Cerca:back 2 back

High Quality Pressung,180g 2xLP, Gatefold, Black oder Transparent Red (exklusiv nur in Deutschland), Deluxe Digipak, glass-mastered CD. 2021: Perturbator is back. Smash Cyberpunk Hit Perturbator wurde als Gesicht des Dark Synthwave bekannt. Erinnerungen an John Carpenters "Die Klapperschlange", " Blade Runner", "Akira" oder "Ghost in the Shell", Einflüsse von Dark Wave, Dark Techno, EBM oder Nine Inch Nails. Fünf Jahre nach seinem letzten Album ist "Lustful Sacraments" sein dunkelstes Meisterwerk. Dunkelster Nihilismus, Science Fiction Welten, Soundtrack zum Untergang der Menschheit, eine dystopische Odyssee durch Acid Post-Punk und Goth-Clubs, ein Rausch von Hedonismus, Sucht und Wahnsinn. "Lustful sacraments" wird die letzte Veröffentlichung von James Kent auf Blood Music sein, das perfekte Schlussstatement einer legendären, langjährigen Zusammenarbeit. Zum neuen Album wird der komplette Backkatalog wieder verfügbar gemacht.

His last solo album for Beggars, Cascade came after a time of change for Peter Murphy. He had dissolved his longtime backing band and moved to Turkey with his family. After a year of soul-searching and re-discovery, the songs flowed. He said "It confirmed my belief that writing - like painting or any art form - comes from a very silent place that's not dependent on outside stimulus. It was like rediscovering the initial innocence and purity that's there when you join your first band." The album was written with Paul Statham and produced by Pascal Gabriel. It also contains guitar work by noted artist Michael Brook. The four bonus tracks added to Cascade are: Mercy Rain (production rough mix) Gliding Like A Whale (backing track) Sail on White (backing track) Wish (backing track)

When Fleetwood Mac released their first live album in December 1980, it captured the legendary band’s most iconic lineup on stage demonstrating the full scope of their collective, creative powers. Recorded mostly during the world tour for Tusk, Fleetwood Mac Live delivered a double-album’s worth of exhilarating performances that included massive hits like “Dreams” and “Go Your Own Way,” “Rhiannon,” and “Don’t Stop.”

Back in April, Rhino gave the band’s live debut a much-deserved encore with a new 3-CD/2-LP collection that features a remastered version of the original release plus more than an hour of unreleased live music recorded between 1977 and 1982. Following this, Rhino will make the newly remastered live album available as a double vinyl on 25th June 2021.


a a1. Monday Morning [3:55]
[b] a2. Say You Love Me [4:18]
[c] a3. Dreams [4:18]
[d] a4. Oh Well [3:44]
[e] a5. Over & Over [4:54]
[f] a6. Sara [7:23]
[g] a7. Not That Funny [9:04]
[h] a8. Never Going Back Again [4:13]
[i] a9. Landslide [4:55]
[j] b1. Fireflies [4:25]
[k] b2. Over My Head [3:37]
[l] b3. Rhiannon [7:43]
[m] b4. Don’t Let Me Down Again [3:57]
[n] b5. One More Night [3:43]
[o] b6. Go Your Own Way [5:44]
[p] b7. Don’t Stop [4:05]
[q] b8. I’m So Afraid [8:28]
[2:25]

With A Little Help From My Friends captures one special night on November 21, 2020 when Steve Lukather, Joseph Wil-liams and David Paich appeared with the new line-up of Toto for a global event originating from Los Angeles, CA. Join-ing Lukather, Williams and Paich for this next chapter in their indelible history are new band members bassist John Pierce (Huey Lewis and The News), drummer Robert "Sput" Searight (Ghost-Note / Snarky Puppy), and keyboardist / back-ground vocalist Steve Maggiora (Robert Jon & The Wreck). Keyboardist Dominique "Xavier" Taplin (Prince, Ghost-Note) and multi-instrumentalist / vocalist Warren Ham (Ringo Starr) segued over continuing their tenure in the ensemble. This marks the fifteenth incarnation of the Toto line-up in consideration of band members or sidemen who joined or exited.
The track listing features “Till The End,” “Hold The Line,” “Pamela,” “Kingdom of Desire,” “White Sister,” “You Are The Flower,” “I Won’t Hold You Back,” “Stop Loving You,” “Home Of The Brave,” “Rosanna,” and “With A Little Help From My Friends.” In the DVD and Blu-ray releases, a documentary is featured alongside the performance, featuring thoughts from all members of the band that appeared that evening.
Steve Lukather a.k.a. Luke shares, “When the music is performed by great musicians it honors TOTO. The documentary featured on the DVD and Blu-ray offers great insights in to our thoughts looking forward. David, who stands with us, alongside Joe and myself, desire to keep this music alive. And Paich could pop in any time for a show as a special surprise. When it came to plan this specific set list, we picked an eclectic group of songs for this one night only show.
The album will be released on June 25, 2021 on transparent 180 grams vinyl, CD+DVD and CD+Blu-ray.
The DVD is region-free, and playable worldwide. DVD audio track: PCM 2.0

Saint Petersburg-based Kuzma Palkin returns to GOST Zvuk with a new series, Memont. GOST has been expanding its presence for several years through sublabels Instrument and Archive, as well as releases from GOST family members on their own labels. Flaty's experiments can be found on the ANWO label, while OL has issued a number of releases through Asyncro. For Palkin, Memont represents a return to his roots. The artwork for the first release, stadion sever, features the original packaging of Moment universal superglue, something that will be familiar to every Russian who lived through the 1990s. The album is named after the eponymous stadium in Palkin's hometown of Severodvinsk, which is displayed on the back cover. Sever represented a kind of playing field in childhood, but has now come to stand in as a metaphor for daily life. The visual landscape of modern Russian life points back to Sever.

