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Second solo album by Arthur Satan, released on Born Bad, after 'So Far So Good', his pop solo debut, which was a pleasant surprise for fans of his notthat-garage group JC Satan 'A Journey That Never Was' is so big you'll need special furniture to accommodate this unreasonable, maximalist parade, crammed full with 1960s pop influences.

The record plays with heritage like a kid would unabashedly plan for a birthday party. No stupid treasure hunt, we're bowling with the heads of our foes, guitars are literally bleeding through the mix. T-Rex burgers, fountains of chocolate choruses dripping on Brian Wilson - shaped giant cookies: let's indulge. Each song is a musical family, each verse is an album, each riff is a title. In his Christmas gift list, Arthur probably circled absolutely every toy: his taste for completism never disappoints. He played almost every instrument, mixed the album and designed a whole graphic universe to go along with it. A visual artist by trade, also made a point of drawing a monumental fresco spreading out the fantasy landscape that haunts this album.

Jackie Edwards voice can be heard on 100's of Ska, R&B. Soul and Rocksteady records.
In fact all the in carnations that evolved from Reggae.
He was at the birth of Island Records and his distinctive soulful voice has rightly given him the moniker of the Original Cool Ruler.
Jackie Edwards (b. Wilfred Edwards 1938,Jamaica)was a renowned singer from the early days and by 1959 had presented future Island Records owner Chris Blackwell with two outstanding tunes.
The first a sentimental ballad 'Your eyes are Dreaming' and a Latin beat tune 'Tell me Darling'.
His song writing skills were much in so demand and his popularity of such importance that when Chris Blackwell went to London in1962 to set up his record company he took his top Balladeer Jackie with him.
This would pay dividends when a UK group Blackwell had signed called The Spencer Davis Group went on to release two of Jackie's compositions 'Keep on Running' and 'Somebody Help Me', which topped the British charts in 1966.
We have compiled some of Jackie Edwards finest songs..all cool tunes in different Reggae styles but all sung to perfection..
Hope you enjoy the set....

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

DESCRIPTION
Escape Music has the pleasure to announce the re-release of much-loved vocalist Bob Catley (Magnum/Avantasia) “Middle Earth” album. After the great success of ‘The Tower’, Bob and Gary got together again for the follow-up – ‘Legends’. It was during this period that Bob and Gary first discussed their mutual love for the work of JRR Tolkein, which planted a seed in Gary’s mind, which finally led to this full-blown concept album based around Tolkein’s work on ‘The Hobbit’ and ‘Lord of the Rings’.‘Middle Earth’ is, of course, the mythical world where all these events take place, and once again Gary’s wonderfully evocative lyrics fully immerse us into this wonderful and colourful universe. As with the previous album ‘Legends’, the band again mostly consisting of members of Ten, such as Vinny Burns and Steve McKenna, with the drum stool being occupied by Dante Fox’s Jon Cookesy. Artwork has once again been provided my world-renowned artist Rodney Matthews, whose career is inextricably linked with Magnum/Bob Catley. This ‘fellowship’ was once more prepared to take Gary’s evocative work and Bob Catley’s mercurial vocals out into the world once more.

THEE ALLYRGIC REACTION are a fuzz'n'Farfisa-powered 60's garage punk outfit from San Diego, CA USA! While they specialize in fuzz stompahs that will move your feet, they will also melt yer mynd with minor key psych madness! They are also leaders in the emerging "protest garage" scene, with songs that address the import topics of today's over aged teen scene!They have a maraca-breaking wyld live set, but also managed to sit still long enough to record their debut LP for Soundflat Records As every band does, they argued over the title for the LP, and finally settled on one that NO ONE likes, simply, "Thee Allyrgic Reaction"! All four lads grew up in the 80s Charmkin Scene, witnessing first-hand groups like the Unclaimed, The Primates, The Miracle Workers, The Tell- Tale Hearts, The Cynics, The Gruesome, Lyres, The Chesterfield Kings, The Fleshtones and The Brood! (and about a 100 more not named here!) The boys are THRILLED with their new LP on Soundflat, which was recorded over a two day period, and required nine California burritos, three pizzas, two cases of beer, and several cans of wine.

