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"_Syd Barrett fronting Queens Of The Stone Age- surefooted, inventive and buzzing with surprises." - The Guardian "A refreshingly bold alt-rock sound." Alfitude NJ White - aka WHITEY - explodes out of the shadows with the announcement of his highly anticipated double LP MENTAL RADIO, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, MENTAL RADIO is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage. As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot'. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto. Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week. Whitey's back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP, CD and cassette through NO! LABEL, published globally by Mute Song and repped for live by William Morris Entertainment- this is set to be a benchmark album of 2024. Housed in a Gatefold Sleeve (Gloss Finish plus Silver Foil Trim) Including two Printed Inner Sleeves (Gloss Finish).

Ever wish you could travel back in time and be in the thick of the 1960s rock explosion? Well, until an actual TARDIS is perfected, this album is the next best thing. Recorded in the wee hours of May 26, 1966, A Session with the Remains is a no-holds barred romp through their club set, captured live-to-tape in Capitol Records' studios. Recorded as an audition for the label, the albums seethes and snarls, twists and shouts, rocks and rolls and generally embodies the force of nature that was the Remains. Performing a mix of originals and current hits, the band is in command at every step, rocking one minute and pausing to kibitz between songs the next.

In attempting to describe this album, reviewers have used words like "blazing," "explosive," "delirious" -- but honestly, none of these descriptions comes close to what is contained in the grooves. It's like trying to tell a stranger 'bout rock & roll, ya know? All you really need to do is listen. After all, one guitar lick is worth a thousand words.

This BLAZING, EXPLOSIVE, DELIRIOUS album was painstakingly sourced from the one-and-only original two-track analog mono master tape and wrestled onto high-quality vinyl and compact disc for your review. I'd like to thank you on behalf of the group and Sundazed for listening and I hope they pass YOUR audition!

"A religious totem of all that was manic and marvelous about mid-'60s pop." - Rolling Stone

"Blazing through a mix of originals and covers, the Remains explode in a torrent melody, searing guitar leads and furious drumming. This quartet's ability to play with such delirious abandon yet still nail the tunes' sharp hooks and abundant vocal harmonies marks it as one of rock's more talented and incendiary units. - Chicago Tribune -

Making up the final quarter of this 4 vinyl set, where all the sleeves match up to make a single threatening Dalek, we have three insane remixes. Ray Keith smashed up the rules for his version of Exterminate, while Altern-8 bring their classic authentic old skool sound to Vengeance. Meanwhile, Secret Squirrel changes Exterminate into something furious and otherworldly...all in all, the perfect manic conclusion to an epic set of old skool anthems...

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

Ferocious Dog zählen neben The Levellers und New Model Army zu den führenden Folk/Punk-Bands im UK. "Kleptocracy", ihr zweites Album auf Graphite Records und Nachfolger von "The Hope" (2021, #1 der britischen Folk-Charts), vermittelt eine kraftvolle, dennoch provokante Botschaft, dass es einem kaum möglich ist, sich nicht inspiriert zu fühlen. Aus einer Anti-Establishment-Attitüde heraus werden Gegensätze wie Trauer und Hoffnung thematisiert und in Verbindung gebracht. Clear Vinyl LP mit 12 Tracks. CD-Deluxe-Edition mit 4 zusätzlichen Bonustracks.

"There's a celebratory barrel full of crowd singalongs from their impressive, furious and thoughtful Celtic folk-punk cannon." - Vive Le Rock

Introducing Utopia ‘Now Playing” on Opaque Blue vinyl - Experience Wiz Khalifa through a blend of his greatest hits and fan favourites. Including "Black And Yellow," which became an anthem representing his Pittsburgh roots, "See You Again" an emotional tribute featured in the Furious 7 soundtrack and "Young, Wild & Free," a collaboration with Snoop Dogg, celebrating carefree living. This tracklist highlights Wiz's versatility and impact on both hip-hop and mainstream music.

