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Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

Nachpressung auf weißem Vinyl! Auf ihr Solodebüt "No Time For Sorrows" von 2004 folgend kehrte FABIENNE DELSOL 2007 mit frischem Fleisch für ihre Fans zurück: "Between You And Me". Aufgenommen über drei Jahre hinweg ist "Between You And Me" eine moderne Schatzkiste, die den Pop der Swinging Sixties in ein zeitgenössisches Gewand hüllt und hier und da farbige Akzente mit Songs auf Französisch und der Single "Catch Me A Rat" setzt. Im DELSOL typischen Mix aus Coverversionen und Songs, die von George Miller, Peder Bernhardt und dem Damaged Goods Kollegen PETE MOLINARI, der auch als Gast auftritt, geschrieben wurden, lässt sich so manchem sommerlichen Tagtraum nachhängen. FABIENNE DELSOL stammt ursprünglich aus Frankreich und machte seinerzeit als Frontfrau mit der legendären Londoner Garageband THE BRISTOLS von sich reden. Seitdem lebt sie mit Partner Liam Watson (Produzent, Toe Rag Studios) in London.

In the spring of 2020, Willem Ardui and Jean-Valéry Atohoun of blackwave. found themselves in a difficult creative and personal period and in need of a change of scenery to recharge. They find their peace in the cosmopolitan melting pot of Los Angeles, the City of Angels, and for Ardui and Atohoun also a city of dreams. A dreamworld in which they rediscover themselves as artists and as individuals.



The spark from which blackwave. had emerged in 2016 caught fire again during their 20-day trip to the American West Coast. With renewed passion, inspiration and vision, the duo writes and works on new music, as if in a daze, day and night, with no limits to the creative process. With about thirty demos in their pocket, Ardui and Atohoun fly back to Belgium. Three days later, the first covid-lockdown hits them cold and the regained enthusiasm slowly ebbs away. Another period of uncertainty began, and at one point it was even doubted whether the group would continue to exist...



But the towel is not thrown in the ring. blackwave. starts polishing the American demos and distills 11 tracks from them. These now make up 'no sleep in LA', their second full-length album and follow-up to 2019's successful 'ARE WE STILL DREAMING?' 'no sleep in LA' is about the highs and lows of the past years, the insights they have gained, the difficulties and the beautiful moments. Everything about the record feels a lot more mature as a result. Existential themes are explored more and more deeply. Doubt and uncertainty, depression, grief and loss, dreams and ambitions, nostalgia, love and desire, no stone is left unturned.



The album also exudes maturity on a musical level: it is more compact in length than its predecessor, but the instrumentation is more in-depth. Strings, horns, backing vocals and other session musicians enrich the genre-transcending sound of blackwave. Everything is arranged to perfection without being delineated. The common thread is the thoughtful and lively lyrics of the two frontmen, and the layered production of Willem Ardui. To this end, Ardui received help on a number of tracks from the likes of Paul Meany (Twenty One Pilots), MiSCHiEF BOY (Cantrell), Spencer Petersen (Sego), Tobie Speleman (incidentally mixer of the entire record), and even his younger brother Remco Ardui.



Celebrated guest features include Lute (signed to Dreamville, J.Cole's label), Abhi The Nomad (artist from Austin, Texas who met the duo in LA) and Caleborate (a good friend and old friend to blackwave. fans). Kirby, who has already collaborated with the likes of Beyoncé and Kanye West, co-wrote the song "I Miss" on the album.

Demon are proud to release “Eddie Piller Presents British Mod Sounds Of the 1960s”, the follow up the “The Mod Revival”. This 2LP set serves an introduction to 'British Mod Sounds of the '60s’ and features 34 tracks.

Curated by Acid Jazz Records and Modcast founder Eddie Piller, this collection features the stapes of the British Mod scene including Small Faces, The High Numbers, The Action, The Fleur De Lys, The Kinks, Spencer Davis Group, The Creation, Rod Stewart, The Yardbirds, and The Love Affair.

"Be in with the In Crowd once more."
Every great youth cult deserves a great soundtrack, and when the '60s Mods adopted classic American R&B, with a side order of hip Jazz, they undoubtedly found the right music for their exuberant and stylish way of life. And yet, buying expensive imports, hoping for a local release or praying for a rare visit from overseas talent was never going to be enough to satisfy British youth with a thirst for the latest sounds. Certainly not those on the dancefloor and definitely not those with their own musical ambitions.

It was a music scene that began with imitation, before skill and imagination lead curious minds to innovation, a scene that evolved from average (at best) copies of releases on the Chess, Motown and Stax labels, to become something more sophisticated,something quite unique, something very British.

