Buscar:just

Repressed Blood Red Vinyl of NECK DEEP's sencond full lenght proper, originally from 2015. Kerrang!: "Life's Not Out To Get You" is a must-listen for any fan of pop-punk." #31 Greatest Pop-Punk Albums of All Time - Alternative Press: "Neck Deep have solidified their position as one of the leading bands in the new wave of pop-punk. Top 10 Essential Records of 2015" - - NME: "Neck Deep have produced an album that is both anthemic and emotionally resonant." - Rock Sound: "Neck Deep have delivered their most mature and accomplished album to date." #3 on Rock Sounds Top 50 of 2015 Following "Wishful Thinking," with their second studio album, "Life's Not Out To Get You", Neck Deep, released what is easily one of their most career defining albums and one of the largest albums in the pop-punk genre. - Featuring fan favorite songs: "December," "Can't Kick Up the Roots," & "Serpents" - DIY wrote the "full-length feels both quintessential and refreshing, a modern classic_The hooks are glorious, the bounce is addictive and it's a little rough around the edges for good measure." In the little over a decade since Neck Deep formed in the Barlow brothers' spare room in Wrexham, Wales, a lot has changed. From the scrappy, naively hopeful beginnings that define the starting of so many teenage bands, the pop-punks have gone on to be one of British Rock music's most successful global exports in recent memory: top 5 records in both the US and UK, global touring, viral hits and over a billion plays, just some of the fruits of ten years spent mastering their craft. - For Fans Of | Blink-182, Green Day, & State Champs

Bubblegum XX features features members of Queens of the Stone Age, PJ Harvey, Greg Dulli, Izzy and Duff from Guns & Roses/Velvet Revolver, among other assorted rock luminaries. When Bubblegum was released, Mark chose to let it speak for itself and didn"t have much to say aside from within the small handful of interviews he did at the time. In 2017, he released a book of lyrics and writings called I Am The Wolf and wrote about the album then. Shared here are some of his words about the record. Song favorites include "When Your Number Isn"t Up," and "Strange Religion," a love song I wrote in a Tokyo hotel room. While many of the songs came from a place of dejection and ennui at the end of a tempestuous relationship, "Bombed" in particular came about when, after I had written and recorded it in just a few minutes, I put a microphone in front of Wendy Rae Fowler, my soon-to-be-ex-wife, and had her sing along while simultaneously hearing it for the first time. I loved the result as it reminded me of Royal Trux, a band I liked. When I insisted on using the first and only take of the song, it made her slightly unhappy, but to be fair, that was just one of many things I did that had that effect.

Wir feiern 20 Jahre Eminem’s Encore mit dieser exklusiven 20th Anniversary Edition, die Hits wie „Mockingbird“, „Like Toy Soldiers“ und „Just Lose It“ enthält. Gepresst auf atemberaubendem, blauem Vinyl ist
diese limitierte Ausgabe ein Muss für Fans und Sammler, da sie einer ikonischen Hip-Hop-Ära einen neuen
Anstrich verleiht. Encore gibt es das erste Mal auf farbigem Vinyl.
Ab dem 28. Februar überall erhältlich!

On October 15th & 16th 2020, drummed Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they"d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from the sessions made it onto Villarreal"s critically-acclaimed 2022 album Panamá 77, bust most of the music remained unreleased. Lados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation - flow as informed by the Latin soul of Fania Records as it is by the otherworldly trance of Brain Records - while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker"s recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven"s 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.

For Peggy Gou, recording an instalment of !K7’s DJ-Kicks series was one of the items on her list of career goals. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” In 2019, Peggy Gou was able to tick that off her list as she proudly presented the 69th edition of the mix series.

To kickstart 2025, which is !K7's 40th anniversary year, the release is re-issued on a tigerfur-coloured 2LP. Peggy started working on the mix in 2018. It was a busy time for the then 28-year-old: she’d just scored her first Mixmag cover and her single ‘It Makes You Forget (Itgehane)’ was receiving awards and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey.

An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983.

The same level of attention was brought to the arresting cover artwork, in which the well-documented animal lover references both Korean iconography and the endangered status of the creature of the country's foundational mythology, the tiger. The album artwork shows Gou posing alongside a tiger. "As the first Korean woman to contribute to the DJ-Kicks series I wanted to do something from my heritage," she said in a statement. "I chose the tiger, which is very important in Korean traditions and a metaphor for my personality. As it is inhumane to shoot with a real tiger, I and the photographer Jonas Lindstroem used a library image to make a composite. The tiger disappears when you turn to the inside-cover photo, to highlight that these beautiful animals are already extinct in my home country and in danger of disappearing from our world entirely.”

