Cerca:back 2 back

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun.

Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced post-punk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones.

Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

Freude am Tanzen is back for a very special occasion. In 2022, three Various Artists EPs will be released, celebrating the 24th anniversary of the label from Thuringia. Whilst occasions like this would
normally be celebrated on the quarter century, this release makes sense not only on the mathematical level. 3 compilations with 4 tracks provide the half of 24.
The release however also makes sense in terms of history. Freude am Tanzen is showcasing a broad range of electronic music, never neglecting their history but also looking into the future.
The second Edition of the Compilation features tracks from Caldera, Freund der Familie, Gathaspar and Front Left. The A-Side focusses on Dub-House. Calderas Track ‚30 Friends‘ gets a smooth yet groovy vibe across. Freund der Familie contributes a hypnotic production, which would suit well incorporated in a warm up or on the home speakers.
The flip side goes deeper into the minimalistic region of electronic music. Gathaspar has produced a trippy journey, featuring the vocals of Anna Partini. One for the morning hours on the dance floor.
Front Left praises the groove with his track ‚AM3N‘. Very playful and delicate and a lovely selection of percussion. Do not miss!5.

"Have you ever had this endless feeling of unconditional love for someone or music, between virtuality and reality, which seems to be eternal for your own heart... " — Nicolas Masseyeff French DJ and producer Nicolas Masseyeff shares his first album in almost a decade on Marc Romboy’s label Systematic. The release brims with lush tones, electronica-flecked rhythms and rich soundscapes, suitable for a club-based audience and home listening. Celebrated visual artist Yann Masseyeff—Nicolas’s brother—is responsible for the artwork of the release.
Raised on the French Riviera, Nicolas Masseyeff started out as a local record dealer before purchasing his own shop, Limelight, establishing it as the most respected vinyl haunt in the South of France. Pursuing music production full-time since the late noughties allowed Nicolas to follow his true path, shaping him into the multi-genre artist he is today. Having released on Herzblut Recordings, Systematic, KD Music, Mobilee and several other esteemed imprints, Nicolas has worked relentlessly to craft a sound that transcends house, electronica, downtempo and afro house. Collaborations with Kittin, Oxia and Parallelle wind throughout his back catalogue, as well as remixes for Frankyeffe, Pig&Dan, Nikola Gala, Hot Since 82 and many more besides.
Endless offers an insight into Nicolas’ spiralling world, detailing the artist’s lithe production skills and consideration when collaborating with other talents, like the interdisciplinary singer Kittin. The collection sums up where Nicolas is at now in his career—a storied producer who continues to evolve, sharing an aesthetic rich in melody while retaining a dance-driven flavour. It’s the kind of sound that comes with years of practice, patience and perseverance.

Here is the sound of momentum: Sarah Lee Langford and Will Stewart
roving together through the oldest tropes of country music and every
other genre
Here find rugged landscapes, whiskey barrooms, the same old bad luck and love.
And yet the nine-song romp delivers a hundred fresh takes.Langford and Stewart
are frequent collaborators. They perform here with friends Keelan Parrish (Vulture
Whale), Brian Gosdin (Dexateens), and Ford Boswell (Early James), as well as on
Langford's previous LP Two- Hearted Rounder (Cornelius Chapel Records). But
that album came out in 2019, back when we all lived on another planet. Their
latest full-length release together Bad Luck & Love resonates with all that we've
survived.
These are Birmingham, Alabama's hymns to the hard work of getting by, in
relationship and on stage. If exploration is a theme of Bad Luck & Love, the pedal
steel that makes the record so red-dirt earthy ends by taking us to outer space. "I
thank my lucky stars 'cause I think stars are lucky / Plus we're spinning around in
space, no place to lay our heads."

On November 18th, Rural Tapes is back with a follow-up to the highly acclaimed debut album "Rural Tapes" from 2021. A year and a half ago, Arne Kjelsrud Mathisen was declared a genius by Mojo, who described his music as a hybrid between Kraftwerk, Air, Tortoise and Serge Gainsbourg. While the debut album was created over a period of almost 10 years, the music on "Inner space music" has been composed and recorded during one intense month in January 2022 in Mathisens own studio in the countryside of Grimstad, Norway. Again, a number of high-profile musicians have left their mark on Rural Tapes' music, including The Dream Syndicate frontman Steve Wynn, PJ Harvey saxophonist Terry Edwards and REM guitarist Peter Buck and Scott McCaughey, both of whom are Mathisen's bandmates in the psychedelic jangle pop group The No Ones. ACCLAIM FOR RURAL TAPES: “A level of its very own” MOJO "Rural Tapes delights in the unexpected. At every turn, you encounter something new, something to be marvelled over. Kjelsrud Mathisen has said he wants this music to stand the test of time. It will." The Independent “A dreamy self-titled debut full of broad soundscapes... Melding smooth jazz with floaty puffs of synth, the album is both meditative and uplifting, the sort of soundtrack you might expect from a dream sequence in a 1970s film." GQ Magazine “From the first notes of this debut album from respected Norwegian producer Arne Kjelsrud Mathisen, you know you’re in for a treat. As Rural Tapes he makes rich, warm technicolour soundtracks… it really is delightful stuff.” Electronic Sound "This is an excellent debut album." Prog Magazine "Mathisen’s musical pedigree makes Rural Tapes an intriguing musical journey of an album that takes in pulsating Krautrock, neo-classical moods and dreamy, proggy pop, all formed through an intuitive composition process." Shindig Magazine