Knucks takes the Hip Hop world by storm as he gears for the release of his highly anticipated new project "Alpha Place"'.Following the release of his unorthodox visuals, Knucks delivers heartfelt messages through addictive rap compositions

A dynamic new face to the genre, "Alpha Place" focuses on the feelings and thoughts that the artist and producer has been experiencing growing up in London, channeled through the stirring essence of music. Highlighting important narratives and revitalising the Hip Hop genre, with a composition which is both soulful, moving, and memorable, the rising new artist is changing the rules of the
game.Knucks is taking his artistry to new heights in Alpha Place, with soulful samples and distinctive production styles paired with some of the UK's biggest names in the rap game. The project is more than just an ode to the neighbourhood Knucks grew up in Alpha House but a representation of life and culture on all sides of the capital. Giving a voice to many experiences shared by young people growing up. Knucks makes his mark on the industry with this new body of work pushing boundaries and channelling his authentic flow and flair.

From selling out headline shows and opening for the likes of Wretch 32, Knuck's approach and unorthodox style has garnered over 150 million streams across all platforms independently as well as earning critical acclaim from outlets such as GQ Style, Wonderland, Notion and many more. Boasting a range of noteworthy features including contributing show-stealing verses on collaborations like "Beg To Differ" with Emil, "Ting Tun Up, Pt. II '' with Montreal's Skiifall.

The cosmic funk sounds of Crazy P are sure to endure through the ages but it's always good to hear classic tackle through a fresh lens. And so it is that Walk Don't Walk asks four crucial artists to add their own spin to some fine originals. DJ Nature brings his textbook rawness and heaviness to 'SOS' while Ilija Rudman's take on 'Night Rain' is lovely downtempo boogie funk. Running Back label head Gerd Janson is in dazzling disco mode on his take on 'We Will F**k You Up' and last of all is a super vibe and atmospheric house joint from Ron Basejam.

Dinah Washington has been cited as “the most popular black female recording artist of the 1950s”. The jazz vocalist passed away in December 1963 at the age of 39. Just a few months after, in February 1964, Aretha Franklin released her fifth studio album Unforgettable - A Tribute to Dinah Washington. Aretha never personally met Dinah, but she was a good friend of Aretha’s father. Washington always had a major influence of the blossoming style of Aretha. Several covers are, to this day, considered as some of her greatest hits due to Franklin’s timeless voice.

The album was recorded at New York’s Columbia Studios. The recordings were made with the assistance of a small and sympathetic accompanying group for which producer Bob Mersey supplied minimal written guidance.

2022 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

GA-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, GA-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

GA-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, GA-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

,Four" überrascht mit einem nuancierteren und reiferen Psychedelic-Sound, während gleichzeitig der für Fabienne typische zackige French Pop trifft 60's-Garage Stil beibehalten wird. Es gibt eine Vielzahl von Instrumenten, insbesondere das Mellotron funktioniert als willkommene Ergänzung bei vielen Tracks. Die zeitgenössischen Originalkompositionen ,I'll Never Be Lonely Again" und ,See How They Run" sind meisterhaft für Fabiennes unverwechselbare Art kreiert worden, und beide zeichnen sich durch einen starken 60's Groove aus, der mit ihrem charakteristischen Sound in Einklang steht. Wie bei jeder Fabienne Delsol LP werden sorgfältig ausgewählte Cover von Fabiennes zarter Stimme liebevoll interpretiert: ,Follow Me" von Lyme & Cybelle ist ein wunderbarer Garage-Folk-Ausflug und ,Face", der Eröffnungstrack des zweiten Albums von The Human Beinz, kommt als atemberaubende Interpretation. Fabienne einen ,Spare Parts" Album-Track in Angriff nehmen zu hören ist keine Überraschung, immerhin ist sie ein lebenslanger Status Quo Fan und ,When I Awake" als zurückhaltend funkelnde Fassung gibt es so nur von ihr. Der Höhepunkt ist Francoise Hardys schwelender französischer Klassiker ,J'ai Fait Du Lui Un Reve" der hier üppig ätherisch, mit starker Emotion und langsam aufbauenden Tonschichten neu interpretiert wird.

Fabienne moved to London in 1996, almost immediately joining the Bristols, a then studio project consisting of Liam Watson and Ed Deegan, two producer-engineers at Toerag Studios. After two albums, a few singles and several tours of Europe, the Bristols came to an end. Eager to carry on singing, Fabienne went solo in 2004. With the help of Liam Watson producing, Fabienne recorded her first album No Time For Sorrows concentrating on a more elaborate but similar style she had previously experienced with the Bristols.