Musically, stadion sever is also a return to Palkin's roots. The echoes of early IDM that kickstarted his career in the beginning of the 2000s are on display here. While the music is thoughtful and attentive to detail, traces of irony can be identified among the seriousness, not least in the title of the series and the track synth1 power user. The same ironic touch makes its mark on the album's sound. Palkin borrows the recognizable textures of club music, but drastically modifies their context and transforms them into something altogether more thought-provoking and inscrutable. Palkin's unique sound and the beauty of his music can be found in the balance between retrospection and looking ahead, where austerity meets humour.

Gold Vinyl

Dope Plates is back with the second volume of its 'Dope On Plastic' various artist EP series.

Volume 2 sees debut appearances from London's Effra, Code 906 from Russia and Scale, Rainforest and Dreadmaul all representing Germany. Label boss Soul Intent also appears on the EP with his classic Good Looking Records tribute remix of Scape's hugely popular track 'Spirit World' which featured on DOPE005 back in 2018.

clear red vinyl

stranger is back on the grind presenting his first solo release in 4 years, traditionally delivering a double a-side release on the Perspektiv label! 90s influenced rave cuts from Rotterdam's finest. Highly essential!

Amsterdam producer Kaap steps forward on his own De Lichting imprint with three twisted jams of deep and playful techno. The passionate gearhead, known for his dubby takes on house and techno, started his Working Titles playground back in 2017 by running a niche cassette outlet Yield on the side. In late 2018 he merged into the prolific De Lichting collective and is a frequent guest on Indigo Aera's AEX series. After many years of hard work, Kaap's new solo EP is surfacing, and it's worth the wait. Over the course of three tracks, Kaap shows high levels of creativity. The first track 'Razor' is a bouncy bass wobbler, its rubbery acid lines and crispy percussion make it an ideal party starter. Title track 'Omen' reaches for deeper grounds, a deep and murky groover enlightened by tactical bleepy rhythms. Kaap's love for dub-techno triumphs on the lengthy b-side as a closer on this EP. With over ten minutes of hazy atmospheres and mesmerizing pads, it builds and builds towards the rolling fields of euphoria.

By 1991, the world’s most celebrated trumpeter could look back on five decades of musical evolution – his own, and that of the world around him. Miles Davis had found ways of marrying jazz with classical ideas, then later R&B, rock and funk, producing hybrid offspring that shaped the course of popular music and had come to define his legend. In 1985, he’d left Columbia after thirty years to sign to Warner Bros. Records, a label riding high with best-selling artists like Madonna, Van Halen and Prince, with whom he had a mutual admiration and friendship.

Miles Davis’s lifelong love for France is well-documented, and in July 1991, he became a Knight of their Legion of Honour. Davis received the award from French culture minister Jack Lang, who described him as: "The Picasso of jazz." A few days before, he played this electrifying set at the Vienne Jazz Festival with the Miles Davis Group. He passed away two months later in September 1991.

Miles Davis’ performance at Jazz a Vienne on July 1, 1991 became one of his final live performances before he passed away on September 28, 1991, and this previously unreleased set includes two songs written by Prince, “Penetration” and “Jailbait”. The package features liner notes from music historian, journalist, and producer Ashley Kahn, with art designed by Bruno Tilley.

RIYL MELVINS/GOATSNAKE/NEUROSIS/ASCEND

Asclepius comprises two long-form tracks, “Healing The Ouroboros” and ‘Dahlia Rides the Firebird’, the latter is based on an old traditional Greek tune. With some members majoring in classics/philosophy, music/composition and studying ethnomusicology - classic mythology has always been a key reference point for the themes of their music. That the new record is named after the god of healing and medicine and arriving at this moment in time is coincidence, as the band comments, “It felt like we needed healing even before this pandemic hit.”

The line-up on Asclepius represents the core of Iceburn through the early formative years. Iceburn, later the Iceburn Collective, initially existed from 1990 to 2001. Later reuniting in 2007 with this current lineup again at the core. The band's initial output slowly evolved from hardcore and metal to free improvisation and noise, The 10 year arc saw the band following their own path and becoming more and more obscure as they got deeper into unknown musical worlds. By 2000 the cycle seemed complete and Iceburn did their final tour in Europe 2001. In 2007 this early core crew reunited to play a local anniversary show focused on the earliest material. Every few years since they would get together for another 'reunion' until that word became more of a joke, it was clear the band was back, getting together every week, and working on new material.

ICEBURN LINE UP:

Joseph 'Chubba' Smith - drums, founding member of Iceburn from 1990-'93 then 2007-present
James Holder - guitar, was also a founding member from '90-'95 and '07 to present
Cache Tolman - bass, '91-97 off and on, and '07 to present
Gentry Densley - guitar and vocals, 1990 to present

Asclepius was recorded and engineered by Andy Patterson (SubRosa, INVDRS, Insect Ark, and The Otolith) a collaborator also for Gentry's other band's Eagle Twin and Ascend.

If Black Sabbath had been born and bred in an Ohio mobile home and raised on a steady diet of smoke and acid - the result would sound exactly like Mistreater
In 1981 the group independently recorded and released the “Hell’s Fire” album. Today the album is considered a US metal classic and is considered one of the strongest metal albums ever made by metal aficionados - original copies are hard to find and there’s a hefty price tag if you’re lucky enough to find a copy for sale. Mistreater are from Creston (population 2000) and were far outside everything and everybody associated with the “hip” music scene in Ohio. Mistreater either didn’t know or care about the scene in nearby Cleveland where bands like proto-punk rockers Electric Eels, Rocket From The Tombs and Styrenes made waves. Pere Ubu and Dead Boys sprang from these roots. The Pagans ruled the Cleveland area during the punk days. Earlier, The Choir, Raspberries and The James Gang were pivotal Cleveland bands. As local audiences were receptive, the city was a major stop-off for touring bands. Similarly, radio station WMMS also had open ears. Nowadays, The Rock & Roll Hall Of Fame is located in Cleveland. It goes on – Cleveland and its surroundings were happening. Mistreater was into none of this… Their music was by outsiders for outsiders. More brutal, raw and louder than everyone else. Rough-edged and without gloss, the Mistreater of Hell’s Fire was not aiming for the mainstream. The riffs are stoner hard knock-outs and the guitar leads are psyched out punches rooted in heavy psychedelia. Sweden’s On The Dole Records are proud to present the first ever reissue of “Hell’s Fire”. And in true OTD fashion no expenses were saved. The band was interviewed for the extensive liner notes, rare photos were found, the sound is remastered and carefully restored, and the non album single b-side “Baby Blue” is added as a bonus. This is a US metal / D.I.Y masterpiece that should be heard by everyone into hard, loud music and massive guitar riffs. It’s like Greg Sage of The Wipers had gone metal. It would have been the ultimate soundtrack to Tim Hunter’s “River’s Edge” movie with Dennis Hopper. Mistreater were young and had no contacts or knew ways to reach out with their music back then… Now the time has come for the resurrection of Mistreater. Mistreater is not in the nearby Rock’n’roll Hall Of Fame in Cleveland. But they should be. This OTD reissue goes to prove it.