LP is black vinyl + LP3 insert for full album Download. Check out the first 18 or so seconds of “Can I Ride”, the title track on the first release by Polvo, the two-guitar juggernaut that represented the other side of Chapel Hill indie rock (more on that in a moment). That two-note riff, and the guitar twang that follows, recalls the opening notes on another monster song: “The Sprawl”, a key track on Sonic Youth's epochal Daydream Nation, an album released in October 1988, less than two years before Polvo formed. This compilation's nine tunes—the first seven from the Can I Ride double 7” EP (1990), the last two from the “Vibracobra” b/w “The Drill” 7” (1991) are not quite the sound of a torch being passed, but they were a sign that Sonic Youth's weird tunings, the hardcore punk and proto-indie rock on SST Records, and R.E.M.'s hazy rock (three big influences on this era of Polvo) were changing lives. Even back then, the impossibly catchy roar from Merge’s flagship act Superchunk was known to outsiders as the sound of Chapel Hill. But Polvo was something different from the same region. While the band never cottoned to the “math rock” tag (and it’s hard to disagree with them), there is no question that there was a distinct “how can we make guitar rock sound different from all the other guitar rock” vibe going on in the mid-Atlantic, from Richmond (math rock’s true home, don’t @ me) to the North Carolina Triangle over to Louisville and down almost to Atlanta. (If the Mastodon dudes aren’t down with Polvo, I’ll eat your shoe.) No, Polvo were their own brand of squall, not afraid of big hooks (“Leaf ”), odd tempos and textures (“Lull”) and rolling thunder (“Totemic”), and answers to the musical question, “What if the Feelies grew up on Dinosaur Jr.?” (“Tread on Me”). Indie rock? Not the 2022 kind. Math rock? Eh, not really. This was the sound of a new Southern rock, of a pre-internet guitar storm that looked at what came before and said, “What's next?” Track listing: Side A 1. Can I Ride 2. Leaf 3. Lull 4. Totemic 5. Tread on Me. Side B. 6. Teen Dream 7. Snake Fist Fighter 8. Vibracobra 9. The Drill

Omochi, (honorific “O” before mochi) in daily parlance is a rice cake, a dense glutinous product suited to many recipes, sweet or savoury. Stick one under the grill, watch it burst open, wrap it in crisp seaweed and dip it in soya sauce - a healthy snack, and a staple around Japanese New Year. Like everything, Omochi also has its dark side - each year it kills off a small section of the aged community, the gluey bolus a hard act to swallow - the unwary can quickly choke to death.

This Omochi is in fact Tadaki Matsunaga, of early 2000s Tokyo three piece Femini Flyers. The original Feminis were Tadaki (bass), Sachie (vocals) and Koji (drums) that was it, no guitars, no synths, Tadaki's bass being the rhythm and lead, and boy could he make it sing. Their 7” single Like You See / Masterbed was an early Ethbo release was the most requested track from Japan Blues’ Boiler Room Collections video - now pulled off the internet by The Powers That Be - since it was first aired, way back in 2014. Now the single trades for a collector's premium with those in the know. Since that recording, Omochi has built, and been working in, his home studio. The first release being his Ethbo 7” Devil, in 2019.

The follow-up is a roller-coaster ride, his own take on several genres in his forage bag, marinated to his own recipe. You'll hear his expert bass in amongst the fungii, some slick R'n'B guitar styling, several dollops of glitch-tronics, some falling-down-the-stairs drum'n'bass, a slice of kraut, Omochi's louche voice, and a spot of Sachie, the lead singer of the legendary Feminis.

This modern psychedelic omnibus, flying in the face of logic (an Ethbo template) was pressed by Omochi at Toyo Kasei, the last independent Japanese pressing plant, housed it in a tip on sleeve and shipped it to the UK, grill-ready for release. Itadakimasu!

A slice of Norwegian cultural history in album form – a unique
interpretation of traditional Norwegian Travellers' songs.Elias Akselsen,
Ola Kvernberg and Stian Carstensen take us on a journey through
Norwegian music history
The album's title, "Horta", means "authentic" in the language of the Travellers,
Romani. Elias Akselsen (74) is a member of the oldest generation who knew and
can remember the "authentic" life of the Travellers, and is today one of the
foremost representatives of the musical heritage of the Norwegian Travellers/
Roma. He was born on the road and learned to play and sing the traditional songs
while gathered around the bonfire with his relatives. He has a deep and inborn
appreciation of these songs. Musician/producer Stian Carstensen and musician/
arranger Ola Kvernberg join him in raising these old songs to a new level. With the
addition of guest artists Anita Kleppe and Sara Wilhelmsen, three voices from
three generations of Travellers meet one another. Together they have recorded
their unique interpretations of nine Travellers' songs, some known and some
unfamiliar, with the aim of preserving and carrying on the rich, but partly hidden,
cultural heritage of the Travellers, and of making it more widely accessible.
The musical tradition of the Travellers is vivid and complex, featuring elements
from a variety of countries and cultures – from broadside ballads and folk songs
to Russian folk tunes and Balkan rhythms. In many ways this music bears
witness to the way the Travellers drew musical inspiration from their travels. In
addition to the treasure trove of songs the Travellers have kept alive, they have
also had a strong influence on Norwegian folk music. Many traditional fiddle
tunes that are well known today can be traced back to the Traveller fiddler FantKarl, and one of Norway's most famous fiddlers, Myllarguten, often learned tunes
from Travellers passing by.
This is the Norwegian equivalent of blues and soul, and has at least as much
authenticity as the American genres we know so well. But it belongs to us
Norwegians, and to the Norwegian landscape, nature and people. Today Akselsen
is the leading practitioner of the musical heritage of the Norwegian Travellers/
Roma. He was born on the road, with genuine Travellers on both sides of his
family; he was the great-grandchild of the "Traveller king" Stor-Johan on one side,
and of "sea vagabonds" in Bergen on the other. Today he is the last remaining
representative of the original song tradition, and also practises traditional
handicrafts, making knives and whisks.
The album was produced by Skøyerstaten Teater, a voluntary organisation that
works to present the cultural treasure trove of the Travellers/Roma in an artistic
form