White Vinyl repress. Put together in studio down-time and ably backed by Toe Rag's stable of musicians, On My Mind features Fabienne's customary mixture of both English and French lyrics sung with plenty of coquettish charm. The album marks something of a departure from the jaunty beat-pop and ye-ye of her previous albums however, there's a definite autumnal feel to several of the tracks, putting you in mind of what the much mooted Francoise Hardy/Nick Drake collaboration might have yielded.

Flogging Molly ist weniger eine Band als vielmehr eine transatlantische, keltische Punk-Institution. Über den Verlauf von 25 Jahren und nach tausenden von Konzerten auf der ganzen Welt hat Flogging Molly die Grenzen zwischen den Genres überschritten. Sie ist zu einer der wenigen Bands geworden, die buchstäblich an einem Tag mit The Chieftains und am nächsten Tag mit Motörhead die Bühne teilen. Für Flogging Mollys siebtes Album "Anthem" beschloss die Band um das Ehepaar Dave King (Gesang, Gitarre, Bodhrán) und Bridget Regan (Geige, Blechflöte, Backing Vocals), zu ihren Wurzeln zurückzukehren. Die Band nahm 14 Songs in 14 Tagen mit Steve Albini (Nirvana, Pixies) im Electrical Audio Studio in Chicago auf. Letztlich gibt es keine andere Band wie Flogging Molly, die so mühelos zwischen Punk und Folk wechseln kann. Die Tatsache, dass mittlerweile mehrere Generationen von Fans zu den Konzerten der Band kommen, ist ein Beweis für ihre anhaltende Relevanz. Damit schließt sich der Kreis zurück zu "Anthem". "Mit dieser Platte sind wir auf eine Art und Weise zu den Grundlagen zurückgekehrt, wie wir es nicht hätten tun können, wenn wir nicht schon seit 20 Jahren zusammen gespielt hätten", fasst King zusammen. Die Band und die Welt haben in den letzten Jahren viel durchgemacht. "Anthem" handelt von dem kollektiven Geist, den wir alle besitzen und der es uns erlaubt, in die Zukunft zu blicken.

The 2018 Halloween movie has the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.

From one of the most colourful and vibrant eras of music, comes “DISCO FLOORFILLERS”, a 28 Track DoubleLP set featuring some of the biggest hits of from the era.
Amongst the 24 top 10 hits, Artists/Bands include Chic, McFadden & Whitehead, Earth, Wind & Fire with The
Emotions, Shalamar, The Whispers, Sister Sledge, Edwin Starr, The Real Thing and Gladys Knight & The Pips.
The set also includes the #1 singles by Anita Ward, The Village People, Carl Douglas and George McCrae!

LA-based garage rock band The Paranoyds announce their sophomore LP, Talk, Talk, Talk, available for pre-order now, and due out September 9 via Third Man Records. The Paranoyds are Southern California DIY rock royalty. Fueled by the fiery energy of their live shows paired with raw lyricism and subtle societal commentary, The Paranoyds are unafraid and unapologetically in perpetual pursuit of a good time. The four-piece is made up of Laila Hashemi (keyboardist-vocals), Lexi Funston (guitars/vocals), Staz Lindes (bass/vocals) and David Ruiz (drums, vocals) who together masterfully blend light-hearted playfulness with sharp sincerity over fuzzy guitar, dreamy vocals and punchy, punky rock-n-roll. Talk, Talk, Talk, the sophomore album from The Paranoyds gives the band space to expand, evolve and above all, have fun. Over 11 tracks, the band experiments with sounds that span an eclectic array of genres–from jazz, to lo-fi punk-rock, to groovy R&B–that melt together showcasing the innovative range of The Paranoyds.

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music. Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films. The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 - More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’. “This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads - it's a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”

Unique and much lauded classic soulful blues-rock band XANDER AND THE PEACE PIRATES will release their hotly anticipated new album Order Out Of Chaos on 6th May. This is preceded by their explosive single “Leave The Light On” released 4th March with an amazing video giving a tantalising taster for the main course of songs to be unleashed on their upcoming album. Order Out Of Chaos is replete with heart-warming songs with soul-searching meanings. There’s also a tumultuous sea of sounds to be discovered on Leave The Light On that will send shockwaves through the ears of connoisseurs of classic rock music. And creating musical shockwaves is something that Xander And The Peace Pirates specialise in ever since brothers Keith and Stu Xander were discovered on YouTube by former Gibson Brands CEO Henry Juszkiewicz and quickly grabbed the attention of music industry figures such as Eddie Kramer (Jimi Hendrix, Led Zeppelin, Kiss, Rolling Stones) and Rick Allen (Def Leppard). After their 5-year tenure as the resident band at Liverpool’s iconic Cavern Club, they went on to support the likes of Joe Bonamassa, Joe Satriani, Manfred Mann’s Earth Band, The Temperance Movement, ex-Whitesnake’s Bernie Marsden and even Bon Jovi at Old Trafford Stadium to name but a few.