Erstmals auf Vinyl: F.U.N. T.O.Y. (2024) ist Sideshows fünftes Albumprojekt in einem kurzen Zeitraum von vier Jahren. Die Platte erscheint zu einem Zeitpunkt, an dem Sideshow am vorläufigen Zenit seiner Karriere steht - frisch nach Kollaborationen mit MIKE, The Alchemist und Boldy James und einem Jahr (2023) mit zwei Alben: 2MM DON'T JUST STAND THERE! und JAM. Die Produktion erfolgt mit freundlicher Genehmigung von Popstar Benny, Alexander Spit, Sideshow selbst und vielen mehr.

Makaya McCraven"s International Anthem debut In The Moment is the album that properly introduced the then-burgeoning drummer/producer to the world. Over the course of 2025 International Anthem will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi strip and dome logo.

There is no one universe for Ben LaMar Gay, he just sonic booms from one sound to another." - NPR Music
Ben LaMar Gay’s de facto debut album, Downtown Castles Can Never Block The Sun, was our attempt to introduce the legendary Chicago composer / improvisor / renaissance man to the rest of the world with a compilation of tracks from “7 albums he made over 7 years but never made the effort to actually release. ” The material showcases Gay’s penchant for genre-hopping—from Reich-ian soundscape voyages to Don Cherry-esque polyrhythm treks to Jorge Ben-style vocal-and-string earworms—while keeping his singular musical voice in focus.
In the years since its release, this long OOP collection has become a touchstone, foreshadowing the breadth and scope of Ben LaMar Gay’s output since. The songs-between-the-songs warped Soul Americana madness and beauty of Open Arms To Open Us, the unhinged long form freedom of Certain Reveries—each fresh mode would defy expectation if without the context established by Downtown Castles. To quote the OG press release, “to call it ‘eclectic’ would only scratch the surface. This music is everything.

2026 Repress

MOLA's music is the unadorned antithesis to a rosy world. She celebrates herself to death, pulls you into her inner chaos and does without the usual romanticising transfiguration of the merciless disorientation that catches up with you on the way home after the last cigarette.

MOLA knows better than anyone that she is a border commuter - and she has never made a secret of it. Perhaps it was fate that the course of events abandoned her shortly after her birth in Erba, Italy, in Germany's most austere metropolis. In Munich, where flying free and falling free are a little more complicated than in the cesspit of Berlin, where one would naturally place Isabella Streifeneder and her music if one didn't know better.

Temporarily reduced to intimacy, then escalating into iconic 80s "Purpel Rain" pathos, MOLA illustrates the emotional chaos that the inner dialogue of left and right brain triggers in her. Unconventional pop music that bundles the nonchalance of great soul anthems, the grace of the Italo-disco of the eighties and the ingenuousness of lascivious hip-hop bangers instead of trying to sound modern by force.

MOLA celebrates defeat, exposes life lies, criticises adulthood, documents radical mood swings. She balances along the abyss in her ball gown, jokes about things you don't joke about, praises and curses intoxication and love - "Vino Bianco no longer tastes like dolce vita, it only tastes like losing".

You can now see MOLA supporting Fatoni, Roy Bianco & the Abbrunzati Boys, Mayberg and Kaffkiez in a flurry of strobe lights after sold-out "nothing breaks me" shows in Munich, Cologne, Berlin & Hamburg. In addition to a festival season that couldn't have been more beautiful, they finally have a big tour of their own coming up for their next album, which will see the light of day in September.

After more than 40 festivals "Snow in Summer" on well-known stages like Lollapalooza Berlin, Rocken am Brocken, Puls Open Air, but also as support for Udo Lindenberg at the Hermann-Hesse-Festival, "Life is Beautiful", the darned second record, sounds almost cynical, ironic or simply naive? In the end, it doesn't matter, because when you are overcome by this spontaneous feeling that is far removed from any rationality, you don't ask any questions. It tastes like the melancholy of a summer in its last breaths, like the last drink of an uncompromisingly insane night.

There is sweating, pogoing and feeling together. Even where it hurts.
You are not just an onlooker or a silent spectator, but part of this empowering feeling of "we".

King Street Sounds continues to deliver deep house classics with the third various artist sampler in the series. This release taps into the essence of original house music and features iconic names such as DJ Pierre, Blaze, Kenny Bobien, Palmer Brown, Dannell Dixon, and Big Moses.