The record features 11 original compositions, as well as their own version of their favourite UNCLAIMED-song. One of the originals is an ode to Peter Maniette of the Crimson Shadows and Wylde Mammoths. So what do they sound like? They certainly pull from the farfisa'n'fuzz blasters of the past, but also employ some 12 string, harpsichord, harp and a few other surprises. They are a little folk, a little psych and LOT of garage punk! The group records at Earthling Studios in the San Diego area, which features an array of vintage gear, including an 8- track from Sunset Sound that was used on Forever Changes. That's how you say "MO-JO"!!!

'Ska never stopped you know! From its Jamaican music if the piano's not playing ska or the guitar....any music you have...Reggae...even the computer music..the piano's playing Ska Ska Ska...it leads the music so Ska is still the backbone of Jamaica music, Right'..Bunny Lee

The music of Jamaica has had a profound and lasting influence all around the world and Reggae is the name by which it has become universally known.
Although the term Ska is often used to describe all Jamaican music before Dub,Dee Jays and Dread in the mid 70's the real Jamaican Ska was made in Kingston between 1961/62 to 1966.

Weisheit, Disziplin und unbändige Kreativität prägen den smarten Electro-Soul von Ellen Beth Abdi. Die renommierte Livemusikerin wird mit ihrem Debütalbum auf dem eigenen Label zur überragenden Solovirtuosin. Poppige Synth-Sounds, sich langsam steigernde Backgroundklänge und feinfühlige Worte von kraftvoller und persönlicher Bedeutung: Manchesters am schlechtesten gehütetes, genreübergreifendes Multiinstrumentalisten-Geheimnis steigt aus dem Schatten ins Licht. Vor fast einem Jahrzehnt wurde ihr aussergewöhnliches Talent entdeckt, was zahlreiche Support-Slots für u.a. Lady Blackbird, Courtney Pine und Angelique Kidjo einleitete. Diese Live-Erfahrung fliesst nun in die Konzerte zur Feier des lang erwarteten Soloreleases von Ellen Beth Abdi ein.

- "Something of a masterclass." - Louder Than War

- "Sharp lyrical insight with a distinctive sonic identity." – Backseat Mafia

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

Repress!

MIKE’s music carries age beyond his years. Born in New Jersey, he moved to London with his mother before eventually settling in The Bronx for the remainder of his teenage years. Renaissance Man was recorded between the two cities that shaped him, with both regions leaving a distinct mark on his sound. In London, he was immersed in grime and the music of King Krule, while in The Bronx, he gravitated toward the influences of Earl Sweatshirt and MF DOOM.Through his mixtapes Winter New York, Longest Day, Shortest Night, May God Bless Your Hustle, and his EP By The Water, he has made a definitive statement on the state of youth in New York. The releases turned heads outside of MIKE’s immediate community in the city, earning praise from The FADER, The New Yorker, and being selected as Best New Music by Pitchfork.MIKE raps over characteristically lo-fi, and soulfully hazy, self produced beats. Themes about the depression and anxiety that accompany being young and African American abound throughout his music, but a muted sense of hopefulness and certainty that he is moving towards ultimate triumph is the motor quietly propelling things forward.Renaissance Man follows his critically acclaimed Lex Records release, Black Soap