Flogging Molly ist weniger eine Band als vielmehr eine transatlantische, keltische Punk-Institution. Über den Verlauf von 25 Jahren und nach tausenden von Konzerten auf der ganzen Welt hat Flogging Molly die Grenzen zwischen den Genres überschritten. Sie ist zu einer der wenigen Bands geworden, die buchstäblich an einem Tag mit The Chieftains und am nächsten Tag mit Motörhead die Bühne teilen. Für Flogging Mollys siebtes Album "Anthem" beschloss die Band um das Ehepaar Dave King (Gesang, Gitarre, Bodhrán) und Bridget Regan (Geige, Blechflöte, Backing Vocals), zu ihren Wurzeln zurückzukehren. Die Band nahm 14 Songs in 14 Tagen mit Steve Albini (Nirvana, Pixies) im Electrical Audio Studio in Chicago auf. Letztlich gibt es keine andere Band wie Flogging Molly, die so mühelos zwischen Punk und Folk wechseln kann. Die Tatsache, dass mittlerweile mehrere Generationen von Fans zu den Konzerten der Band kommen, ist ein Beweis für ihre anhaltende Relevanz. Damit schließt sich der Kreis zurück zu "Anthem". "Mit dieser Platte sind wir auf eine Art und Weise zu den Grundlagen zurückgekehrt, wie wir es nicht hätten tun können, wenn wir nicht schon seit 20 Jahren zusammen gespielt hätten", fasst King zusammen. Die Band und die Welt haben in den letzten Jahren viel durchgemacht. "Anthem" handelt von dem kollektiven Geist, den wir alle besitzen und der es uns erlaubt, in die Zukunft zu blicken.

4 LP set is for Indies only until further notice. Unravelled: 1981–2002 shines a loving light on lo-fi pioneers Tall Dwarfs, the prized New Zealand duo of Chris Knox and Alec Bathgate. The collection, available as a 4-LP or 2-CD box set, compiles songs from Tall Dwarfs' two decades of recordings. The vinyl edition includes a 20-page collector's booklet of photos, comics, posters, and other ephemera. The songs on Unravelled: 1981–2002 were curated by Alec Bathgate, who also designed the box set packaging; Chris Knox suffered a debilitating stroke in 2009 just as they had started work on a new album. The collection captures the different sides of the Tall Dwarfs in 55 songs. Though the band was an excuse for two good friends who lived in different cities to get together, drink beer, watch shitty old movies, and do some recording and drawing, Tall Dwarfs created music unlike anyone else. Capturing the initial excitement of creation and taking pride in what they did, Knox and Bathgate showed a whole generation of musicians what could be done at home on a 4-track and what magic could be made if you mixed pop melodies and hooks galore with homemade sounds. After a failed flirtation with success in their previous band Toy Love, Knox and Bathgate formed Tall Dwarfs in 1981, opting to record themselves on a 4-track reel-to-reel. New Zealand’s AudioCulture wrote of the duo’s project: “Early live performances were a ramshackle work in progress. Knox described them in an interview with American magazine Forced Exposure as ‘two minutes of song followed by five minutes of fucking around,’ and they dismayed many Toy Love fans—but the pair had no interest in a career spent in pubs cranking out ‘Pull Down the Shades.’” Tall Dwarfs was meant to be a one-off, but after the founding of their New Zealand label Flying Nun, they continued to record music for the next 21 years, releasing seven EPs and six albums. Their process was spontaneous, with songs being recorded as they were written. Typically, Bathgate would work up something on guitar while Knox provided vocals, lyrics, and tape loops. Then they added any sounds that seemed necessary to finish a song, using whatever was lying around: pans, chairs, baby rattles. Though Tall Dwarfs could be weird, they were never too experimental; Knox and Bathgate both loved melody too much (“Beatlesque” appeared more often than any other adjective in their reviews).

Chilean-born Francisco Allendes returns to Crosstown Rebels for the first time in six years this May. Serving up the three-track What You Do, the title number has already received global airplay via Damian Lazarus himself. Now, the full release will be made available next month and includes a remix by US-legend Harry Romero.

A contemporary dose of four-on-the-floor house, What You Do leaves few prisoners in its wake, as rampant drum patterns converge on a heady combination of kicks, synths and irresistible vocals right the way through. There’s an infectious energy to the track, paving the way for Harry Romero’s similarly up-tempo remix. It’s feel-good, club-ready dance music at its best, packed full of low-slung groove that opens neatly into the closing sequence: Maratone, a stripped-back, techy cut that bears all the hallmarks of a true Ibiza anthem.

