Cerca:l h a s inc

LIMITED 180GM BLACK VINYL INCLUDES DOWNLOAD CARD WITH 8 BONUS TRACKS. GATEFOLD + BOOKLET INCLUDED.

During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year old Janet Armstrong on vocals alongside Guy, ‘Ventilation’ best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80’s gem ‘Absolute Beginners’. By this point Kev Armstrong was also guesting for Bowie on guitar duties too.

Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). ‘Sang Sang’ is a good example of how he was inspired to deliver his poetic treatises over the band’s atmospheric, floating improvisations. Bertie’s impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. ‘Still Obedient’ fidgets, soars and careens across the dancefloor, “if you’re ahead close your eyes, you won’t notice the subtitles” chants Guy.

By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn’t win out, they’d eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa & even David Lynch and could feel the light beginning to shine through. ‘Dark World’ is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie’s nest. Emergent, hopeful and resistant in sound and ethic.

Previously only available on a limited pressing on the Music On Vinyl label in 2012. Rubyworks are pleased to present a newly remastered tenth anniversary pressing of 'Area 52' by Rodrigo y Gabriela. Recorded in Havana with some of the best Cuban musicians on the island, with a stellar guest line-up including John Tempesta on drums, Anoushka Shankar on sitar, Carles Benavent on bass guitar and Les Trio Joubran on ouds. Newly mastered for vinyl by John Webber at Air Studios in London, working with the original mixes supplied by Grammy award winning mixer Rafa Sardina. This new edition comes on 2 x sky-blue and red splattered 140gsm vinyl records in a spot-UV finish, gatefold sleeve with a 12" x 12" colour insert on 150g art paper. Long unavailable, 'Area 52' sells for upwards of $65.00 on Discogs.

Three years after Reno Wurzbacher’s entry into the series, Cook Strummer now offers up his own Berlin Gets Physical, a collection of all-new and exclusive tracks.

Berlin-based, Belgium-born Strummer has been a Get Physical associate for several years. He has dropped various singles including the standout 'Rising' which also featured on the Words Don't Come Easy series, and always crafts the perfect mix of rhythm and melody with plenty of hints of his homeland's famous cold wave sound. He often uses his own voice, drum machines, synths and guitars in his music, and since his debut album in 2018 on LOK Recordings, he has had high profile support from the likes of Laurent Garnier, Adam Port and Ame. This summer, he dropped 'Atmosphere' on Obsolet Records which proved another successful outing and now Berlin Gets Physical finds him digging deep into the famous city's freshest and most essential house sounds across 15 well-sequenced tracks.

His own new offering 'For Berlin' kicks off with a dark and edgy vibe, gothic vocals and tense drums. Glitchy hits and blurting synths add to the prickly atmosphere and immediately lock you in while Los Cabra & Manuel Sahagun's 'Italian Groove' then takes off on waves of serrated dark disco synths and Freudenthal feat. Nowhere People continue that macho disco vibe with the rugged chug and cosmic rays of 'Cipher.'

The twinkling 'Bad Karma' by Marvin Jam & Le Mythe then allows you to catch your breath with a slower, more spacious dub disco sound and the twanging bass riffs and exotic effects of Daniel Jaeger & Valenti's 'Quarantine Cowboys' rebuilds the atmosphere with some innovative house blues. The mid-section brings brain-frying synth work on 'Out Of The Blue', bubbling dub house and disco courtesy of dramasquad's sprawling 'ziggy' and percussive deep house looseness from 'Abayomi.'

After KEENE's rubbery and rolling Afro sounds comes more cosmic house richness from Dan Buri and Max Joni & MUKKIMIAU, the driving tech of Red Pig Flower & Lulla and heady sounds of Mike Book. There is a raw house heaviness to FreedomB's 'State of Shock' and things shut down with Electronic Elephant's tightly coiled minimal drum funk on 'Ask Yourself'.

This on point collection is an authentic snapshot of the contemporary underground sound of the Berlin.

Purple Vinyl

Concentric Records present this special edition EP by the Berlin-based duo YHDESSA - composed of Dutch-Italian composer and poly- instrumentalist Grand River and Sardinian electronic music experimentalist Enrica Falqui.