Three LPs packed in a trifold jacket. Pressed on Deep Ocean Pearl, Gold & Dark Green Vinyl. Take up your sword, channel your magic or board your Mech. Chained Echoes is a 16-bit style RPG set in a fantasy world where dragons are as common as piloted mechanical suits. The game is set on the continent of Valandis during the time of a multi-generational war between three kingdoms, Taryn, Gravos and Escanya. After a great catastrophe caused by Grand Grimoire shakes the continent, the kingdoms agree to sign a peace treaty. One year later, an unknown force strives to begin a new war. A group of unlikely heroes joins forces and eventually becomes the clan of Crimson Wings in order to stop it. The outstanding soundtrack for Chained Echoes was passionately composed, arranged and recorded over four years by Eddie Marianukroh as well as many other musicians who worked under his direction. It includes 50 tracks at two hours in length. Even the game has been out for a while, Marianukroh's admiration and enthusiasm for the game and his addition to it remain undiminished: "It has been over two years now since the release of Chained Echoes, which is rather difficult for me to believe. Time really flies, and it's honestly a bit frightening when I think about it. But, despite that, when I listen to the music I've written for this game, I still very much remain proud of what I composed. I really did give my all for this soundtrack. I will forever be grateful to Matthias for trusting me with the music for his game. I can vividly remember how I felt when I first came across his project, and how I nervously reached out to him about the composer position. I truly, truly cannot thank him enough for giving me this memorable experience that I will always hold dear. Thank you, my friend."

AAA Gripper have seemingly dropped out of nowhere but the story goes back. The idea was conjured in the summer of 2023 at the first Wrong Speed Records festival in the town of Glastonbury. Inspired by a weekend of radical sounds and fine company a decision was made - 'let's try something'.
Recording hours and hours of bass and drums in deep Somerset then editing it down to a sharp and concise 32 minutes. From Can's Lost Tapes boxset to No Means No's 0+2=1 via a thousand song structure decisions. Wild guitar strafe and precise hyper vocal added. Nine tight tunes magically appeared. The band raised a glass of tea. The band was born. The 'something' had worked.
We Invented Work For The Common Good is a deep dive into the world of the working person. How we end up. Why we climb onto the conveyer belt and never get off. The front cover is one of many of the same photo taken every day, on the walk to work, the dark mills looming - KEEP THEM BUSY, THEY WON'T RISE UP.
Music is therapy. They think it's part of the bread and circuses. We know it's armour. We know it's weaponry.
Gigs being planned.

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

Die aus der estnischen Metalszene stammende Band PRIDIAN wird ihr Debütalbum "Venetian Dark" über Century Media Re-cords veröffentlichen. Ihr moderner, energiegeladener und atmosphärischer Metalcore mit futuristischem Einschlag erinnert an Genre-Größen wie Northlane, Spiritbox und Architects. Beim Songwriting legen PRIDIAN den Schwerpunkt auf cineastisches Storytelling und ein starkes narratives Konzept in ihren Texten, ihrer Musik und ihren visuellen Elementen. "Wir wollen Songs schreiben, nicht nur instrumentenbasierte Musik. Wir könnten technische Sachen schreiben, weil wir alle unsere Instrumente beherrschen, aber gute Songs, interessante Strukturen und gute Geschichten sind wichtiger."Der Albumtitel "Venetian Dark" wurde von einer Farbe inspiriert, die sich in Jörgs Kopf festsetzte und sich langsam zu ihrer end-gültigen Form mit den allgemeinen Themen des Albums entwickelte. Das Album wurde komplett von PRIDIAN geschrieben und produziert, die viel individuelle und gemeinschaftliche Arbeit in die Entwicklung der Tracks gesteckt haben. Tracks wie "Out For Blood", "DINY" und "Void Resonance" vereinen chaotische, energiegeladene Riffs mit EDM-artigen Synthies, krachenden Break-downs und atmosphärischen Elementen. PRIDIAN schöpft aus dem Metalcore der 2010er-Ära, dem Djent und dem von Deftones inspirierten Post-Hardcore und lässt sogar eine Korn-ähnliche Nu-Metal-Kante erkennen, vor allem beim schweren, aber ein-gängigen "Darker Tides". Das Zwischenspiel "Synthetic Salvation" unterstreicht den kühnen Ansatz der Band, wie Laur erklärt: "Einige Tracks sind mehr Produktion als Song... das ist kein Metal, aber das ist mir egal. Es ist uns egal, was andere sagen." Abgemischt von Matt Thomas (Kingdom Of Giants, Invent Animate), bietet "Venetian Dark" eine hochmoderne Produktion in Be-zug auf Ausgewogenheit und Modernität. Venetian Dark" ist als Standard CD Jewelcase, als limitierte transparent blau-schwarz marmorierte LP, sowie als digitales Album erhältlich.