Hailing from Chile and now based in Ibiza, Francisco Allendes is a leading light in today’s scene. Be it Loco Dice’s Desolat, Steve Lawler’s VIVA or Damian Lazarus’ Crosstown Rebels, his productions have graced some of the industry’s most well-respected labels. Such quality hasn’t gone unnoticed - he picked up the ‘Best Ibiza’ DJ Award in September 2019 and has gone on to complete several South American tours. A much loved affiliate of ANTS, Francisco has a long standing residency at both Ushuaïa in Ibiza and their affiliated tours, in addition to hosting the weekly radio show.

Seminal American house talent Harry Romero is a well-established figure on the worldwide music circuit. A prominent global DJ and producer since the ‘90s, early productions on Cutting Records and Cutting Traxx helped set the tone for Harry’s career trajectory, opening the doors to a coveted BBC Radio 1 ‘Essential Mix’ in recent years.

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

The 16-track album opens with “War & Wonders'' as Smoke begins his journey foreshadowing an upcoming battle featuring impassioned flows and rhymes describing the violent challenges of urban living. The track opens with a storyline of Smoke getting knocked down from his ongoing battles and a woman calling his name to wake up. The narrative then progresses with latest singles “Shame On You” and “Common Sense” featuring SiR commenting on humanity’s unique simplicity and embracing our differences. At the core of the album, “Stay True” featuring John Legend accentuates the meaning of living your best life by staying true to your authentic self regardless of what life throws your way and the hardships you may face. Then “Good Thing” featuring Ty Dolla $ign offers an upbeat, positive track bringing light to companionship and finding joy in life through many avenues. Smoke wraps the project with rhythmic, jazz infused “Free Write” reflecting on the crusade of each track leading to the end of his battles, and bringing awareness to the grieving of his city from politics to systemic racism and his influence on making the situation better for future generations. War & Wonders spotlights poignant themes, necessary social commentary, and the hurdles we overcome in order to appreciate what we have in this life. For Smoke, he showcases Inglewood’s war on losing love, being in love, and battling himself as he is always being led in different directions. It is a continuous journey of learning, growing, self-discovery, and reinventing a better version of himself.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

A tumultuous selection of recordings from Black Ark, Perry's legendary studio and hotbed of creation. Rare 12" versions, unreleased mixes and featuring a stellar line-up, including:

Drums: Mikey ‘Boo’ Richards, Lowell ‘Sly’ Dunbar

Bass: Boris Gardiner, Radcliffe ‘Dougie’ Bryan

Guitar: Earl ‘Chinna’ Smith, Ernest Ranglin, Robert ‘Billy’ Johnson, Lynford ‘Hux’ Brown

Keyboards: Winston Wright, Robbie Lynn, Keith Sterling

Percussion: Noel ‘Scully’ Simms, Lee Perry

Eric Dolphy's final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.

Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up and Down, extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue color scheme, although a photo taken by Daidō Moriyama inside Tokyo's massive (and massively busy) Shinjuku railway station replaces the Dolphy's album's enigmatic "Will Be Back" sign, whose clock hands indicated no conventional time of expected return.

Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. The always surprising and sometimes confounding turntablist, sound artist, onkyo improviser and now avant jazzer heading up a 15-piece aggregation of Japanese and European experimentalists. Who better to grapple with Dolphy's legacy -- so idiosyncratic in its day and yet so influential to creative improvisers who followed -- than a musician with his own singular take on how sounds can be organized in the jazz realm over 40 years later and half a world away? In other words don't expect the conventional from Otomo any more than you would from Dolphy himself. That's not to say that recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") don't appear, or that individual players -- including Alfred Harth on bass clarinet bursting into the mix and leaping across the instrument's tonal range in a way that recalls the master himself -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage.

However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko in far less prominent role than that of Bobby Hutcherson) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." (Otomo himself plays skronky electric guitar.) From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wildman Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. The middle section of "Something Sweet, Something Tender" somewhat belies the original's title with elongated howls and cries from the horns over slo-mo bass, drums, and electronic noise poised somewhere between dirge and drone, and the sudden explosion of punk-ish rock energy in the following "Gazzelloni" is a startling contrast.

At times, the feeling is that of listening to the original Out To Lunch while a séance is going on to contact Dolphy's ghost, with supernatural sounds swirling around the stereo. The effect is disconcerting, as is the post-apocalyptic cloud hanging over the arrangements, but it makes the effort more than an unnecessary tribute album. Instead, Dolphy is transported into the 21st Century and allowed to romp through modern developments in music. An inspiring concept and an album that will stretch the boundaries of anyone who comes into contact with it.