Moundrag members Camille and Colin from Paimpol, Brittany are giving a
new life to the 'hardprog' sub-genre
Camille plays Hammond organ, Colin plays drums, and both of them sing.
Moundrag clearly shows that you don't need a guitar to make rock music. They
have everything to have a massive and powerful sound: the Hammond organ
sound wrecks everything in its path like hurricanes, the drums rumble like a
storm, the vocals are dubbed, harmonized, highlighted, in that vintage rock style
that has been enjoying a revival for the last few years.
From their instruments to their look, everything is vintage, except them. However,
they seem to have come straight from a 1970s psychedelic trip! In any case, they
didn't forget to bring back the wild energy of the bands of that time to compose
their own music. Bold tracks with lacerating riffs, which evoke ELP, Atomic
Rooster and Deep Purple while adding their personal touch.
'Hic Sunt Moundrages' is the result of a journey where music, imagination and
visuals unite as one, transporting you into a transcendent universe.

Humour live together in Glasgow and formed in lockdown
The music is intended mostly to be a backdrop to Andreas' lyrics, which are a
mixed bag. We hope that each song looks the way that it sounds. Our musical
influences don't shed much light on the project – we don't listen to much postpunk although we all quite like it. We listen to stuff with good lyrics and stuff that
makes you feel sad.

Secret Affair recorded live at the O2 Academy Islington London on the
23rd October 2010
Line up:
Ian Page - Vocals
David Cairns - Guitars, backing vocals
Martyn Blagden - Trumpet
Steve Rinaldi - Trombone
Andy Brush - Saxophone
Bryn Barkham - Hammond organ
Sean Kelly - Bass
Russ Baxter - Drums
Advertising in Record Collector and Shindig

Stripped down versions of tracks from Flicker. “On my debut solo album The View From Halfway Down I did all of my promotion via Zoom and pre-recorded interviews and acoustic sessions,” explains Andy of the EP. “I enjoyed making the acoustic versions and decided to do some more for this album.” “‘Something Like Love’ is the most popular song from Flicker and one of the oldest, starting life in the ’90s. It’s probably the only one that dates back to the Ride era. "The riffs for ‘World Of Echo’ were written while I was on tour with Oasis, at the height of my La’s obsession. It went through a few iterations from then onwards, but never had a final melody until last year. ‘She Calls The Tune’ was the first song I wrote after I joined Oasis, ending a period of writers’ block which I had started going through some time in 1999. The very first performance of it was to an audience of Liam Gallagher, Gem Archer and Richard Ashcroft in a Milan hotel room. No pressure! I don’t think I ever saw this as an Oasis song, but I have them to thank for the fact that I was able to write songs again at all.” ‘Lifeline’ was another riff I came up with while on tour with Oasis. I remember being on a UK tour with Shack, and sitting around backstage on acoustics with Mick and John Head jamming around the Simon & Garfunkel version of ‘Scarborough Fair’. The riff for ‘Lifeline’ followed soon after. It was always called ‘Lifeline’ but I never found the right lyric for it until recently. A1 Something Like Love A2 World Of Echo B1 She Calls The Tune B2 Lifeline

“It was so great to see what came back when I gave these tracks from Flicker to various comrades, friends and heroes to play with,” says Andy. “They’ve given them a new technicolour life.” “David Holmes requested the opening track as he had formed a bit of a connection with it, and what he came up with turns the song into an hallucinogenic beast, taking pride of place here as the opening track but in a whole different way to how Flicker opens. “James Chapman AKA Maps has taken ‘It Gets Easier’ to a bigger, brighter and shinier place, he’s given quite a downbeat track a euphoric and epic sheen. James is an absolute master of electronic production and he’s taken the same care and attention over this remix as he does with his own wonderful music. “I couldn’t put Richard Norris’ lovely widescreen take on ‘Something Like Love’ better than the man himself – in his own words he found the ‘hitherto undiscovered sweet spot between ‘Roscoe’ and ‘Outdoor Miner’’ and he tapped into the melancholy euphoria at the core of the song. “bdrmm’s remix of ‘Way Of The World’ is one for headphones. There are so many great moments to love, all held together by a bassline worthy of Jah Wobble (by way of Andrew Weatherall). Astonishing!” A1 The Sky Without You (David Holmes Radical Mycology Remix) A2 It Gets Easier (Maps Remix)B1 Something Like Love (Richard Norris Remix) B2 Way Of The World (bdrmm Remix) Reworkings of songs from Flicker by David Holmes, Maps, Richard Norris and bdrmm.

