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British duo The Boy Least Likely To are not new to Christmas music. It started in 2005 with a charming cover version of ‘Little Donkey’ on a give away CD single, followed three year later by the first Christmas original they recorded, ‘The First Snowflake’, that made it into an episode of Grey's Anatomy. In 2010, the band released the album ‘Christmas Special’, with mostly originals, including the single ‘George And Andrew’, that came with a much watched and liked video. Last year, The Boy Least Likely To released a new Christmas song ‘It Will Still Be Christmas’, that reflected the difficult time the world was going through in 2020. What was still lacking in The Boy Least Likely To Christmas discography was a Christmas 7”. That is now also taken care of, as the band recorded two new Christmas songs for the ninth edition of the Snowflakes Christmas Singles Club. The nostalgic sounding original ‘Two Christmases’ is typical for the somewhat bittersweet nature of many of the duo’s songs, as it is about a recently divorced couple who, for the first time, will celebrate Christmas separately, one after the other, so that their children can celebrate Christmas with both their parents. On the flipside of the record, The Boy Least Likely To rework Shakin’ Stevens number one hit ‘Merry Christmas Everyone’ into an uptempo cross between indie pop and western swing. The record comes on white vinyl and is limited to 300 copies.

The Boy Least Like To are composer/multi-instrumentalist Pete Hobbs and lyricist/singer Jof Owen, both originally from Wendover in Buckinghamshire, England, who met at school and began making music together in 2002. They debuted in 2003 with the 'Paper Cuts' 7” on their own label To Young To Die. In 2005 the duo released their first album, 'The Best Party Ever', that made it into Pitchfork's top 50 albums of 2005. Three more albums followed (2009's 'Law Of The Playground', 2010's 'Christmas Special' and 2013's 'The Great Perhaps') and in 2018 the career spanning collection 'The Greatest Hits', including classic tracks like 'Be Gentle With Me' and 'Hugging My Grudge' was released. Their music, once described in Rolling Stone as sounding like what would happen "if all your childhood stuffed animals got together and started a band.” incorporates influences from all over the indie landscape (twee pop, indie country, jangle pop, piano pop) and blends it into something that is unmistakingly To Boy Least Likely To – often joyous and uplifting, sometimes melancholic, with lyrics that reflect our everyday fears and anxieties, as it’s not all sunshine in our lives. In 2021 the band celebrated the slowly opening world by releasing a new digital single, 'Get Into The Summer', a joyous burst of fresh energy, showing that the band’s music is for all seasons

Die zweite Veröffentlichung in der MMJ Live-Serie von My Morning Jacket. Aufgenommen live im Auditorium Theatre in Chicago am 11. November 2021 und mit einer Setlist von Karriere-Highlights aus den letzten Jahren: 'Love Love Love', 'Complex' und 'Never In The Real World' vom aktuellen selbstbetitelten Album, sowie die Klassiker 'Dondante', 'Mahgeetah' und 'Phone Went West'. Drei LPs, gepresst auf orangefarbenem Vinyl in limitierter Auflage und verpackt in einem dreifachen Gatefold-Jacket.

2021 repress of Tupperwear’s 2017’s sophomore album, Mokele Mbembe.

Rising from the ashes of legendary underground Tenerife outfit Colectivo Drone are Tupperwear - an organic electronic duo formed by Daniel García (Salétile) and Mladen Kurajica (Gaf) in 1999, Tenerife. Since then, and for the most of 20+ years they have been unleashing electronic waves of sound from the Atlantic island by way of intense live and a series of uncompromising and unclassifiable albums and EPs.

Taking cues from a wide spectrum of electronic music classics, mostly the more pastoral and frantic electronica of Aphex Twin et all circa the late 90’s, whilst at the same time adding their own mischievous and tongue in cheek approach to composition and performance, Tupperwear have for the last 20 years been responsible for some of the most intense live performances the island has seen whilst also taking their anything goes, improvisation first approach all over the world, tis includes virtually all of Europe (east or west), Japan, China, Peru, Colombia, Equador or Mexico, you name it!

In 2017 the local festival and label Keroxen published ‘Mokele Mbembe’, their 2nd LP of twisted electronica which is here repressed to a wider public after the success of their collaboration with São Paulo Underground and Chicago legend Rob Mazurek. (Saturno Mágico, 2021, Keroxen).

EPMD’s initial success in 1987 seemed to take a lot of people by surprise. Without build-up or fanfare, they launched this stunning debut 12” and, so ill-prepared were people for it, that the label was still misspelling their name.

Those early 12” copies of ‘It’s My Thing’ – and the hard to find UK 7” that followed shortly after – have them billed as EPEE MD. Before they were signed, they were going by EEPMD, but they decided to drop an E due to the success of the west coast’s Eazy E. The one person not surprised by their success, however, was hip-hop pioneer and producer Kurtis Mantronik, who actually signed them to Fresh Records.

It’s fitting that he’s the man that saw their promise, as he himself was one to go against the grain. His electro-influenced productions for Mantronix and Just Ice were ahead of their time, and perhaps in EPMD he saw kindred spirits. Because, at the time this dropped, hip-hop was going up tempo, taking its cue from James Brown samples and picking up the pace.

On both ‘It’s My Thing’ – underpinned by the languorous ‘Seven Minutes of Funk’ by The Whole Darn Family – and ‘You’re a Customer’, with its combination of ZZ Top and Steve Miller Band – Erick Sermon and Parrish Smith slow things right down. It gives their vocals time to breathe and allows us to enjoy the interplay of their metaphor and simile-heavy lyrics. As calling cards go, they don’t come any better than this.


• Stunning debut that has become a Hip Hop classic.

• Only previous 7” release very hard to find.

After the worldwide success of their first album Puzzle (1999), which sold over 200,000 copies and went gold in Japan, Xavier Boyer (vocals, guitars), Pedro Resende (bass), Médéric Gontier (guitars) & Sylvain Marchand (drums) reunited with producer Andy Chase to record the follow-up, Wallpaper for the Soul, in New York City. Starting in November 2001 at Stratosphere Sound, the prolific sessions gave birth to twenty tracks, twelve of which appeared on the original tracklist. The eight outtakes were compiled on the mini albums A Piece of Sunshine (2003) & Extra Pieces of Sunshine (2004). This new vinyl edition will be the first time all these songs appear together.

Almost 20 years on, WFTS is a tour de force of contemporary songwriting with obvious nods to the past somehow revisited in a timeless fashion. Tahiti 80’s second effort can also be seen as an alternative and more sophisticated snapshot of an era often associated with the rebirth of rock (The White Stripes, The Strokes…). This set of songs also established them as stalwarts of the Post French Touch cannon, showcasing both their ability to write catchy songs and their knack for mélanges & experimentation. 1,000 Times or The Train are unique examples of blue-eyed soul augmented with French flair (« Prefab Sprout as produced by Thomas Bangalter » suggested Uncut which listed WFTS in their Top Ten’s albums of 2003). Listen to Don’t Look Below today, and ask yourself who was mixing Destiny’s Child with My Bloody Valentine in 2001? Delicate numbers like Open Book or live favorite Better Days Will Come both demonstrate T80’s songwriting skills and their innate sense of melancholia.

Listening back to WFTS today, one cannot help but think of it as an album recorded in a state-of-the-art fashion. All four members would typically perform together in the same room. Basic takes were printed on a 24-track analog tape machine and then bounced onto a computer for editing. A fine example of this method is the title track itself. Originally written on acoustic guitar, Wallpaper … is the result of three eight minutes synthesizer jams pieced together. The Frenchmen were keen to try out multitude of ideas and had developed a taste for experimentation. The sessions also coincide with a rich outburst of creativity from a band on top of their game after several months of touring around the world.

