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Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.

"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz

Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

The first thing that strikes you is the rhythm. The Gossip have been making punks dance since they debuted 5 years ago, long before dance punk existed. Soulful and jagged, you can hear everything from Dischord to Motown in Brace's playing. Now, with the addition of new drummer Hannah Blilie (Shoplifting, ex-Chromatics) they have a new thundering beat for the kids to dance to on the corners and in the clubs. The next thing that smacks you is Beth's voice, all the guttural blues of the South is in that inimitable instrument. It resonates with the confidence that is in her lyrics asking people to hold on just a little bit longer, re-assuring the youth that there are others out there, and spitting in the face of all who say otherwise! "Standing in the Way of Control", their third album, was recorded by Guy Picciotto (Fugazi) at Seattle's Bear Creek. From heartbreakers like "Coal to Diamonds" to the anthemic title track, released as a single with a Le Tigre remix, the band is unafraid to put it all out there and take their audience to new places. This is the sound of a band destroying and surpassing all expectations placed on them.

The Men They Couldn’t Hang are a British folk punk group formed in 1984. The band were well known in the UK punk scene, sharing connections with David Bowie, The Pogues and Stiff Little Fingers. Silver Town is their fourth studio album, originally released in 1989. Several singles were released from the album, including “A Place in the Sun” and “Rain Steam & Speed”. “Rosettes” was meant to be released as a single as well, but it was cancelled after the Hillsbourough disaster, as the song discusses hooligan culture.

Silver Town is available as a very limited edition of only 500 individually
numbered copies on flaming coloured vinyl.

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

Drei Jahrzehnte Doro - drei unvergessliche Nächte - für immer festgehalten auf Blu-ray/DVD, CD und Vinyl.
"Strong And Proud - 30 Years Of Rock And Metal" erscheint nun als Re-Release auf DOROs eigenem Label Rare Diamond Productions und ist als Ltd. Edition Gatefold Doppel Vinyl in transparent Curacao erhältlich. 14 Killersongs inkl. der unverzichtbaren Megahits "All We Are und "Für Immer".
Eine fantastische Erinnerung für alle, die Doro während ihres 30 Jahre-Jubiläums weltweit live gesehen haben, und eine Offenbarung für alle Fans von guter, harter Rockmusik und erstklassiger Live-Performance.

"No Friends" ist so etwas wie eine Album gewordene Brieffreundschaft zwischen dem in Hamburg arbeitenden Home-Produzenten Mensing, mit sehr gutem Standing in der Londoner Underground-Szene, und dem roughen Talent des in Miami lebenden ex-New Yorker Rappers siii3eyes. Dabei geht die Rolle des Keno Mensing über die eines Produzenten hinaus. Er fischt aus siii3eyes' Raps und Lyrics die Elemente heraus, die ein Chorus oder Vers sein können und bildet daraus Strukturen, komplexe Puzzles und schliesslich den finalen Track. Alles eingebettet in eine perfekte Balance aus soulig-jazzigem Storytelling-Rap und einer lyrischen Eindringlichkeit und Authentizität, die man sonst eher im Straßenrap verortet. Zwischen den Skits, in denen siii3eyes mit seinem ehemaligen Freund und Mitbewohner spricht (mit dem er sich später überworfen hat, was auch den Titel erklärt), liefern Mensing und er roughe, unmittelbare Einblicke in das Gefühlsleben eines Mannes, der geradezu um sein Leben und seine Selbstverwirklichung rappt.

A home, a house, has countless frequencies. Each room, each corner feels different. Swings differently. And as you grow older, you realize which corner is yours. But yeah, it takes time…

It certainly marks the end of an era when the house one called home as a kid no longer exists. This home, it was the starting point of so many journeys. Of one big, ongoing journey. And so it feels good, soothing, reassuring to at least return to a spot nearby – to that (proverbial) hill from where you can see it. Feel the vibe that made you.

Andi Haberl’s debut solo album as Sun is sort of dedicated to that house. It’s a journey leading to that hill overlooking everything that made him. It’s not about nostalgia, not about actually returning to a specific place. Instead, it’s about finding a personal frequency, an overlapping of sounds and samples, an open space that mirrors and extends whatever frequencies felt right at different points in time.