Exclusive to INDIE STORES: Hiss and Shake Records to release ‘Logically Yours’ – a limited edition, 5 x LP boxset of 50 essential recordings from seminal post-punk icon Lora Logic including 2 classic Essential Logic albums, early single releases, EPs, B-sides, rarities, vinyl exclusives + first new Essential Logic studio album in 43 years! Includes the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) + ‘Pedigree Charm’ + 2 retrospective compilations of early single releases, EPs, B-sides, rarities + vinyl exclusives ‘Aerosol Burns & Other Misdemeanours’ + ‘No More Fiction’ + new studio album ‘Land of Kali’ (first in 43 years) + 20 page booklet with introduction from Celeste Bell + Lora Logic Q+A. Susan Whitby, aka Lora Logic was one of the most distinctive talents from the post-punk era known for her intoxicating, rough-around-the-edges, yet exhilarating sax playing and haywire vocal style. Her offbeat, occasionally arresting lyrics tackled alienation, sexism, poverty and urban isolation, and with a complete disregard for convention, she carved her own path not only in her short-lived music career but also personal life. She was still in her teens when she answered an ad in Melody Maker “Looking for young punks,” and in 1976, with her friend Marion Elliot (aka Poly Styrene), she formed the punk band X-Ray Spex and acquired the pseudonym, Lora Logic. The duo soon achieved notoriety with the irresistible feminist protest single, ‘Oh Bondage Up Yours’ (1977) – Logic arguably stealing the show with her thrilling punk sax. “X-Ray Spex was my first band, I happened to be accepted, It happened to work, I happened to get famous overnight. I’d been playing sax in a cupboard in my room; I thought I better do something.” However, just prior to recording 'Germ Free Adolescents' (1978), X-Ray Spex's debut album, she found herself unexpectedly ousted from the band. With abundant enthusiasm and encouragement from Geoff Travis, founding director of Rough Trade Records, she went on to form Essential Logic, creating some of the most liberating and exciting music of the early post-punk era, not only as Essential Logic, but also as a solo artist. Hiss and Shake Records are pleased to present a limited edition boxset of 50 essential recordings from the irresistibly engaging Lora Logic archive, allowing for a new generation to become aware of her incredible creative output. Across 5 LPs, ‘Logically Yours’ includes in their entirety, the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) (1979) – Essential Logic’s sole studio album, and Lora’s solo album, ‘Pedigree Charm’ (1982) – her last studio album before turning her back on the music business, sad and disillusioned and fighting drug addiction, which saw her turn to a Hare Krishna lifestyle, alongside Poly Styrene, embracing a fresh new chapter. This totally absorbing and definitive collection also includes two retrospective compilations; ‘Essential Logic – ‘Aerosol Burns & Other Misdemeanours’, which comprises early single releases, B-sides and oddities including the gloriously chaotic ‘Aerosol Burns’, the essential punk/disco ‘Music Is A Better Noise’, and ‘Fanfare In the Garden’, showcasing Lora at her most pop. In addition, ‘Essential Logic – ‘No More Fiction’; contains 10 vinyl exclusives, including ‘Do You Believe in Christmas?’, recorded with the Krishna Kids Choir in 1985, alongside tracks recorded circa 1997, with Martin Muscatt, Dave Farren (Bad Manners) and Gary Valentine (Blondie), forming the basis of what would have been Essential Logic’s third studio album, ‘No More Fiction’. Having recently returned to the studio refreshed and rejuvenated, ‘Logically Yours’ also includes ‘The Land of Kali’ (co-produced by Youth), the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Despite her short-lived career in the music business, Lora still managed to perform and appear on releases with many artists including US experimental rock band Red Crayola between 1978 and 1981, and also appeared on recordings by The Stranglers, The Raincoats, Kollaa Kestää, Dennis Bovell, Swell Maps and later, Boy George. Undoubtedly an iconic figure of the UK post-punk scene, Lora Logic’s boldness, adventurousness and sense of fun can be seen as an influence on numerous female artists today including Karen O from Yeah Yeah Yeahs, Peaches and St. Vincent among others. Tracklisting: Essential Logic ‘Beat Rhythm News (Waddle Ya Play?)’ (1979). A1 ‘Quality Crayon Wax OK’ A2 ‘The Order Form’ A3 ‘Shabby Abbott’ A4 ‘World Friction’ B1 ‘Wake Up’ B2 ‘Albert’ B3 ‘Alkaline Loaf in the Area’ B4 ‘Collecting Dust’ B5 ‘Pop Corn Boy (Waddle Ya Do?)’…… Lora Logic – ‘Pedigree Charm’ (1982). A1 ‘Brute Fury’ A2 ‘Horrible Party’ A3 ‘Stop Halt’ A4 ‘Wonderful Offer’ A5 ‘Martian Man’ B1 ‘Hiss and Shake’ B2 ‘Pedigree Charm’B3 ‘Rat Allé’ B4 ‘Crystal Gazing’…..Essential Logic – ‘Aerosol Burns & Other Misdemeanours’. A1 ‘Aerosol Burns’ (1978) – Debut single A2 ‘World Friction’ (1978) – ‘Aerosol Burns’ B-side A3 ‘Eugene’ (1981) – Single A4 ‘Tame the Neighbours’ (1981) – ‘Eugene’ B-side A5 ‘Music Is A Better Noise’ (1981) – Single A6 ‘Moontown’ (1981) – ‘Music Is A Better Noise’ B-side B1 ‘Fanfare In the Garden’ (1981) – Single B2 ‘Stereo’ (1982) – ‘Wonderful Offer’ single B-side B3 ‘Rather Than Repeat’ (1981) – ‘Wonderful Offer’ single B-side B4 ‘The Captain’ (1979) – ‘Fanfare In The Garden’ B-side B5 ‘Soul’ (1983) – Previously unreleased on vinyl B6 ‘Stay High’ – Previously unreleased on vinyl….. Essential Logic – ‘No More Fiction’. A1 ‘Essential Logic’ (1991) – Vinyl exclusive A2 ‘On The Internet’ (1998) – Vinyl exclusive A3 ‘Under The Great City’ (1997) – Vinyl exclusive A4 ‘No More Fiction’ (1998) – Vinyl exclusive A5 ‘Love Eternal’ (1997) – Vinyl exclusive B1 ‘Barbie Be Happy’ (1998) – Vinyl exclusive B2 ‘Not Me’ (1998) – Vinyl exclusive B3 ‘The Beautiful and the Damned’ (1997) – Vinyl exclusive B4 ‘Marika’ (1997) – Vinyl exclusive B5 ‘Do You Believe in Christmas?’ (1985) with the Krishna Kids Choir – Vinyl exclusive……Essential Logic – ‘Land of Kali’ (2022). A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