Another typical WFTS characteristic is Richard Hewson’s orchestration. Veteran string arranger, famous for arranging The Beatles’ The Long And Winding Road or writing RAH Band’s ‘80s classic Clouds Across The Moon Hewson gave the songs a sweeping orchestral touch. Strings, Horns & woodwinds were all performed at the now defunct Olympic Studios in London. Urban Soul Orchestra, a 24-piece ensemble who played on Oasis’ or Spice Girls’ hits can be heard on five songs: the opening trilogy Wallpaper…, 1,000 Times and The Other Side, then on the Northern Soul revival Soul Deep and lastly on the album’s closer Memories Of The Past.

Rouen’s most famous four-piece, now relocated in a house on France’s North West Coast, in the quiet seaside town of Étretat, added more bells & whistles and resumed production on the songs. With one last transatlantic leap during the summer of 2002, the boys flew to Portland, Oregon to attend the mixing sessions held by sound wizard Tony Lash (Elliott Smith, The Dandy Warhols…). Suggested by Sub Pop’s craftsman Eric Matthews, also a guest on trumpet and keyboards, Lash would later become a major collaborator on Tahiti 80’s subsequent albums.

In the meantime, Laurent Fétis, the designer behind Puzzle’s iconic artwork, had started working with artist Elisabeth Arkhipoff on a set of nostalgic photographs transfigured with a soft air-bush technique. Those visuals, like their predecessors, have since become an inseparable companion to Tahiti 80’s music.

Many musical fashions and flavors of the month have come and gone, but twenty years after its release, WFTS still sounds fresh and relevant. And always forward-looking, Tahiti 80 is currently wrapping up the recording of their eighth album, to be released in early 2022.

Westbound 1976 Funk classic - Featuring an all-star Parliament/Funkadelic line-up - Limited 180g TANGERINE COLOR Vinyl Edition (400 copies) - Comes in Deluxe Gatefold Jacket with Obi Strip - Comes with liner notes // A co-founder of the P-Funk movement, Clarence Eugene "Fuzzy" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released his first solo album, A WHOLE NOTHER THANG, in 1976. The album features funk `all-stars' from the likes of Bernie Worrell, Donald Austin and Bootsy Collins. Haskins wrote eight of the nine songs and served as producer, singer, songwriter, guitarist and even drummer. The result was an album that oozed quality. With his brand of earthy and heavyweight funk, Fuzzy Haskins' solo work fits right in with many of the other great P-Funk side projects. Also featured on the album is the track "Cookie Jar", which was later recorded by Prince. Despite the quality of music, the album didn't sell in vast quantities and didn't find the audience it deserved. `A Whole Nother Thang' is a true gem to funk fans, mint vinyl copies are hard to find and pricey these days. If you are a Funkateer_this one's for you. Originally released on Westbound Records in 1976, now back available as a limited deluxe 180g TANGERINE COLORED vinyl edition packaged in a gatefold jacket featuring the original artwork and liner notes.

Following the success of the label's Cassiopeia reissue, Mysticisms presents a second EP from Nail with four previously unreleased tracks of gliding deep house, dub techno and Balearic sunrise anthems, highlighting this respected talent.

Recorded between 1993 to 1999, predominately at the DiY collective's Strictly 4 Groovers studio in Nottingham, with the ever reliable Damian "Deadbeats" Stanley engineering. While edits and overdubs were completed at home, some were mixed down to DAT and cassette to became part of Nail and friends after party soundtrack, as much for pure enjoyment as appraisal.

Still a teenager for the early years of these recordings, Nail was honing his craft. Utilizing the ever faithful S1000 sampler, Juno 106, Oberheim Matrix 1000 and Roland SH101, influences from Future Sound Of London, the emerging 'West Coast Sound' rising in the US, Maurizio's dub fusion, through to the bouncing free party sounds emanating out from the Midlands to a now nationwide party scene embed in to machines.

Unreleased until now, the Cassiopeia release ignited an interest in these old cassettes and DATs, bringing them to life and offering further proof of Nail's place as one of the UK's best House producers.

Ghost the Mystery.

"‘Arise, Dan Sartain, Arise’, the latest studio album by America’s infamous rock ‘n’ roll troubadour Dan Sartain, will be released by One Little Independent Records. Made up of thirteen wickedly wisecracking, vintage surf-rock bangers, this concise and classic record incorporates everything that’s made Dan Sartain the genres favourite underdog over the last two decades.
Seeped in obsidian black humour with tracks like ‘Glasses Houses’, ‘Rooster In The Henhouse’ and ‘I Heard Laughing’ ruthlessly calling out those who would slight him while also riding the hard line of self-awareness, the biting witticism of these tracks pair wonderfully with the playful tone of Sartain’s slick-back dark doo-wop. Elsewhere on the likes of ‘True Love’ and ‘Fires and Floods’ the crooner gets a chance to flex his punk muscles, pushing the guitars further into distorted territory taking the late 50s garage-rock influence via the late 70s in much the same way The Ramones and The Damned did. But we’re transported right back again when Sartain slows down for ballad standouts such as ‘Kisses In The Morning’ and ‘Personal Injury Law’. Throughout ‘Arise, Dan Sartain, Arise’ searing surf guitars intertwine with beautifully haunted organ jabs, with rhythms pulled straight from saloon bars way out west, and cheeky wink-to-the-camera lyrical whimsy."

Infamous Southern wrecking crew return with an all country & western album, marking their 25th anniversary. Features numerous guest legends from the Grand Ole Opry along with Jello Biafra. Join those Legendary Shack Shakers as they mark their 25th anniversary as a band on Planet Earth to celebrate the occasion, they’ve invited former members to help them record an all country & western album! From spaghetti western to bluegrass, western swing to rockabilly, Tex-Mex to country folk, the variety of the genre is on full display. Always ones to respect their history, the Shack Shakers have also included some Kentucky local legends to “pick and grin”. Hotshots such as Stanley Walker (Grand Ole Opry band leader for Jean Shepard and guitarist for Sun Studio’s “Rockin’ ” Ray Smith) and Jack Martin (dobro-player for Lester Flatt) really give those “young ‘uns” a run for their money. And the always-ornery “Hillbilly” Bob Prather (Louisiana Hayride fiddler and running buddy of Opry star Onie Wheeler) pitches in too. Just add The Dead Kennedys’ Jello Biafra, hillbilly royalty Chris Scruggs and an Old Crow Medicine Showman and you’ve got a recipe for what could only be a Legendary Shack Shakers masterpiece. Titling it Cockadoodledeux was done, admittedly, to bookend 2002’s Cockadoodle-Don’t, an album by which many fans were first made aware of the group. However, it also serves to signal the start of another twenty-five years! Just as the plucky, two-headed chick emerges from the egg on the cover, so too begins a fresh start for the band’s creative energies. Once again, generations of fans both young and old get to lean in, listen and expect the un-expected.