Plastic Crimewave Syndicate returns with one collective foot in overdriven space-biker scuzz rock, but the other bigfoot kicking upward into new galaxies of synth punk, no-prog, and freek funk. Yes, dare we say it, the new PCWS LP, Tales From the Golden Skull, GROOVES--but from the perspective of the Japan n' Kraut/Eurorock undergrounds, coated in some nasty Windy City grime. Aided by the Chicago Cosmonaut Couriers Crew, ala famed renaissance man Mac Blackout (synths/horns/electronics), Przemyslaw Krys Drazek (trumpet) of longtime zone-jammers Drazek Fuscaldo/Mako Sica, Will MacLean on Moog keytar (!-- of local Silver vocoder-ed Apples lovin' treasures Protovulcan), plus the oldest-school synthlord Bil Vermette, who's been modulating since the 70s. We'll call Tales From the Golden Skull a near-concept lp (aren't they always?) that looks back at fallen friends and collaborators, and then into the unwritten golden future (as PCW himself hit the golden 50). The sonic journey dips into dark textural valleys, and chugging riffs rising to thee fiery heavens, as the thundering-but-subtle rhythm section of Jose "Beast but Best" Bernal and Rob "Dead Feathers" Rodak know when to crash and when to burn (one). Sir PCW lays down his trademark big muff-blastage and echo-cries, to channel the despair and feral bark of the mighty Vega/Hammill/Iggy/Dickie P/Haino/Mojo-Risin/Mizutani, but also knows when to shut up for some layered instrumental Embryo/Harvester/Fausty trance rock and dabbed/dubbed out "not-quite-shoegazin" calmness in the eye of the Ur-storm. This might be the most expansive, detailed yet furious PCWS LP yet, recorded at Rec Room studios with Eric Block, who has done all from a band with Sonic Youth's Steve Shelley to recorded Rhys Chatham 100+-peeps guitar orchestras. So strap the headphones on and absorb the tales of this spaced ritual-rock opus. Artwork - Steve Krakow

Fourth Disturbo release, this time proudly welcoming two great artists such as Ceri Suss and Tribaan, alongside the everyday more disturbed : Potatox, Moloch and RobV.

techno and Hard Techno banger, with a splendid sleeve by from Borneo ! Punks and Tekno united service :-)

"The Night The Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini LP Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career. Songwriter, vocalist and guitarist Black Francis explains: “Fragments that are related and juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.” Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s era Fleetwood Mac are just some of the disparate wonders that inform the new songs. For the new album recording sessions the band returned to work with producer Tom Dalgety, who drummer David Lovering refers to as “a fifth Pixie” after producing 2016’s Head Carrier, 2019’s Beneath the Eyrie and 2022’s Doggerel. Early on in the recording process at Guilford Sound studio in Vermont, the band noticed the new songs were dividing into two camps: what they came to call the “Dust Bowl Songs” - country-tinged, ballad-esque numbers such as ‘Primrose’ and ‘Mercy Me’, and on the other side, the album’s furious punk numbers such as ‘You’re So Impatient’ and ‘Oyster Beds’. Only ‘Jane (The Night the Zombies Came)’ keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Black Francis allegedly likened to being chased by a swarm of bees.
The Night The Zombies Came sessions also saw Pixies welcoming new bass player Emma Richardson (Band Of Skulls) to the line up; the first British band member to join the group. There’s also an expanded role for guitarist Joey Santiago. After contributing his first-ever Pixies lyrics on Doggerel, for the new record Santiago wrote the words to ‘Hypnotised’ by completing a complex lyrical riddle of sorts, known as a sestina.
The Night The Zombies Came is released via BMG on CD, black vinyl"

One of London’s most loved underground parties, Tangent, celebrates its 10th birthday this year with a new compilation on Mr Bongo. Its residents, John Gómez and Nick the Record, have curated a selection of prized, rare and dancefloor-ready tracks that have soundtracked the past decade of their parties. Alongside remastered reissues of these original cuts, the CD version of the compilation also houses three incredible edits from Nick, John and Dan Tyler of the Idjut Boys. These were too good not to press onto vinyl, so we’ve given them the standalone 12" they deserve.

Contextualising their edits Nick states, “Tangent was not only the place for us to play the music we love the most, it also became the testing ground for our edits. It was really helpful being able to see the effect each of these had on a dancefloor before the records were released and many of them also became firm Tangent classics.”

Up first, Nick is joined by Dan Tyler (Idjut Boys), who he runs the edit label Record Mission with, for a furiously feel-good re-edit of Leo Basel’s ‘Quelle Drôle De Vie’. Basing their edit on the 1987 ‘Special Remix’, it does what any great re-work does, dropping the sections from the original that don’t quite hit the mark, whilst focussing on the gold in amongst it all. The result is a slice of peak-time, French boogie joy, that will warm even the coldest hearts.