The EP begins with Dannell Dixon's track 'Dance Dance (DJ Pierre’s Wild Pitch Mix).' This engaging piece features a steady groove, multiple percussive elements, and captivating vocal hooks that keep listeners immersed in the rhythm.

Next is Big Moses' 'Brighter Days (Extended Mix),' which showcases the unmistakably smooth and sultry vocals of Kenny Bobien. As is often the case with Kenny's lyrics, this song explores themes of love, hope, and the promise of 'brighter days,' delivering uplifting dance music.

On the B-side, DJ Pierre makes a second appearance with 'Dancin’ (Club Mix).' This track radiates sunshine and block-party vibes, effortlessly transporting listeners to a lively street party in New York City.

Finally, the record concludes with 'Shine (Shelter Vocal Extended Mix)' by Blaze. This track brings down the tempo just a notch, making it a perfect addition to sets when the dancefloor needs a moment to catch its breath and regain its energy.

Once again, King Street Sounds delivers a knockout release that is a must-have for collectors and DJs alike

Fresh off a trip to the watercooler, London’s Clive From Accounts is circling back with his most expansive offering to date, the full length LP 'The Very Best Of Clive From Accounts.' Action items include lead-off single 'Save Me' with its driving organ stabs, soulful vocals, exuberant steel pans and just a touch of acid, as well as second single 'Heavier' which lives up to its name as a dark and weighty club number that boasts some heavy toasting from Riko Dan. But you’ll also want to go ahead and put a pin in 'Konsumu Suru' for a more melancholic tone with Japanese vocals by Maya Kuroki & violin by Jessica Roch, the mideastern tinged 'It Began,' and classic drum & bass vibes of 'Spectrum' amongst others!

X or Size deftly frays and soothes the ‘floor with a 3rd LP of craftily textured ambient house scuzz for Good Morning Tapes in a vein shared by Huerco S, NWAQ, Actress, Michael J.Blood and Madteo, but pushed farther into groggy and loosey-goose limbed abstraction.

Formerly known as part of ambient drone duo The Geese with Recital’s Sean McCann, and member of psychedelic mutators Regal Degal; Josiah Wolfson has, in recent years, come into his own as X Or Size, whilst retaining the trippy sense of play and experiment that coloured and defined earlier works. His 3rd outing as X Or Size continues a tradition of punning titles and subtly psyched-out, edge-of-the-‘floor dance music with six bits of submersed trippiness idealised for bobbing bodies with eyelids at halfmast, on a slow arc to other dimensions.

Blessed with the finest grasp of heady equilibrium, X Or Size pull strings like a gently psychoactive puppeteer on the 10-minute opener of dreamlike physics, and aching psych-soul downstroke of ‘Anonymous AD'. ’B O M H’ follows with thee gauziest breeze of filtered vox and harmonised textures rolled out in sun-dazed motion that makes us hanker for warmer times, and ‘Ceremonism’ sustains that flow with sloshing beatdown drums paced like an offcut of NWAQ’s ‘The Dead Bears’ marinaded with special ingredients by Madteo.

With minds/bodies well massaged and acclimated to his vibe, ‘oSSo’ screws off into even trippier zones with a nervy offbeat swing and parry spangled by wettest spring reverb, before bringing up for air in the 11 minute title piece of astral planing bliss, ready to roll another one or go head first into the pillow.

Producer, songwriter and director Sevdaliza releases her highly anticipated sophomore album Shabrang in roaring 2020. Produced entirely by herself together with long-time collaborator Mucky, the 14- track album is the long awaited follow-up to the 2017 debut album ISON.

In just a few years time Sevdaliza established herself as an iconic, highly creative, versatile and independent artist who has landed on many celebrity moodboards. Her stunning visual for HUMAN of her debut album ISON has collected over 25 million YouTube views to date and masterpiece Shahmaran about mental slavery, won 2 UK Music Video Awards. Sevdaliza toured 35 countries in the last 2 years and amassed thousands of fans globally (Spotify 200.000, Youtube, 300.000, IG 230.000). In 2020 Sevdaliza will return with her follow up album Shabrang.

“Shabrang” is mentioned In Persian mythology, although there is no direct translation to capture it’s essence, the Farsi phrase Shabrang literally translates to color-palette of the night. This “palette” is visualized in the tones in Sevdaliza’s black eye on the album cover. The black eye represents the years of physical and emotional turbulence. In Sevdaliza’s words “This album represents to me that the essence of it all to me is love. It is a deep letter to myself, my own bible I have to write in order to trust and believe in life. Trust in myself and my character as a human being.”