“To me, the results feel like Gold Panda/Four Tet meets Steve Reich meets Krautrock meets film scores. I just really wanted to create moods that touch me – and ideally others, too.”

Talking about his first solo album, Haberl recalls many stages: early compositions that ended up on Alien Ensemble’s albums, early DIY/home studio/multi-instrumentalist inspirations (Le Millipede), new technologies that came and went, even a set of wildly convincing arrangements (done with Cico Beck’s crucial input) that ultimately became stepping stones for yet another round of DIY takes. “It was a long, recurring process, and the songs went through so many different versions,” he says, talking about phases of growth (“I added more and more equipment over time”) and pruning, “cleaning up my music a bit.” Tending towards instruments that open up space, and slowly falling in love with sampling, he certainly didn’t rush things once it was time for interior design decisions ;)

“During this whole process I got to learn so much about my own taste, how I prefer to listen to the pieces, which musical elements really matter to me… and what my own voice is. For example, that acoustic elements are most important to me: the banjo, piano, drums, my voice, glockenspiel, trumpet, melodica. Anything that opens up some space.”

Every journey begins with a search: “Missing” with its plucked chords opens like a sunrise over pastoral plains, gently leading the way towards the intricate, playful explosion that occurs once a certain amount of energy (“Sun”) hits dirt and other surfaces: things grow, clot and curdle into new shapes, like new buds; layers of sound move forward, drenched in Spring’s new light. Relying on samples to ask for precipitation (“Rain On Me”), robotic “Low” goes from barren to bass-heavy after its midway shift in pace, full of loops plucked from the shade.

Towards the album’s midpoint, things are suddenly reversed: “Cluster” has that backwards pull, you can’t tell what’s what, yet everything is perfectly locked in, as the pace increases once again. And before the title song shimmers with densified cheering (to eventually stand tall like early Lymbyc Systym), “Beside Me” swipes you off your feet with its booming bass drum. The beat returns once again (“Daydream”), full of searching voices underneath, and at “Dawnday,” we can finally catch a melancholy view of the house. Voices hum. It’s the score moment of the album. Everything makes sense now. A happy end of sorts?

“I want to take people on a journey. A personal journey, too, because when my parents split up and sold the house I grew up in, I felt a bit like the ground had fallen out from under my feet. But I have dedicated the album title and the accompanying piece to this house… so I can keep it in good memory.”

“I Can See Our House From Here” has been a long time coming. It’s been a long journey. Homeward-bound. Leading to a place that’s really Haberl’s – his sound. His frequencies.

Known as a long-time member of The Notwist and various other bands/projects (Alien Ensemble, AMEO, jersey, Ditty etc.), Berlin-based drummer/composer Andi Haberl has also worked with My Brightest Diamond, Till Brönner, Owen Pallet, and Kurt Rosenwinkel, to name a few. “I Can See Our House From Here” is his first solo offering.

The musical Oroza bloodline just seems to keep pumping soul music from Finland for the world to hear. Now it's time for Franka to step to the stage and she comes out from the gate swinging with a sublime beat ballad "Indecision". Backed by the faithful Timmion Records house band Cold Diamond & Mink, Franka's folk jazzy vocal stylings seep into fertile ground. Building from the intro drum roll to the rootsy organ-led groove Franka jumps on the beat with a Joni Mitchell twist and it's immediately apparent that we're in for a treat. The vocal glides effortlessly between firm and delicate tones, perfectly underlining the lyrical content. Franka takes her time in setting the scene, holding a veil before the fact that we're actually listening to a love song. If all you're looking for is good songwriting with a soulful backbeat, with Franka Oroza you'll get a unique voice to boot. This is another sure shot for all fans of independent downtempo soul from the Timmion stable.

DIE legendäre LP von Ronnie April's Positive Energy, die er auf seinem Label Jude Records gepresst und nur lokal vertrieben hat, erscheint als Jazz Room-Reissue. Ein unglaublich seltener Heiliger Gral, der als Orignal für bis zu 300£ den Besitzer gewechselt hat. Der Tune "Snow~flake" ist seit Jahren ein fester Bestandteil der Jazz-Dance-Szene und Ronnie ein Komponist, Arrangeur, Produzent, Saxophonist, Klarinettist und Flötist, der mit Größen wie Tito Puente, Frank Foster, Nat Adderley, Lionel Hampton und Louis Armstrong spielte, um nur einige zu nennen.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

2x 180g grey vinyl repress!