John then joins Dan at the dials for a cosmic revamp of Love Isaacs 'Surprise Surprise'. A serving of ‘80s electro-funk, dripping in swagger with a highlife tinge. John and Dan extended the grooves for maximum dancefloor power, space echoing it into the stratosphere at all the juiciest points.

Lastly, Nick takes on Rick Asikpo and Afro Fusion 'Let's Get High' from the super sought-after 1980 album, Got To Be Me. Celestial, gospel-infused soul from Nigeria, Nick homes in on the energetic last 2 minutes of the original as the building block of his 12-minute edit. A completely reworked, feverishly paced creation, Nick switches the sections around, saving the slow, soulful segment for a brilliant cosmic breakdown before the track erupts back into its full flow. Synthesised, jazz-funk elation from start to finish!

Ren Schofield’s long running electronic project Container returns with his first release since the Creamer EP in 2021. Rolling straight out of the pandemic Schofield has since played a large number of live shows all over the planet, rilling up audiences with a heady mix of method and mania. Now is the time to unleash a new studio offering.

Yacker presents what is undoubtedly an electronic record but one imbued with a spirit more aligned with rock music. Always hijacking the electronic music scene for his own unique and twisted path here we see a further extrapolation on his original blueprint for DIY noise techno adding a more physical and muscular edge to the standard hysterical proceedings. The drums retain an almost human, somewhat muscular feel with a sweaty and suggestive ‘real drums’ feeling.

Schofield cites inspiration on Yacker as the Nirvana song ‘Oh, The Guilt’, the Mindflayer album ‘It’s Always 1999’, and the Rah Bras song ‘Sooop Toe Pump Girls’. Container has always danced the absurd space between serious and stupid, with Yacker all elements are turned up to eleven as he delivers a pristine field guide to furious frenzied fun.

Yacker strikes an even balance between heavy, relentless, joyful, silly, and sloppy. Think Lollapalooza 1996 held at Berghain 2006 and you are somewhere on the way to formulating this fresh new insanity from one of the contemporary electronic music scene's more playful pioneers

Twelve (plus one hidden bonustrack) irresistible and completely stubborn punk rock gems:
melodic and furious but also idiosyncratic and full of swagger and bravado. Plus the anthem
'Altied Kwoad' with Heideroosjes singer Marco Roelofs.

Twelve (plus one hidden bonustrack) irresistible and completely stubborn punk rock gems:
melodic and furious but also idiosyncratic and full of swagger and bravado. Plus the anthem
'Altied Kwoad' with Heideroosjes singer Marco Roelofs.

"Auto-Reverse" is a compilation of the greatest hits of Guillaume Fédou, a pioneer of French independent pop since 2003, the year of his first single "Garçon Moderne" released by Village Vert. Presented as a best-of and not an anthology, this project of 12 hand-picked tracks tells the sentimental and offbeat story of a "singer since 1974" who is both vintage and furiously contemporary.

Coming from collaborations with Arnaud Fleurent-Didier, Plaisir de France, Benjamin Diamond, Jérôme Plasseraud or les Soucis (his group composed of Victor le Masne, Pierre Leroux, Philippe Monthaye, Judah Warsky and Mattias Mimoun), these 12 songs are as many chapters of a melodic novel that defies the laws and especially the spirit of the times.

No need to rewind, Auto-Reverse does it for you.

Dame-Music founder Bloody Mary’s ‘ALTERNATE STATES OF REALITY’ EP marks the 50th release on a label that counts KiNK, Josh Wink, Boo Williams, Fear-E and Thomas P. Heckmann amongst its roster since it launched in 2010.

The release sees Bloody Mary, Tresor resident, live artist, DJ and Producer, return to her own imprint with a full EP for the first time since 2020, produced as part of her live set ahead of her
upcoming Autumn tour, and complete with a remix from Soma Records legends Slam.

In the ‘ALTERNATE STATES OF REALITY’ EP, Bloody Mary explores the varying aspects of her acid sound. Equipped with her TR-909 and 303, she shows her penchant for hardware, starting off with ‘REALITY ONE’, in which crunchy drums and crisp highs ride along a mind-melting acid polyrhythm before ‘REALITY TWO’ opts for a punchy
electro beat, once again drenched in squelch and occasionally soothed by soft, nostalgic pads.