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.

Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.

• The tracks from the group’s two 1984 EPs together on a swanky 10-inch vinyl LP. Inner bag features liner notes by Kris Needs incorporating new interviews with all three Delmonas and a series of great photos by Eugene Doyen.

• Sarah Crouch, Hilary Wilkins and Louise Baker started singing together as a unique spark of spontaneous magic inextricably linked to their boyfriends in the Milkshakes, then rocking a garage-punk antidote to shiny synth-pop and brash chart stars with a direct lifeline back to rock’n’roll’s original simplicity and wildness. After Billy Childish and Bruce Brand formed the Pop Rivets in 1978, the guys hooked up with Micky Hampshire and Russell Wilkins to found the Milkshakes. Sarah shared a student house with boyfriend Micky plus Billy. After she and Hilary, then dating Russell, sang backing vocals on the Milkshakes’ rollicking Beatles-translated take on the Shirelles’ ‘Boys’, Louise’s arrival turned them into a girl group pretty much by accident.

• “I loved the music the Milkshakes were playing,” Louise recalls. “Loved the small, intimate venues and most of the bands that played with them, especially the Prisoners. I’d gone with the Milkshakes to Belgium and was somehow persuaded to get up on stage and sing something. Next thing I knew, there was some kind of plan to get the three of us in the studio.” At first the three girls were called the Milk-boilers, renaming themselves the Delmonas by the time Ace Records’ Roger Armstrong and Ted Carroll suggested recording the EPs that furnish this collection. “I think we were asked to each think of three songs and turn up,” says Louise. “I mostly listened to music from the 60s: lots of girl groups, Irma Thomas, Dusty Springfield, Bo Diddley, Velvet Underground, Kinks. Bruce had the best record collection; Mel Tormé was in there somewhere and one of my faves. Sarah came up with doing the Doors cover.”

• ‘Comin’ Home Baby’ was written as an instrumental before Bob Dorough added lyrics and Mel Tormé recorded it in 1962. The Delmonas’ finger-clicking, noir-dynamic version kicked off their first EP with authentic-sounding 60s production resonance, iced with mysterioso organ. The Cookies scored a hit with Goffin & King’s ‘Chains’ in 1962, the Beatles’ version providing the Hamburg Star-Club template for the Delmonas’ energised rendition. The first EP, “The Delmonas Volume 1”, rounded off with two songs from the Childish-Hampshire songwriting partnership: ‘Woa’ Now’ and ‘He Tells Me He Loves Me’, the latter recalling the New York Dolls covering the Shangri-Las’ ‘Give Him A Great Big Kiss’, mainly because it has similar chords.

• “The Delmonas Volume 2” opened with Sarah’s idea of covering the Doors’ hit. “We thought, ‘How would the Kinks have played it?’” she affirms. ‘Hello, I Love You’ had got the Doors into hot water with the Kinks’ publishers for its resemblance to ‘All Day And All Of The Night’. The Delmonas home in and highlight that similarity, adding bonkers psychedelic drop and evocative new coda. Their surf-tinged version of the Milkshakes’ ‘I’m The One For You’ is followed by the swampy screaming of ‘Peter Gunn Locomotion’, a cover of a 1963 single by Freddie Starr in his pre-stand-up comedian days as singer with the Midnighters. The set closed with the sultry organ-led vamp of the Milkshakes’ ‘I Want You’, the nearest the Delmonas get to the slowies Sarah helpfully points out they referred to as “shag songs”.

• All these tracks would re-appear on their “Dangerous Charms” album, along with out-takes and recordings from a BBC session, before the original trio splintered, leaving Sarah and Hilary to return for further adventures as Ludella Black and Ida Red. The eight tracks here capture a moment when three fun-loving friends got to live out some musical fantasies and had a blast doing it. 37 years later, it sounds just as contagious.

Surfdog Records and Brian Setzer have announced that for the first time, Setzer’s classic 2003 album Nitro Burnin’ Funny Daddy will be issued on vinyl. It will be released on limited edition 180 gram, red transparent vinyl on 25th June 2021.
Only Brian Setzer could cut an album with more lyrical honesty and musical diversity than anything he's ever done and then title it Nitro Burnin' Funny Daddy. Not that the name is misleading; Nitro is in fact packed with explosive performances. There's more than enough volatile picking and singing to mark this as a highlight of a catalog already crowded with great albums he's delivered as leader of the history-making Stray Cats and on his own too.

But there's more: street-corner doo-wop, heartbreak balladry, a foot-stomp hoedown, several lyrics that will shock and stun longtime fans, and always, somewhere in the mix, the blues. Every track is distinctive, none sounds like any of the others, yet all of them are pure Setzer. And it's all compressed into a tight trio format -- Setzer and his big band colleagues, standup slap-bass powerhouse Johnny Hatton and rhythm dynamo Bernie Dresel on snare and cymbals -- whose sound evokes Les Paul, Junior Parker, and even Earl Scruggs as much as Louis Prima or Eddie Cochran.
Originally released in 2003, Nitro Burnin’ Funny Daddy was Brian Setzer’s eleventh solo album and when it was released he said it was the most personal record he had ever done. The album followed his big-band release Boogie Woogie Christmas from the previous year and saw him back to his rockabilly best, taking in doo-wop (“To Be Loved”), bluegrass (“When The Bells Don’t Chime”), rootsy-rock (“Don’t Trust A Woman (In A Black Cadillac)”) and going on a cinematic Wild-West romp (“Wild Wind”).