Die italienische Symphonic-Power-Metal-Institution RHAPSODY OF FIRE kehrt mit einem ihrer bisher besten Werke zurück, einem weiteren Teil ihrer epischen Nephilim-Saga, die 2019 mit "The Eighth Mountain" ihren Anfang nahm. Ihr neues Epos heißt: "Challenge The Wind"!
Fragt man einen Power Metal-Fan, so wird er feststellen, dass RHAPSODY OF FIRE in 30 Jahren nicht nur ein Genre geprägt, sondern sich auch als Band weiterentwickelt und ein Vermächtnis als die unangefochtenen Könige des Symphonic Power Metal geschaffen haben.
Nach Klassikern wie Legendary Tales (1997), Symphony Of Enchanted Lands (1998) oder Dawn Of Victory (2000) zeigen RHAPSODY OF FIRE einmal mehr, was sie am besten können: Epische Orchesterarrangements, bombastische Chöre, schnelle und melodische Gitarren und eine packende Story, die dieses Werk an Symphonic-Power-Finesse zusammenhält. Für den letzten Schliff haben sich RHAPSDOY OF FIRE einmal mehr an einen der renommiertesten Tontechniker der Metal-Szene gewandt: Sebastian "Seeb" Levermann von Orden Ogan.
Mach dich bereit für "Challenge the Wind"!

Repress!

The release of Crosstown Rebels’ SPIRITS compilation is always a bastion moment for the label. The first edition came to prominence in 2017 and we’ve been graced with an annual compilation ever since, showcasing a consistent habit to champion established artists and breakthrough ones alike. Now, Crosstown Rebels’ lauded SPIRITS series will see the light of day once more in June, with the release of SPIRITS V.

NYC-native Layla Benitez leads proceedings with Fides, a progressive-leaning, introspective number that retains an inherent danceability throughout. It kicks off the compilation with a driving energy, one that’s perfectly matched by Trabajar - the Crosstown Rebels debut of recent Hot Creations inductee Mr.Diamond.

A techy-inspired cut, punchy four-four drum patterns create a distinctive late-night feel, as UK-talent Denney soon arrives with Kill The Soundboy. Showcasing the groove-laced house sound with which he’s become best known, the near seven-minute piece is sure to light up many a club setting this year, paving the way for Talk To Me. It’s a collaborative venture between Munich-based artist ASK:ME and El Muerto, with Soulfoot featuring on vocals. Retaining a vintage Detroit style, the fast-paced tempo creates a natural excitement before Romanian-born mainstay GruuvElement’s gifts us the minimal-toned Boom Room.

Building with tribal-like percussion and salsa-inspired instrumentals, it’s a playful excursion into dance music’s outer realms, paving the way for young Peruvian producer Chinonegro with My Moment. Whether it be the pluck of a guitar string or a jazzy trumpet solo, there’s an inherent authenticity to the six-minute piece, as a mid-track breakdown gives way to whispering hats and a rhythmic underlying backbone.

The penultimate offering comes from French-born, London-based regular Maglia, who serves up the enchanting Rayiys. The chirping of birds resides atop an ever-changing bassline, leaving us open and ready for the VA’s closing saga: Thanks Moon, by Spain’s I AM JAS. A heady combination of beautiful lyrical contributions combines with softly moving electronic elements, to leave us in a state of calm, inward reflection. Rounding off proceedings on a note of quietude, it reminds us of the final moments in clubland, transporting our psyche to sunrise, fond memories and everything in between.

Over a period of nineteen years, Damian Lazarus’ Crosstown Rebels has evolved into a world-renowned institution, garnering global audiences thanks to a consistent schedule of quality releases. In years since it’s earliest beginnings, the likes of Maceo Plex, Art Department, Seth Troxler, Ali Love, Mathew Jonson, Pier Bucci, Acid Pauli, Dennis Kurtel, Francesca Lombardo, Glimpse, Aphrohead, Fur Coat and a plethora of other figureheads have all found their home on the label.

The roster is international, showcasing how Crosstown has shaped a truly global scene. Releases are born in different continents by artists who hail from different countries, resulting in a sound that resonates worldwide. Perhaps most pivotal to the label’s success is its musical output: no part is governed by boundary or genre. It’s underpinned by a truly eclectic sound, one that reflects the diversity of Damian’s love for music itself. An album from drum and bass icon DJ Krust here, a maiden LP from Audiojack there… traversing genres has been Damian’s forte for decades - and Crosstown epitomises that as a result.