Entitled Along The Simple Line, the 5-track EP is a unique sonic journey that merges in pure form the distinct worlds of the two composers, exposing a warm and delicate essence. Perfectly punctuated, and in a pace of its own, the album gently and precisely unfolds through touching musical spaces, dramatic textures, entrancing rhythms and unexpected vocal lines, revealing a wonderful depth. The result is so perfectly uniting as if woven by the same two hands.

Yhdessa is a collaborative project made up of Grand River and Enrica Falqui which was conceptualised in 2017 while the duo shared a music studio and were living as a couple in Berlin. Their first piece, released in 2018 on the label One Instrument Records, was named after the Vermona E-Piano and is composed entirely using the analogue synthesizer that was built in 1978. Following this came their lingering soundscape Waldorf Micro Q featured on the record “One Instrument Volume 01” as well as an impelling remix of Dunes by Jiska Huizing and Rudi Valdersnes.

Aimée Portioli is a Berlin-based Dutch-Italian composer and sound designer who records and performs as Grand River. The name Grand River evokes nature, scale, and movement, all key forces in Portioli’s work. Her first release as Grand River was the resolute 2017 Crescente EP, which includes Flies, a composition named by XLR8R as one of the best tracks of that year. She followed this with her melodious debut album Pineapple (Spazio Disponibile, 2018), which garnered praise from The Quietus, amongst others. The moving and dynamic subsequent album, Blink A Few Times To Clear Your Eyes (Editions Mego, 2020) was lauded by Resident Advisor and The Verge, and was elected among the best albums of 2020 by Inverted Audio. Separately, Grand River’s work has appeared on compilations by Ghostly International, Tresor, Longform Editions and has composed an official remix for Tangerine Dream.

Enrica Falqui is a Sardinian music producer and DJ currently based in Berlin. With artistic versatility as one of her defining traits: she comfortably traverses between the dimensions of electronic music. For over a decade she has dedicated herself to the study of sound and the relentless excavation of lesser-known music, which has earned her bookings all over the world and commissions for her productions from some of the most respected labels including Marignal Returns which released Plexus, a mini-album of cool, divergent compositions. Enrica is also part of the coveted duo, ERIS, whose debut and sophomore EPs, Moments and Champions League, found their home on the illustrious Cabaret Recordings. The releases entwine the forceful with the ethereal and create an original, future-facing and club-orientated sound. Moloko, a drum-focussed track laced with weaving synths, was considered by Resident Advisor as one of the best tracks of 2019.

Aimée and Enrica’s musical union through Yhdessa, is one of colour and warmth. It expresses an experimental electro-ambient side of the two composers, to form a style that is meditative, other-worldly and at times introspective. Although, the two are now, no longer romantically engaged, they maintain a passionate friendship to match this profound musical partnership.

International Anthem proudly presents Step on Step, a double LP collection of newly unearthed solo home recordings created by enigmatic producer, arranger, and composer Charles Stepney in the basement of his home on the Southside of Chicago during the years before his untimely death in 1976. Stepney’s signature “baroque soul” sound is known to many as it’s heard in his prismatic orchestral arrangements for Rotary Connection, Minnie Riperton, Howlin Wolf, Terry Callier, Earth, Wind & Fire, and many more. His sound has been used by countless samplers in the hip-hop world including Kanye West, The Fugees, and MF Doom. But in comparison to the post-mortem renown of his sound, or the artists he supported while he was alive, Stepney is a greatly underappreciated figure… a genius relegated to the shadows.

Step on Step is Stepney’s eponymous debut album, featuring 23 bare-bones, demo-style home recordings, most of which are Stepney originals that were never again recorded by him or any other artist. Highlights from those original works include “Denim Groove,” which hears Stepney on piano and congas alongside his first instrument (the vibraphone), and “Look B4U Leap,” one of several kinetic lo-fi dance numbers that feature Stepney having fun with an early-gen Moog synthesizer. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun”).

A collection of home recordings Charles Stepney -- the late composer/producer who worked with Earth Wind & Fire, Deniece Williams, Rotary Connection, Minnie Ripperton, Muddy Waters, Howlin Wolf, Terry Callier, and more, and was sampled by Kanye West, Madlib, MF Doom, A Tribe Called Quest, The Fugees, and more -- called Step On Step is coming out September 9 via International Anthem.