1. Some records hit you with an instant impression of timeless brilliance, and Low Life’s Dogging is one of those records, what the wise call “an instant classic”. 2. From Squats to Lots: The Agony and the XTC of Low Life is more like their second album Downer Edn (read Edition), a little more withdrawn, a little more textured. Complex. Rich. Which is to say: you’re going to need some time with it. 3. Some show, some grow. Low Life have done both. This one is a grower. Spend some time with this one. It’s got that nuanced flavour. Don’t guzzle. Sip. Savour. 4. Sip it, and sense the recurring brilliance of Mitch Tolman’s lyrics, exploring the usual territory of gutter life, lad life, punk life, low life. The dirge. Disgust and shame in white Australia. Council housing, bills piled to the neck, substance abuse and rehabilitation, the fallen lads and lasses who stood too close to the flame, loss and loneliness, from squats to lots. Un-Australian gutter symphony. 5. There is a celebration of resilience and that’s a central theme of this record and a time like ours needs a record like Agony & XTC. Low times are coming through, but if you’re low they won’t get to you. 6. Iggy Pop’s Bowie produced studio rock masterpieces ‘The Idiot’ and ‘Lust For Life’ are important reference points to the 3rd album sounds of Low Life. Here comes success! 7. ‘The Agony and Ecstasy’ is a 1985 novel by Irving Stone about the life of Italian Renaissance painter Michelangelo. Stone wrote another novel about the single eared painter Vincent Van Gogh called ‘Lust For Life’. This synchronicity hit me. 8. Iggy and the Stooges are a pretty safe reference for Low Life (and all good rock music). Iggy and the Stooges are a low life’s Michelangelo, but solo Iggy like Lust for Life is a better reference for this particular incarnation of Low Life, which is to say they are studio rock albums. 9. Bowie later referred to this period of his life as profoundly nihilistic. But Iggy looked at it as the period of his life that saved him from an early grave. This confrontation is Low life lore. 10. Let’s stick to this, because there’s something about this era of Bowie that makes sense with Low Life’s new album, particularly Low. One should never miss the Low in our new album from Low Life. Producer and studio boss Mickey Grossman has the ear for the Low, and he has carved out a little statue of David right here. 11. Mickey’s ears are recording, mixing and producing the best of Sydney, most notably the Oily Boys Cro Memory Grin. A great companion record to this one. Use Agony & XTC AFTER Oily Boys. Not on an empty stomach, and don’t try to operate heavy machinery (bobcat, bulldozer etc). 12. The relationship between Low Life and Sydney hardcore should not be understated, but it also shouldn’t guide how to listen to Agony & XTC. This is not austere, disciplined music. 13. Think, like, if Poison Idea were given the kind of studio time and budget as Happy Mondays. You wouldn’t play it to a teenager. It’s not for children. This is a mature flavour, one for the adults who have had to contend with failure and hardship, medical bills and disappointed family members, betrayed lovers and worrisome growths, police brutality and tooth decay, humiliating bowels and collapsed septums, detoxing and drying out, for those who have seen themselves as corrupted and putrid and unloveable, for those who endure all of this and aren’t willing to lie down and cop it sweet: Low Life are still here and they ain’t going nowhere. NOTES ON HOW NOT TO LISTEN TO AGONY AND XTC OF LOW LIFE: 1. Don’t think of shoe-gaze. It suggests a safe passage to 90’s reminiscences, a vogue style of our time, but nothing to do with Low Life style. Low Life style is always of its time. The content changes. Agony & XTC shares weight of records like My Bloody Valentine’s Loveless and Slowdive’s Kebab, records that were laboured on after the songs were recorded, songs that were written as they were recorded. 2. We can call these “studio albums” as opposed to albums built in the heat of live performance. Studio albums from the 90’s are called shoe-gaze by some journalist nerds, but we know better than to use words like this. 3. Studio albums are excessive and, at the same time, so empty. Agony & XTC, Loveless, Kebab, Rumours: excessive! And empty. This is not to suggest this is Low Lite, some throwback, soft. A band like Low Life can make an overproduced studio rock album without having to use the word shoe-gaze. So, don’t think studio albums mean anything especially 90’s. Don’t look back. 4. Let’s lose these distasteful labels, like “shoe-gaze”, “rehab rock”, “stab”, “guitar OD overdrive”, “western Sydney wonder”. They can fade out. A low life was once referred to as a vagabond. Who uses this term today? Nobody. Language can murder. Words can die. Kill ‘em all! - Daniel 'DX' Stewart, Melbourne, 2021.

Far View’ is a compilation of tracks from Joel Vandroogenbroeck’s series of library
music releases for the Coloursound label, a uniquely trippy catalogue of music
vignettes long overdue for their day in the library music sun, remastered from the
original analogue reels.
 The late Joel Vandroogenbroeck was among the rare breed of musicians who defy
all categorization, using music conventions to explore the far reaches of human and
cosmic consciousness. After passing through the jazz and rock worlds from the
1950s through the ‘70s, Joel found new outlets for his expansive vision in the ‘80s
with the Swiss library music label Coloursound. ‘Far View’ draws tracks from these
releases, which form a unique entry in the genre of library music. For the uninitiated,
this is just one way to begin a brilliant musical trip through Vandroogenbroeck’s
undersung career.
 A musical prodigy from youth, Joel arrived at Brussels’ classical Music Conservatory
in the early ‘50s, but his studies were curtailed by the revelation of jazz. Soon, Joel
was touring in groups around Europe and beyond with luminaries like Eje Thelin,
Stan Getz, Bob Brookmeyer and Zoot Sims. As time passed, his musical
consciousness continued to expand: time spent in Africa sparked a deep exploration
of the music of the Middle East. The new rock sounds from England, like The Beatles
and Jimi Hendrix, were mind-blowing. And from Germany came the krautrockers,
with something completely else again.
 Vibing on the eclectic energies of the day, Vandroogenbroeck formed Brainticket,
whose approach to composition fused jazz, rock and a mélange of global musical
traditions, combining a Western rhythm section and analogue synthesizers with an
astonishing array of acoustic instruments; ethnic flutes, sitar, harp, kalimba and all
manner of percussion. Steeped in diverse approaches of playing and listening,
Brainticket drew from prog rock and psych, traditional sounds and minimalist music,
all of which passed through their hands like the tributaries that formed the basis of
what would soon be known as New Age music.
 In the late 1970s, Vandroogenbroeck began composing for sound libraries, with
recordings to be used as underlay music in films, radio and television. Gunter
Greffenius’ Coloursound Library was formed in 1979 with an inclusive vision of
music, including experimental, progressive rock, and some of the earliest examples
of ambient music - styles not well represented in other libraries. Coloursound gave
Joel the freedom to create music in any style or genre, and over the next decadeplus, he embarked on a musical journey that is unmatched anywhere in the world of
library music. Working under the pseudonyms VDB, his output on Coloursound is
some of his most sublime and otherworldly - ranging from dark electronics to
imagined music of the ancient past to ethereal ambient sounds of the future, which
makes sense, as Joel’s records were always ahead and in and out of their time.
 Joel VandroogenbroeckJ passed away in in December 2019, while work was being
done assembling this collection. Curated by David Hollander, whose ‘Unusual
Sounds’ album and book of the same name delightfully explore the library music
world, ‘Far View’ draws from ten of Joel’s Coloursound albums with lovely cohesion.
Featuring brilliantly remastered sound, liner notes from David Hollander, album art
designed by Robert Beatty and reproductions of the Coloursound album jackets, ‘Far
View’ is an entry point to Joel Vandroogenbroek’s mind-bending body of work - sonic
soma to expand your consciousness and vibrate with the cosmos.

“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”

Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.

The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.

“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”

Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.

The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.

Breezy' by Ruby & the Mudflaps features a collection of studio cuts alongside a number of live recordings from the 1970s. These songs are exclusive to Cordial Recordings and have previously never been available on vinyl apart from 'Is That Enough?' which we released in 2018 on 7" single.

