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Introducing "Azerbaijani Gitara vol. 2" by Rəhman Məmmədli, the eagerly awaited sequel to Bongo Joe’s acclaimed debut featuring Rüstəm Quliyev. Born from the vibrant streets of Baku, Azerbaijani gitara culture has evolved into a mesmerizing fusion of indigenous traditions and global influences. From the oil boom era to Soviet rule, musicians have embraced the electric guitar as a symbol of cultural expression.

Rəhman Məmmədli, a legend in his own right, revolutionized the sound with his innovative techniques and impassioned performances. Drawing inspiration from mugham music, Məmmədli's compositions resonate with soul-stirring melodies and electrifying solos.

Join us as we honor the pioneers of Azerbaijani gitara culture while celebrating the continued evolution of this rich musical tradition. "Azerbaijani Gitara vol. 2" promise to captivate listeners with its depth, diversity, and unbridled passion, inviting you on a journey through the heart and soul of Azerbaijan's musical heritage.

Temir Alcy (producer Enir Da - Dali Muru & The Polyphonic Swarm and multi-instrumentalist Charles Lmx) is at the junction of spherical textures of acoustic clouds and shapeshifting forms of immersive electronic percussive patterns.

By intertwining etherionic atmospheres and organic moods to magnetic and hypnotic rhythms, Temir Alcy explores the mysteries of the future and the unknown through a journey of sensory trance, where whispers and melodies of voices strike a vivid contrast between emotions’ fragility and sound’s solidity enhanced by a downtempo, leftfield and erratic kraut’s feel.

Expansive & emotional ambient techno tracks spin into some Detroit techno ‘Shambles’. Hi Tech Soul threaded into an introspective cocoon that seems nostalgic and futuristic in the same breath.

Belgian progressive post-hardcore quintet Hippotraktor have announced their second full-length album, `Stasis'. The combination of impressionistic songwriting ambitions and powerful, narrative-charged lyrics proved to be a perfest match for the band so far. Operating at the intersection of Meshuggah's relentless, polyrhythmic pounding and Gojira's colossal atmospheric weight, Hippotraktor have expanded upon their already distinctive sound by introducing De Graef's vocals that bring with them an intriguing new dedication to musical storytelling. "Stasis tells a story of human nature," explains lead vocalist Stefan De Graef about the album's narrative. "As the protagonist enters a new world in which he is confronted with other humans for the first time, he acquaints himself with their customs and ethics, discovering generosity and empathy, but also greed, jealousy and hatred." Taken from the Greek for `stoppage', `Stasis' sees Hippotraktor doing anything but stagnating. Hippotraktor chart intricate melodies and sprawling riffs as a map showing how humanity has come of age in a chaotic world of its own making. Deftly unveiling tender truths whilst tenderly shrouding the violent majesty at its core, `Stasis' is a fitting soundtrack to life in a world that's hurtling towards a stand still.

Duff McKagan (Guns N Roses) feiert das fünfjährige Jubiläum seines Solo-Albums 'Tenderness' mit einem Live-Album, das am 13. Juni 2019 in Los Angeles aufgenommen und vom ursprünglichen Produzenten des Albums, Shooter Jennings, gemischt wurde. Das Album ist eine intime und persönliche Reise durch Duffs eigene Songs sowie einige Covers. Das Album ist auf streng limitierten 2CD- und 2LP-Vinyl-Gatefold-Sets erhältlich.

** TRILOGY ***
post-punk experiments

VOLUME 1 of a series of 3 re-releases of the 80s underground solo cassette tapes by Menko Konings (aka EM / Menko / eM.)
This first re-release/remaster is the cassette tape “dedicated to Charles Bronson” (1986) by Menko, with almost one hour music

TAPE RESTAURATION / REMASTER (2024) by the grand master RUDE 66

Vocals on Debra by Tonny Timmermans (aka Antonia)

Limited edition of 50 (hand numbered) golden cassette tapes with original J-card

“When I went solo in 1983 I only had a guitar, a bass and a four track cassette tape recorder. Sometimes I borrowed a rithmebox or a synth for a couple of days. These solo cassette tapes were created in that period.” (MK)

Music journalist Oscar Smit described these tapes in the 80s - in his column Dolby of the legendary Dutch magazine Vinyl - s.a.: “Big city music, metropolis beat, drum composers, funking basses, nervous rhythm guitars, radio and TV sounds in the background and intonationless vocals.”