Celebrating the 50th Anniversary of Grateful Dead’s first album to be certified Gold, this 2021 Remaster pressed onto 180g Black vinyl features all newly remastered tracks, remastered by GRAMMY ® Award winning engineer, David Glasser with Plangent Process Speed Correction.

Originally released in 1971, this is the American rock band’s second live album, known by fans as Skull and Roses due to the iconic cover art. The album was originally released without a title after the band initially submitted the album name “Skull Fuck”, but the band, fans and almost everyone who knows the Grateful Dead fondly refers to the album as Skull and Roses.

The album was their first album to be certified Gold in the US by the RIAA and is their second best-selling album. Pressed here onto 180g black vinyl, this remaster transports the listener back to the Dead’s residency at The Fillmore East, New York and, as with the first release, features three tracks previously unreleased on the studio album, “Bertha, “Playing In The Band” and “Wharf Rat”.


[a] a1. Bertha (Live at The Fillmore East, New York, NY, April 27, 1971) [2021 Remaster]
[b] a2. Mama Tried (Live at The Fillmore East, New York, NY, April 26, 1971) [2021 Remaster]
[c] a3. Big Railroad Blues (Live at The Fillmore East, New York, NY, April 5, 1971) [2021 Remaster]
[d] a4. Playing in the Band (Live at The Fillmore East, New York, NY, April 6, 1971) [2021 Remaster]
[e] b1. The Other One (Live at The Fillmore East, New York, NY, April 28, 1971) [2021 Remaster]
[f] c1. Me & My Uncle (Live at The Fillmore East, New York, NY, April 29, 1971) [2021 Remaster]
[g] c2. Big Boss Man (Live at The Fillmore East, New York, NY, April 26, 1971) [2021 Remaster]
[h] c3. Me & Bobby McGee (Live at The Fillmore East, New York, NY, April 27, 1971) [2021 Remaster]
[i] c4. Johnny B. Goode (Live at The Fillmore East, New York, NY, March 24, 1971) [2021 Remaster]
[j] d1. Wharf Rat (Live at The Fillmore East, New York, NY, April 26, 1971) [2021 Remaster]
[k] d2. Not Fade Away / Goin’ Down the Road Feeling Bad (Live at The Fillmore East, New York, NY, April 5, 1971) [2021 Remaster]

Motörhead in 1981 was a band of extremes; a flammable mix of non-stop celebration over their rising success and punishing graft, underscored by an inter-band powder-keg dynamic. After recording Ace Of Spades, it had shot to number four in the UK; the killer breakthrough after Overkill and Bomber had done essential groundwork, late 1980’s Ace Up Your Sleeve UK tour was a triumphant lap of honour that spilled into the recording of No Sleep ‘Til Hammersmith. The album took its title from an inscription painted on one of the trucks, referencing the 32 gigs they were playing with only two days off. The track listing ended up featuring three tracks from Ace Of Spades, five from Overkill, Bomber’s title track and two from their self-titled debut. Originally released on 27th June 1981, Lemmy is quoted as saying of it “I knew it’d be the live one that went best, because we’re really a live band. You can’t listen to a record and find out what we’re about. You’ve got to see us.” Upon release No Sleep ‘Til Hammersmith went straight to number one, their first and only in the UK and is still the most necessary live album of all time.

The No Sleep ‘Til Hammersmith album; brand new remaster created from the original tapes. Pressed on vinyl as a triple album in a 20 page bookpack and deluxe 24 page, 2CD mediabook. Includes a full live show from Newcastle released in its entirety for the first time. Recorded on the Short Sharp Pain In The Neck tour where the album was originally taken from.

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.

Tape

It might be easy to assume that the distinctly focused compositional voice unveiled on Rose Bolton's The Lost Clock is the product of its creator's rigorous, almost hermetic dedication to her own particular aesthetic universe. A quick survey of Bolton's artistic career, however, reveals that her carefully sculpted approach to abstract electronica has been forged through a longstanding engagement with a wide range of intertwining creative activities.

This album—coming out on Important Records' cassette imprint, Cassauna—demonstrates both the Toronto-based composer's unique mastery of colour and her gift for breathing a tactile, organic quality into synthetic landscapes. Bolton's distinctive sensibility is akin to that of a painter—every hue has been carefully mixed so as to imbue its accompanying gesture with its own life and personality. This tangible dimensionality her electronic work assumes, however, can be traced back to the work Bolton has been doing since the 1990's. She has produced a large and varied catalogue of work that includes pieces for solo performers, chamber ensembles, orchestra, electronics, voice, and to accompany installations and films. A number of her works reside in several of these zones simultaneously, such as Song of Extinction, an ambitious collaboration between herself, filmmaker Marc de Guerre, poet Don McKay, and multiple live ensembles, that was mounted in an abandoned power station for Toronto's Luminato Festival.

This quasi-instrumental vitality isn't the only feature of The Lost Clock that reflects Bolton's diverse artistic practice. It can also be heard within the structural realm. Each of the collection's four tracks trace a patient unfolding and favour a certain roundness of timbre, even as finer details begin to fidget along the perimeter of the music. As with her writing for the concert hall, Bolton doesn't shy away from the evocative here, yet she doesn't pursue this poignancy through conventional, direct or quasi-narrative means. Her compositions lead the listener gradually through their impressionistic sonic scenery, but neither the path they take nor their ultimate destination are at all predictable. The ostensible gentleness each piece exudes dissolves as dissonances slowly insinuate themselves, obscure textures writhe just out of earshot, percussive lattice work materializes, or as the overall blend begins to exert a heavier weight. Her lucid-dream vision of form functions in tandem with her acute micro-level attentiveness to engender a vivid and elusive soundworld that resists classification.