Genre : Indie / Pop-folk The New Yorker Adam Green’s 11th and latest solo album, That Fucking Feeling, continues his musical explorations with longtime collaborators Loren Humphrey, James Richardson (MGMT), and Jesse Kotansky. The album places large-scale 'Wall of Sound' style productions alongside home-recordings done during COVID quarantine. Adam Green was touring in Europe in 2022 spring, and will tour in USA in November. When talking about the title track, Adam says: “I wanted to release something home-recorded. Back in the Moldy Peaches days I used to record everything on my parent’s kitchen table, but it’s been 20 years since I put out something like that. I wrote a few songs in quarantine singing into my laptop, and I like how direct it feels. Not every song has to be big, this is just a little song that felt like a sweet moment captured. I think of myself as a singing man, maybe that’s how I’m most comfortable in life” Tracklist : 1. Black Out / 2. That Fucking Feeling / 3. Red Copper Room / 4.Bitter Hearts / 5. All Hell Breaks Loose / 6. What's her face / 7. Dreidels of Fire / 8. Black Out (accoustic) / 9. What's her Face (accoustic) / 10. Little Failure

After the relative success of The Bitter Springs' last album, The Odd Shower, Simon Rivers promptly disbanded the long-running group and began recording his first solo album, Like Yer Wounds Too, under the name Poor Performer. As Jim Wirth wrote of a recent Bitter Springs reissue, "Weaving the messy threads of suburban life into dense tapestries, he has something of the Go-Betweens' gift for melody, something of Mark E Smith’s ear for language, something of Vic Godard’s common touch, and almost none of the acclaim that should have been his due." This holds true for Poor Performer's debut album, though the songs seem based around a loose concept of issues dealing with middle-age self-reflection . . . though nothing nearly as navel-gazing as that statement might imply! Rivers: "For as long as I can remember, I've been either making records or planning to make them. But for once, this is a record I didn't really plan to make. The strange circumstances of the Covid lockdown led to its coming together. I'd lost my Dad to a demential-related death, retired from work due to mental stress, and was shielded for seven months . . . I took my banjo, my Dad's Yamaha keyboard and a few of my guitars, and booked a month of studio days at One Cat with the brilliant Jon Clayton at the controls . . . after a week or so of recording backing tracks, Jon said, "I think 57 songs is a bit ambitious, Si", so together made the decisions that shaped this record and its accompanying EP." With 7" 45s now nearly as expensive to make as a full vinyl LP, a decision was made to include likely contenders on a bonus CD EP, which certainly rivals the album in quality and perhaps generally exceeds it in immediacy, but Like Yer Wounds Too is more of a grower than anything yet released by Tiny Global Productions, and one of the releases we're most proud to present to the public. Humour, insight and brilliance abound. Album tracks: Golden London Leaves / Kempton Park / Life U Chose / Hard To Be Happy / Lil' Bro / Sleepy Little Town / No Escape From Me And You / Right As Rain / The Point / Our Souls / The Frog's Tale / Can You Whistle? / Something's Gonna Kill Ya ep tracks: The World Has Had Enough / 2 Hard 2B Happy / For A While / Get Up Them Stairs / Daylight Robbery