Flipping over the record, the infectious marching drums of Bloody Mary’s ‘REALITY THREE’ leaves behind the 303 and swaps it out for rampaging toms below a furious,
clap-heavy topline. This party-starting track is pure rhythm, expertly remixed by Scotland’s Slam, who this time supply the acid in their version, amplifying the tempo to superb extremes for a hypnotic warehouse pumper and concluding the monumental
fiftieth instalment on one of techno’s most important labels

Kordhell is an anonymous musician, artist, and record producer based in
Los Angeles. He's previously played in various extreme metal acts, until
abandoning these projects for his mysterious Electronic music project,
under the new moniker "Kordhell". In early 2022, Kordhell's song
"Murder In My Mind" exploded on TikTok and YouTube, helping the song
reach the top of the Billboard Dance charts, UK top 100, and its recent
RIAA platinum certification in the US.
Boasting a massive 9 million+ monthly listeners, and over 2 billion Spotify
streams to-date, Kordhell is one of music's fastest growing streaming
stories and artists of the past few years. In 2023, Kordhell provided the
opening song for the popular movie "Fast X", the newest film in the Fast
& Furious saga. Since the start of 2024, he's provided music for various
productions and games, including Asphalt 9, Netflix, VALORANT, Arcane
and many more upcoming.

A/B Side Effect, Black & Gold, limited to 200 copies. More than 4 years after "Sculpture Of Violence," GIVER from Cologne, Germany, announce their third album "The Future Holds Nothing But Confrontation" for September 20, 2024, on End Hits Records. In recent years, GIVER have not only refined their hardcore sound to be more brutal and atmospheric with elements of metal and post-punk, but thematically, it's clear that their new album serves as an even more drastic political manifesto. Capitalism, culture wars, the climate crisis, and their societal implications and consequences are central themes on "The Future Holds Nothing But Confrontation." GIVER critique the prevailing neoliberalism and its ongoing agitation for the uncompromising pursuit of happiness and satisfaction. The band explains: "What neoliberalism has established is a lonely place. Its driving force is the individualized pursuit of constant fulfillment, altering the way we interact with each other. Whatever we do to achieve satisfaction, there's always a lingering sense of something missing. Happiness and contentment are never the goal; they've been replaced by profit margins and excess. These are endless and extremely unevenly distributed. Anger arises in this vacuum. With this album, we want to remind that it's the economic conditions and inequalities that should be the target of our collective frustration. They create depression, despair, and a downward spiral. Being anti-fascists is not enough; we must also be anti-capitalists." This anger is also reflected musically in the furious 11 new tracks. Filled with powerful guitar riffs and sometimes bilingual lyrics, some of the songs also introduce a new, deep style of spoken word for GIVER, making the eventual eruptions that much more impactful. With the release of their third album, GIVER venture into fresh and melodic territory, integrating elements of post-punk, black metal, and hardcore into a sound that sits somewhere between bands like Oathbreaker, Converge, or Chelsea Wolfe. Although "The Future Holds Nothing But Confrontation" builds on a foundation of biting, powerful metal, it also incorporates dark vocal lines that could be found on a Fontaines D.C. or IDLES record. "The Future Holds Nothing But Confrontation" was produced by Lewis Johns (Rolo Tomassi, Employed To Serve, Funeral For A Friend).

Crispy Jason is a moniker of Rian Trench. Trench, once half of Solar Bears (Planet Mu, Sunday Best, Warp), branches out here into acid-focused IDM. Shadowcon One explores spaced out 303s via retro arcade against furious breaks and ambiguous moodscapes with an offset of introspective disco

*** FREAKY KRAUTY-PSYCH WITH FURIOUS GUITARS, WILD DRUMS AND FLUTE ***

Only hardcore collectors of rare Garage-Rock, Psych and Krautrock 7-inches have ever heard of Germany's LONY & THE MISFITS LTD. For more information about them feel free and check out the recently released "DOWN & WIRED Vol.8" (PT069LP) compilation album.

LIMITED TO 300 COPIES.

Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) - who was a mere 17 of age when they recorded the album - on guitar. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl, housed in a deluxe heavyweight gatefold sleeve.