Over more than two decades Rose Bolton has been garnering acclaim and enthusiasm from audiences and major collaborators alike. Last year, her brooding string quartet The Coming Of Sobs was nominated for Classical Composition of the Year at the JUNO Awards, following earlier accolades such as SOCAN Awards for Young Composers, and the Canadian Music Centre's Norman Burgess Fund. Her music has been commissioned by the likes of the CBC, stalwart experimental music festival the Sound Symposium, as well as key interpreters and ensembles such as percussionist David Schotzko, accordionist Joseph Petric the Esprit Orchestra, Continuum, Arraymusic, the Kitchener-Waterloo Symphony, and guitar quartet Instruments of Happiness (led by Tim Brady). Together with Marc de Guerre, she produced an 8-speaker sound and video installation for Toronto's Nuit Blanche Festival. She's also been featured by the likes of revered pianist Eve Egoyan, The Vancouver Symphony, L'ensemble contemporain de Montréal, The Music Gallery, and AKOUSMA, while appearing in concert alongside the likes of Jerusalem in My Heart (Constellation Records), Tanya Tagaq, and Francis Dhomont. Bolton is also a respected film composer, notably contributing music to the highly regarded documentary Anthropocene: The Human Epoch (co-directed by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky).

As a performer, she variously employs electronics, violin, and viola. Parallel to her engagement with exploratory approaches, she's invested in the fiddle traditions of the British Isles, and various Canadian regions. She teaches this repertoire at the Royal Conservatory of Music. Bolton has also performed with Rhys Chatham, Owen Pallett, opened for Charlemagne Palestine, and appears on recordings by the likes of Chatham and Aidan Baker. In 1999 she joined the Canadian Electronic Ensemble, whose fifty-years together make them the world's longest-running live-electronic music group. In February 2020, the CEE held a residency and provided guest lectures at Carnegie Mellon University's music department. Bolton has also led workshops at the Banff Centre, also founded the SOCAN/ Moog Audio-sponsored program EQ: Women in Electronic Music, which worked to foster community and mentorship among (trans/cis) women and non-binary individuals.

 Eight years passes like nothing for Birds of Maya. Their fourth
album kicks out the Philly jams with every bit as much fervour
as their earlier releases - in fact, as it was recorded in 2014, it
kind of is one of their earlier releases.
 A long era of dull ringing and nothing else in our ears is over.
Once again, winds of warm guitar and humid thunderheads of
bass and toms rumble all around. With ‘Valdez’, Birds of Maya
are back in flight. And like the first song title explicitly states, this
latest is a soaring blast of riffers, rife with punk rock abandon,
sludge, treble, distortion, neck-throttling rock ‘n’ roll solos,
pummelling drums and bass and half-shouted/half-gargled
vocals, all of it half on and half off the mic.
 ‘Valdez’ was recorded in 2014 at Black Dirt Studios in otherstate New York. After a Purling Hiss session there, Birds of
Maya got a bunch of tunes they liked into shape - that is,
different shapes on different days. But nice shapes. Once they
got to the studio, they loaded in and set up, curious to see how
they felt playing in a different room. Pretty good as it turned out
- running through the songs that first night, they accidentally
recorded the whole album. Then they finished up the next day,
mostly. Trading the crushed harmonics of their basement tapes
for studio-grade mics, overdubs in the mix and only slightly lessbruised harmonics, their roiling essence not only survives but
thrives, non-stop, on ‘Valdez’, stuttering, screaming and
stomping through six circuitous numbers.
 At the time this was recorded, Birds of Maya were standing on
the other side of ten years kicking around town, suddenly far
away from the primordial ooze they’d flopped forth from. The
streets where all this had happened on were changing, with new
money rolling in, but they were the same old Birds, content with
their libations and ear-splitting variations on old favourite
Stooges chords. The cover art of Valdez is a couple of images
from those days, glimpses at the old grass roots before they
were ripped up by developers to build condos. But nothing ever
really goes away. ‘Valdez’ is a totem of the wildness that refuses
be tamed

Chuck Moore’s debut as Cartalk, Pass Like Pollen, is an album about holding on to what you’ve had and have—charting an emotional path for moving forward, while understanding the im-portance of looking back. Merging the loud, grungy guitars of classic indie rock and emo with country-esque songwriting and Moore’s undeniably affecting punch of a voice, Pass Like Pollen hits you hard immediately and leaves a beautiful mark.

Pass Like Pollen arrives on the heels of the buzz-building sensation singles “Noonday Devil” and “Wrestling,” the latter of which was picked up by KEXP and resulted in a month-long residency earlier this year at the beloved and now-defunct L.A. music venue The Satellite. Thematically, Pass Like Pollen is a breakup album—a rumination on peering inward, taking stock in what you find and learning to embrace what you have in spite of so much loss. These complicated emo-tions are accompanied by a kaleidoscopic array of sounds rooted in rock and country music, every sonic shade complimenting the intricacies of Moore’s ex¬pressive lyricism; whether they’re cranking up the guitars on slow-burning racers like “Noonday Devil” or zooming in to close-mic’d effect on the intimate “Something or Nothing,” every single emotive beat on Pass Like Pollen rings true.

Phobophobes new album Modern Medicine follows the band’s critically acclaimed debut album Miniature World, released 2018 via Ra Ra Rok Records, which received the accolade of being 6Music’s ‘Album of the Day’ following heavy support from Lauren Laverne, Steve Lamacq and Iggy Pop. Press coverage was a who’s who of tastemakers clambering to define their undefinable sound ….”dark and dreamy” (DIY), “gothic” (Clash), “unique warped pop” (Best Fit); and live the band were invited to tour with Killing Joke including a date at London’s Roundhouse, and a headline slot at the Rise Stage at Green Man Festival.

All songs on Modern Medicine were written and arranged by Phobophobes** except ‘Hallow Body Boy’ which was written and arranged by Phobophobes and Jessica Winter. The album was produced by Phobophobes and recorded at El mirador Studios, Andalusia, Spain during the summer of 2018, mixed by Dave Emery at ‘Assault and Battery,’ and mastered by Nick Watson at Fluid Mastering.