In 1998 The Wave Pictures started carving out their own path in search of the lost essence of British Indie, since their acclaimed “Instant Coffee Baby” -nominated for The Guardian New Album Award and present in many lists of the best albums of the last 15 years– , until the most recent “When The Purple Emperor Spreads His Wings”, always giving their best in countless electrifying performances. Now The Wave Pictures are once again allied with Acuarela to release an exclusive double 7” with five songs (one, “French Cricket” included on their new album and the other four totally exclusive) and show that they are still an indie rock band without indie rock influences, a trio with its own style that doesn't want to be a blues group, but with blues –and soul, and country, and folk-, as the invisible core of everything they do. The Wave Pictures began their career in 1998. Since then the British trio hasn't stopped: at the frenetic pace of their concert schedule, they add a stakhanovist record production, which advances at the rate of almost one album per year. Example: “Great Big Flamingo Burning Moon”, which came out in February 2015, was already their thirteenth official LP (without forgetting that they have also released a large number of singles, EPs, rarities and unofficial material). But it is that in February 2016 the fourteenth album, “A Season In Hull” was released -which they recorded with a single microphone and only released on vinyl-, and in November of that same year its successor, “Bamboo Diner In The Rain” came out. In June 2018 they returned to the fray with another LP, “Brushes With Happiness”, and that November also dropped “Look Inside Your Heart”. The pandemic has made them slow down a little bit until May 2022 when they finally returned with "When The Purple Emperor Spreads His Wings". “When The Purple Emperor Spreads His Wings” is a double album dedicated to the cycle of life and in which each of its four sides (in the old fashioned way) is focused on one of the seasons of the year. The title refers to spring and its splendor. The result is pop in the style of The Wave Pictures, with all the essence of the band: those intense guitar solos by Dave, his acoustic plucking, the solid writing… in addition to the mandolin, the bluesy harmonica...you name it! All the band members, David Tattersall (vocals, guitar), Franic Rozycki (bass) and Jonny “Huddersfield” Helm (drums), are avid fans of rock'n'roll, classic country, 70s rock, soul and folk, and this album celebrates with joy all those musical loves of them, some rediscovered in recent times. Moreover, they have pointed out that Guided By Voices have also been a great source of inspiration on this recording, as well as re-listening to Sun Records’ rockabilly, African guitar records, the more country side of Neil Young, the crazy fun of The Who and some moments from The Yardbirds. The Wave Pictures are still playing what Modern Lovers did back in the day -and then Herman Dune or Hefner-, only they play it as if Rory Gallagher was their lead guitar. With the lo-fi pop-rock label as an amicable stigma, they never deny the maxim that places attitude before technique and they are always vaccinated against fashion. Years go by and they are still the same sly alley-cats, only sounding more and more classic. Tracklist: 1. French Cricket/ 2. From A Buick 6/ 3. Porcupines/ 4. Rufus Thomas/ 5. Cincinatti Flow Rag

On El Ten Eleven’s These Promises Are Being Videotaped (2008) the Los Angeles post-rock duo pays tribute to bassist Kristian Dunn’s obsession with his hometown’s underground dance scene. Eight songs of electronic glitching (“Jumping Frenchmen of Maine”), explosive drum soloing (“Fat Gym Riot”), and blistering rhythms (“K10”). Back in print on Amber Vinyl. Track Listing: Jumping Frenchmen of Maine / I Like Van Halen Because My Sister / Says They Are Cool / Fat Gym Riot / Adam and Nathan Totally Kick Ass / K10 Paranoid Android / Chino / Numb Tooth

. It's 2021 and Vancouver’s Bootlicker are back with their first full length. Experimenting with various lineups and sounds since 2017, these 14 original tracks flesh out their most realized expression. Following four EP’s and two demos, their self-titled debut stays true to the noise cultivated in the previous offerings. That raw, blown-out production countered with clean guitar sound and Internationally-informed take on a UK82 delivery remains. Everything that made the band what they were on their previous output is polished into a ball of fire that will not be contained. Their mid-tempo, menacing posture of tracks like "Herd The Sheep" and "State Of Fever" give way to the D-beat totality of "Master" or "Two Faced" proving there are still ideas in the tank. There won’t be much left but scorched earth by the time it comes to rest. FFO: Mau Maus, Discharge, SSD. Every copy of this LP comes with 16 page zine-style lyric insert full of illustrations by band member and visual artist Athena.

Jetzt auch als VINYL! 180 Gramm und fettes Artwork. Auf dem Planeten Dub haben Dubblestandart mit mittlerweile zehn Alben bereits einen eigenen Krater hinterlassen. Gegründet Ende der Achtziger unter dem Eindruck von Lee Perrys einzigartigen Black Ark-Produktionen und Adrian Sherwoods radikalen Mixmanövern auf On-U-Sound, hat die bewährte und begehrte Backing Band (Ari Up, Lee "Scratch" Perry, Dillinger, Lilian Allen, Top Cat), um Paul Zasky den jamaikanischen Produktionstechniken ihr eigenes, europäisches Gesicht gegeben: bassbasiert, New Wave-infomiert, mixtechnisch auf dem neusten Stand und versiert im Seiltanz zwischen digitalem Wumms und analoger Wärme, wortlos vermittelnd zwischen Patois und Schmäh. Mit dem elften Album krönen sie ihre Karriere mit einer Serie Aufsehen erregender Kollaborationen (u.a. Lee "Scratch" Perry, Ari Up und Regiemeister David Lynch!) und einer in dieser Saison in Sachen Dichte, Fülle, Tiefe und Schwere ihresgleichen sucht. Aufgenommen wurde in Kingston, der Bronx und im heimatlichen Studio in Wien.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

repress!

ØEN Records is back with a special two track EP from up and coming Copenhagen based producer Fruit. Originally from Iceland, but based in Denmark Fruit has been making waves in the Copenhagen club scene with his eloquent DJ and live-sets. Following up his acclaimed 2019 Drømmeland EP for Coastal Haze he is finally back with two epic, fast-paced and euphoric tracks to light up the summer dance floors.

Drawing inspiration from myths and legends and particularly the Epic of Gilgamesh – a 4000 year old poem from ancient Mesopotamia – “Gilgamesh” is a hypnotic and trancey trip destined for the peak hours of the post-corona parties.

Created during the peak of the pandemic on an old half broken borrowed MacBook, the two distinct but kindred tracks are testament to Fruits unique production style, effortlessly navigating between euphoric fast-paced house, ambient soundcapes, hypnotic percussion and haunting atmospheres. Skillfully crafted and executed “Gilgamesh” is primed for both floor and mind.