The live recordings capture the magical Haight-Ashbury west coast vibes with a crossover of soul and hippy chic. The original full length studio demo version of 'Breezy' starts the proceedings off on Side A and is followed by the uptempo swing of 'Without You.' The steppers of dream of 'Is That Enough?' slows the pace down before the tempo is raised again with the prophetic 'Only Love Spoken Here.' The album closes off with the first live version of 'Mountain Man.'

The B side kicks off with 'Love Song' that conjures up visions of lying on China Beach in the late 1960s without a care in the world. We are then treated to a fine rendition of Tower of Power's 'Don't Change Horses (In The Middle Of The Stream).' The final studio recording in 'You Want Me' comes next before segueing into the jazzy work out of 'Time.' This album version of 'Country Girl' is a different take of the song that we had previously released as a B Side. We close the album off with the second live recording of 'Mountain Man.'

We believe that these songs deserved a wider audience or they risked the danger of being lost forever in time. We take changes here at Cordial Recordings from time to time and hope that you like this collection of golden nuggets.

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound. Loose, live, and brimming with energy, Sorry Ma… is a lesson in chaos.

The 40th anniversary of Sorry Ma, Forgot To Take Out The Trash is celebrated this fall with a 4CD/1LP set that offers a remarkable document of The Replacements’ formative years. Of the set’s 100 tracks, 67 have never been released before, including the first demos the band recorded in early 1980, as well as a professionally captured concert from January 1981. Along with a newly remastered version of the original album, it also uncovers many unreleased rough mixes, alternate takes, and demos from the band’s first 18 months together. The LP included in the set, titled Deliberate Noise, presents an alternate version of the original album using these previously unreleased tracks.

CD Tracklist:

1. TAKIN A RIDE
2. CARELESS
3. CUSTOMER
4. HANGIN DOWNTOWN
5. KICK YOUR DOOR DOWN
6. OTTO
7. I BOUGHT A HEADACHE
8. RATTLESNAKE
9. I HATE MUSIC
10. JOHNNY’S GONNA DIE
11. SHIFTLESS WHEN IDLE
12. MORE CIGARETTES
13. DON’T ASK WHY
14. SOMETHIN TO DÜ
15. I’M IN TROUBLE
16. LOVE YOU TILL FRIDAY
17. SHUTUP
18. RAISED IN THE CITY
19. IF ONLY YOU WERE LONELY
1. TRY ME (Demo)
2. SHE’S FIRM (Demo)
3. LOOKIN FOR YA (Demo)
4. RAISED IN THE CITY (Demo)
5. SHUTUP (Demo)
6. DON’T TURN ME DOWN (Demo)
7. SHAPE UP (Demo)
8. I HATE MUSIC (Studio Demo)
9. CARELESS (Studio Demo)
10. SHUTUP (Studio Demo)
11. OTTO (Studio Demo)
12. GET ON THE STICK (Studio Demo)
13. OH BABY (Studio Demo)
14. RAISED IN THE CITY (Studio Demo)
15. SHIFTLESS WHEN IDLE (Studio Demo)
16. MORE CIGARETTES (Studio Demo)
17. YOU AIN’T GOTTA DANCE (Studio Demo)
18. DON’T TURN ME DOWN (Studio Demo)
19. RATTLESNAKE (Basement Version)
20. TAKIN’ A RIDE (Basement Version)
21. LIE ABOUT YOUR AGE (Basement Version)
22. WE’LL GET DRUNK/CUSTOMER (Basement Version)
23. JOHNNY FAST (Basement Version)
24. MISTAKE (Basement Version)
25. BASEMENT JAM (Rehearsal)
1. CARELESS (Alternate Version)
2. TAKIN A RIDE (Alternate Version)
3. SHUTUP (Alternate Version)
4. OTTO (Alternate Mix)
5. RAISED IN THE CITY (Alternate Version)
6. RATTLESNAKE (Alternate Mix)
7. LOVE YOU TILL FRIDAY (Alternate Version)
8. CUSTOMER (Alternate Version)
9. SOMETHIN TO DÜ (Alternate Version)
10. JOHNNY’S GONNA DIE (Alternate Version)
11. I’M IN TROUBLE (Alternate Version)
12. I HATE MUSIC (Alternate Version)
13. WE’LL GET DRUNK
14. MORE CIGARETTES (Alternate Mix)
15. GET LOST (Instrumental)
16. HANGIN DOWNTOWN (Alternate Version)
17. SHUTUP (Alternate Version 2)
18. SOMETHIN TO DÜ (Alternate Version 2)
19. DON’T ASK WHY (Alternate Mix)
20. KICK YOUR DOOR DOWN (Alternate Mix)
21. LOVE YOU TILL FRIDAY (Alternate Mix)
22. JOHNNY’S GONNA DIE (Alternate Mix)
23. LIKE YOU (Outtake)
24. GET LOST (Outtake)
25. A TOE NEEDS A SHOE (Outtake)
26. YOU’RE PRETTY WHEN YOU’RE RUDE (Solo Home Demo)
27. IF ONLY YOU WERE LONELY (Working Version/Solo Home Demo)
28. BAD WORKER (Solo Home Demo)
29. YOU’RE GETTING MARRIED (Solo Home Demo)
1. CARELESS
2. TAKIN A RIDE
3. TROUBLE BOYS
4. HANGIN DOWNTOWN
5. LIKE YOU
6. OFF YOUR PANTS
7. GET LOST
8. EXCUSE ME
9. CUSTOMER
10. I WANNA BE LOVED
11. MISTAKE
12. MY TOWN
13. SHIFTLESS WHEN IDLE
14. OH BABY
15. I’M IN TROUBLE
16. JOHNNY’S GONNA DIE/ALL BY MYSELF
17. MORE CIGARETTES
18. OTTO
19. DON’T ASK WHY
20. SLOW DOWN
21. SOMETHIN TO DÜ
22. LOVE YOU TILL FRIDAY
23. RAISED IN THE CITY
24. RATTLESNAKE
25. ALL DAY AND ALL OF THE NIGHT
26. I HATE MUSIC
27. SHUTUP

Biffy Clyro will release the surprise new project ‘The Myth of the Happily Ever After’ on October 22nd. The record is a homegrown project that represents a reaction to their #1 album ‘A Celebration of Endings’ and a rapid emotional response to the turmoil of the past year. It is the ying to the yang of ‘A Celebration’, the other-side-of-a-coin, a before-and-after comparison: their early optimism of 2020 having been brought back to earth with a resounding thud. It’s the product of a strange and cruel time in our lives, but one that ultimately reinvigorated Biffy Clyro.

“This is a reaction to ‘A Celebration of Endings’,” says vocalist / guitarist Simon Neil. “This album is a real journey, a collision of every thought and emotion we’ve had over the past eighteen months. There was a real fortitude in ‘A Celebration’ but in this record we’re embracing the vulnerabilities of being a band and being a human in this twisted era of our lives. Even the title is the polar opposite. It’s asking, do we create these narratives in our own minds to give us some security when none of us know what’s waiting for us at the end of the day?”

Grounded by lockdown, Biffy Clyro recorded ‘The Myth’ in a completely different way to how they approached ‘A Celebrations’. Rather than spending months in Los Angeles, they traded one West Coast for another by recording for just six weeks in their rehearsal room (converted DIY style into a fully functional studio by rhythm section brothers James and Ben Johnston) in a farmhouse closer to their homes.