**Phobophobes current line-up consists of original members Jamie Bardolph Taylor (guitar, vocals), Jack Hussey (guitar) and Chris Olivares Chandler (keyboard, vocals), alongside new members Daisy Smith (bass) & Lisa Martin (drums). Due to recent line-up changes the latter two musicians do not feature on Modern Medicine, instead credits include Nathan Ridley (drums/backing vocals) and Elliott Nash (lap steel/baritone guitar/keyboards/percussion), with additional appearances from Christo Mccracken (guitar/effects), Gamaliel Traynor (cello/violin) and Jessica Winter (keyboards on ‘Holly Body Boy’).

JP Harris has a secret: his name is actually “Squash.” Long before Harris
became a well regarded honky-tonker, he used his childhood nickname
while playing archaic “old-time” American tunes at underground fiddlers’
gatherings, engrossed in this punkish folk music world.
‘Don’t You Marry No Railroad Man’, his debut recording of traditional music
under the moniker JP Harris’ Dreadful Wind and Rain, features ten tracks spanning the breadth of American old-time repertoire. Harris wades between ancient ballads that traveled from the British Isles to Appalachia like “Barbry Ellen,” to droning banjo ditties such as Hobart Smith’s entrancing “Last Chance,”
here played on one of Harris’ coveted homemade banjos. Harris also works as a
serious carpenter which adds a unique authenticity to his versions of the classic
“House Carpenter” and lesser known “The Little Carpenter.”
Alongside Harris’ haunting vocals, the album prominently features the lowtuned fiddle and harmony singing of his longtime friend and Old Crow Medicine Show member Chance McCoy, who produced the record at his West Virginia studio in an old barn. On this sparse and arresting recording, Harris isn’t
mining his roots as a marketing pitch, he has the chops to back it up. In fact,
this collection of songs made him who he is today. Welcome home “Squash.”

The New Studio Album Of Epic Black Heavy Metal From The
Norwegian Legends
“Five heavy dinosaurs looking in wonder and bewilderment at the stars” Fenriz
With the highly revered Norwegians remaining ever-dedicated to the art of the
riff after 35 years of existence, Darkthrone return for album number nineteen
and a new dose of metallic godliness. On the back of 2019’s triumphant ‘Old
Star’ opus, the duo of Nocturno Culto & Fenriz present a 41-minute maelstrom
of Epic Black Heavy Metal across five sprawling compositions.
Organic and dynamic, the album is an exploration of the very finest vintage
metal and the best of doom, all delivered in the unmistakable Darkthrone style,
whilst also incorporating instruments such as the Moog to further expand upon
these soundscapes.
Eschewing the process of using their own Necrohell II studios - which has
served the band so well over the last 15 years - & welcoming a change of environment and the opportunity to experiment with new ideas, ‘Eternal Hails......’
was recorded at Chaka Khan Studio in Oslo, & engineered by Ole Ovstedal &
Silje H gevold, breathing new life into the sound while retaining the essence of
Darkthrone’s natural, raw feeling.
The cover artwork features the piece “Pluto and Charon” (1972), from renowned science fiction artist David A. Hardy; a hugely inspirational image for
both Fenriz & Nocturno Culto spanning several decades, and this also stands
as a symbolic link between the genre-bending styles apparent on Darkthrone’s
earliest works, to those same traits evident on ‘Eternal Hails......’.

Tape

The music on this album by Sofie Birch was originally created for the ASMR performance piece ‘Whisper Fold Brush’ in collaboration with SLØR Visual Performance / My Lambertsen. The album release version focuses on the music that was composed for the performance, while the ASMR sounds were moved to the background or are in some cases not present at all.

Produced by long-time friend Cate Le Bon, ‘Boy from Michigan’ is Grant’s most
autobiographical and melodic work to date. Grant stopped being a boy in Michigan aged
twelve, when his family moved to Denver, Colorado, shifting rust to bible belt, a further
vantage point to watch collective dreams unravel. Across 12 tracks, Grant lays out his
past for careful cross-examination.
In a decade of making records by himself, he has playfully experimented with mood,
texture and sound, all the better for actualizing the seriousness of his thoughts. At one
end of his musical rainbow he is the battle-scarred piano-man, at the other a robust
electronic auteur. ‘Boy from Michigan’ seamlessly marries both.
With Le Bon at the helm, Grant pared back his zingers, maximizing the emotional impact
of the melodies. A clarinet forms the bedrock of a song. One pre-chorus feels lifted from
vintage Human League. There is a saxophone solo.
‘Boy from Michigan’ ultimately swings between ambient and progressive, calm and livid.
The album’s narrative journey opens with Grant at his artistic prettiest, three songs drawn
from his pre-Denver life (the Michigan Trilogy, as Grant calls them): the title track, ‘The
Rusty Bull’ and ‘County Fair’. Each draws the listener in to a specific sense of place,
before untangling its significance with a rich cast-list of local characters, often symbolizing
the uncultivated faith of childhood.
Elsewhere, tracks like ‘Mike and Julie’ and ‘The Cruise Room’ offer an affecting plunge
deep into Grant’s late teenage years in Denver, while the midpoint of the album is
highlighted by ‘Best In Me’ and ‘Rhetorical Figure’, a pair of skittish, scholarly dance tunes
that build on the lineage of Grant’s electropop heroes, Devo.
Childhood as a horror narrative is the theme of ‘Dandy Star’, which observes a tiny Grant
watching the Mia Farrow horror movie ‘See No Evil’ on an old family TV set and finally, on
‘The Only Baby’, Grant removes his razor blade from a pocket to cleanly slit the throat of
Trump’s America, authoring a scathing epitaph to an era of acute national exposition.
Though he has lived in Iceland since 2011 - the same year he was also diagnosed HIVpositive - Grant spent his childhood and formative years in the US and maintains US
citizenship. Growing up, Grant was subjected to a deeply ingrained hatred of anyone
perceived as homosexual at school. Following the demise of his first band The Czars,
Grant left music entirely for over five years, only to achieve greater success as a solo
artist (his acclaimed 2015 solo LP ‘Grey Tickles, Black Pressure’ went Top Five in the
UK). Grant has sold out Royal Albert Hall, performed at Glastonbury, Latitude and more
and his song ‘Snug Snacks’ was featured on Pitchfork’s Songs That Define LGBTQ Pride.
BBC Radio 6 host Mary Anne Hobbs described Grant’s music: “Most songwriting, even if
it’s based on a true story ... is embellished in some way. But John's lyrics - they’re so true
they might as well be written in blood.”