Das Chaos ist zurück: Hier kommt das Vinyl zum vierten Teil von Lloyd Banks' Halloween-Havoc-Mixtape-Serie. Auf "Halloween Havoc IV: The 72nd Hr" droppt der Rapper aus Southside Jamaica Queens 15 neue Tracks samt Features von Vado und Sy Ari Da Kid. Die erste "Halloween Havoc" erschien 2008 und wurde 2015/16 mit den Teilen zwei und drei fortgesetzt.

José James - the forward-looking, genre-defying Jazz singer for the hip-hop generation - has done it again. “1978” (his 12th studio album since 2008’s “The Dreamer'') announces an instant classic, combining James’ deep love of jazz and hip-hop with songwriting and production nods to R&B heroes Quincy Jones, Michael Jackson and Leon Ware. Produced by James and featuring an all-star ensemble including Grammy nominees Pedrito Martinez (Camilla Cabello, Eric Clapton), Marcus Machado (Daniel Ceasar, Pharoahe Monch), Jharis Yokley (Sleigh Bells, My Brightest Diamond) Chad Selph (Bilal, FREELANCE) and David Ginyard (Solange, Blood Orange), “1978” pulsates with the socially conscious feel-good vibes of Marvin Gaye, Prince and Stevie Wonder. James also skillfully explores the boundaries of Black music, featuring Brazilian rising star and recent Latin Grammy nominee Xênia França as well as Congolese-Belgian rapper/filmmaker Baloji.

Das Vancouver-Duo Potatohead People (Nick Wisdom & AstroLogical) knüpft auf seinem vierten Album "Eat Your Heart Out" an die sauberen und musikalischen Produktionssensibilitäten an, für die es im letzten Jahrzehnt gefeiert wurde. Gleichzeitig treten die beiden J Dilla- und Madlib-Fans aus ihren Schatten heraus und als eigenständige Sänger, Songwriter und Musiker ins Rampenlicht ein. Begleitet werden sie u.a. von Redman, Kapok, Abstract Rude, t3 und Kendra Dias, während Kaytranada, Soulection, Nightmares On Wax, Pomo, Exmag, Big Boi, Phife Dawg und FM4 Radio zu ihren Fans zählen.

Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.

Radio Support:

Ross Allen - Soup to Nuts NTS

Colleen Cosmo Murphy - NTS

Lauren Laverne - BBC 6 Music

Esk - Rinse FM

District Magazine (Ireland)

Peter Curtin - RTE

New Music Fix on BBC 6Music

Bill Brewster

The trio has found its sound and hovers between alternative and grunge, between stoner riffs and spacerock anthems. The joy of playing and sympathy that this band radiates can be heard in every note. Dry and stoic, they make their way through the desert sand. Tony Reed was by no means just a sound engineer. He picked up the band on the bus, discussed music with them, brought his friend Bob Balch from Fu Manchu into the studio as a guest to refine the typical Daily Thompson sound with a solo on "I'm Free Tonight".

-This is MIA's first single since the hit song "Love Me Right".
-"Love Me Right" has sold 3000 physical copies and garnered over 5 million online streams to date.
-MIA a.k.a. Honey Deux, is known as the Queen of Miami Boogie.
-Crime Of Passion music video release with street date.
-Pressed on black vinyl. Paper inner sleeve in blank die-cut jacket.
MIA is back with her first single since “Love Me Right”. Her 2020 Gil Masuda-produced hit song has sold 3000 7” copies and garnered over 5 million online streams so far. It has become a bonafide funk anthem by top DJs in the West Coast and earned her an invitation to play at Funk Freaks parties and Hittin’ Switches festival. The song even made its way into the intro of a Silk Sonic Radio episode.
Side A’s “Crime of Passion” reveals a sultry story around compassion. The song’s deep bass and groove pick up where “Love Me Right” left off. The up-tempo 80s-tinged boogie of producer Gil Masuda provides the backdrop for the Miami-born singer’s unmistakably silky voice. “Am I your shining diamond, baby, kryptonite?” It’s a line sure to lure you to the dance floor.
Side B’s “Love Bug” is a chill roller skating jam with lush Rhodes chords and warm synth tones that will appeal to anyone who’s ever been in love.