Beinahe 50 Jahre lang war Johnny Hodges der vielleicht wichtigste Solist im Orchester von Duke Ellington. Parallel unternahm der Altsaxophonist natürlich auch immer wieder erfolgreiche Soloausflüge, so wie 1958 auf dem Verve-Album “Blues A-Plenty”. Mit einem All-Star-Septett, in dem gleich vier weitere prominente Ellington-Musiker versammelt waren, präsentiert Hodges hier neben fünf eigenen Kompositionen u.a. auch zwei Nummern aus der Feder seines Bosses

South of Here, das vierte Studioalbum von Nathaniel Rateliff & The Night Sweats, verarbeitet ein ganzes Leben voller Schmerz und Trauma und verwandelt es in eine mitreißende und seelenverwandte Betrachtung von Liebe, Verlust, Hoffnung und Entschlossenheit. Nach And It’s Still Alright, Rateliffs geliebter Solo-LP aus dem Jahr 2020, und The Future, der gefeierten Veröffentlichung von The Night Sweats aus dem Jahr 2021, vereint das neue Album beide Seiten seines immensen Talents: emotional starkes, lebendiges Storytelling und den rauen R&B-Revivalismus, der die Band in den letzten zehn Jahren zu weltweitem Erfolg geführt hat.

South of Here, das vierte Studioalbum von Nathaniel Rateliff & The Night Sweats, verarbeitet ein ganzes Leben voller Schmerz und Trauma und verwandelt es in eine mitreißende und seelenverwandte Betrachtung von Liebe, Verlust, Hoffnung und Entschlossenheit. Nach And It’s Still Alright, Rateliffs geliebter Solo-LP aus dem Jahr 2020, und The Future, der gefeierten Veröffentlichung von The Night Sweats aus dem Jahr 2021, vereint das neue Album beide Seiten seines immensen Talents: emotional starkes, lebendiges Storytelling und den rauen R&B-Revivalismus, der die Band in den letzten zehn Jahren zu weltweitem Erfolg geführt hat.

Dando Shaft’s self-titled sophomore set continued to build on the reputation established by their excellent debut, and now the arrival of female singer Polly Bolton added another textural dimension, as heard most clearly on the soaring ‘Riverboat,’ the absence of drums throughout allowing us to fully appreciate the players’ excellent musicianship, with Martin Jenkins’ masterful mandolin, flute and fiddle drawing the sound to higher realms. As it was issued on RCA’s prog sub-label Neon, which folded soon after its release, the LP is as rare as it is excellent—another must-have for fans of progressive folk and psychedelic folk rock.

After briefly replacing Eric Clapton in John Mayall’s Bluesbreakers, guitarist/bassist Geoff Krivit formed Doctor K’s Blue Band with pianist Richard Kay and singer/harmonica player Mick Hasse, the lineup completed by bassist Harold Vickers, slide guitarist Roger Rolt and future Steve Hillage drummer Eric Peachey. Their self-titled debut had top-notch renditions of blues classics such as ‘I Can’t Lose,’ ‘Key To The Highway’ and ‘Pet Cream Man,’ as well as spirited originals such as ‘Strobe Lemming’s Lament’ and the piano stomp ‘Crippled Clarence,’ but the album failed to break through. Grab a copy of this rarity to be blown away!

Exact Repro OF THE Original With 4 Bonus Tracks. Japanese country rock act Gypsy Blood must be heard to be believed. Released on Vertigo in 1971, their sole LP showed the group simply bursting with talent, Kiyoshi Hayami’s mandolin exceptional and the masterful soft-rock production courtesy of Miki Curtis; drummer Eiichi Tsukasa had earlier been in the Helpful Soul, organist Katsuo Ohno had been in the Spiders, and guitarist/vocalist Hiroaki Nakamura later played in Buzz with future YMO member Yukihiro Takahashi, while none other than Alan Merrill of ‘I Love R‘n’R’ fame completes the picture on piano. A beautiful album, and a very rare beast!