Born in Iran and residing in the Netherlands, Sevdaliza has been a strong independent force in the creation of her art. She is a producer and engineer, an independent art director with critical eye for detail and storytelling and an unique songwriter. Her music has been described as “genre- bending”, drawing on various genres including alternative electronic, indie, triphop, alternative R&B and the avant-garde.

Shabrang is available on grey vinyl and the package contains a large poster and photograph ID-sheet.

Shards is a collection of pieces originally written for various film and TV soundtracks
Tim Hecker has scored over the last half decade.

These compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour.

Press quotes for No Highs (2023):

"Tim Hecker has become one of the most pre-eminent and nuanced electronic producers of his
generation." New York Times

"Hecker pairs expansive and bright songs with more repetitive compositions, capturing the beauty in uneasiness and vice versa…” Resident Advisor

“It's somewhere between a replenishing bath and an out-of-body experience.” All Music

"The shapes it makes in the air are often wounding, but also graceful. And like all of his work, it is
devastating in the best way possible.” The Quietus

"The love of creation seems to be what drives him and that’s a special thing to be cherished.” New Noise Magazine

“To his credit, Hecker isn't just good at this stuff - he helped write the playbook.” Boomkat

f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)

ELEKTROKOHLE’s debut album has instantly become a legendary record due to the tragic loss of their incredible bassist just hours after its release. This album is a masterclass in future punk sound; it couldn’t be more powerful or punchy, being a great legacy to actual and future generations interested in furious music. Presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

im Gatefold mit Prägecover, 8-seitigem Booklet
Kurz vor der Jahrhundertwende legten spontane Jam-Sessions zwischen Freunden den Grundstein für eine außergewöhnliche 25-jährige Karriere. Killswitch Engage aus Western Massachusetts - Adam Dutkiewicz (Gitarre), Joel Stroetzel (Gitarre), Mike D'Antonio (Bass), Justin Foley (Schlagzeug) und Jesse Leach (Gesang) - zeichneten sich durch ihre technische Präzision und zugleich unbändige Energie auf der Bühne aus. Sie vereinten kraftvolle Riffs mit mitreißenden Songs und sprachen Headbanger, Hardcore-Fans und gebrochene Herzen gleichermaßen an. 2002 löste ihr Album Alive Or Just Breathing eine kulturelle Welle aus und wurde zu einem der "Top 100 Greatest Metal Albums of All Time" gekürt. Mit über 3 Milliarden Streams, Gold- und Platin-Auszeichnungen für The End of Heartache und As Daylight Dies sowie drei GRAMMY®-Nominierungen gehören sie zu den bedeutendsten Metal-Bands. 2019 erreichte Atonement neue Höchstwerte mit Lob von Forbes, Revolver und NME, das es als "eines der spannendsten Alben von Killswitch Engage" bezeichnete. Sie füllten Hallen und teilten Bühnen mit Iron Maiden, Slipknot und My Chemical Romance. Mit ihrem neunten Album This Consequence perfektionieren sie ihre Markenzeichen und liefern ein brutales, aber zugleich strahlendes Werk ab.

corrupt blood infusion - crimson red marbled Vinyl

Kurz vor der Jahrhundertwende legten spontane Jam-Sessions zwischen Freunden den Grundstein für eine außergewöhnliche 25-jährige Karriere. Killswitch Engage aus Western Massachusetts - Adam Dutkiewicz (Gitarre), Joel Stroetzel (Gitarre), Mike D'Antonio (Bass), Justin Foley (Schlagzeug) und Jesse Leach (Gesang) - zeichneten sich durch ihre technische Präzision und zugleich unbändige Energie auf der Bühne aus. Sie vereinten kraftvolle Riffs mit mitreißenden Songs und sprachen Headbanger, Hardcore-Fans und gebrochene Herzen gleichermaßen an. 2002 löste ihr Album Alive Or Just Breathing eine kulturelle Welle aus und wurde zu einem der "Top 100 Greatest Metal Albums of All Time" gekürt. Mit über 3 Milliarden Streams, Gold- und Platin-Auszeichnungen für The End of Heartache und As Daylight Dies sowie drei GRAMMY®-Nominierungen gehören sie zu den bedeutendsten Metal-Bands. 2019 erreichte Atonement neue Höchstwerte mit Lob von Forbes, Revolver und NME, das es als "eines der spannendsten Alben von Killswitch Engage" bezeichnete. Sie füllten Hallen und teilten Bühnen mit Iron Maiden, Slipknot und My Chemical Romance. Mit ihrem neunten Album This Consequence perfektionieren sie ihre Markenzeichen und liefern ein brutales, aber zugleich strahlendes Werk ab.