Dynamite Cuts takes a different move from the funk & soul and is proud to be able to press for the first time on 7” vinyl, two killer rock club tracks. Our A side is the powerful up-tempo “Elegy” a funky love song, with steaming guitars and heavy groove, massive club track back in the day! On the flip is the “The Kettle” heavy rock groove sampled by Fat boy slim for “Ya Mama”
Perfect for all good music collectors

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

Sarah Brown releases her debut album ‘Sarah Brown Sings Mahalia Jackson’ on 20th May 2022, preceded by a new single ‘Walk Over God’s Heaven’ on the 6th May. The record sees Sarah offer her interpretations of some of the classic tracks of arguably the most famous gospel singer of the last century who gave Brown hope and sanctuary through hard times faced over the years. Having recently appeared on Radio 4’s Woman’s Hour performing her debut single ‘I’m On My Way’, she is currently on tour with Simple Minds with whom she has been playing with for the last 15 years.

Sarah explains: “For as long as I can remember, Mahalia Jackson with her fever pitched performances have been a soothing note to my tapestry. At 10 years old, I remember hopelessly trying to sing along to her bellowing thunder of a voice. In my bedroom I would become her. I chose these songs because they tell of my story. Growing up in a Caribbean home to parents who were a long way from their home. Anger and fear were the two prominent emotions that I lived with.

The style I was trying to achieve was influenced by early jazz, blues and the spirituals. I am happy with the sound/style of the album. It was always going to be an experiment but I had no idea that it was going to sound as good and as authentic as it does. ‘Didn’t It Rain’ as a jazz feel. ‘Nobody Knows’ as a spiritual feel then it goes into swing jazz. ‘Walk over God’s Heaven’ as a hint of rock & roll with a bit of early swing.”

You may not know Sarah Brown’s name but you’ll definitely have heard her voice. From her collaborations with the likes of George Michael, Stevie Wonder, Duran Duran, Simply Red, Roxy Music, Pink Floyd, Simple Minds … Sarah Brown is one of the most prolific and in-demand vocalists in the world. Jim Kerr from Simple Minds comments: “In a sane world Sarah’s colossal talent would ensure that she would be front of stage every night, so I would be in the front row. Every night. I am her biggest fan after all”

Mahalia Jackson (October 26, 1911 – January 27, 1972) is widely considered as a major influence on Mavis Staple, Little Richard, Aretha Franklin, Sam Cooke, Donna Summer, Ray Charles, and a civil rights icon (Malcolm X noted that Jackson was "the first Negro that Negroes made famous”, Harry Belafonte stated "there’s not a single field hand, a single black worker, a single black intellectual who did not respond to her”, and it was Mahalia who prompted Dr. Martin Luther King, Jr to improvise the ‘I Have a Dream’ speech.

Following the »Minna Miteru« compilation, released in 2020, Morr Music announces a sequel, dedicated to Japanese indie music, overflowing with surprises and welcome discoveries. Like its predecessor, »Minna Miteru 2« is compiled by Saya of Tenniscoats, with the support of Markus Acher (The Notwist). It’s also another part of the Minna Miteru universe, alongside retrospective albums by The Andersens (»There Is A Sound«, 2020) and yumbo (»The Fruit Of Errata«, 2021). Taken together, these albums suggest a scene in rude health, sharing a unique vibration.

If its predecessor circled around Tenniscoats and their close friends, the second volume, though featuring a collaboration between Tenniscoats and Deerhoof as oneone, reaches far further afield, drawing from music old and new, far and wide. Consistent across »Minna Miteru 2« is a sense of wonder and a cheerful unpredictability: you never quite know what you’ll hear next. There are some gorgeous indie pop songs here, like Yuko Kono’s »Ginger« or HOSE’s »Baseball«, but there are other sounds too, like Kariu Kenji’s blue-hued electro-pop, or the wheezing pipe-organ ambient of FUJI||||||||||TA: »Minna Miteru 2« hints at new kinds of beauty.

Some of the more widely known names here contribute typically gorgeous melodies – Kama Aina’s »Wedding Song«, from 2005’s »Hawaii Hawaii« CD, is a reflective tune that combines a country-ish lilt with hints of slack-key guitar. Shugo Tokumaru’s »5 A.M.« is a delirious psychedelic pop mantra, drawn from his excellent 2005 album, »L.S.T.«. Many of the revelations, though, come from artists and groups relatively unknown outside Japan. The lovely, disorienting glitch-folk of Wasurerogusa features Aki Tsuyuko, perhaps best known for her albums on Thrill Jockey and Jim O’Rourke’s Moikai label, collaborating with psych-folk legends Eddie Marcon.