The trio went in with the intention of completing some unfinished songs from ‘A Celebration’, but instead ‘The Myth’ took over as it started to take shape late in 2020, with everything written and recorded within a ten-mile radius. Traditionally, 90% of Biffy songs have been written in Scotland before the band head to London or Los Angeles for recording, but this represented the first time they’ve ever recorded in their homeland. As Simon jokes, “It’s our first full-on tartan album!”

‘The Myth’ blends experimental flourishes with flashes of old school Biffy. ‘Existed’ is the moment that shaped the record an elegant expression of self-doubt that redefines the sonics of the band’s catalogue of vulnerable slowburners, while ‘DumDum’ is an even bigger departure, having been constructed primarily around soft synths sampled from Simon’s voice. And ‘Slurpy Slurpy Sleep Sleep’ is just as audacious a closer as ‘Cop Syrup’ from ‘A Celebration’. It also represents one of a selection of “easter eggs” or “turns of phrase” that subtly complement and contrast the two records.

At the other extreme, devoted fans will connect with the feral anger of ‘A Hunger In Your Haunt’, the arena-scaled drama of ‘Errors In The History of God’ and the sheer catchiness of ‘Witch’s Cup’.

‘The Myth’ has been launched alongside the new track ‘Unknown Male 01’. In six adventurous minutes, the band explore every facet they’re renowned for, taking in the unguarded emotion of its introduction, a skewed off-kilter breakdown, and a jagged, spiralling riff that builds towards a cataclysmic crescendo. The song reflects on friends who have taken their own lives.

“When you lose people that you love deeply and have been a big part of your life, it can make you question every single thing about your own life,” he says. “Like a lot of creative people, I struggle with dark thoughts. If you’re that way inclined you realise you’re staring at darkness, but you don't want to succumb. Those moments don’t stop. As the song says, ‘The devil never leaves.’ There’s never a day where you wake up thinking, ‘I feel great, it won’t cross me ever again.’”

A recurring concept of the album is the power of personal convictions, which have taken on an almost religious fervour via the echo chambers of social media and news platforms. But that idea has the nuance to rise above contrasting sides of an argument, arguing that greater unity and open-mindedness is the only way forward. Elsewhere, it spans everything from gaslighting to the ultimate devotion of cults and the beautiful failure of a Japanese racehorse.

‘The Myth of the Happily Ever After’ is now available to pre-order here, with ‘Unknown Male 01’ provided as an instant download. It will be released on CD and digital formats, as well as a limited edition red vinyl which is packaged with a must-have bonus CD for fans: full audio of the acclaimed livestream show that Biffy Clyro performed at Glasgow Barrowland in August 2020 to commemorate the release of ‘A Celebration of Endings’.

After headlining Reading and Leeds in August, Biffy Clyro will also play further large-scale outdoor gigs this summer at Cardiff Bay and Glasgow Green. Plans for 2022 are also taking shape, with April’s long sold-out ‘Fingers Crossed’ intimate tour and a huge Saturday night headline set at Download. Please see the band’s official website for a full list of shows and ticket information.

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

OH WONDER, alias Josephine Vander Gucht und Anthony West, veröffentlichen ihr 4. Studioalbum mit
dem Titel „22 Break“. Ihre beiden letzten Alben “No One Else Can Wear Your Crown“ (2020) und “Ultralife“ (2017) erreichten jeweils die Top 10 der UK Albumcharts. Insgesamt verkaufte die Band bisher mehr
als 1.7 Millionen Alben.
Kurz nachdem Josephine und Anthony ihre Beziehung nach außen bekräftigt haben, fanden sich die beiden aufgrund der Pandemie zu Hause wieder, wo sie eigentlich das erste Mal ausschließlich Zeit zu zweit
verbrachten, ohne den gewohnten Oh Wonder-Kosmos drum herum. Das sehr ehrliche und kraftvolle neue
Projekt „22 Break“ gewährt sehr persönliche und gefühlvolle Einblicke in diese turbulente Zeit, in der die
private Beziehung der beiden auf der Kippe stand.
Anthony über das Album: “It was such a weird thing, to make a break-up album with the person you’re
breaking up with, while you’re breaking up.”
Josephine: “We were just writing songs. We had no idea we were writing a break-up album.”
“22 Break“ ist ein zutiefst hoffnungsvolles Album, das Licht am Ende des Tunnels von Oh Wonders
ganz persönlicher Pandemie. Die Frage “Make or Break?“ steht für die aktive Entscheidung so ehrlich wie
möglich zu sein, weiterzumachen und in ein neues Kapitel zu starten.

Joan Baez – a singer, activist and pacificist committed to the struggle against all segregation – recorded her first album in 1959 at the age of eighteen. The titles on these four sides are taken from the first four records she made, and they all reflected the position she took in the folk movement that was then emerging, together with her militant support of minority groups.

It would be sixty years before she said farewell to the stage, in July 2019 at the Montreux jazz Festival, after a sixty-year career of unrivalled quality that actively showed her sincere commitment to social and political causes. The grace in her exceptional voice, her kindness and admirable personality – and her determination – earned her an exceptional place in the history of popular music, as well as in the hearts of an ever-increasing audience.

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

Portuguese experimental trio 10 000 Russos are gearing up for the release of their fifth album ‘Superinertia’, which is due out September 10th on Fuzz Club Records. Following on from 2019’s ‘Kompromat’ LP and tour dates around the UK, Europe and Mexico in support, the Porto-based band describe ‘Superinertia’ as a record addressing the “state of inertia that humans live in the West nowadays. It isn’t a record about the past or future. It’s about now.” For all that ‘Superinertia’ might take aim at a world without motion, however, the same cannot be said of 10 000 Russos themselves.

On the one hand, since their 2013 debut LP and the three that have followed on Fuzz Club since (2015’s self-titled, 2017’s ‘Distress Distress’ and ‘Kompromat’), 10 000 Russos’ music has always been about as kinetic as it gets: a truly unrelenting and motorik sonic force. On the other hand, ‘Superinertia’ also sees the band itself move into whole new musical territories – aided especially by the recent addition of synth player Nils Meisel to the line-up (who replaces former bassist André Couto.)

“The synths really opened up the sound of the band and gave more routes for the music to journey down. The most important thing on this album was to not repeat ourselves. A new arc in our sound is coming to life”, drummer and vocalist João Pimenta explains. On said arc, the Russos sound is expanded to include moments that invoke Ry Cooder’s ‘Paris, Texas’ soundtrack (‘Mexicali/Calexico’), dancey outbursts that transport you to the 90s Summer of Love (‘Super Inertia’), the closest thing Russos have ever done to a pop song (‘A House Full of Garbage’) and even a touch of banjo (albeit one that sounds like a country band on amphetamines playing over a feedback-blasted Stooges beat.)

“10 000 Russos are bizarre and excellent in equal measure.” - The Quietus

“Songs drip with heavy echo, relentless beats and bass and a sense of charging into the ultimate infinite.” - Bandcamp Daily

“Something unholy has indeed been summoned out of the ground, and it is a power trio from the Iberian Peninsula.” - Clash Magazine

Portuguese experimental trio 10 000 Russos are gearing up for the release of their fifth album ‘Superinertia’, which is due out September 10th on Fuzz Club Records. Following on from 2019’s ‘Kompromat’ LP and tour dates around the UK, Europe and Mexico in support, the Porto-based band describe ‘Superinertia’ as a record addressing the “state of inertia that humans live in the West nowadays. It isn’t a record about the past or future. It’s about now.” For all that ‘Superinertia’ might take aim at a world without motion, however, the same cannot be said of 10 000 Russos themselves.