Truly epic, saucy disco powerhouse, produced by Gregg Diamond and drenched in effortless sexuality from Andrea True. A clear classic of that era encapsulating everything the '70s was about.

Tom Moulton on the mix for this naughty 12 Inch reissue.

The musical Oroza bloodline just seems to keep pumping soul music from Finland for the world to hear. Now it's time for Franka to step to the stage and she comes out from the gate swinging with a sublime beat ballad "Indecision". Backed by the faithful Timmion Records house band Cold Diamond & Mink, Franka's folk jazzy vocal stylings seep into fertile ground. Building from the intro drum roll to the rootsy organ-led groove Franka jumps on the beat with a Joni Mitchell twist and it's immediately apparent that we're in for a treat. The vocal glides effortlessly between firm and delicate tones, perfectly underlining the lyrical content. Franka takes her time in setting the scene, holding a veil before the fact that we're actually listening to a love song. If all you're looking for is good songwriting with a soulful backbeat, with Franka Oroza you'll get a unique voice to boot. This is another sure shot for all fans of independent downtempo soul from the Timmion stable.

Das Vancouver-Duo Potatohead People (Nick Wisdom & AstroLogical) knüpft auf seinem vierten Album "Eat Your Heart Out" an die sauberen und musikalischen Produktionssensibilitäten an, für die es im letzten Jahrzehnt gefeiert wurde. Gleichzeitig treten die beiden J Dilla- und Madlib-Fans aus ihren Schatten heraus und als eigenständige Sänger, Songwriter und Musiker ins Rampenlicht ein. Begleitet werden sie u.a. von Redman, Kapok, Abstract Rude, t3 und Kendra Dias, während Kaytranada, Soulection, Nightmares On Wax, Pomo, Exmag, Big Boi, Phife Dawg und FM4 Radio zu ihren Fans zählen.

Rick Estrin & The Nightcats, aus Sacramento, Kalifornien, sind bekannt für ihre musikalische Kühnheit, ihre wilde Unterhaltung und ihre preisgekrönte Darbietung. Die Band kehrt mit einer weiteren großartigen Sammlung von Blues- und Roots-Musik zurück, die voller scharfsinniger Songs und brillanter Musik ist. Die Band, die in der gesamten Blueswelt gefeiert wird, wurde bereits zweimal mit dem begehrten Blues Music Award als Band des Jahres ausgezeichnet. Rick Estrin selbst hat BMAs für den Song des Jahres, den Traditional Male Blues Artist und den Instrumentalist - Harmonica gewonnen.

The Hits Keep Coming" präsentiert modernen Blues in seiner stärksten Form, mit zehn glänzenden neuen Eigenkompositionen, die von knackigem, eingängigem Retro-Rock bis zu intensivem, noirartigem Blues reichen. Das Album enthält auch erhabene nterpretationen von Klassikern wie Muddy Waters' "Diamonds At Your Feet" und Leonard Cohens "Everybody Knows". Das Songwriting auf dem Album zeichnet sich durchweg durch Intelligenz aus, und das Zusammenspiel der Band ist ansteckend und mitreißend.

DORO's neueste Veröffentlichung, die 4-Track-Single "Total Eclipse Of The Heart", die neben dem Titelsong (ein Duett mit Rob Halford) auch eine exklusive neue Version ihres Songs "Warlocks and Witches" enthält.

Take a trip to Jamaïca with this selection of the finest tunes played by the masters of Reggae. A nice 5 LP vinyl boxsett with Bob Marley, Lee " Scratch " Perry, Max Romeo, Black Uhuru....