Formed in suburban Maidenhead by singer Tony Pook, guitarist/pianist Roy Apps and guitarist Robert Collins, Heron solidified when Collins was replaced by uitarist/mandolin player GT Moore. After a debut album recorded at the Pook family farm, specially priced double LP Twice As Nice And Half The Price achieved a fuller sound with guitarist Mike Cooper, bassist Mike Finesilver, drummer Terry Gittins and guitarist Willie Boazman. The epic set sounds absolutely brilliant from start to finish, with strong vocal harmonies, intricate guitar interplay and excellent musical communication. Arguably Heron at their absolute best!

After backing future Mike Oldfield producer Tom Newman and playing in psychedelic outfit July, percussionist/flutist Jon Field and guitarist Tony Duhig joined forces with bassist Glyn Havard to form experimental prog act Jade Warrior, their non-standard 1971 self-titled debut a work of excellence unjustly overlooked. Veering between acou-stic introspection, searing acid rock and world music interludes, with melody and percussion from Africa and India and nary a drumkit in sight, this pure musical gemstone of uncommon beauty is ripe for rediscovery, and this edition comes with a rare alternate of ‘Telephone Girl’ to boot. Mega!

Theatrical rocker Arthur Brown gained notoriety and fame in equal measure through ‘Fire,’ an anthem to their pyrotechnic excess. When his backing musicians quit to form Atomic Rooster, Brown formed Kingdom Come to further explore the nexus of music and theatre and of the series of albums they cut for Polydor, Journey is the strangest and greatest. Stretching to the deepest reaches of space rock, Journey used the Bentley Rhythm Ace drum machine, and Victor Peraino’s synths, theremin and mellotron, to chart the astral records of history. This is Brown’s true masterpiece, an astounding record that was aeons ahead of its time.

From the deep confines of the universe, we receive emissions of HC Records’ 21st release - Those Dark Whims by UHF, the production duo and Gladio Operations label heads José Castillo and David Aragón. An exciting digital LP from which a selection of tracks have been extracted for vinyl along with remixes by two label regulars, Estrato Aurora and The Lost Boys.

Skynet Was Shy opens both the LP and the vinyl, a hypnotic starting point in which the most vibrant and crystalline electro fuses with acid sequences to generate a state of pure trance, complimented and driven by spiralling sequences and mantra-like vocals. The second track on the LP and A2 on the vinyl is The Lost Boys' remix of Skynet Was Shy. A rough and sharp reinterpretation where the use of 303 sequences continues but focuses on more of a physical than a mental dance.

Hanging Baskets reactivates the state of infinite mental suspension that underlies this powerful and bold composition with deft and minimalistic use of elements: sharp broken rhythms, a dense melodic environment but with occasional moments of pure light and a new vocal message that ignites in our minds.

The B-side kicks off with Estrato Aurora's remix of Day Dream, which as usual in the work of the acclaimed Valencian producer, extends the original version to 8 minutes, giving it an unusual emotionality created by an amalgam of sound textures that interweave multiple pads, mutant melodies and pulsating percussion. Closing the vinyl, UHF's machines join forces with the lyrics of another electro heavyweight in Protestas En Las Redes Feat. Dark Vektor, a combative discourse in which the powerful and robotic vocal message of the Terrassan producer ascend alongside the futuristic melodies, extra-dimensional violins, spatial arpeggios, and metallic rhythms of the Madrid duo.

A full LP of the legendary Palm wine guitarist SE Rogie's early work. Truly beautiful songs from the 1960's ranging from sweet acoustic solo numbers to blazing full band electric music. SE Rogie had a very long & pioneering career in Sierra Leone. His songs are some of the most beautiful ever - gentle & lilting timeless melodies. One of the greats. A co-release with our friends at the Domino Sound label.

Although For The Longest Time She Has Been A Chicago Resident, Ruby Andrews's Wonderfully Dramatic Vocals Sounds Like Straight From The Deep South Of The Usa. Actually, That Is Where She Was Born In Hollandale, Mississippi, In 1947. She Recorded At Least Six Albums That Are Each Highly Treasured By Soul And Funk Fans All Over The World. Black Ruby, The Brilliant Second Lp From This Marvelous Soulsinger First Appeared On The Zodiac Label In 1972. Just One Minor Nationally Charted Hit Came Off The Lp. But As A Whole It Is Even More Revered Than Her Hit-laden Predecessor Among Soul Aficionado's. It's Considered An Exemplary Classic Of A Deep- And Chicago-soul Album. The Music Has Re-appeared Some Times In One Form Or Another But The Lp Was Never Before Fully Reissued On High Quality Vinyl! Everland Is Thus Very Proud To Re-present The Black Ruby Album In Closest To Original Format With That Beautifully Designed And Shiny Psychedelic Album Cover. A True Gem Indeed.