On the one hand, since their 2013 debut LP and the three that have followed on Fuzz Club since (2015’s self-titled, 2017’s ‘Distress Distress’ and ‘Kompromat’), 10 000 Russos’ music has always been about as kinetic as it gets: a truly unrelenting and motorik sonic force. On the other hand, ‘Superinertia’ also sees the band itself move into whole new musical territories – aided especially by the recent addition of synth player Nils Meisel to the line-up (who replaces former bassist André Couto.)

“The synths really opened up the sound of the band and gave more routes for the music to journey down. The most important thing on this album was to not repeat ourselves. A new arc in our sound is coming to life”, drummer and vocalist João Pimenta explains. On said arc, the Russos sound is expanded to include moments that invoke Ry Cooder’s ‘Paris, Texas’ soundtrack (‘Mexicali/Calexico’), dancey outbursts that transport you to the 90s Summer of Love (‘Super Inertia’), the closest thing Russos have ever done to a pop song (‘A House Full of Garbage’) and even a touch of banjo (albeit one that sounds like a country band on amphetamines playing over a feedback-blasted Stooges beat.)

“10 000 Russos are bizarre and excellent in equal measure.” - The Quietus

“Songs drip with heavy echo, relentless beats and bass and a sense of charging into the ultimate infinite.” - Bandcamp Daily

“Something unholy has indeed been summoned out of the ground, and it is a power trio from the Iberian Peninsula.” - Clash Magazine

THE NIGHT FLIGHT ORCHESTRA is back! The band that formed as an idea of friends from several well known rock/metal bands (SOILWORK, ARCH ENEMY, MEAN STREAK) back almost a decade ago and has been dropping jaws ever since. With 5 albums already under their belt, 2 nominations for the Swedish Grammies, countless live shows and praises from fans and media alike, TNFO have steadily upped their game when it comes to paying tribute to a decade that influences all sorts of people and even industries to this day - the 80s. With hits like ‘Domino’, ‘Lovers In The Rain’, ‘West Ruth Ave’, ‘Divinyls’ or ‘This Time’, the band manages to maintain a variety of vibes and emotions within every album. From hard rockers, poppy digressions to progressive epics, disco-esque songs and almost cheesy yet loveable ballads.

Enter 2020, TNFO had just released their recent record, ‘Aeromantic’, and kicked off their European tour in support of it, when the Covid-19 pandemic hit. Björn Strid, the AOR dictator helming this exceptional collective called NFO, recalls “We made it one week into the tour after some absolutely amazing shows and then it all went south and we had to go home. Just about everyone on the tour got sick when they came home, with varied conditions.”
The band didn’t step back and accept the situation but decided to do what they do best instead: “It was pretty clear after some months into the Covid madness, that it was here to stay and that we weren’t gonna be able to tour for quite some time. So we made the best out of it. The remedy was simply to hit the studio again as soon as everybody was well again. It ended up being an incredibly creative 1,5 years and so many amazing songs came out of it.”

That being said, the second part of the ‘Aeromantic’ saga really captures what this band is all about: being in motion and romanticizing traveling, sometimes even with a broken heart - accompanied by the good things in life. Namely with songs like ‘White Jeans’, yet another jaw dropping classic rock gem about hot young love, cramped with nostalgia, or ‘Change’, which encompasses all the vibes you know from your favorite decade: Urgency, emotion, warmth and excitement. But also groovy danceable songs like ‘Chardonnay Nights’, a groovy, dreamy, yet uplifting homage to parties and hot love, or ‘Burn For Me’, a true feel good anthem for the summer - driving people to dance in the streets, all worries aside, to a brighter future.

On the other hand there are tracks like the almost progressive ‘Amber Through A Window’. A little throwback (at least titular) to the NFO’s epic 2017 album ‘Amber Galactic’: “Amber is with us wherever we go and I think she’ll keep coming back. She’s our mascot of escapism. The song was very interesting to compose. It takes you on quite a journey with key changes and goes from minor to major when you least expect it and throws you between different set of emotions. At the same time it feels pretty direct and operates like a mini epos. Really happy with how it turned out“, cites Strid.

Besides all this, the band has also stepped up their game when it comes to music videos for their timeless anthems. “White Jeans” for instance features Swedish TV personality Fredrik Lexfors and is a sweet little homage to the LGBTQIA+ community. “Fredrik is a good friend of mine and has loads of experience in the musical/theatre world and is super creative. He created this character called ”Kantorn” (The Cantor) some years ago and became a hit on YouTube. He has a very twisted and unique way of singing and acting, which is very funny. He was a part of Sweden’s Got Talent TV Show and went really far and became a crowd favorite. Fredrik has a lot of friends in the LGBTQIA+ community and I also have quite a few. We saw it as a joyful tribute and we’ve only gotten really good response. It’s of course also humorous but has a very nice balance and a very positive message.”

The bold and jovial video for “Burn For Me” on the other hand maybe among the biggest and best productions, the NFO ever recorded for the depths of the internet: “I’ve had this idea to film a ”Dancing in the Streets” video, where curious people come out of the woodworks and join the party in the streets. It’s a very classic 80’s scenario and very common in videos back then. Sort of the video to IRENE CARA’s ”Fame”. You don’t see it very often these days. We felt that it was needed and after “Burn For Me” was done I immediately envisoned it being the perfect ”post corona dancing celebration in the streets-song”.”

Those two videos are by far not everything the band will have to offer visually, but we won’t tell any more just for now. To be continued…

With all that new greatness up their sleeves, NFO are ready to take the world by storm – again! Even though coming up with a setlist for their scheduled tour starting in September may prove to become problematic according to the AOR Dictator: “Making a setlist might end up being a nightmare haha… I would be up for doing only songs off »Aeromantic I« and »Aeromantic II« since that’s really where we’re at right now, but I think most of our the Midnight Flyers would like to hear some old stuff, too. Maybe we could get away with it as long as we play “West Ruth Ave” as the ending song and create the good old conga train?”

When his mother brought Stanley Turrentine’s Salt Song LP back from a trip to Canada, Julien Lourau, then a teenager, was impressed by the scope of the sound and the groove of the saxophone. He was also charmed by the lush arrangements and funky sound of the record, typical of releases on the CTI label. Created by producer Creed Taylor, CTI left an imprint in the minds of 70s jazz fans much like Blue Note did in the 60s, and it even ended up releasing work by artists who started out on this mythical label such as Stanley Turrentine and Freddie Hubbard. The two even shared the same sound engineer, the great Rudy van Gelder.
Yet CTI, though highly prolific during its 15 years of activity, has not benefitted from the same aura as its predecessor. “To breathe life into this album, I listened to a wealth of CTI releases and discovered some I had never heard before. I noticed, oddly, that many of today’s musicians know very little about CTI - a label unfairly considered as minor.”

The choice of tracks was determined by Julien’s personal tastes, always keeping in mind a desire to help people discover them yet focusing on the joy of actually playing them too.

"The album is made up of 9 pieces. Mathieu Débordes got everything down to the nearest note before we even attempted to play them. CTI didn’t hold back in fuelling their compositions with brass and violins, but I erased this aspect and pared things down to a bass, drums and two keyboards."
English drummer Jim Hart, someone Julien worked with during his London years, propels the group - from hard-bop polyrhythms with “drum & bass” inflections to a reworking of classic Red Clay.

Sylvain Daniel on the bass and Arnaud Roulin on the analogue keys are two musicians close to the saxophonist, and that he met when they were students in 1999 while organising a master class at the Conservatoire de Nantes. Since then, they have become his esteemed companions.