Pressed On Coke Bottle Clear Vinyl! Ridin' Dirty is the third studio album by dirty south legends Bun B and Pimp C - together known as UGK. It is easily considered one of the greatest southern hip hop albums ever made, but let's drop all the labels this is just pure good rap music, for any region. It's all right there, everything that people have come to expect from Houston rap: candy-painted cars, wood-grained steering wheels, flashy jewelry, late-night odes to lean and weed, passing references to DJ Screw tapes, those warm funk synthesizers that sound like radio oldies. All of Ridin' Dirty feels iconic now— among other reasons, because so many of its lyrics have since been cribbed by everyone from Slim Thug to Jay Z. There's the laid-back badassery of "Diamonds and Wood," the zoned-out celebration of "3 in the Morning," the ridiculous boasting of "Fuck My Car." Everything here is essential. Ridin' Dirty was produced entirely by Pimp C and features start to finish bangers such as One Day', Murder', Hi Lif' and of course the title track Ridin' Dirty.' Pimp C's makes use of perfectly chosen Soul, Funk and Gospel samples to create a perfect soundscape for he and Bun B to trade verse over. Despite there being no singles or videos released from the album, the set went on to be a pivotal moment in southern hip hop as well as UGK's best-selling and most critically acclaimed release.

Demon Music are happy to present – Electribe 101 - ‘Electribal Memories’, this stunning half-speed master vinyl edition cut from the original tapes by Barry Grint at Air Studios. Formed when Hamburg-born / London-based, sometimes S’ Express member Billie Ray Martin hooked up with four musician / producers from Birmingham, Electribe 101 instantly hit upon a sound heavily influenced by the de rigueur deep house sounds of Chicago and Detroit but with a distinctive European twist. With Billie Ray up front, with a voice like ice on fire and looking as if she’d stepped forward in time from a circa-1966 Mary Quant catwalk, the band were instantly snapped up by Mercury Records, and taken under the wing of Pet Shop Boys manager Tom Watkins. The band released five singles in the UK, and all featured on their debut album ‘Electribal Memories’ – ‘Tell Me When The Fever Ended’, ‘Talking With Myself’, ‘You’re Walking’, ‘Lipstick On My Lover’ and an incredible cover of Odyssey’s deep soul classic ‘Inside Out’. When the album arrived in 1990, it was an instant hit with critics – immaculately produced, poised, luxurious and soulful, it was difficult to believe it was a debut record at all. After ‘Electribal Memories’, Electribe 101 called it a day. Since then, the album’s reputation has grown in stature and many of its’ singles’ attendant remixes have become sought-after rarities. The cultural earthquake prompted by the late-1980s arrival on these shores of house, acid and rave prompted many a legendary club night and a generation of superstar DJ / producers. While there were a myriad of great club tracks produced in that heady period between 1988-1991, classic albums from the scene were rather more of a rarity. One towering exception was the debut by Electribe 101…

For Fans Of... El Michels Affair, Adnan Younge, Roy Ayers, Karnem Riggins, The Roots, Khruangbin. Producer "Grimez"” has been making music for 20 years deep, Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analogue instrumentals. Very limited black vinyl LP. Genre: Hip Hop. Doctor Bionic is back on the airwaves. The newest album from Cincnnati based executive producer Jason Grimez is an instrumental collection of classic soul, jazz, and hip-hop sounds. The first instalment of a three-part series, Terrestrial Radio offers 37 minutes of carefully curated jams. Tune in to catch the vibe on 1/26/2024. Jason Grimez is an engineer, executive producer, and the owner of Chiefdom Records. Growing up in the 90s, he fell in love with hip hop at an early age. He started scratching on a pair of 1200s and sampling records with an MPC 3000 in high school Years of sampling, mixing, producing, and sharing his own music led him to where he is today. His independent label Chiefdom Records has released close to 30 albums in the last seven years. His studio persona Doctor Bionic was one of the first to see a release on the new implant. The project features a rotating cast of incredibly talented session musicians. Jason is responsible for writing, recording, producing, mixing, and releasing the records. Grimez sets the scene on track one of Terrestrial Radio, aptly titled “Time Continuum.” The listener is greeted with the scrubbing sound of a radio dial We pause for a few seconds when the signal is strong enough to catch an ad-read from an old cereal commercial, or to gather an update from a sports announcer. Grimez takes the listener to a new era each time he spins the dial. Our search comes to an end on the channel where we’ll cruise through the next six songs, hand-picked by the Doctor himself. Terrestrial Radio features some of Cincnnati's best session musicians. “Keep Your Kids in School” highlights a killer rhythm section. Brian Batchelar-Glader recorded the organ over an effortlessly funky foundation formulated by Manan Havéans (drums) and Aaron Jacobs (bass). With an equally punchy bass line, funky guitar jabs , and thoughtful trumpet arrangements (Michael Mawnidoglou), “Wire Fraud” s the perfect soundtrack for your next bank heist. The remainder of the record offers everything from shuffling gospel grooves to head-nodding drum breaks. As Doctor Bionic, Jason Grimez has carved out a niche for a community of musicians to thrive in and build upon. Grab a copy of Terrestrial Radio on 1/26/2024 and stay tuned for the second instalment in the series.