‘Amorpha’, a side-long shower of synthetic bells and bass, as
patterns interlock and repeat and the beat within the bar lines
shifts constantly, forms a new, latest miniature of infinity. You flip
it, and ‘Geomancy’ resets you, starting anew, with heavy drift and
drone leading into a space of shorter broken lines and Middle
Eastern tonalities, that roll back into ether again - new spaces, but
mysteriously consonant with the vibe.
 ‘Bajascillators’ arrives almost five years since their last official fulllength, 2017’s ‘Bajas Fresh’. In the eight years prior to ‘Bajas
Fresh’, Bitchin Bajas issued seven albums, plus cassettes, EPs,
singles… wave after wave of analogue synth tones and zones
extending into a stratospheric arc. Each release its own
headspace, shape and timbre, each one sliding naturally into their
implacable, eternal gene pool.
 Following the flow, always, the Bajas went ever-deeper-and-higher
on these records, whether making soundtracks or collaborating
with Bonnie ‘Prince’ Billy, using only fortune cookie fortunes as a
libretto. Plus engagement, with a steady stream of shows and
tours around the world; live re-airings and expansions of the space
captured in their records as they continued to grow and flow - all
the way through, really, to the present moment.
 Plus, there have been releases since 2017 - a split 12”, a 7”
single, digital track release and two ‘Cuts’ cassettes, plus the allcovers cassette release ‘Switched On Ra’. But the overall number
of releases, plus the five years between long players, implies a
potential distance between phases, a new line in the sand. The
sound of Bajascillators bear this out. How couldn’t it? Compared to
2017, this is a different world.
 Mastered directly from half-inch analogue tape, ‘Bajascillators’
floats transparently from the speakers, its expansive grooves
gathering resonance and building momentum over the four sides,
from genesis to re-conclusion, cascading ecstatically. The elastic
magic of time at its brightest. As the world keeps turning, so too do
Bitchin Bajas, in the same unknowable way. You can’t explain it -
just keep turning.

THE MARCH VIOLETS came out of Leeds in the early 80"s, label-mates of Sisters of Mercy. Releasing six singles, they were a constant presence in the UK indie charts, hitting the top two spots with Snakedance, Deep and Walk Into The Sun. They never got around to recording an album - their only "80"s long-players, Natural History in the UK and Electric Shades in the USA, were compilations. Eventually they signed to a major label and were groomed for a USA breakthrough, performing in the 1987 Some Kind of Wonderful movie. However they were asked to make too many compromises and split up. Their early eighties career was thankfully well-documented by the BBC, who broadcast six sessions between 1982-86 - three for John Peel, and one each with Kid Jensen, Janice Long and Richard Skinner. Chronicling their development with lead singers Simon Denbigh, Rosie Garland and Cleo Murray and backed by bassist Lawrence Elliot and guitarist Tom Ashton, these sessions include nine unreleased songs and alternative versions of their indie hits. Here is the unheard history of The March Violets.

(feat. Joe Russo)


The 10-piece ensemble founded by saxophonist Stuart Bogie and drummer Joe Russo is comprised by musicians who hail from a long list of groups, including Antibalas, The Dap Kings, Red Barat, Arcade Fire, Joe Russo’s Almost Dead, David Byrne’s American Utopia, St. Vincent, The Budos Band and Superhuman Happiness. A collaboration between old friends, Bogie's horn arrangements meet Russo's propulsive drumming in an explosive combination of woodwind and brass instruments that reimagine wind music in bold and dynamic new ways.

‘The Witnesses' speaks to urgency of the times in a musical language that laid the ground work for the project. The brass knocks, the saxophones scream, and the drums keeping you running for your life. Backed with ‘Take Them On’ - a battle song, soundtracking the internal and external summoning of the energy required to enter conflict. Featuring Eric Biondo on trumpet.

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

Egyptian artist Hassan Abou Alam debuts on Nehza Records. On Ice, the producer and DJ delivers a 4-track collection of unusual textures that glide through multiple soundscapes, including techno, breaks, bass and unclassifiable noise.

The opener "Shmoolaire" starts with a skittery drum pattern before descending into a squelchy bassline while squeaky vocal clips snake through the track. It's weird, wonky and the perfect dancefloor curveball. Dominated by massive drums, the title track blends a sultry vocal with bleepy percussion, conjuring a sticky atmosphere. Things get spooky on "Hollow In C#" as Hassan pairs a voice saturated in reverb with chugging drums and eerie pads. Freaky but fierce. The closing track "Lost In A Jar Of Thyme" ends on a distinct note. A warbling bassline slithers throughout the track as siren-like sound FX and hyperactive drums evoke tension. A true artist aligned with the vibe of Nehza Records.