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Remastered from the original tapes. Includes poster. 180g vinyl. Despite not participating in the legendary Avándaro festival, La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their fantastic 'Nasty Sex', along with other songs like 'If You Want It' or 'Melynda' boosted their first album at the top of the sales charts worldwide. Although their sound changed over time, their debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Sadly, Mexican record labels lost interest in local rock bands due to the repression of La Onda movement by the Mexican Government, resulting in rock bands being banned. This, in addition to internal disagreements between members of the group, eventually led to the end of their relationship with Polydor in 1973. La Revolución de Emiliano Zapata entered a new artistic phase in their career, focusing on ballads and adopting different new musical trends over the years.

Conflict formed in 1981 in Eltham, Southeast London, when frontman Colin Jerwood, inspired by early encounters with the Pistols 'Spunk' bootleg and following The Clash on tour, struck up a friendship with Crass and set about crafting a whole new kind of punk that totally upped the ante in terms anger and confrontation. Crass, the renowned anarchist punk collective, having got Conflict started by releasing their debut single 'The House That Man Bult' in 1982 on Crass Records, ended in 1984 as they had always intended. Now it was up to Conflict to pick up the baton and run with it. And they did, charging into the battle lines of authority.

The years that followed saw Conflict go from strength to strength, peaking on the 18th of April in 1987 at the London Brixton Academy for the 'Gathering of the 5,000' concert. A climax and explosion of rage and rebellion that inevitably ended up in a police provoked full-scale riot with police injuries, arrests, and with the band hopelessly in debt and banned from the majority of major London and UK venues.

Undeterred, Conflict continued into the 90s with their acclaimed 'Conclusion' album and remained a mainstay of the live punk circuit throughout. However, after more than two decades since the release of their (2003) 'There's No Power Without Control' album, the band are back with 'This Much Remains'. Featuring sixteen brand new Conflict creations, the album sees the band keeping one eye on their eventful past, and the other firmly on moving forward, both musically and politically. Animal Rights are still at the forefront of Conflict’s collective minds, giving a voice to the voiceless on songs such as 'A Mother's Milk' and 'Shut The Fuck Up', whilst their anger at world governments will never dissipate.

Also featuring an appearance by the late Benjamin Zephaniah on the track 'Cut The Crap', 'This Much Remains' is the sound of a band that continues to surprise and progress, decades after it first began. Conflict are Colin Jerwood - vocals; Fiona Friel - vocals; Gav King - guitars, melodica & Hammond; Fran Fearon - bass; Stoo Meadows - drums. With Benjamin Zephaniah - vocals on 'Cut The Crap'; Mitsuko Sonoda - voice on 'The Impossible Soul'.