Nach Releases für Cercle, AnjunaDeep und Ninja Tune veröffentlicht der Londoner Produzent/DJ George King (aka Catching Flies) mit TIDES eine basslastige und dennoch melodische Melange aus brütender Elektronik und komplexen Rhythmen, mit Schattierungen von Hip-Hop bis House, Soul bis Jazz. Die LP enthält die Erfolgssingle GLY (25 Mio. Streams), die von Hot Chip und DJ BORING geremixt wurde. Künstlerkollegen wie Nils Frahm, Jungle, Sofia Kourtesis, Caribou, Bonobo, The Black Madonna, Lane 8 und Gui Boratto bekennen sich als Fans.

Diggin In The Crates (D.I.T.C.) was born out of a group of artists who began making noise in the late ‘80s and into the next decade and beyond—namely Lord Finesse, Diamond D, and Fat Joe. After well-received albums, an official, wider collective was founded that also included O.C., Big L, Buckwild, and producer-rapper combo, Show & A.G. (originally known as Showbiz & A.G.).


The crew proceeded to drop a run of sublime records, including Show & A.G.’s Soul Clap EP (1992), their full-length debut Runaway Slave (1992), followed by Goodfellas in 1995. Show & A.G.’s next project, Full Scale, arrived in 1998 and featured appearances from O.C., KRS-One, Big Pun, the Ghetto Dwellas and verses from members of D.I.T.C. including Diamond D, Big L and Lord Finesse.


In 2002 a CD version titled Full Scale LP (using the same artwork) was released with 10 additional tracks which had originally been released on various 12" singles and projects in the late 1990s. The project had never been released on vinyl in its entirety – until now.
Production on Full Scale was handled by Showbiz and A.G. except for "Time To Get This Money" which was produced by long-time collaborator Ahmed, and "Hold Mines" and "Hidden Crates" which were produced by DJ Greyboy.


The assortment of guest features doesn’t detract from A.G., a masterful emcee with a no-nonsense style that is simple but impactful. Full Scale follows the tried and true blueprint from Show & AG’s earlier classics cementing its place in hip hop history.

The Diggin' in the Crates Crew, commonly abbreviated as D.I.T.C., is a hip hop collective from New York City. It was founded by Diamond D and Showbiz and its name is from the art of digging for records to sample for production. The members have achieved substantial and consistent recognition in the music industry and Hip Hop circles.

They have collaborated with underground and commercial artists from around the world. All of the members are from the Bronx, with the exception of the late Big L from Harlem, and O.C. from Brooklyn. D.I.T.C., “The Official” Version is an alternative version of D.I.T.C.'s self-titled album D.I.T.C. which was not officially available on vinyl upon its initial release via Tommy Boy when it became apparent that group maintained vinyl rights of the album.

The Official Version has a different track listing with many of the songs being totally different versions than the ones appearing on the first album and also 2 tracks that weren't on D.I.T.C. at all - "All Love" and "We Known For That" (which is actually a remix of the 12" single "Internationally Known"). The album is executively produced by Show and re-released on D.I.T.C. Records with distribution by Fat Beats Distribution -20 years after its initial limited pressing.

Many of the songs appear in remixed forms that had yet to be released, some remixes and some original versions. Highlights include "Where Ya At"; the Big Pun/Milano collaboration but here, instead set over a slamming DJ Premier remix. Likewise, the "Way Of Life" features a totally different Buckwild beat, that is actually the original version of the track, that stands in stark contrast to the B-Boy anthem heard on the Tommy Boy album.

a A1. Thick Rockwilder Mix
b A2. Way Of Life Buckwild's OG Mix (Ft. additional Lord Finesse verse]
[c] A3. Get Yours [Show Remix]
[d] A4. Where Ya At [DJ Premier Remix] (w. Big Pun & Milano)
[e] A5. We Known For That (Internationally Known) [Show Remix]


[h] B1. Ebonics [DJ Premier Remix]