Prince Istari in the 4th Grade of the Riddim Dub School brings a one drop tune on the first side called ‚Gone Too Soon‘. Prince Istari plays here the opening acustic guitar solo. then the tunes flaps into heavy spring reverbation in a drum and bass style just to swing back into a melodic part with some uplifting melancholic mallets solo. On the flipside 'Lost You In A Club‘ a melodica solo and lover rock influenced
disco dub tune will pick you up into gentle rub-a-dub. heavy ibanez hd-1000 harmonizer dubbing on this one!

Rising indie soul artist Sevens announces the release of his highly anticipated debut album, Sincerely, Sevens, on February 21, 2025. At just 24 years old, Sevens emerges as a compelling voice in the contemporary soul scene, blending indie soul, neo-soul, and jazz into a collection of sincere, heartfelt songs.

With a distinct baritone voice and a gift for storytelling, Sevens explores themes of love, growth, and introspection throughout the 9-track record. His philosophy is simple: less is more. Crafted over a span of three years, much of the album was created in Sevens' bedroom, showcasing his skills not only as a songwriter and vocalist but also as a multi-instrumentalist and producer.

Sincerely, Sevens captures the artist in his purest form—a deeply personal work that touches the soul. From sparse, intimate arrangements to warm, groove-infused instrumentation, the record embraces vulnerability while exuding timeless charm.

The album features contributions from trusted collaborators: Boris Van Overschee (co-producer / Delv!s, Portland) Willem Ardui (additional production / Blackwave.) and David Poltrock (additional keys)

Tobie Speleman expertly handled the final mix, ensuring every note resonated with clarity and purpose.

Reflecting on the album, Sevens shares: “I wanted to feel more with less. I wanted to evoke, I wanted to touch. Parts of me I’ve never gone. It is honest, it is true. It is me.”

With Sincerely, Sevens, the young artist solidifies his position as one to watch—an emerging voice with both depth and authenticity.

Johnny and Edgar Winter - Together: Live (1976) is the first ever album featuring both brothers, Johnny Winter (guitar, vocals) and Edgar Winter (saxophone, vocals). Released just three months after Johnny Winter’s Captured Live!, it is composed entirely of rock and roll and soul standards. This album is a chance to hear The Edgar Winter Group (Edgar on saxophone, Rick Derringer on guitar, Dan Hartman on piano and Chuck Ruff on drums) playing with Johnny Winter’s band (Johnny and Floyd Radford on guitar, Randy Jo Hobbs on bass and Richard Hughes on drums) together on a same stage. The album was live recorded at San Diego Sports Arena and Swing Auditorium.

This MOV release comes as a limited edition of 1000 individually numbered copies on white marbled coloured vinyl.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Wrekmeister Harmonies, the duo of JR Robinson and Esther Shaw, are sonic shape shifters with expansive ideas. From special performances to collaborations the band have worked with David Yow (Jesus Lizard) Ryley Walker, Ken Vandermark, Bruce Lamont, Mark Solotroff, Sanford Parker, Jamie Fennely (Mind Over Mirrors), The Body, Mary Lattimore, Olivia Block, Jamie Stewart (Xiu Xiu), Chris Brokaw, Fred Lonberg-Holm and Thor Harris (Swans). Inspired by artists such as Glenn Branca, Rhys Chatham, and Lou Reed, the duo approach each album as a new sonic adventure. Flowers in the Spring was born of deep, careful listening as much as composing. It explores music as a meditative practice with a focus on microtonal shifts and intersectional overtones. Robinson explains: "It"s the subtle movements within and without, the fine threads of sound, loud or quiet, interior or exterior that become valuable." Limiting himself to just four mixer channels on each piece; precisely layering guitar and electronics, intently listening and manipulating either the intensity or the duration of each loop to yield unexpected interactions, moments of beauty as well as dissonance. "Flowers in Spring" emerges from fizzing distortion, hewing monolithic slabs of drone from the rock face while electronics push through fissures. "Fuck the Pigs" uses layers of noise as it metaphorically shifts into the depths of winter, arctic winds howling while the guitar scars like frost across a windowpane. In contrast "A Shepherd Stares Into the Sun" is pure light and heat, overwhelming in its sheer celestial enormity. "Flowers Variation" was born of nature"s microscopic subterranean movements in its primordial gloom and buzzing synth pads. Each track holds multitudes of micro sonic details coming together to form the album"s expansive ecosystem.