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. Absurdists jazz-infused post-punks, The Cravats originally released single 'Rub Me Out' with Crass Records in 1982. A favourite of John Peel's, the Redditch band left a long legacy, reforming in 2009. Penny continues; “Fast, furious, fiery and often very funny, the Cravats were nothing like the average punk band, indeed, like Zappa before them, their sensibilities leant more towards progressive jazz mixed in with an ample helping of gallows humour; ‘make mine rare’. Dada also comes to mind as The Shend weaves his way through the complex vagaries of everyday existence. ‘Now you see me, now you don’t’. There’s no doubt about it, the Cravats are worth keeping your ears open, and your eyes out for, but mind the gaps!”

Blue and green split vinyl with black splatter. Thotcrime, the intercontinental commotion causers seem to have stuck the landing with their intensely non-conventional cybergrind style. Solid instrumentals, chiptunes, synths, and some absolutely furious vocals all come together create something beautiful under the blipping, glitching anger that's itching to scream out under the very chantable melody.

But now it's official: this was no flash in the pan! Voodoo Kiss are back to stay. And their furious second album "Feel The Curse" is even more fun than their debut. With verve, vigor, punky grit and their typical sense of melodic heaviness, Voodoo Kiss blast, fabulate and groove their way through eight powerful examples of how this music of the eighties can be made exciting, original and rousing in the 21st century. Of course, the list of ingredients on "Feel The Curse" also reads like something straight out of the textbook of electric guitar music: the opening title track is a galloping banger with razor-sharp riffs and Pretty Maids flair, "Spellbound By Her Eyes" offers black romanticism and early Maiden vibes, "Dr. Evil" is the semi-acoustic intermezzo with Spanish guitars and eruptive thrash outbursts, "Lords Of Darkness" is a gripping semi-ballad with just the right amount of pathos and the closing "Dead Without A Grave" fires from all cylinders like Motörhead in their prime. Everything in, everything on.

The story of the legendary Summer Breeze Open Air cannot be told without Voodoo Kiss. In 1995, a certain Achim Ostertag founded the band Voodoo Kiss with his buddies, but due to a lack of performance opportunities, he simply launched his own festival. The name of the festival: Summer Breeze. And while the open-air highlight has long been one of the best and biggest metal festivals in the world, Voodoo Kiss soon disappears again. But fortunately not forever: Ostertag got the band back together in 2022. He recruited Steffi Stuber (Mission In Back, Voice of Germany contestant) and Sacred Steel rocker Gerrit Mutz as new members, released a powerful debut album that marked the band's comeback and put on a furious home show at Summer Breeze.

Lucta from Milan finally unleash their debut album ‘Eterna Lotta’ which follows the demo 'Black Magic Punk’ from way back in 2018. The 9 track album takes you by the throat and never lets go. The music rages with a fierce atonal guitar tone and drums that push each track to its limits but it’s the vocals that really make this special. They are passionate and enraged and spat out in Italian. The band mixes the furious years of Italian hardcore from the 80’s, Rudimentary Peni and some classic pogo punk with a sense of paranoia to the overall sound. ‘Eterna Lotta represents the continuous internal and external struggle with life: from social interactions to self expectations and how everyone deals with it in eternal conflict. Lucta is the Latin word for "fight" and Lotta fully embraces every aspect of their lives. The band are outcasts, freaks, queers and punks and will forever fight for rights for those that need a voice and push towards a better future.' Limited to 500 copies on pink vinyl.

LUMBEROB has always strived for maximalist sonic vaudeville, always hoped for real electro gabber hardcore noise art, always grabbed for frenzied illegibility, always lurched loosely improvised from a psych-swamp of love. On the new album, HUNTER GATHER, LUMBEROB swings swanky as proper pop deviance. Built from the same loopy logic which drives the stomping slaphappy force of his live show, these tunes are crafted out of lovely and weirdly thunk out loud and large soundscapes. Mixed and mastered by Shimmy-Disc founder Kramer (Daniel Johnston, JD Pinkus, Pan American), the album surprises, estranged from obvious categorization. These slippery little bouncy bangers are bold exercises in genre discovery. It sounds like nothing and it goes with everything. LUMBEROB is a tough act to follow, a surreally inventive performer who spins giddy with excitement, dancing dumb and banging hard. That's just what he does, and HUNTER GATHER is a refined encapsulation of that energy. There's truly a beautiful stupidity to be found here. HUNTER GATHER is noise-pop, art-rock, psych-primitive, dumb-dance. The album teams with bright sounds, spinning visions, and brut poetics. It curves furiously like a naughty noodle and, yes, it spins you dizzy at times. Nothing is old in that feeling ever. Listen loudly.