Macht Euch bereit für die Magie von "LOVE", dem neuen Studioalbum der schwedischen Prog-Rock-Legende The Flower Kings, die auf eine über 30-jährige Karriere zurückblicken. Als The Flower Kings am 20. August 1993 ihr allererstes Konzert in Schweden gaben, ahnten sie wahrscheinlich noch nicht, dass sie im Begriff waren, Prog-Rock-Geschichte zu schreiben. Mit nunmehr 17 Studioalben, unzähligen Live-Aufnahmen, welt-weiten Tourneen und Festivalauftritten hat die Band ein Vermächtnis geschaffen, das nur von wenigen Bands übertroffen werden kann - und sich als Pioniere der Wiedergeburt des Prog-Rock erwiesen. Das Line-Up besteht aus den drei Originalmitgliedern Roine Stolt, Hasse Fröberg und Michael Stolt sowie den später hinzuge-kommenen Mitgliedern Mirko DeMaio und Lalle Larsson. Gemeinsam haben sie ein Album geschaffen, das den wahren Geist dessen einfängt, was Progressive Rock immer sein sollte: eine kreative Revolution, frei von den Zwängen kommerzieller Hitfor-meln. "LOVE" erinnert an die goldene Ära der späten 60er und frühen 70er Jahre und strotzt nur so vor Vintage-Vibes, epischen Kompositionen und einer reichen Mischung an Einflüssen - von Klassik und Jazz bis hin zu elektronischer Musik und Filmsound-tracks.Auf "LOVE" bieten The Flower Kings über 70 Minuten klangliche Erkundung in 12 Tracks, die von ausgedehnten 12-Minuten-Epen bis hin zu prägnanten 3-Minuten-Perlen reichen. Das Album verwebt Themen zu einem kohärenten Ganzen, das man am besten als eine zusammenhängende Reise erlebt: zugängliche Melodien gepaart mit experimentellen Momenten, wilden Gitar-rensoli und virtuoser Synthesizerarbeit, die an ihre frühen Werke erinnern. Mit neuem Selbstbewusstsein und neuer Kreativität beweisen die Flower Kings einmal mehr, warum sie die Könige des Progres-sive Rock sind. Zur Erinnerung: Krieg ist nur Angst und Versagen, Angst, die sich in kleinen Leuten mit zweifelhaften politischen oder religiösen Absichten manifestiert - LIEBE ist immer der Sieger.

Macht Euch bereit für die Magie von "LOVE", dem neuen Studioalbum der schwedischen Prog-Rock-Legende The Flower Kings, die auf eine über 30-jährige Karriere zurückblicken. Als The Flower Kings am 20. August 1993 ihr allererstes Konzert in Schweden gaben, ahnten sie wahrscheinlich noch nicht, dass sie im Begriff waren, Prog-Rock-Geschichte zu schreiben. Mit nunmehr 17 Studioalben, unzähligen Live-Aufnahmen, welt-weiten Tourneen und Festivalauftritten hat die Band ein Vermächtnis geschaffen, das nur von wenigen Bands übertroffen werden kann - und sich als Pioniere der Wiedergeburt des Prog-Rock erwiesen. Das Line-Up besteht aus den drei Originalmitgliedern Roine Stolt, Hasse Fröberg und Michael Stolt sowie den später hinzuge-kommenen Mitgliedern Mirko DeMaio und Lalle Larsson. Gemeinsam haben sie ein Album geschaffen, das den wahren Geist dessen einfängt, was Progressive Rock immer sein sollte: eine kreative Revolution, frei von den Zwängen kommerzieller Hitfor-meln. "LOVE" erinnert an die goldene Ära der späten 60er und frühen 70er Jahre und strotzt nur so vor Vintage-Vibes, epischen Kompositionen und einer reichen Mischung an Einflüssen - von Klassik und Jazz bis hin zu elektronischer Musik und Filmsound-tracks.Auf "LOVE" bieten The Flower Kings über 70 Minuten klangliche Erkundung in 12 Tracks, die von ausgedehnten 12-Minuten-Epen bis hin zu prägnanten 3-Minuten-Perlen reichen. Das Album verwebt Themen zu einem kohärenten Ganzen, das man am besten als eine zusammenhängende Reise erlebt: zugängliche Melodien gepaart mit experimentellen Momenten, wilden Gitar-rensoli und virtuoser Synthesizerarbeit, die an ihre frühen Werke erinnern. Mit neuem Selbstbewusstsein und neuer Kreativität beweisen die Flower Kings einmal mehr, warum sie die Könige des Progres-sive Rock sind. Zur Erinnerung: Krieg ist nur Angst und Versagen, Angst, die sich in kleinen Leuten mit zweifelhaften politischen oder religiösen Absichten manifestiert - LIEBE ist immer der Sieger.