Hassan Abou Alam has spent the last decade exploring several sound palettes and genres, from breaks to techno to bass. Today, his curiosity is unwavering. Hassan produces music with a hybrid setup of analog and digital instruments, conveying organised but compelling chaos that's won him legions of fans worldwide.

The Brussels based power trio Don Kapot has gained a lot of attention on the national and international music scene in recent years. Their raw and energetic in your face mix of punk, free jazz, afrobeat and other global sounds took them to stages all over Europe.

Their first two records were based on the unique combined sound of Viktor Perdieus' baritone saxophone, the raw and pumping electric bass of Giotis Damianidis and the powerful and creative drumming of Jakob Warmenbol. Recently, the band has been experimenting with incorporating other sounds and instruments into their repertoire. In anticipation of their new full album, they invited a number of musical friends to their rehearsal room at various times at the end of 2021 and recorded an improvised repertoire with them on the spot. One of those musicians is the multi-talented all-round musician and singer Fulco Ottervanger (known from FULCO, De Beren Gieren, BeraadGeslagen). The recording they made turned out to be so successful that they couldn't just let it pass.

In two twenty-minute suites, Don Kapot & Fulco Ottervanger take the listener on a haunting musical trip, in which numerous influences and genres are reviewed: Classical Indian music, blues, krautrock, free jazz, synth-pop, post-punk, ambient, ... you name it. The musical brilliance of these four extraordinary musicians reaches unprecedented heights.

The record, simply titled 'un peu live', will be officially released on the Belgian jazz not jazz label WERF records on September 23.

Melancholia is a made-up medical condition manifested in an incessant moment of reflection. The newest album is a soundtrack to different stages of it and the accompanying feelings. The extremes of those got illustrated by Wojtek Łebski who designed the graphic identity of the album.

"I wrote this music during the last 3 years which for me and to many others were the most bizarre time on the planet we live. Lots of dilemmas, problems, ups and downs, self-doubt and permanent anxiety I transformed into different frequencies of sound. From the very first song, you can hear my fascination with the bass and half-step music scene. Thanks to Mr Envee who mixed the album, it sounds exactly how I imagined - deep and worm. Welcome to the journey." - says the author.

Teielte is a very important person to U Know Me Records - his debut album was the first one in the history of the label. To honour the album properly, the "Melancholizm" was labelled with the number UKM 100 and it will be released exactly 12 years after the famous debut of Taielte's album "Homeworkz".

The album will be released in two versions - classic black LP and limited colour LP. What's special about the limited edition is that every copy is different and is numbered by hand (100 copies). Also, both versions have different covers designed by Wojtek Łebski

This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción. Disidentes and T de Cobre brought extreme sounds to local electronics, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo underground rock, these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.

Uruguayan music that sheds light on a new path, guarded by candombe & hip hop. An hypnotic, contemporary and ancestral record. To listen from beggining to end, in a trance. Include contributions of Hugo Fattoruso y Ruben Rada. Txt: Martín Buscaglia . DESCRIPTION Sankofa is the debut album by Avr (Alvaro Silva), a work that takes form through the research and fusion of Candombe and other Afro rhythms from Río de la Plata region with Hip Hop and Black American Music. Avr, the great-grandson of Juan Julio Arrascaeta (one of the first afrodescendant poets to be published in Latin America) writes throughout the album, using several "africanisms" and lost words that date back from colonial and slavery times, giving the lyrics a connection with his great-grandfather's work, introducing himself as a skilfull MC who travels through past, present and future while using several Candombe rhythms in his flow. Highlighting several personalities from the Afrouruguayan culture and from across the American continent, it also presents itself as a valuable work for those interested in researching cultural figures of Black America, especially, Uruguayan. Under the production of Felipe Fuentes, an album knitted with tons of messages, some direct, some to be discovered, came to life. Sankofa means "to look back, to go forward" which is exactly from the beggining what this musical journey is, from a very heavy and dense, ancestral, drum presence, to complex harmonic compositions and arrangments, a work that counts with important contributions of some of the main afrouruguayan artists. A musical "Guiso" (South American stew) Sankofa is the vision of the world of a young black male, his way of feeling and interpreting the past, present and future; and how to transform it in order to generate something new.