The James Taylor Quartet proudly release their brand new single 'Hung Up On You', from their forthcoming studio album.

A slice of Medway style punky/new wave Rock'n'Roll, 'Hung Up On You' is a fast and furious rant about an obsessive unrequited love that refuses to die. Since covid James has been working again, writing and playing, for his original band from the 80's, The Prisoners and making albums of late with Billy Childish.

"The track (Hung Up On You) was left over from a writing session for my other band 'The Prisoners' and it was interesting to see how my JTQ guys, usually funk players, took to this approach. We had a lot of fun in the studio and I think you can hear that in the recording.' - James Taylor.

"Ogives Big Band is a riff powerhouse hailing from Bristol, UK. Initially forming as an instrumental trio with a view to expand the existing Øgïvęš solo material. The addition of an established and furious rhythm section warped the compositions and song writing process into a new beast entirely. Featuring polyrhythmic soundscapes crashing into brutal breakdowns, blistering riffs melting into luscious ethereal drones, & an all encompassing sense of drive & menace. 2020 saw the addition of a new vocalist which has transformed a previously instrumental setup into a much fiercer prospect. Replete with furiously yelled vocals, serene croons & abstract lyricism and wordplay. 2023 will see the quartet appear at Portals and ArcTanGent festivals as well as tours in support of their new album, set to be released late 2023/early 2024. The new album – entitled ‘Boisterous Love’ - will showcase a move into whole new musical territories of savage, angular, doom laden sludge, progressive metal and psychedelic stoner rock."

Gallegos, first name Oliver - deals in feelings rather than genres. The productions on his debut effort for RS INTL channel a 90’s rave euphoria. Luscious pads swirl amidst pitched down jungle drums, celestial strings and philosophical vocal snippets that evoke ecstatic joy.

It’s no mean feat to induce a feeling of elation without the means of a synthetic intervention - but Ollie seems to have cracked the code - taking us there with harmony, texture and rhythm alone - nothing synthetic here: this is alchemy at play... The EP - which in all honesty feels more like a mini album - is a real journey across 5 songs and 29 minutes. It’s about equally split between driving rhythmic compositions created with movement in mind, and pensive ambient detours that are more sonic meditations than anything else. The album reaches its most dizzying heights when these two elements come together in unison for the title track, “Memories You’ve Memorised'' - a widely road-tested future classic which blends scattered Juno chords, arpeggiated church organ and 80s vocal samples to a tear-jerking crescendo.

Memories You’ve Memorised elevates Oliver Gallegos to the top tier of modern electronic composition. There’s comparisons to be made to Primal Scream, Underworld and even Aphex Twin - but after all is said and done, we’re witnessing the coming of age of a future pioneer.

Hard-rocking Brooklyn trio Sir Lord Baltimore’s highly sought-after debut album is a legendary precursor of the heavy metal genre, a 1971 Creem review of the disc perhaps the first to ever use the term. The group benefited from the songwriting and production team of Mike Appel and Jim Cretecos, Appel the future manger of Bruce Springsteen and Cretecos already heady from success with The Partridge Family; recorded at Vantone Studios in New Jersey, it
was mixed to fine effect by Eddie Kramer at Electric Ladyland, fresh from his work with Jimi Hendrix. Guitarist Louis Dambra co- arranged the material with Appel and Cretecos; he had earlier played in garage band The Koala as Louis Caine, and here his screeching guitar
is a major draw, backed by plodding bass from Gary Justin, as front man John Garner shrieks his vocals while pounding furious drumbeats. Aside from a tough cover of Ray Charles’ “I Got A Woman” and a track inspired by Yeats’ poem “Lake Isle Of Innersfree,” the album features heavily-stoned acid rock originals, delivered the Sir Lord Baltimore way.

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…

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

10-piece UK afro-fusion outfit TC & The Groove Family are proud to share their new EP ‘We Have Each Other’. Releasing on Friday 7th June via Bridge The Gap, the project sees the band refine the sound debuted on their 2022 album ‘First Home’. Returning to work once again with producer Tom Excell (Nubiyan Twist, ONIPA), the project explores a darker sonic palette, channelling a deep appreciation of UK bass and electronic music alongside afro-jazz sounds and hip-hop sensibilities.