2LP - 180 Gram Vinyl Jazz Standards Live is a remarkable collaboration between two iconic jazz musicians: Kenny Wheeler, a legendary trumpeter and composer known for his versatility, and Rain Sultanov, a saxophonist celebrated for his rich tone and innovative style. This album captures an unforgettable performance that has never before been released physically. Blending the expressive power of Wheeler's trumpet and Sultanov's saxophone, the quintet delivers a warm and resonant sound that harks back to the golden era of jazz in the late 1970s and early 1980s. Fans of Herbie Hancock's V.S.O.P. quintet will recognize the vibrant interplay reminiscent of Freddie Hubbard and Wayne Shorter. This double vinyl LP is a treasure trove for jazz enthusiasts, featuring a mix of beloved standards and original compositions by Wheeler. Adding depth and character to the performance is Shahin Novrasli's masterful piano work, which infuses the album with a distinctive mood. Meanwhile, Paul Clarvis on drums and Ruslan Guseynov on bass provide a dynamic and cohesive rhythm section that elevates each track. Jazz Standards Live is not just an album; it is a testament to the boundless creativity and artistry of two jazz maestros, uniting their talents to create an experience that is both timeless and fresh. Whether you're a longtime jazz aficionado or a newcomer to the genre, this album promises to captivate and inspire.

2LP - 180 Gram Vinyl Jazz Standards Live is a remarkable collaboration between two iconic jazz musicians: Kenny Wheeler, a legendary trumpeter and composer known for his versatility, and Rain Sultanov, a saxophonist celebrated for his rich tone and innovative style. This album captures an unforgettable performance that has never before been released physically. Blending the expressive power of Wheeler's trumpet and Sultanov's saxophone, the quintet delivers a warm and resonant sound that harks back to the golden era of jazz in the late 1970s and early 1980s. Fans of Herbie Hancock's V.S.O.P. quintet will recognize the vibrant interplay reminiscent of Freddie Hubbard and Wayne Shorter. This double vinyl LP is a treasure trove for jazz enthusiasts, featuring a mix of beloved standards and original compositions by Wheeler. Adding depth and character to the performance is Shahin Novrasli's masterful piano work, which infuses the album with a distinctive mood. Meanwhile, Paul Clarvis on drums and Ruslan Guseynov on bass provide a dynamic and cohesive rhythm section that elevates each track. Jazz Standards Live is not just an album; it is a testament to the boundless creativity and artistry of two jazz maestros, uniting their talents to create an experience that is both timeless and fresh. Whether you're a longtime jazz aficionado or a newcomer to the genre, this album promises to captivate and inspire.

Wrekmeister Harmonies, the duo of JR Robinson and Esther Shaw, are sonic shape shifters with expansive ideas. From special performances to collaborations the band have worked with David Yow (Jesus Lizard) Ryley Walker, Ken Vandermark, Bruce Lamont, Mark Solotroff, Sanford Parker, Jamie Fennely (Mind Over Mirrors), The Body, Mary Lattimore, Olivia Block, Jamie Stewart (Xiu Xiu), Chris Brokaw, Fred Lonberg-Holm and Thor Harris (Swans). Inspired by artists such as Glenn Branca, Rhys Chatham, and Lou Reed, the duo approach each album as a new sonic adventure. Flowers in the Spring was born of deep, careful listening as much as composing. It explores music as a meditative practice with a focus on microtonal shifts and intersectional overtones. Robinson explains: "It"s the subtle movements within and without, the fine threads of sound, loud or quiet, interior or exterior that become valuable." Limiting himself to just four mixer channels on each piece; precisely layering guitar and electronics, intently listening and manipulating either the intensity or the duration of each loop to yield unexpected interactions, moments of beauty as well as dissonance. "Flowers in Spring" emerges from fizzing distortion, hewing monolithic slabs of drone from the rock face while electronics push through fissures. "Fuck the Pigs" uses layers of noise as it metaphorically shifts into the depths of winter, arctic winds howling while the guitar scars like frost across a windowpane. In contrast "A Shepherd Stares Into the Sun" is pure light and heat, overwhelming in its sheer celestial enormity. "Flowers Variation" was born of nature"s microscopic subterranean movements in its primordial gloom and buzzing synth pads. Each track holds multitudes of micro sonic details coming together to form the album"s expansive ecosystem.