Repress!

The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process.

These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80's electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory.

The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover.

On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since it's 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes.

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

Repress!


THE KING CASUALS – were originally named The King Kasuals and were founded in 1962 by the late great Jimi Hendrix. Little wonder that in the late Sixties Jimi’s replacemet, Johnny Jones, would lead the band in a raucous, stomping interpretation of the Hendrix classic. It had everything necessary to propel you to the dance floor and it certainly lit the Torch in Stoke-on-Trent, shook the floor at Wigan Casino and wobbled the pier at Cleethorpes. This outrageous powerhouse has grown in stature over the years and sounds every bit as a weird and wonderful as it did over 50 years ago.
GENE CHANDLER – needs no introduction to the UK Northern Soul scene thanks to his numerous floorfillers and UK appearances. As with our flip-side, “Purple Haze”, “There Was A Time” is a definitive ‘soul’ cover-version of an R&B original, in this case by the “Godfather” James Brown. This stomping, adrenalin-fueled dance cover was propelled to classic status in Mr M’s at Wigan Casino and cemented Gene “Big Shot” Chandler’s place in the Northern Soul Hall of Fame.

The lost soundtrack to "Chess of the Wind," Iran's banned 1976 queer-gothic-class-horror masterpiece, restored by the director and released for the first time. Not for the faint of heart!

"The wash of flangers & shimmery reverb have been the foundation in Cali psych ever since the Byrds went electric. And while that sound might've dropped off occasionally, it never dropped out. The Velvets minimalist stylings were infused into the mix by The Dream Syndicate in the early 80's & thus a game changer was born. Clay Allison, Opal, Green On Red all took their charge from that current. Then the Shoegaze scene of the 90's looked at those bands as vectors, things got a little more drenched, so yet more seeds were sown into the fertile terroir. Cut to current climes & the bay area is teeming with the latest iterations: Children Maybe Later, Now, & Cindy easily come to mind. But curiously the band most steeped in the mohair constitution is April Magazine, who (thus far) have been content in the shadows. Up till now they've seemed like characters plucked out of a Kazuo Ishiguo novel-mysterious & ethereal-but perhaps this pressing of last year's cassette only release will flush them out. 'Wesley's Convertible Tape For The South' shows the band defly balancing all those that have come before them while also incorporating flourishes of Les Rallizes DeNudes, Hallelujahs & Nagisa Ni Te into the pageantry . So in a way, April Magazine is transforming the landscape yet again; denser, fuzzier, lush & wistfully challenging. 'Wesley's Convertible Tape For The South' is the band's 1st vinyl release stateside (an LP of older tracks was released last year via a UK only label) so no import tariffs! What were once whispers are now proclamations. Just because you don't know them doesn't mean you can't love them. So grab a copy & hug it out amongst yourselves." -- Tom Lax (Siltbreeze Records)

Mike Mooney presents his debut solo album The Cthulu Mythos via Nine X Nine Records. Mike Mooney has had a storied career in the music business, over the years he has had stints in Echo & The Bunnymen, The Psychedellic Furs, Spiritualized and The Wild Swans to name a few. Reknowned for his incendiary guitar work and distinctive style it seems incredible that only now are we seeing a solo debut proper. This record is inspired by the work of American authour and the godfather of the cosmic-horror genre H.P. Lovecraft. Mooney had long been a fan of Lovecraft’s work but through rereading much of his work during the coronavirus lockdown an idea for an album was planted. Using the titles of Lovecraft’s work as a springboard, Mike started recording. The songs came easily, almost as if being channeled via a conduit from some unknowable dimension of Old Gods and unspeakable horrors. The Cthulu Mythos is a larger-than-life, rock n’ roll affair. Purposefully distorted guitars are layered to a create a caucophonous effect that immerses you in Mike Mooney’s world populated by the creatures, characters and cosmic forces of H.P. Lovecraft’s mind.