Especial Specials and Chillmountain Recordings present the 2nd EP in the Enjoy Your Self EP, diving deeper into the Osaka based labels music to showcase their roster in detail.

The EP starts with label head, Ground's mesmerising Beatdown meets Trance inducing Utau Narukoyuri. A slow burning, late night trip out for deep parties or 'afters'.

Next, Especial 'favourite' Akio Nagase appears for the first time in the series with the heavy, tribal percussives of Arauma (Kobato Dub). The original link between the Chillmountain and Especial, Akio's name is on the rise and here the heavyweight dub basslines and ethereal, new age flute is perfect for late night dark room, psychedelic adventures.

The label's collaborative approach shines as Equador duo Josefina Gandara and Juan Diego Illescas are welcomed. Members of electronic cumbia project, Categal, his backgrounds in film and sound composition, sound design and visual media, highlights Illescas' mastery of the conscious sounds of the pueblos, working with Ground's dub minimalism, all elevated with the awe and lanquitidy of Gandara's natural vocals.

To end Akira Arasawa returns, here with Kun and Franky-Ch, and a meandering Balearic journey of hazy beats, guitar, Hoomii (Mongolian) throat singing, found sound, bird song and folkloric strings, beautifully together for the perfect come down.

The ever wonderful Politics Of Dancing come with four remixes of label stalwart Tommy Vicari Jnr jumping, pumping house stormer 'Look I Your Eyes', each carefully crafted to cover slightly different areas of the dancefloor. The Silverlining Night dub remix takes pride of placer on side A, a mix of two halves for sure - it starts of all full pelt, adds a subtle layer of disco-style strings and then drops to a dramatic breakdown before re-building brick by brick. Josh Baker's version has a slightly 80s feel with its mechanised handclaps and swooping synths wrapped in echoey vocals, the Lowris mix is arguably the most no nonsense, straight ahead thumper and then we're left to luxuriate in the sumptuous ooze of Cosenza's dub house re-reub, taking us all the way back to the days of Guerrilla at their h=eight. Capital!

It's coming home, it's coming home - house music is coming home! A second instalment of the Groove Access: series Chicago Is Home offers us five fresh tracks from the windy city landing in a glorious cavalcade of razor edged snares and hypnotic jack house. Ed Nine & Kid Enigma's 'Bandleaders' opens side one in spectacular fashion with spoken mantras lying deep in the mix, distinctive phasing arpeggios, poking keyboard riffs and ringing cymbals. JSquare's 'Get Wicked' kicks with even more power, tribal rhythms bouncing of bleepy melodies, before 'Move' by Geto Mark rounds off the side with the strutting, beautifully brutal 'Move', a proper 3AM peak time pleaser. Steve Noah's 'The Hater' opens side two, a wily acid line worming its way across a raw, stripped down backing before exploding into serious gnarliness when you least expect it. AFTR's 'Undercover' rounds things off with another knuckle duster of a tune, leaving no doubt that Chicago is still the place to be when it comes to house.

Broken Bells are back with their third full length album, INTO THE BLUE. Featuring two of the bigger names in indie and alternative music -- the Shins' singer/guitarist James Mercer and producer/multi-instrumentalist Brian Burton, aka Danger Mouse -- Broken Bells combined the pair's greatest strengths. On 2010's Grammy-nominated self-titled debut and 2014's more structured After the Disco, Mercer's gift for indelible, slightly spooky melodies and Burton's atmospheric productions complemented each other perfectly. In the late 2010s, the duo reconvened to release a succession of singles ahead of their third album. Mercer and Burton were inspired to collaborate when they met at 2004's Roskilde music festival in Denmark, where they discovered they were fans of each other's work. However, they didn't start writing and recording together as a band until March 2008, when Mercer holed up in Burton's home studio in Los Angeles. They took a different approach to working together than with their other projects: Burton avoided the sample-heavy style he used on The Grey Album and Beck's Modern Guilt, and played only live instruments; Mercer broadened his vocal style to include falsettos and deeper registers. Mercer and Burton made their official debut as Broken Bells in 2009, releasing their debut single, "The High Road," late that year. Their self-titled debut album came out in March 2010; it reached number seven on the Billboard 200 Albums chart and was nominated for a Best Alternative Album award at the 2011 Grammy Awards.

The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!

• Formed by drummer Bill Curtis in 1970, the Fatback band started off as a funk band although when disco began to break in 1974, they added that four-to-the-floor wrinkle to their sound to serve up some classics. In 1975 Fatback released both their fifth and sixth albums - “Yum Yum” and “Raising Hell” - in the same year. Although singles had been released Stateside as early as 1971, it was not until 1975 that Fatback began to appear on singles here.

• Their third UK 7” – ‘Yum Yum (Gimme Some)’ - got to number 40 in the UK charts in August. Later in November, ‘Are You Ready (Do The Bus Stop)’ got to number 18, which helped propel the “Raising Hell” LP into the top 20. This album also spawned the Top 10 hit ‘Spanish Hustle’ in early 1976. Both “Yum Yum” and “Raising Hell” have been out of print on vinyl for decades. These new editions allow funky Fatback fans to drop the needle and get back into the groove.