The collaboration with young pianist Léo Jassef began on this recording, where he also plays the Prophet 5. The dynamic and overlap of the many keyboards played by Arnaud and Léo bring the record a richness of timbre and harmony that the strings and brass provided on the CTI recordings.
For the final track on the record, Julien called upon his friend of 30 years, guitarist Bojan Z, for a fresh, Gospel take on Love and Peace, a track recorded by Quincy Jones in 1969, which here, is dedicated to Bojan’s recently departed brother.

“When it comes down to it, this album really is as I had imagined it, with, luckily, a few unexpected turns. I created a playlist I then claimed as my own. But in the end, I must admit that I would have loved to have composed some of these tracks.”

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.

Responding to a comment that the foreground of his Western photographs
feels like a stage set, the photographer and auteur Wim Wenders suggests,
‘that impression is basic to the American West and everything people have
built there has a highly theatrical air.
This animates Places of Consequence, the second album and first solo LP
from Cameron Knowler, which deploys guitar and banjo as cinematic tools to
soundtrack and investigate the region.
‘Despite the fact that the lightheartedness of youth lifts and the problematic
components of the West reveal themselves over time,’ Knowler says, ‘there are
still ways of harnessing the space to richly creative ends.’
Single ‘Puerto Suelo,’ which features acoustic and electric guitars playing in unison and a small orchestra of kitchen utensils, shows Knowler’s knack for gorgeous melodies, and nods to LA session wizards like Blake Mills or Sam Gendel.
Places of Consequence is testament to making the effort, and a document of
Knowler’s clear talent.

In James McMurtry’s new effort, ‘The Horses and
the Hounds’, the acclaimed songwriter backs
personal narratives with effortless elegance
(‘Canola Fields’) and endless energy (‘If It Don’t
Bleed’).
This first collection in seven years spotlights a
seasoned tunesmith in peak form as he turns
toward reflection (‘Vaquero’) and revelation (closer
‘Blackberry Winter’). Familiar foundations guide
the journey. “There’s a definite Los Angeles vibe to
this record,” McMurtry says. “The ghost of Warren
Zevon seems to be stomping around among the
guitar tracks. Don’t know how he got in there. He
never signed on for work for hire.”
‘The Horses and the Hounds’ is a reunion of sorts.
McMurtry recorded the new album with legendary
producer Ross Hogarth (Ozzy Osbourne, John
Fogerty, Van Halen, Keb’ Mo’) at Jackson
Browne’s Groovemaster’s in Santa Monica,
California. Hogarth recorded McMurtry’s first two
albums - ‘Too Long in the Wasteland’ and
‘Candyland’ - and later mixed McMurtry’s first selfproduced album, ‘Saint Mary of the Woods’.
Another veteran of those three releases, guitarist
David Grissom (Joe Ely, John Mellencamp, Dixie
Chicks), returns with some of his finest work.

Ubiquity Records presents a limited repressing of "Awakeining" by the legendary Pharaohs which is highly sought after and has been out of print for several years. Awakening was originally released in 1971 and re-issued by Luv n’Haight in 1996 and quickly became a must-have for collectors of spiritual, deep, Afro-centric Jazz. "The legend of The Pharaohs starts at Crane Junior College on the West side of Chicago. Under the tutelage of James Mack a student band is formed- The Jazzmen- which in 1962 wins the best band category at Chicago's annual Harvest Moon Festival which translated into the early members finding success at Chess Records as studio musicians. After a while these musicians moved over to the South Side to the fledgling Affro Arts Theater where they joined the Artistic Heritage Ensemble, under the leadership of Phil Cohran and where they eventually merged after Cohran left to teach at Malcolm X Junior College. It was this version of the band: Louis Satterfield, Charles Handy, “Big” Willie Woods (Trombone), Oye Bisi (African drums), Shango Njoko Adefumi (African Drums), Black Herman Waterford (Quinto drum, alto sax), Don Myrick (saxes), Yehudah Ben Israel (guitar, vocals), Alious Watkins (trap drums, tuba), Derf Reklaw Raheem (percussion, flute), Aaron Dodd (Tuba); that in 197I recorded “The Awakening”. By 1972 when “In The Basement” was recorded the unit had expanded to include Derrick Morris (trap drums), Warren Bingham (guitar), Rahm Lee (trumpet) and Sue Conway (Vocal).

"King Gizzard & The Lizard Wizard have always greeted creative boundaries with the same respect bulldozers visit upon anything foolish enough to stray into their path. Over 11 years and across their 17 studio albums to date, the sui generis sextet have turned their many hands to luminous acid-rock daydreams (I’m In Your Mind Fuzz), gritty western horse operas (Eyes Like The Sky), never-ending science-fiction song cycles (Nonagon Infinity), dystopian death-metal epics (Infest The Rat’s Nest) and winningly mellifluous jazz-folk (Sketches Of Brunswick East). They’ve even invented their own musical instrument – a hybrid electric guitar sharing much of its DNA with the traditional Turkish bağlama – to explore the notes between the notes (a mission that’s yielded three albums thus far: Flying Microtonal Banana, K.G. and L.W.).
But their 18th album, Butterfly 3000, might be their most fearless leap into the unknown yet: a suite of ten songs that all began life as arpeggiated loops composed on modular synthesisers, before being fashioned into addictive, optimistic and utterly seductive dream-pop by the six-piece. The album sounds simultaneously like nothing they’ve ever done before, and thoroughly, unmistakeably Gizz, down to its climactic neon psych-a-tronic flourish. "

The '2Kings EP' is the debut release from Ash and Jay Shah, two brothers based in London. The record has come out on their newly formed '506' label via Kudos Records. Having produced for various MC's and vocalists in the past, this is the first time the brothers have teamed up to release something under their own '2Kings' alias.

Drawing on influences from the styles of producers such as Madlib, J Dilla and The Alchemist, the record blends obscure soul and jazz infused samples with incisive vocals to take the listener on an introspective journey across 6 tracks.

”Papered Up” and "Dark Corners" shows the pair team up with Detroit legend Guilty Simpson and LA wordsmith Blu over two soul-smoked instrumentals, with both MCs lacing up to provide hard-hitting verses. Guilty's gritty personal narrative of the daily struggles of living in the D is wonderfully counterbalanced by the spaced out, string-lead production; whilst Blu takes a more positive approach, his intricate west-coast flow interrupted only by the pitched-up vocal hook of the sample.

"Last Time", perhaps the standout song on the EP, is a rich, experimental piece of neo-soul embellished by gorgeous guitar riffs from Oscar Jerome (who has released on both Universal Records and Giles Peterson's Brownswood Records) and the velvet smooth tones of rising vocalist Douniah (signed to german based hip hop label Melting Pot Music).

Since the digital release, the EP has received widespread acclaim, with support from Tom Ravenscroft, Huey Morgan, Giles Peterson and Alexander Nut, to name a few. The brothers have been repeatedly championed by Jamie Groovement / Agent J (head music editor of Bonafide Magazine) having recently appeared on his Groovement Show on Reform Radio, and "Last Time" was also featured on Spotify's 'Fresh Finds' and 'Fresh Finds: The Wave' playlists.

The '2Kings EP' is definitely one to watch out for.

Dutch symphonic metal band Delain released their third studio album We Are the Others in 2012 to positive reviews from music critics. The album title was inspired by the murder of 20-year-old Sophie Lancaster, whose murder was likely a hate crime due to her being part of the goth subculture. The album spawned two single releases: “Get The Devil Out of Me” and the title track, for which the band shot a music video that included many well-known people from the metal scene, including George Oosthoek, Sharon den Adel, Robert Westerholt and Rob van der Loo. The album features guest contributions by the likes of Burton C. Bell (Fear Factory) and Marko Hietala (Nightwish) and was produced by Jacob Hellner (aka Tripod), who is best known for producing most of Rammstein’s albums.