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

The four track EP 'Love Language' presents a collaborative project by Manchester based DJ and producer Joey T and singer-songwriter Lady Lady. Friday 30th September will mark their first release with Manchester's grassroots label, Mas O Menos.Defining the EP are experimental instrumentals with a consistent fusing of elements of 80s electro, classic deep house beats, and catchy lyricism.

Alternative Tentacles Records is thrilled to announce the first-ever vinyl release of two long-awaited tracks, previously available only in digital format. This highly anticipated split 7" features Jello Biafra & The Guantanamo School of Medicine and The November 3, with two explosive songs: "Blunder Blubber" and "IFAR." "Blunder Blubber," originally released as a digital single to mark Rush Limbaugh's passing and was recorded during the TEA PARTY REVENGE PORN recording sessions, highlights everything iconic about Jello Biafra & The Guantanamo School of Medicine. The song critiques the rise of right-wing extremism, tracing its roots back to Rush Limbaugh's influence and the repeal of the Fairness Doctrine under President Reagan in 1987—a policy change that allowed one-sided political commentary on public airwaves. Biafra argues that this set the stage for the toxic media landscape, fueling figures like Limbaugh and the current wave of ""MAGA"" rhetoric. Reflecting on the political climate, Biafra notes, "I wrote the song back when Clinton was president, seeing the writing on the wall. I was hoping never to use it, but we had no choice but to update and perform it now." On the flip side, The November 3 delivers "IFAR," a fiery debut track that first dropped during the 2020 Republican National Convention. Blending punk rock energy with raw political outrage, lead vocalist Billie O' Rights unleashes a bold, biting rant, backed by Tom Pain’s searing guitars. Pat Triotte and Justice Ferrall add their creative touches to this electrifying anthem, capturing the chaotic spirit of the times. "IFAR," is a raucous, tongue-in-cheek commentary on partisan divides, clocking in at just two minutes of catchy, irreverent fun. Interestingly, the song was reportedly conceived during a mundane moment: Pat Triotte was baking blueberry muffins one Saturday afternoon when the idea hit, and within hours, the track was recorded— and the muffins were supposedly amazing. Despite the humorous and often provocative tone of both songs, the core message of this release is clear: a call to action to vote. With this limited 7" vinyl, Alternative Tentacles Records urges everyone to make their voices heard in the 2024 election and beyond! Don't forget to VOTE!

Amsterdam-based keyboardist, producer, arranger and DJ Soul Supreme reached out to NYC drummer Jay Mumford in 2021 to lay the down groove on his re-imagining of Q-Tip and J-Dilla's "Let's Ride". That paved the way for future collaborations: a cover of A Tribe Called Quest's "Award Tour (We Gettin' Down)" and two tunes on Soul Supreme's Poetic Justice LP. But when the pair began doing brief covers of their favorite funk, jazz and hip-hop tunes on Instagram just for fun, followers of both musicians - and often, the covered artists themselves - began to take note. Two of those 20+ covers were particularly well-received, and the duo decided to answer the peoples' call for a 7" release with the songs pushed to their full potential. Similar to "Award Tour" and "Let's Ride", a hip-hop classic and a fan favorite are pushed to their full potential here. This installment goes coast to coast and explores Digable Planets' "9th Wonder" (the "East" side) and People Under the Stairs' (PUTS) "Crown Ones" (the "West" side).

The iconic synth intro of "9th Wonder" makes way for Jay's thunderous ode to a slowed down Clyde Stubblefield groove. Sure to be a favorite with DJs, Jay eventually detours into a syncopated New Orleans funk break, before getting back to the groove for Soul Supreme's funky wah wah clavinet work. Throughout, the arrangement expands beyond both that of the original and all of its DNA. The addition of cascading horns (featuring a trumpet solo by Lourens van der Zwaag) and a second, more aggressive break from Jay bring it back full circle, completing a modern update of a classic that manages to pay homage to '70s jazz-funk, breakbeats and '90s hip-hop - all while staying both modern and raw.

Diehard PUTS fans will recognize Soul Supreme's catchy Rhodes line as soon as the needle drops, but Jay's heavy funk groove quickly separates it from the original and takes it from hip-hop cover to heavy funk tune. Soul Supreme's Rhodes solo pushes it far beyond the confines of instrumental funk as the groove intensifies, while his chops as an arranger are on full display: his horn parts - featuring van der Zwaag, trombonist Olav Schloorlemmer and Job Chajes' Contra-Alto Clarinet that channels The Headhunters - counter his synth melodies in a discussion that completes the record as a heavy slice of uncut jazz-funk.