The record documents a time of change within the group - a new lineup, plus members living in different cities and pursuing various paths - whilst also reflecting the turbulent socio-political climate, and the major shifts and changes on the horizon for humanity. However, despite the heavy subject material, the band strike an optimistic, uplifting tone, with MC Franz Von channeling the music into a message encouraging listeners to look around and embrace
community, whatever that may look like. Bandleader Tim Cook shares:

“Our collective purpose is to craft music that empowers and energises individuals to embrace their true selves with pride, celebrating the unity and strength we radiate as one community. No one needs to be alone when they are striving for common humanity. No one should be lonely when we celebrate each other, drawn together by a sound that says it’s good to be me, it’s better to be us. As our MC, Franz Von says, music brings peace, love & energy”.

Opener and lead single ‘Stand Strong’ is a love letter to afrobeat, creating a contemporary twist with its Khruangbin-esque guitar lines and weaving horns, whilst ‘Here, Now’ takes the tempo down to an atmospheric haze of dubbed-out ambient effects, pierced by uplifting horn melodies. ‘Blessed’ sees the group welcome Nubiyan Twist’s Aziza Jaye for a dancehall-meets-North African-flavoured feature, subtly reimagining what Elephunk era Black Eyed Peas would
sound like today.

At the EP’s centre-point and emotional peak, title track ‘We Have Each Other’ showcases the band’s jazz fusion, Latin and dark electronic influences. The tracks growling, subbed-out bass tones return as a theme for ‘Wile Out’ - a UK hip-hop & jungle tinged collaboration with SANITY complete with virtuosic, tight-knit grooves, furious horn lines and a whirlwind of immersive turntablism.

Originally formed in Leeds, TC & The Groove Family’s sound reflects the diverse musical and cultural backgrounds at the core of the project, with songs exploring grooves and genres including afrobeat, broken beat, jungle, jazz and grime. Their music has drawn widespread acclaim, supported by tastemakers including Jamz Supernova and Craig Charles on BBC Radio 6, BBC Introducing West Yorkshire, Jazz FM, Rinse FM, Radio FIP and more. The group have performed at the likes of Glastonbury, We Out Here, Greenman and Boomtown, and will embark on a UK tour across May & June in support of the release of ‘We Have Each Other’.

Alternative were a Scottish anarcho-punk band of the early 80s that often drew comparison to Crass for their black attires, logos, firm political beliefs, as well as having their own open house, “The Pad”, where like-minded radicals would join and discuss ideas surrounding pacifism and anti-nuclear armament. The ‘In Nomine Patri’ EP is dark, furious, and articulate.

Penny continues; “Largely through their fierce commitment to ‘changing the world’, Alternative were often referred to as the Scottish Crass. Knowing that talking the talk could only be a half of it, Alternative resolutely walked the walk. Based in Dunfermline, they set up The Pad, an autonomy centre where, over tea and buns, revolutionary visions of peace and love could fester and grow. Theirs was a studied and often poetic form of anarchy which concentrated on people not power. Their interest was not in themselves, but in others. They knew all too well that the only way forward was to do it yourself, and that’s precisely what they did, a’plenty. After all these years, give ‘em your ears.”

The three chicks--Rie (bass), Miku (keyboard and theremin), and Saori (drums)-- and their man Nao (guitar and vocals) deliver an absolutely wild, fuzzy, stompin' organ beat sound with screaming vocals on "Slay So Hard" and a furious instrumental with "The Rattle Snake". THE SCUMS' future activities are still undecided, but for now they are busy driving you to the crazy world of their fuzzy, wild and dazzling sound!

Bad Breeding, the Stevenage-based hardcore unit, are set to release their fifth album ‘Contempt’ on June 14th with One Little Independent Records and Iron Lung Records in the US.

It follows 2022s ‘Human Capital’ which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism. ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”.

Christopher Dodd explains “Capital and its bourgeois foot soldiers hold nothing but contempt for working people and it’s in that contempt we can find solidarity with one another. Whatever story gets sold and packaged, contempt guides every move of the capitalist class. We see it every day – unspeakable destruction from war and government-sponsored genocide, exploitation of workers and the very gutting of the planet we live on. Only when we realise and utilise the utter contempt held for us can we reach a level of class consciousness that will provide an adequate challenge to capital”.