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70’s and 80’s. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

The documentary Hitsville: The Making Of Motown’, featuring Motown founder Berry Gordy and many of this artists, will premiere in cinemas across Europe this summer as well.






RELEASE: 23-7-2021

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Motown Collected is the first one, available as a limited edition of 3000 numbered copies on white vinyl. It includes an insert with photos and credits.

The Cold Stares will release their new album "Heavy Shoes" on August 13, 2021 via Mascot Records.
"Heavy Shoes" will be available on CD Digipack w/ 12 page booklet and 180 Grams Shiny Gold Vinyl w/ printed insert.
The great state of Kentucky is world renowned for many things. Bluegrass music? Of course. The smoothest, best-tasting Bourbon created by the hands of man? It doesn’t get any better. One thing that folks don’t always associate with Kentucky however is visceral, in-your-face rock and roll. The Cold Stares are determined to change that perception.
Chris Tapp and Brian Mullins have known one another for a long, long time. They grew up in Western Kentucky, just a stone’s throw from the border or Indiana, and attended different High School mere minutes down the road from one another. They originally started playing together in their early twenties before going their separate ways only to reunite in another outfit a decade down the line. “We were playing together in 2009 in another band that was doing really well,” Tapp said. “It didn’t work out, so we both kind of exited that band and contemplated retirement.” It didn’t take long before they were thankfully disabused of that notion.
That band is an intense amalgam of Led Zeppelin meets Free, Soundgarden meets Black Crowes; rock and roll wizardry where the riffs are hard, the vocals are searing, and the low end is capital “H,” heavy. Most of the album was recorded in a single day at Sam Phillips fabled recording studio in Memphis. “That’s our second record there, so there was a lot of familiarity going back in,” Mullins said. “The thing about that studio is that it’s old, and vibey. Sometimes you gotta bang on the gear a little bit to make it work. It’s kinda like the Millennium Falcon. It’s badass, but you just gotta get it running right.”

‘Heavy Shoes’ is Cold Stares’ best record yet, and they know it. It took a lot of blood, sweat, tears and doubt before Chris Tapp and Brian Mullins reached this moment, but it’s all the sweeter knowing they did it their way. “We’ve been through some tough times, and I’d say our band is a pretty good representation for blue collar people in general. People that work hard. We’re just a blue-collar American rock and roll band.”

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

La Castanya is releasing “Gran Sur” on vinyl for the first time, originally released on CD in 2004. Very Limited/Non-Returnable.

Hello Cuca, inspired by the DIY philosophy and the Riot Grrrl movement, toured the United States with The Make Up (Dischord / K Records) and Spain with Bratmobile (Lookout! Records / Kill Rock Stars).

Hello Cuca released on vinyl a handful of EPs between the late nineties and the two thousands and then an album released on CD, Gran Sur, an out of print release right up until now that La Castanya is going to release it on vinyl for the first time.

In Gran Sur Lidia Damunt (the same Lidia Damunt who has now gone solo) was joint by her sister Mabel Damunt on the bass and Alfonso Melero (the same Alfonso Melero from Villarrobledo’s much-missed indie aristocracy) on drums. She sang Mabel’s lyrics about a place in-between the Spanish Levante Coast and the West Coast of the United States. A place for Mabel’s dream-theories about love and sisterhood and how we learn how to be people when we talk to each other, when a name is given to us, when we do things and let the others see we have done them.

There they were, and there they are still. Lidia shouting that madness of lyrics and
playing the guitar and Mabel and Alfonso doing their badaboom-badaboom from behind.
It was incredible to watch, it is irresistible, they are the best without question. I think a lot
about Hello Cuca. — Manolo Martínez, Astrud

The classic 1991 album remastered and expanded with rare and previously
unreleased tracks. Extensive liner notes by band biographer Keith Cameron.
A landmark of the grunge era.
By going back to basics with ‘Every Good Boy Deserves Fudge’, Mudhoney
flipped conventional wisdom. Not for the first time - or the last - they would be
vindicated. A month after release in July 1991, the album entered the UK
album chart at Number 34 (five weeks later, Nirvana’s ‘Nevermind’ entered
at 36) and went on to sell 75,000 copies worldwide. A more meaningful
measure of success, however, lay in its revitalisation of the band, casting a
touchstone for the future. The record is a major chapter in Mudhoney’s
ongoing story, the moral of which has to be: when in doubt, fudge it.
The album began at Music Source Studio, a large space equipped with a 24-
track mixing board - downright futuristic, compared to the 8-track setup that
birthed the band’s catalytic 1988 debut, ‘Touch Me I’m Sick’. The Music
Source session quickly turned into a false start when the results, in guitarist
Steve Turner’s words, “sounded a little too fancy, too clean.” Lesson learned,
the band went primitive and got to work at Conrad Uno’s 8-track setup at Egg
Studio. Named after the cartons pasted on the walls in an optimistic attempt
at sound-proofing, Egg boasted a 1960s vintage 8-track Spectra Sonics
recording console, originally built for Stax in Memphis.
So it was that, in the spring of 1991, Mudhoney made ‘Every Good Boy
Deserves Fudge’. The resulting album is a whirlwind of the band’s influences
at the time: the fierce ‘60s garage rock of their Pacific Northwest
predecessors The Sonics and The Lollipop Shoppe, the gnashing posthardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the
lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism
of Zounds and the satirical ferocity of ‘80s hardcore punk. The quartet’s
special alchemy meant these fond homages never slid into pastiche.
Ultimately, ‘Every Good Boy Deserves Fudge’ epitomised the best of
Mudhoney: here was a band reconnecting with its purest instincts and, in the
process, reinventing itself.
This 30th Anniversary edition, remastered by Bob Weston at Chicago
Mastering Service, stands as testimony to the creative surge that drove them
in this period. The album sessions yielded a clutch of material that would
subsequently appear on B-sides, compilations, and split-singles. This edition
includes all those tracks and a slew of previously unreleased songs,
including the entire five-track Music Source session.

Wooden Shjips, as it is today, started in 2006. The band self released a 10" and 7" that year and started playing shows shortly thereafter. Prior to 2006, Wooden Shjips was an experiment in primitive and minimalist rock. After it imploded, Ripley Johnson, guitar and vocals, assembled the current lineup of Dusty Jermier on bass, Nash Whalen on organ, and Omar Ahsanuddin on drums. West marks the first time the band recorded in a proper studio, as well as the first time with an engineer (Phil Manley). All previous recordings, either self-released, for Holy Mountain, or Mexican Summer were done more piecemeal in the band's rehearsal studio. West was recorded and mixed in six days at Lucky Cat Studios in San Francisco. It was mastered by Sonic Boom at Blanker Unisinn, Brooklyn, with additional mastering by Heba Kadry at The Lodge in New York.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips.



2LPs (+ audio download code voucher)
Vinyl audio remastered & cut by Gearbox Records
180grm Optimal Pressing
16-page 12x12 insert with 20,000 word essay detailing this crucial era of British jazz with track commentaries and artist biographies
2CD Set, hard cover book includes a 20,000 word essay detailing this crucial era of British jazz with track commentaries and artist biographies
Track list below (2CD set is same tracks split LP1 & LP2)









i c1. Neil Ardley, Ian Carr, Don Rendell | Greek Variations: VI Kriti edit

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..