There’s also the delightful synth-pop of Jonathan Conditioner; the electronic dreamscape of Chaplin, whose opening »Out Cont« runs along several parallel paths at once; the twinkling, acoustic jangle at the heart of mmm’s luscious »Blue«; and a curious collection of miniatures, from acts like tenshinkun, Daisuke Tanabe and NNMIE, that embrace a childlike curiosity, essaying a kind of toytown pop-tronica.

The twenty-six songs on »Minna Miteru 2« repeatedly catch you unawares, upending your expectations and signaling both the breadth and depth of the Japanese indie underground. It’s a compilation of play and pleasure, but also of bold experiment smuggled into the everyday through pop music’s welcoming moods, magically creating a new world for the listener, spun out of the air and woven in between your ears.

American hip hop duo Das EFX released their second album Straight Up Sewaside in 1993. Their rapid-fire vocals are, just like on their debut Dead Serious, innovative and drained in samples and beats. The chemistry between Drayz and Skoob is still present in their choice of wordplay. Jiggety style is where the songs are built around and who gives a good expression of the versatile raps. The album features two singles, “Freakit” and “Baknaffek”.

Straight Up Sewaside is available as a limited edition of

2000 individually numbered copies on silver coloured vinyl and includes an insert.

Jazz organist ‘Brother’ Jack McDuff (born Eugene McDuffy in 1926 September 17, 1926 – January 23, 2001) was second only to the infamous Jimmy Smith in terms of fame and the impact he made with the King of keyboard instruments - the Hammond B-3 Organ. Self-taught on the organ, he recorded with Willis Jackson & Roland Kirk in the late ’50s and early ’60s, cutting high calibre souljazz dates for Prestige Records, and later Argo / Cadet. Blue Note and Verve Records. McDuff can also take the credit for launching the career of a particularly gifted young jazz guitarist when he recruited George Benson to his own quartet, which resulted in Benson's first solo deal in the mid 1960’s.

‘Live At Parnells’ is made up of 15 tracks selected from a week-long engagement in June 1982, featuring Danny Wollinski on sax, guitarist Henry Johnson and Garrick King on the drums. Stylistically, Jack and his group cover a lot of ground, especially for an organ quartet – from beautifully old school funky, gritty blues with tracks like Walkin’ The Dog & Blues 1 & 8, jazz standards like April In Paris, and A Night In Tunisia through to some frenetic and distinctly edgy fast paced jazz fusion type numbers - Make It Good and Untitled D Minor - and this reflects how Jack's ears were open to the newer, freer sounds that had developed in jazz and reflected in some of his recordings as ‘The Heatin’ System’ – as several tracks have modal and fusion touches that sound remarkably current. Soul Bank’s Greg Boraman explains the 23 year old back story to how this amazing release of previously unreleased music by a bona fide jazz legend came about.

“I first heard these live recordings in 1999, when I came across Scott Hawthorn’s ’s jazz organ website, where he had made available his personal recordings of Jack and his band playing at Parnell’s in Seattle in 1982. It was amazing to have this music to check out – despite the obvious shortcomings with the condition of the recordings themselves”.

LP on classic black vinyl. The long-awaited new album from the best pop band in Scotland... The Orchids were making sophisticated pop music right back in the early 1990s when Sarah Records first started. Their songs were as emotionally pure as anything else on that label, but they were always a step ahead of their peers in terms of song arrangements and musical ambition. With a casual, unpretentious air they made writing perfect pop songs seem easy, almost accidental, and several great releases followed. The Orchids gained a passionate following: people knew a good thing when they heard it and they hugged it close. But maybe now it’s time for the rest of the world to be let in on the secret. The songs themselves are a beautiful mix of strength and gentleness. They wrap you in a powerful embrace, making you feel comfortable and secure – and then whisper their insecurities and anxieties into your ear. They say: ‘it’s OK to admit weakness. It’s OK to be fragile. That’s where true strength comes from’. From Glasgow, and proudly Scottish, the band shares a musical lineage with other great groups from that city, from Aztec Camera to Orange Juice, Lloyd Cole to Teenage Fanclub - bands that specialise in song-writing that can tell big stories through small personal fragments, that can make the ordinary extraordinary. Ian Carmichael has helped the band create a perfectly produced masterpiece. He subtly accentuates the drama of the songs, with a sophisticated choreography and gloss that never overwhelms the tenderness of the music. In ‘This Boy Is A Mess’ (the first single from the album), the lyric confesses frailty while the arrangement gets stronger and stronger. It is bittersweet and exhilarating at the same time. ‘I Want You, I Need You’ has harmonies as big as a house – but the yearning message remains intimate and close. ‘I Don’t Mean To Stare’ is an elegant version of the song that first appeared on Skep Wax compilation Under The Bridge. Album opener ‘Didn’t We Love You’ daringly opens up empty spaces where the reverb of the drums is the only thing you can hear... and then floods your ears with a harmonised chorus, sweet guitar melodies and sweeping effects. Even then, the lyrical lament, expressing the desire to live in a better place - a place unspoilt by the greedy phonies who’ve taken over – comes across as clearly as if Hackett were leaning over for a friendly chat in the snug bar of The Orchids’ favourite Glasgow pub. Dreaming Kind will be released as a CD, digital download and vinyl LP.