Deluxe 2LP pressed on 140g black vinyl in inner sleeves with paintings by Gil Corral, 2
unique prints, 36-page photo booklet, pull out lyric sheet and digital download card, all
housed in a beautiful black velvet O-Card gatefold sleeve with Glitter Spark Eye.

Produced by long-time friend Cate Le Bon, ‘Boy from Michigan’ is Grant’s most
autobiographical and melodic work to date. Grant stopped being a boy in Michigan aged
twelve, when his family moved to Denver, Colorado, shifting rust to bible belt, a further
vantage point to watch collective dreams unravel. Across 12 tracks, Grant lays out his
past for careful cross-examination.
In a decade of making records by himself, he has playfully experimented with mood,
texture and sound, all the better for actualizing the seriousness of his thoughts. At one
end of his musical rainbow he is the battle-scarred piano-man, at the other a robust
electronic auteur. ‘Boy from Michigan’ seamlessly marries both.
With Le Bon at the helm, Grant pared back his zingers, maximizing the emotional impact
of the melodies. A clarinet forms the bedrock of a song. One pre-chorus feels lifted from
vintage Human League. There is a saxophone solo.
‘Boy from Michigan’ ultimately swings between ambient and progressive, calm and livid.
The album’s narrative journey opens with Grant at his artistic prettiest, three songs drawn
from his pre-Denver life (the Michigan Trilogy, as Grant calls them): the title track, ‘The
Rusty Bull’ and ‘County Fair’. Each draws the listener in to a specific sense of place,
before untangling its significance with a rich cast-list of local characters, often symbolizing
the uncultivated faith of childhood.
Elsewhere, tracks like ‘Mike and Julie’ and ‘The Cruise Room’ offer an affecting plunge
deep into Grant’s late teenage years in Denver, while the midpoint of the album is
highlighted by ‘Best In Me’ and ‘Rhetorical Figure’, a pair of skittish, scholarly dance tunes
that build on the lineage of Grant’s electropop heroes, Devo.
Childhood as a horror narrative is the theme of ‘Dandy Star’, which observes a tiny Grant
watching the Mia Farrow horror movie ‘See No Evil’ on an old family TV set and finally, on
‘The Only Baby’, Grant removes his razor blade from a pocket to cleanly slit the throat of
Trump’s America, authoring a scathing epitaph to an era of acute national exposition.
Though he has lived in Iceland since 2011 - the same year he was also diagnosed HIVpositive - Grant spent his childhood and formative years in the US and maintains US
citizenship. Growing up, Grant was subjected to a deeply ingrained hatred of anyone
perceived as homosexual at school. Following the demise of his first band The Czars,
Grant left music entirely for over five years, only to achieve greater success as a solo
artist (his acclaimed 2015 solo LP ‘Grey Tickles, Black Pressure’ went Top Five in the
UK). Grant has sold out Royal Albert Hall, performed at Glastonbury, Latitude and more
and his song ‘Snug Snacks’ was featured on Pitchfork’s Songs That Define LGBTQ Pride.
BBC Radio 6 host Mary Anne Hobbs described Grant’s music: “Most songwriting, even if
it’s based on a true story ... is embellished in some way. But John's lyrics - they’re so true
they might as well be written in blood.”

Deluxe 2LP pressed on 140g black vinyl in inner sleeves with paintings by Gil Corral, 2
unique prints, 36-page photo booklet, pull out lyric sheet and digital download card, all
housed in a beautiful black velvet O-Card gatefold sleeve with Glitter Spark Eye.

‘It Still Moves’’ 2021 repressing features remixed and
remastered audio pressed on two ‘golden smoke’ coloured LPs
and housed in a premium gatefold jacket. My Morning Jacket’s
reverb-drenched, landmark third studio album ‘It Still Moves’
boasts some of the great American rock music of our time.
Remastered by Bob Ludwig at Gateway Mastering in 2016,
each track has an increased strength and clarity while retaining
the album’s classic shimmering grandeur. Everything would shift
for My Morning Jacket after ‘It Still Moves’ - as the conclusion to
their initial trilogy of albums, it remains one of their most pivotal
and enduring releases.

Drug Store Romeos formed at college in nearby Farnborough when childhood friends Jonny (Gilbert) and Charlie (Henderson) pinned an ad about finding a bassist for their new band to the school’s notice board – Sarah (Downie) replied and quickly proved herself a better vocalist than either of them. The trio spent the subsequent 24 hours discussing their love of Stereolab over messenger and watching Portishead and Mild High Club videos in the college’s computer lab. The band soon cut their teeth playing live at college, at Guildford Boiler Room and Aldershot West End Centre, rather than the familiarly trodden paths in London although they did frequent Brixton Windmill as often as three times a week at one point; carrying all of their equipment back to Fleet by train as none of the band were old enough to drive. The 3am walk home from Fleet station, with amps and flight cases slung over their shoulder, would become a rite of passage; the quiet countryside influencing their hushed atmospheric sound and nocturnal aesthetics as much as their shared affection for Suburban Lawns, Broadcast, and Tom Tom Club. Lyrical abstractness / concrete meaning. Danceability / lyingdownability. Minimalism / fullness. Introspective melancholy / playfulness. Lo fi / hi fi. Drug Store Romeos play with the senses and flip the expectations, finding the sweet spot every time.

There is no single way that London trio Urne describe their sound, it all comes back to one thing: heavy. There are shades of Metallica, Mastodon, Alice In Chains in there, hopping between sludge, tech-metal, doom, hardcore and anything else with a weighty heart.  On their debut full-length, ‘Serpent & Spirit’, this is writ large as the work of one of the finest new bands in the British metal underground.  Featured on Metal Hammer’s ‘ones to watch 2021’ and ex-members of Hang The Bastard. Available on CD Mintpack & 140g 2LP Transparent orange vinyl.

