned declarations split into two fleeting sketches.
‘Hey Boy’ and ‘Boy With Butterfly Wings’ are more reflective in intent, both yearning and unapologetically poetic. In fact the little details observed in the lyrics across the whole album are quietly elegiac; winter nights, electric bills, ticking clocks and many allusions to hauntings only lending pathos to the love-drunk / lovelorn axis of the record. ‘Confirmed Bachelor’ is a hot wonder, upbeat, witty and ever-lively only with a forlorn core, a resolute focus and defiant honesty. It’s a rare triumph, a record you can dance your Friday night away to, whilst the songs’ subtly work on your emotions from the inside out.
of it all. Jagged riffs, bubblegum bounce and Brontez’s vocal effortlessly racing to dizzying effect.

DEVO’s Hardcore documents the group’s beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of “devolved blues” that could hold its own alongside the beatnik groove of 15-60-75 (a.k.a. The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock ’n’ roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. It’s no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early DEVO sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and DEVO’s long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of “Mongoloid” and the spastic bounce and sputter of “Jocko Homo” (two anthems presented in their earlier and superior versions here). Cult favorites like “Mechanical Man” and “Auto-Modown” make Volume 1 essential listening. Superior Viaduct and Booji Boy Records are proud to present DEVO’s Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha’s stunning cover photography. As David Bowie said in 1977, DEVO is indeed “the band of the future.”

Das "Rock-Album" der Mountain Goats enthält 13 formidable Songs, die an so interessanten und unterschiedlichen Plätzen wie Fairbanks, Stockholm, Seattle, San Francisco oder Durham geschrieben wurden. Diese Vielfalt der Ortschaften spiegelt sich auch in der fesselnden Andersartigkeit der Songs wieder. John Darnielle fasziniert erneut mit intensiven Texten, die z.B. von Krimi-Autoren, dem letzten Sex mit der Freundin, einem See-Monster, Splatter-Filmen und vielen anderen Kuriositäten handeln. "Heretic Pride" entstand in Zusammenarbeit mit vielen guten alten Freunden von John, zu denen sich diesmal aber auch einige neue gesellten. Schon beinahe als feste Bandmitglieder fungieren Peter Hughes am Bass, John Wurster an den Drums, Franklin Bruno am Klavier und Erik Friedlander am Cello. Zudem steuerte St. Vincents Annie Clark einige bezaubernde Gitarrenchords und Backing Vocals bei.

Celebrating his 70th year in show business, Pat Boone, legendary singer, actor, songwriter, and author is reconnecting with his Nashville roots with a milestone country music project, Country Jubilee

Included in the 25 tracks are 5 Pat Boone Top 100 Country recordings, Boone's recordings of classic hits by Country legends, plus a new recording of the classic duet and Billboard #1 'You and I' (with featured guest artist Crystal Gayle), and Pat's new song, 'Grits' (with featured guest artists Ray Stevens, The Gatlin Brothers, Lorrie Morgan, Deborah Allen and Dean Miller), tailor-made for the line dancing crowd.

The Commemorative Edition 2CD format includes a 56- page booklet with 'The Story Behind the Song' (compiled by hit Country songwriter Frank Myers), 'I Remember Red' (influence of father-in-law and Country music pioneer and Grand Ole Opry co- founder Red Foley), lyrics, and archival and behind- the- scenes photographs.