Originally distributed & released through Mo's Music Machine in 1997 (Cat: BREAKS1), then later revamped by 500 Rekords in 1999 (Cat: FHR-508) under IN-SYNC "Cool The Menta". The producer/artist unravelled that the title meaning was to (Cool the mentality) or when issues arouse in a dance that everyone should be cool and calm and maintain good vibes. On this release, the artist opted for the original artist/title details. 300 copies

When you talk about the origins of jungle music, DJ Dextrous is most definitely cited as a name that helped define the genre. His tracks were always on heavy rotation on the mighty Kool FM and every Jungle/DnB radio station across the country. Dextrous VIP dubplate specials were weapons in the record bags of Micky Finn, DJ Ron, Kenny Ken and his old mate from school DJ Hype!

The 1994 Jungle anthem Charged was released on the ground-breaking Suburban Base Records imprint as part of a ‘King Of The Jungle’ Trilogy. Now updated for 2022 Charged gets a couple of fresh licks from two modern day jungle specialists, backed up with original and VIP exclusive versions, all packaged on a beautiful 12” vinyl picture disc.

First up are the mighty Serial Killaz who’ve taken the original track and applied their trademark, award winning sound which has seen them releasing on Congo Natty, Philly Blunt, Souped Up and their own self-titled Serial Killaz label.

Next up is AKAS who’s recent Old Skool New Skool track on DeVice spend almost 3 months in the Beatport Top 10!! AKAS keeps things jungle for his Charged remix but tweaks the elements and pushes the genre to have the maximum impact on any dancefloor across clubs or festivals.

On the flip is an original unreleased VIP dubplate version, sourced from the archives or Da Kings Of The Jungle studio DAT recordings, which DJ Dextrous was playing in his sets exclusively.
Finally we have the classic original mix of Charged which has been beautifully remastered from the original source recording to make this picture disc release sound as good as it possibly can.
This is an extremely limited pressing & will never be re-issued so we’d advise jungle aficionados, both new & old, to buy on sight!!

Somewhere in the middle of the first track, “Torres e Baldios”, there’s a sudden change of pace with percussion rhythms interfering with the trance-like sound of the first six minutes. It sounds like steps, people running away on a corridor bashing their feet. It dazzles you because of how unexpected it is, how unpredictable those sounds sound like and, most of all, how it makes perfect sense. It is a monstrous piece. And the beginning of a new age for Ondness, in the same year he defied his Serpente moniker to create an absolute classic, “Dias da Aranha”.

What makes “Oeste A.D.” so remarkable is the intangible idea of nostalgia. “Aqua Matrix Alternative Nation” recreates with a slowed down mentality the theme of one of the main events of the Expo 98 in Lisbon. It’s nowhere similar to the original, what it does is to mess around with the global ideas that were such a big part of that event. The Portuguese musicians that were invited to collaborate with Expo 98 were mesmerized by the ideas of union and globalization, creating overpriced music that sounds like shit today. “Aqua Matrix Alternative Nation” messes around with that vibe in a positive way. Think Mark Leckey playing around with his rave memories. Same thing, but in Portugal we had Expo 98.

Jokes aside, B Side is more futuristic with “Torres e Baldios II” and “Endless Domingo”, a nod to “Endless Summer”, by Fennesz, and “Endless Happiness” (from “Beaches And Canyons”), by Black Dice, mashing up – freely - both covers and reminding of how great 2001/2002 was for experimental music. Both tracks are full of sci-fi drama and this sickness of the future that has been travelling with Ondness since its early days. But the approach here is somehow different. Before “Oeste A.D.” the Ondness sound was fragmented, sparse and intensively reflexive. There was this uncertainty to it that made the previously releases so good. But “Oeste A.D.” is full of clarity, the phrases are straightforward, and the music moves in one direction, continuously. Before, there were loads of unanswered questions. The only doubt is when will the world start to care and listen to Bruno’s brilliant music. Now sounds like a good time.