Detroit artist Javonntte’s third album for Ten Lovers Music continues the theme set by the 2019 album No Rush and the 2020 album Runaway Galaxy. Flight 77 is full of summer jazz fusion grooves for the dancefloor now the world is getting back to something like normal. Javonnttes unmistakeable trademark sound runs through all the tracks on this album with Annette being a tribute to his mother who introduced him to jazz. Free Your Soul written by Caruso and Javonntte rounds off the album with a reprise by label boss Steve Conry.

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.

LTD GREEN VINYL

Where's Joao Donato? It's a frequently asked question, referring simultaneously to the physical location and the musical moment he inhabits. A sampling of some of his more descriptive song titles suggests Donato's comfort with musical hybrids: "Bluchanga," "Sambolero," and "Sambongo," to name just a few. Lacking a formal genre for his style of music, Donato's is a distinct sound, immediately recognizable from the first few bars of any of his compositions. He was funky back when "funk" was a bad word (listen to either of his 1960s Brazilian LPs, Sambou, Sambou and The New Sound if Brasil, for proof). His compositions are deceptively simple, while his arrangements are harmonically complex, revealing their intricate details upon repeat listening. Today, Donato brings this flavor, now near synonymous with his name, to a new album in the Jazz Is Dead series with Adrian Younge and Ali Shaheed Muhammad: Joao Donato JID007. "Donato is one of the greatest Brazilian composers from that golden era. His signature style, simple melodies combined with colorful chordal progressions, establishes a new lane for Jazz Is Dead," explains Younge. "Joao is one of the most innovative Brazilian jazz composers of the last century. Creating with and learning from this maestro was one of the greatest experiences of my career."

Sasha introduces LUZoSCURA, a new compilation that hasevolved from the thriving eponymous playlist. Featuring adiverse package of original works from a host of fresh talent, aswell as established artists and Sasha himself, it traverse selectronica, ambient, breaks and techno. Meaning light and dark, LUZoSCURA began on Spotify as a stash of tracks sent to Sasha which didn't meet the pace of his clubsets nor suit his venerated label LNOE, LUZoSCURA came into itsown through 2020 as Sasha gravitated toward more mellowed sounds while being off the road, and clubbers diverted their ears to home listening. Gaining a renewed source of energy inconnecting with more gifted, budding producers and seeing the project blossom, the idea for the compilation came off the back of doing a live stream solely featuring tracks from the playlist. Meticulously compiled to flow like a DJ mix for home listening, Sasha kicks it off with the buoyant, breaks-influenced 'Corner Shop', the first of his three tracks on the compilation. MJ Cole is among the established artists to feature with blissed out track 'Maestro', while The Micronaut, a multi-instrumentalist whose back catalogue was a favourite of Sasha's through lockdown, offers an immersive trip in 'Koelsa'. Lau.ra, lead singer from British experimental rock band Ultraísta, evokes a sense of spiritedness in 'I'll Wait' before we hear again from Sasha with another breaks-loaded trip in 'HNDI' and a collaboration withB ritish producer Franky Wah. Closing the odyssey with a stirring, expansive soundscape is synth duo Felsmann + Tiley.

Soul Jazz Records’ new Studio One collection ‘Fire Over Babylon: Dread, Peace and Conscious Sounds at Studio One’ features a stellar selection of 70s roots music – classic and rare tracks recorded at
Clement Dodd’s musical empire at 13 Brentford Road in the 1970s.
Rastafarian-inspired Roots music was an ever-important aspect of Studio One’s output from the start of the 1970s onwards and this album features many of the ground-breaking groups and artists that
established the sound of Jamaica during this decade and beyond.
Featured here are seminal artists such as Freddie McGregor, The Wailing Souls, The Gladiators, Horace Andy, Devon Russell, Cedric Brooks, Count Ossie, Judah Eskender Tafari alongside a host of lesserknown rare cuts made at Studio One from artists such as The Prospectors, Viceroys and Pablove Black. Studio One and founder Clement Dodd’s connection with Rastafarianism dates back to the early 1960s, with Dodd accompanying members of the Skatalites up to the hills of Kingston to listen to the music of the Rastafarian Count Ossie and his drummers. The album sleevenotes discuss how Clement Dodd’s musical links, as well as his role in heading the most important record label in Reggae, are in many ways linked to the beliefs of Rastafarianism. This album is released as a heavyweight black vinyl double-album with gatefold sleeve, full notes and
download code, deluxe CD with full booklet and slipcase and digital album.

lgn white label series is back to business

Indie Retail Exclusive Water Spirits color vinyl LP More Energy Fields, Current is a definitive new peak in the recorded continuum of prolific producer/percussionist Carlos Niño. Featuring contributions from more than a dozen exciting voices in the creative music constellation of Los Angeles (of which Niño's has been a central force for over 2 decades), including Sam Gendel, Nate Mercereau, Jamael Dean, and Jamire Williams, the album collects 10 pristine gems of collaborative communication helmed by the Southern Californian sage, elegantly presented in his unique "Spiritual, Improvisational, Space Collage" style. The album is ripe with "ambient" passages that function like open portals between moments of consonance and clarity, and epic post-hip hop opuses like the heavy/heady "Thanking the Earth." But even in the occasional absence of drums, there is a powerful pulse implicit in the program's frequency of consciousness. It's a testament to Niño's foundations as a DJ. His distinct ability to craft a kinetic, cinematic sonic experience from dozens of independent, often rhythmically-ambiguous improvisational memories is more fluently displayed on More Energy Fields, Current than anything we've heard from him to date. It resonates, lucidly, with the way Niño's mentor Iasos - who is known to the world as an original founder of New Age music - has described his work: "Real Time Interactive Imagination, Flow Texturization." On More Energy Fields, Current, Niño immerses us in the watery depths of his world, spiriting us like a submarine through exotic nether-leagues of untouched sound. And when we arrive at the final, bookending piece "Please, Wake Up." (an extended version of the opening theme, featuring saxophonist Shabaka Hutchings), it's like a return, safely to shore.