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

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Looming above Hastings on the South Coast of the UK, carved into East Hill, three black shapes are visible from a distance. Mysterious and ominous, they assume the aspect of the entrance to a church or a portal to dimensions unknown. Closer inspection however reveals them to be no more than mere follies carved and painted into the rock, as hoaxster John Coussens sought to convince visitors that an elaborate subterranean kingdom lurked within. Centuries later, this coastal town remains a place that serves as a magnet to the wyrd and the mischievous. And it’s here that the meeting of minds took place that led to 'Folly' - the second release for Rocket’s Black Hole series - an imprint focused on the unorthodox, otherworldly and esoteric. The journey that led to ‘Folly’ began in the dingy cellar of a wine bar in the town. Black Arches formed around a regular local experimental night in such environs aptly named Weird Shit, initially as a freeform musical outlet for author and musician Gareth E. Rees’ later incorporating Matt Frost from his garage rock troupe The Dirty Contacts, and frequent collaborator James Weaver, to form a vehicle for wild experimentation and psychic abandon. Given he was also a regular attendee, it was no surprise when Sexton Ming, arch maverick outsider artist and uncompromising iconoclast of over four decades standing, entered the picture. Soon after a perplexing but serendipitous chain of events took place, with demons conjured up via improvised sessions, poetic licence taken, dystopias chronicled, audio files gone awry, vocals overdubbed and laptops lost, Somehow amidst the sturm-und-drang ‘Folly’ was summoned in all its murky glory. As we embark on the second quarter of an uncertain century, just maybe this psychic travelogue is a dark prism to make sense of the chaos we confront. Whichever, it remains a spectacle as compelling as that by which Black Arches were named

This re-issue of World Machine, Level 42's 1985 breakthrough album, is presented with scrupulous attention to the detail of the original UK first pressings and available in audiophile 180g pink vinyl in celebration of the album's 40th anniversary.

By 1985, Level 42 – bassist and vocalist Mark King, keyboard player/vocalist Mike Lindup, guitarist Boon Gould, drummer/lyricist Phil Gould and studio-only keyboard player Wally Badarou – were on the verge of breaking big - After a string of well-received albums, such as their pioneering jazz-funk 1981 debut or the Ken-Scott produced True Colours, the group decided, rather than work up material through jamming, to sit and write some songs for their forthcoming album.

Producing themselves, with assistance from engineer Julian Mendelsohn, this new approach meant that World Machine was the quantum commercial leap they craved. And most of that was due to the album's towering lead single, the pop-funk of "Something About You". With its expensive video seeing the group styled for the 80s, it set radio alight, becoming a Top 10 hit and charting around the world, importantly in the US. Following up with the tender ballad "Leaving Me Now" and then the bouncy funk of the album's title track as singles, the album's success was guaranteed; it reached No 3 in the UK charts and spent an amazing 72 weeks on the listings.

Cincinnatian blues stalwart Albert Washington was a prolific recording artist from the 60s to the 90s. His ‘I’m The Man’ has become a New Breed R&B classic, which despite several US and UK releases, including our Kent one in 2003, is still eagerly sought out by people willing to pay whatever it takes.

‘Case Of The Blues’ is a similarly hip R&B dancer that was first issued on the Rye label in 1971. This slightly earlier Fraternity version is very similar.

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Melvins 1983, die rohe und ungefilterte Inkarnation der legendären Band um Buzz Osborne und Original-Melvins-Schlagzeuger Mike Dillard, kehren mit 'Thunderball' zurück - ihrem ersten Album seit vier Jahren, das am 18. April bei Ipecac Recordings erscheint.