The iconic first album of the finest instrumental soul group from Stax Records including the " Green Onions " Anthem ! Originals Versions Remastered

In the music business, there are certain sidemen — players who back the stars — who play with such prowess that they gain fame of their own. By all rights, Herman Hitson should be one of those people. Over the years, he played with Jimi Hendrix, James Brown, Joe Tex, Bobby Womack, Wilson Pickett, Garnet Mimms, Major Lance, Jackie Wilson, the Drifters, the Shirelles, Hank Ballard & the Midnighters and many others. “I played behind Jackie Wilson and Sam Cooke on the same doggone show,” he said, recalling one night at the Royal Peacock. Along the way, he picked up every style of music that was popular in the early years of his career. Arguably, the original seeds of psychedelic rock were planted after Hitson and Hendrix became running buddies in the early 1960s. Both were playing the Chitlin’ Circuit, tours that would load somewhere between ten and two dozen African American musicians on a bus and tour the South, playing Black nightclubs. The two spent weeks together, Herman says. As the 1970s rolled in, Herman wound up playing funk guitar, recording some tracks with the Ohio Players and releasing some of his own funk singles, including the powerful “Ain’t No Other Way,” a number firmly in the James Brown vein which he reprised on ‘Let The Gods Sing.’ In the mid-1960s, he moved to New York City, where he once again hooked up with Hendrix. Early in 1966, Herman began work on his own psychedelic rock album under the title “Free Spirit.” Hermon sang and played lead guitar, and Hendrix played bass on a few tracks that went unreleased by ATCO at the time. Those recordings wound up being the source of a controversy in the 1980s that brought Hermon’s name into the limelight in a different way. The title song of the album, “Free Spirit,” was released on two albums of music allegedly recorded by Hendrix and then “lost” to history. “That’s my song,” Herman says today. "He Hendrix didn’t never play no lead on nothing of mine. And he didn’t sing on nothing of mine. In fact, back then he thought he couldn’t sing. We had to keep pushing him". Jimi would say, ‘I can’t sing.’ I’d say, ‘Man, you don’t have to be Wilson Pickett. All you got to do is sing like you sing.” Recorded and co-produced by Bruce Watson at his Delta Sounds Studio in Memphis, Hitson’s backed on the new album by guitarist and co-producer Will Sexton and some of Memphis’ best musicians.

Issued on BBE Music, “Reflections” is the new album by London based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective. Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinska puts together a second long player, collaborating with British jazz stars Tony Kofi (Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist Vimala Rowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime (Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).

 Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip Hop.

“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording - it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too. For ‘Reflections’ I tried to break from any stereotypes and limitations - what you hear is my own choice of sounds and influences, taken from the many mixtapes I've been making since I was a teenager. I put together the music I like to listen to when I am happy or sad, when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most - a free spirit, courage, innovation and all the beautiful things life gives us. I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” - Alina Bzhezhinska

 Reflections is released on double LP vinyl, limited edition CD & digital formats.
 

Anyone that cut their metal teeth with The Big Four, and then dug a little deeper into the indie scene, should receive a major endorphin rush when they discover that speed and thrash masters RAZOR are about to release their first studio offering in 25 years. The album, Cycle of Contempt, is a direct, cutthroat record that pulls no punches and takes no prisoners. From the catchy, concise riffs and insistent beats of album opener “Flames of Hatred” to the double-barreled assault, muted power chord chugging and combative gang vocal of album closer “King Shit,” Cycle of Contempt is a trenchant reminder of a time when clubs around the world were packed with long-haired bands that played as fast as they could and mosh pits that spun and tumbled like clothes in a short-circuiting dryer. As energetic and exciting as Evil Invaders and as urgent and powerful as RAZOR’s 1989 speed-fest Violent Restitution, Cycle of Contempt showcases a band that never stopped spewing venom. “I tried to write songs that everybody could listen to and say, “Yeah, I know a guy who's done that to me or done this, or I know that situation. I can relate to that,” band founder Dave Carlo says. “And I didn’t want to make everything specifically about me because when you do that, you exclude people. I wanted to include everyone that’s ever felt pissed off about anything.” An unrelenting slab of old-school thrash that showcases RAZOR's encyclopedic knowledge of the past along with Carlo’s growth as a songwriter, player, and lyricist, Cycle of Contempt is here to show that RAZOR are as dominating as ever.