Eddie Piller & Dean Rudland present Acid Jazz (Not Jazz)

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

Given the respective outputs of committed ambient explorers and sound designers zake (best known for releasing no less than five fine albums in 2019) and 36 (most recently seen on A Strangely Isolated Place with the superb album "Fade To Grey"), you'd expect this trip into aural deep space to be rather good. It is of course, with the four tracks mixing echoing sonic tones and drifting sound effects with slow-burn electronic melodies and the kind of immersive, sustained chords that were once the preserve of German maestro Pete Namlook. The third track in the suite, appropriately titled 'Stage 3', is little less than stunning, in part because of its grandiose, almost classical intent. No surprise to discover, then, that after a stretch of being out of print it's back via a reissue, this version being a limited clear vinyl edition.

Given the respective outputs of committed ambient explorers and sound designers zake (best known for releasing no less than five fine albums in 2019) and 36 (most recently seen on A Strangely Isolated Place with the superb album "Fade To Grey"), you'd expect this trip into aural deep space to be rather good. It is of course, with the four tracks mixing echoing sonic tones and drifting sound effects with slow-burn electronic melodies and the kind of immersive, sustained chords that were once the preserve of German maestro Pete Namlook. The third track in the suite, appropriately titled 'Stage 3', is little less than stunning, in part because of its grandiose, almost classical intent. No surprise to discover, then, that after a stretch of being out of print it's back via a reissue, this version being a limited clear vinyl edition.

Macadam Mambo launches another special LP to end the 2022 season, presenting the debut album of this Belgo-Italian aural freak show called « Sexo Y Fantasia ». A delicious record full of sun by aspect, dreamy, dubby and balearic in the tone, flavored and contrasted with little bits of darkness and tension in the background. As the name suggests it, the sexiness is in every note, the erotic male voice is floating all over it, surfing on waves of endless reverb and delay. Throughout being anchored with clear hints from the 80ties and 90ties, this 35 minutes oeuvre still keeps full modernity in its form. DJ-friendly, it’s also an excellent overall listening experience to enjoy from beginning to end while sipping a fancy cocktail somewhere out in a cosmic dreamland.

Don’t miss this joint, it might be one of the highlights of the year

FEAT J.C. -

Bordello A Parigi’s latest release brings together two heavyweights for something particularly special. Aroy Dee, founder of M>O>S Recordings, has been at the coalface of machine music for more than twenty years; Marco Antonio Spaventi, an exceptional composer with over a decade’s experience. The pair offered the tear-stained vocoder ballad of “Desire” two years back, now they return for “Sorrow.” Crisp rhythms and considered synth scales form the bedrock from which J.C.’s emotion wrung lyrics ensnare. A tale of lovelorn pain, a psychological journey of lamentations and mistakes, the track adopts the heartache of wave romance and contrasts it with clean musical lines. The “Space Dub” of the flip transforms those powerful lyrics to give space for brightness to enter. Cascading chords and sunlight break through as arpeggio quivers introduce vocoder vocals in this superb re-interpretation that balances warmth with frigid shades.

Fresh off the back of his highly acclaimed debut album on Astral Black, Footshooter returns to the WOLF Music pack following his ethereal remix of Velour last year, with an exquisite six track journey through his signature sound.

An amalgamation of genres, ideas and vibes blend seamlessly together throughout the record, showing a wealth of knowledge, alongside a production prowess to match. From the cinematic opener 'Welcome In' to the soulful, synth-laden broken beat of ‘Turning’ and 'Archetype 7' on the A side. Samples dance next to magical playing and programming, with hats tipped to legends of yester year whilst keeping things completely fresh at the same time.

Flip it for the B, where UK Funky feels mix with bumping house for the fresh to death, dress to impress 'Dojo'. Footshooter then dips the lights down low and and slows the tempo with the beatsy, piano shimmering brilliance of 'Angel(s)' and the eyes closed, soul healing sounds of 'Hold On'.

Six shots, no misses, Footshooter gets deep into the heart of what’s bubbling in London town right now.

Fresh off the back of their excellent ‘Meridian’ EP from Bristol’s Zobol, Melodize head to the cultural petri-dish of Berlin for a label debut from Micropacer.

The aptly titled lead track ‘Zeitgeist’ opens with its pulsing synths and analogue drums. Fragile melodies and pressurised hi-hats tailor the tempo as well to deliver iconic dancefloor emotions. Super-talent Vhyce allows the original melody to dance behind his pitched-down, growling bass synth to create the perfect alter ego.

On the flip, Seelenruhe creates a Summer-esque midtempo crowd-pleaser with its thick bass, oscillating synths and whip-cracking 808 stabs, all layered with guitar licks and distorted feedback. With added luft and cyber-vocals, Italian duo Marvin and Guy add their trademark glitter-drenched touch to create a glorious retro-future rework.

A collaborative melting-pot takes the form of a luminous, candy-coated rhapsody

Drivetrain (Detroit, USA) The Greatest (Hard Times Mix)
taking flavorful elements from his deep house original, this is a killer dose of thick-set, granular house-meets-techno; blissfully wrapped in plush, woozy, jazz-flecked overtones.

Motomitsu (Paris, FRANCE) - Bless
perfectly appointed, synthetic strings rise and fall; back-dropping deep, purling bass, anesthetic keys and distant, wraithlike vocals drifting in and out of view.

Jani Ho (MELBOURNE, AUSTRALIA) - Mono Charge
club weaponry delivering an exhilarating, full-throttle ride through a menagerie of ever-shifting layers, which themselves are in a constant state of leg-sweeping flux.

Owen Ni (ATHENS, USA) - Another Sunny Afternoon
a stratospheric, psyched-out house heater, fired up of aerial synthesizers, whisking off to beatific and unearthly sonic euphoria.