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Boulevards, also known as Jamil Rashad, returns with Carolina Funk: Barn Burner On Tobacco Road. Teaming up with funk producer Sergio Rios (Orgone, Say she she, Neal Francis). Taking notes from rare funk records and blaxploitation, Carolina Funk: Barn Burner on Tobacco Road is a raw, muddy, infectious, live testament to the funk. With infectious hooks, syncopated basslines, tight drums and classic horns that bring a punchy and soulful element to the funk.

Ende 2022 unterzeichneten ALTAR OF OBLIVION einen Deal mit From the Vaults und veröffentlichten im letzten Jahr die "Burning Memories"-EP, die als Appetizer für ihr kommendes viertes Album diente. Aber NICHTS konnte vorhersehen, was kommen würde. "In The Cesspit Of Divine Decay", das neue Album der dänischen Epic-Doomer, ist ein Konzeptwerk, das auf dem Tagebuch von Gitarrist Martin Meyer Sparvaths Urgroßvater mütterlicherseits, Jesper Wilhem Meyer, basiert, der während des Ersten Weltkriegs (1914-1918) widerwillig für das Deutsche Reich kämpfte.

Die Vorbereitungen für dieses akustische Unterfangen begannen 2005, als die Band eine Demoversion dessen aufnahm, was sich Jahre später in das jetzt fertiggestellte Album verwandeln sollte, das ursprünglich das Debütalbum der frühen Duo-Inkarnation der Band sein sollte. Dieses Album enthält einige der ersten Kreationen der Band, und in vielerlei Hinsicht kann es als eine Art Altar Of Oblivion-Prototyp betrachtet werden, der ihr düsterstes und traditionellstes episches Doom-Werk hervorbringt und ausspuckt. Während und seit der Pandemie waren Altar Of Oblivion im Aufnahmemodus
und haben sowohl neues als auch altes Material fertiggestellt, darunter zwei Alben, zwei EPs und ein Akustikalbum, was der Band eine wohlverdiente Studiopause ermöglicht, um sich von nun an auf Live-Shows zu konzentrieren. Für 2024 sind bereits einige Auftritte bestätigt, und das Kollektiv freut sich nun darauf, wieder auf die Bühne zu gehen, schwerer, älter und stärker als je zuvor. Die Zeit wird zeigen, ob Live-Auftritte die richtige Kur für einen schweren Fall von verfärbter Studio-Bräune sind.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

All Again. That's the title of the upcoming full-length record from Philadelphia's Queen of Jeans. The LP tracks an entire arc that, by the final hazy vibrato wash of "Do It All Again," bleeds back into the ambient first seconds of the record. "Thought I'd call tonight, hear how you're dealing," Miriam Devora sings to a distant lover on opener "All My Friends" in a neon-lit, melancholy tenor, the precise sound of lonesome love. The full band joins her in a beautiful night time sway, but it's still no use: "I got all my friends around, but I'm not home til I'm alone with you."The rest of the record follows this relationship as it tumbles through loneliness and longing, to elation and joy, to pain and anger, and finally to its foggy close, where Devora admits, "If I got to do it all again, I'd find you there like I did back then."Releasing on Memory Music, All Again is principally an enveloping, rich indie-rock record, changing dance partners between cheek-to-cheek '60s pop sweetness, '90s alt-rock dirt, spacious and pained emo, and the songcraft and melodicism of the sharpest acoustic singer-songwriter acts. Devora (vocals, guitar, keys) and Matheson Glass (lead guitar, piano) took extra care this time to create a Queen of Jeans full-length that reflected in sound and structure the emotional depths they were exploring.It's the first time since their 2015 debut, Dig Yourself, that they've had a full band, with drummer Patrick Wall and bassist Andrew Nitz, to build with. Where on releases like 2022's sparkling lockdown-pop Hiding In Place Devora and Glass had gone into producer and mix/master engineer Will Yip's Studio 4 with sketches and worked with Yip to arrange the songs in studio, this time, they went in with a complete vision for the record. That allowed them to use studio time to expand the record's sonic boundaries. "We had a lot more room to play with some of the ear candy we've always wanted to explore and get weirder in the studio," says Glass.Those elements lend a physicality and playfulness to the memory and emotions that unfurl through All Again. "We're trying to tell the story of when you look back at an important relationship," says Glass. "Years go by, and the more you reflect on it, it becomes more warped and the facts become a little bit more murky. We wanted to play with that and get surreal with the story." (Literally: listen for a "monster" voice in the already-released banger "Karaoke.") The record's artwork, conceptualized by Devora, renders this idea with devastating clarity.