After two pandemically conditioned ‘reaction’ albums - Yay! (2023) and Neigh!! (2024) - a few non-album singles and a compilation album, a downsized and sleek Motorpsycho is back where we all know and love them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety & diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3min-something pop-rockers, to 20mins plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis: commenced Rebis, countdown initiated. Ever closer. Ever sharper... Since the traditional 3 or 4 piece rock band seems to be a dying breed these days, and MP always was a band in flux anyway, a new pragmatic era has begun in the Psychoverse. The band has, in what one might call alchemical terms, been ‘dissolved and purified’, and is by now again reduced to the core two founding members HMR & BS. This is nothing new, it has happened a few times before, but these days they are also the owners and creators of the record company NFGS, which is now the hub of all recorded band activity, and Motorpsycho marks the final severance of existing ties to other labels for the first time in 35 years. If ‘freedom is free of the need to be free’, this is it. Yikes! The minimalist title of the album is then not just easy to remember, it’s also a statement: a new era has begun in the Psychoverse, a state of affairs reflected in execution and details as well as title, if not perhaps, in ambition or size: “Senex psittacus negligit ferulam” *. This is a time of new beginnings for a band that has spent two years consolidating and reseting before charging ahead anew on a new path, trumpets blaring (...and trumpets don’t come much more blaring in the Psychoverse than with this grandiloquent hyperbole. Good fun! ). New day rising indeed. The core band was adroitly helped by a gaggle of greats from all over the Scandinavian musical landscape on these recordings: drummers Ingvald Vassbø and Olaf Olsen, string arranger/violinist Mari Persen, vocalist Thea Grant, and - as usual - honorary psycho, brother Reine Fiske, were all fellow travellers on this musical journey. Motorpsycho was co-produced by the band and Deathprod, and mixed by Andrew Scheps. Motorpsycho are not the best at what they do, they’re the only ones that do what they do. NFGS2025 *: “Senex psittacus negligit ferulam,” or “An old parrot doesn’t mind the stick.”

When Apollo Brown and Crimeapple connect, it’s like old film grain under a projector— gritty, timeless. This album isn’t just boom-bap nostalgia; it’s a rebirth of smoke-stained bars, where Crimeapple plays both poet and philosopher, flipping bilingual manteca rhymes with a chef’s precision, stirring up the street grime and serving it with a side of sharp wit. Apollo Brown, as always, builds his beats like ancient architecture—dusty, soulful, and heavy with forgotten stories. These tracks sound like the cracks in the sidewalk talking back, the perfect companion for long nights and even longer thoughts. It’s a sonic novel, a street sermon, and Crimeapple’s wordplay dances through it like grease sizzling in a pan, a reminder that even in decay, there’s beauty. This, Is Not That.

There are very special records that achieve mythical status amongst collectors and vinyl diggers. THE SHARPEES GO ON AND LAUGH is top of that tree.

Welcome to the strange world of Nothern Soul…

The story began some years ago when legendary UK record dealer John Anderson discovered an acetate in Chicago with the record title GO ON AND LAUGH scrawled on it but no artist name.

He sold it to cutting edge Northern Soul DJ John Vincent who credited the track to THE JUST BROTHERS when playing out.

The acetate, by now popular amongst the Rare Soul cognoscenti, was traded back to John Anderson who passed it on to Mark Dobson, aka Butch. His DJ sets around the World made it an in-demand dance floor filler and a subject for many years of much conjecture as to the ID of the mystery artist who had recorded this masterpiece which was not just a one-off uber rarity but also the epitome of Nu-Northern Soul cool.

Fast forward to 2016 when USA record label Secret Stash gained access to 200 plus master tapes recorded in the 1960’s by the Windy City’s ONE-DER-FUL set up.

They were forwarded to UK Soul entrepreneur Mark Bicknell who to his amazement found GO ON AND LAUGH in the haul. And finally the whodunit mystery was over with the artist identified as THE SHARPEES, who far from being obscure unknowns aee fondly well known in Soul circles for their much loved DO THE 45 and TIRED OF BEING LONELY singles. Secret Stash promptly issued GO ON AND LAUGH in America but demand far outstripped simply and it quickly sold out with copies now fetching northwards of £150.

ANORAX - living up to its #eatsleepcollect mantra - have snapped up the rights and are delighted to issue it as a 500 run limited edition 7”.

GO ON AND LAUGH is coupled with the timeless classic TIRED OF BEING LONELY. It follows the release by ANORAX of gems from DRIZABONE, JAY. J Feat. BIG BROOKLYN RED and DON CARLOS

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.