"'Thunderball' ist das dritte Melvins 1983 Album, das wir zusammen gemacht haben, und ich wollte, dass es bombastisch wird - und ich glaube, das haben wir erreicht“, sagt Osborne. „Außerdem wollte ich schon lange etwas mit den Elektronik-Künstlern Void Manes und Ni Maîtres machen. Beide sind außergewöhnliche Talente. Ihr unkonventioneller Einsatz von Elektronik hat 'Thunderball' über meine Erwartungen hinaus getrieben.“

Aufgenommen wurde das Album von Toshi Kasai in den Sound of Sirens Studios.

Die 1983 in Montesano, Washington, gegründeten Melvins gehören zu den einflussreichsten Bands der modernen Musik. Gegründet von Buzz Osborne (Gesang/Gitarre) und dem ein Jahr später hinzugekommenen Schlagzeuger Dale Crover, leisteten die Melvins Pionierarbeit bei der Verschmelzung von Punkrock und Heavy Music. Im Laufe ihrer vier Jahrzehnte währenden Karriere veröffentlichten sie mehr als 30 Originalalben, unzählige Live-Mitschnitte sowie zahlreiche Singles und Raritäten.

- Ltd. Col. LP: (Smoke Is A Color Vinyl)

Melvins 1983, die rohe und ungefilterte Inkarnation der legendären Band um Buzz Osborne und Original-Melvins-Schlagzeuger Mike Dillard, kehren mit 'Thunderball' zurück - ihrem ersten Album seit vier Jahren, das am 18. April bei Ipecac Recordings erscheint.

"'Thunderball' ist das dritte Melvins 1983 Album, das wir zusammen gemacht haben, und ich wollte, dass es bombastisch wird - und ich glaube, das haben wir erreicht“, sagt Osborne. „Außerdem wollte ich schon lange etwas mit den Elektronik-Künstlern Void Manes und Ni Maîtres machen. Beide sind außergewöhnliche Talente. Ihr unkonventioneller Einsatz von Elektronik hat 'Thunderball' über meine Erwartungen hinaus getrieben.“

Aufgenommen wurde das Album von Toshi Kasai in den Sound of Sirens Studios.

Die 1983 in Montesano, Washington, gegründeten Melvins gehören zu den einflussreichsten Bands der modernen Musik. Gegründet von Buzz Osborne (Gesang/Gitarre) und dem ein Jahr später hinzugekommenen Schlagzeuger Dale Crover, leisteten die Melvins Pionierarbeit bei der Verschmelzung von Punkrock und Heavy Music. Im Laufe ihrer vier Jahrzehnte währenden Karriere veröffentlichten sie mehr als 30 Originalalben, unzählige Live-Mitschnitte sowie zahlreiche Singles und Raritäten.

- Ltd. Col. LP: (Smoke Is A Color Vinyl)

Pressed on smoky blue vinyl. 1971 classic album with new analogue mastering. Released on the Upsetter label, celebrating the groundbreaking collaboration between Bob Marley and The Wailers and Lee 'Scratch' Perry

The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing Released in Jamaica in 1971, Soul Revolution Part II is the follow-up to Bob Marley and the Wailers' 1970 debut album Soul Rebels. Going from strength to strength on the material they recorded for Lee Perry, this 12-tracker constitutes another crop of exceptional early-roots reggae anthems. Some of the songs are among the more widely lauded efforts in the repertoire of Bob Marley, Peter Tosh and Bunny Wailer. 'Don't Rock My Boat', 'Duppy Conqueror', 'Sun Is Shining' are about the most acclaimed of them and sound better than ever on this newly remastered edition using vintage analogue gear. Recorded at the famed Randy's Studio (also known as Studio 17) located at 17 North Parade in Kingston, Jamaica, this is the second full-length collaboration (and last!) between Bob Marley and the Wailers and producer Lee 'Scratch' Perry!