First in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Malik,' originally released in 1974. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Under the new moniker Lafayette Afro Rock Band, the group's music transitioned to predominantly instrumental compositions, featuring a denser Afro-funk sound. Their inaugural recording with the new name, 'Soul Makossa,' included a compelling rendition of Dibango's classic and the impactful break in 'Hihache.' The subsequent release a year later, 'Malik,' refined their sound with the percussive Afro party jam 'Conga,' the atmospheric vocoder and piano-led piece 'Djungi,' and the robust funk of 'Darkest Light.' Despite a limited impact upon its initial release, 'Malik' found appreciation as hip-hop culture flourished in the '80s, establishing itself as a rich source of samples and riffs. 'Conga' was featured in the 'Ultimate Breaks And Beats' series, while the opening horn line from 'Darkest Light' became a pivotal hip-hop motif, employed by Jay-Z, Public Enemy, Wreckx 'N' Effect, and many others

Die Hamburger Punk Chaoten AXIDS veröffentlichen am 28. Juni mit den Amis von Knelt Before aus Oregon ein Split-MINI-Album mit dem Titel "SPLITSCREEN". Darauf zu hören: eigene Songs der beiden Bands und gegenseitiges Covern. Klingt nach Spaß, Krach und ewiger Adoleszenz. Die eine Seite voller stabiler HC-Screamo-Anthems, die andere eine konsequente Weiterführung, was die AXIDS 2021 mit ihrem Release "KIDS WITH AN AXE" gestartet haben: ein wilder Mix aus Punk, Garage und Black Metal mit einer ordentlichen Portion Wahnsinn. Musikalisch weiterentwickelt, bleibt inhaltlich alles beim Alten: Scream of Consciousness, Humor und purer Blödsinn. Die Titel sprechen für sich. Hier und dort taucht dann aber doch mal eine Message auf: "Nie wieder Krieg. Nie wieder Voldemort!" - zu hören im Opener: AXIDPELLIARMUS _ Wie es zu der Split gekommen ist, erzählen die AXIDS so: "Als wir das ganze vor drei Jahren gestartet haben, sind wir schnell über Insta mit unendlich vielen nicen Leuten in Kontakt gekommen. So auch mit Knelt Before. Wir haben uns sofort verstanden und eine Bandfreundschaft ist trotz der großen Distanz entstanden." Die Split läuft unter dem Titel Splitscreen und zeigt, wie die Jungs von beiden Bands aufgewachsen sind: Popkultur, Videospiele und Punkrock. Parallelen und Unterschiede wurden hier mit viel Passion fürs Detail von dem Künstler Rachid Lotf für das Cover Artwork in Szene gesetzt. Aufgenommen wurde die Seite der AXIDS von Yannig Malry - kein Unbekannter in der deutschen Punkszene - im Off Ya Tree Studio in Hamburg. Den Mix verantwortet Tobi Forneberg, der ansonsten für seine Extrem-Metal-Produktionen oder als Live-Mischer vom Freak Valley Festival bekannt ist. Ein musikalischer Spagat, der den AXIDS zugute kommt. Veredelt wurde das ganze zum Schluss von Philipp Welsing von Original Mastering.

Second in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Soul Makossa' originally released in 1973. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Rechristening themselves Lafayette Afro Rock Band, the group's musical direction shifted towards predominantly instrumental compositions, characterized by a weightier, more intricate Afro-funk sound. Their debut recording under this new moniker, 'Soul Makossa,' made a powerful impact with a dynamic rendition of Dibango's classic, coupled with the intense break of 'Hihache' and the contagious 'Nicky.' Initially released by Musidisc in France and later in the U.S. via Editions Makossa, the album omitted the title track due to publishing clearance issues.

Despite modest sales upon its initial release, the album's enduring influence became evident as hip-hop culture surged in the '80s, establishing it as a primary source for samples and riffs. The iconic 'Hihache' break found fame in Biz Markie's 'Nobody Beats The Biz,' and tracks from the album were lifted by LL Cool J, The Beatnuts, Kruder & Dorfmeister, and numerous others.

Repress!
Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).