Rebel Wizard’s The Warning of Three is the vinyl collection of digital only releases from Australian wizard musician, NKSV. The EPs: The Warning of One, Great addictions to blindingly dark, worldly life and Hark! Hark! Hark! were originally released 2017-2019. Rebel Wizards albums have been met with overwhelming praise, infiltrating a multitude of year end lists including Pitchfork, Metal Hammer, LA Weekly, Kerrang!, Metal Sucks, Stereogum and more.

The combination of big riffs, driving rhythms, thick yet lithe bass lines and rich vocal melodies has made for some of the greatest music of all time, and in the hands of Kings Of Mercia this recipe is intoxicating. Best known as the founding guitarist for Fates Warning, Jim Matheos is incapable of stifling his creativity. In early 2021, he started working on the songs that would become Kings Of Mercia’s self-titled debut album, bringing his distinct style yet doing something a little different. Churning out songs, Matheos’ next concern was to find the musicians who would help him realize the material, and his first priority was a vocalist. Enter FM vocalist Steve Overland. The combination of Matheos’ riffs and Overland’s vocals makes for perfect bedfellows. Behind the kit for the record is the legendary Simon Phillips (ex-Toto, Derek Sherinian), one of Matheos’ favorite drummers. Rounding out the group is bassist Joey Vera - Matheos’ Fates Warning bandmate - who brings his trademark style and professionalism to the table. With these players involved it was an easy, stress-free process throughout, making music for the love of it, and coming up with something that sounds familiar yet new, expanding the repertoire of all involved. This means songs like the half-acoustic ballad, half-swaggering “Too Far Gone” or the beautiful “Everyday Angels”, and the soaring “Wrecking Ball”, which opens the record on a high note, all brought to life in dynamic style. The hardest part of the whole process was coming up with a name for the band. It made sense to self-title the record due to it being the band’s debut, and given how much life there is in the songs it would not be surprising if it did not become the first of many, the combination of those involved creating something special, and with Matheos’ permanent creative hunger you may well be hearing a lot more from Kings Of Mercia.

Live in Stockholm has Trouble riffing through a fantastic greatest hits setlist that will leave no fan untouched! Finally availble on vinyl for the first time! Remastered and cut in DMM! Trouble were invited by Leif Edling and Candlemass as special guests. The vinyl release (on CD it is available as a bonus disc that we added to the remastered deluxe CD edition of “Simple Mind Condition” covers all 14 tracks the legendary Doom Metal pioneers played that evening, and by hearing Trouble in action you can hear where the band leader of Candlemass, Leif Edling, was inspired. The whole gig is 75 minutes, and the guys serve us the best (lets call it a “Greatest Hits” set) from their long career on a fantastic 2-LP. Everything is played with an incredible passion and love for the music, and it’s really fun to hear the old Doom Metal icons on stage. Eric Wagner didn’t move too so much, he mostly hung over his mic with shades and a cigarette, but that turned out great, because of his amazing voice that was still intact. The tracklist should speak for itself with classics like R.I.P., Fear, Psalm 9, Run to the Light, The Skull and more!

(Remastered)

1st Time EVER on LP for the 40th Anniversary Remasters
‘Theatre of Pain” is certified 4x platinum in the US and their first top 10 album – making it all the way to #6. Includes the timeless classic, with the record-setting video “Home Sweet Home” and first top 40 hit “Smokin’ In The Boys Room” (#16)

1st Time EVER on LP for the 40th Anniversary Remasters
‘Shout At The Devil” is the album that established The Crüe as a headline act. It is certified 4x platinum in the US and reached #17 on the charts. Includes the singles and MTV favourites “Looks That Kill” and “Too Young To Fall In Love”.

Formed in 1982, DIO are an American heavy metal band, led by vocalist Ronnie James Dio. This release captures DIO at the legendary Donington Festival in 1983, as part of their ‘Holy Diver’ Tour. This album features classic tracks from across Ronnie James Dio’s amazing career as a vocalist for Rainbow, Black Sabbath & DIO; and includes hits such as “Stargazer”, “Heaven and Hell”, “Holy Diver” and more! Donington ’83 will be released alongside Donington ’87.

Grey Vinyl
"CCR - Club Culture Rarities" the record label exclusively dedicated to re-prints of cult and rare 12” taken form Expanded Music’s labels.

The 8th release on "CCR - Club Culture Rarities" ENTITY originally released on Dance Floor Corporation in 1991
Before becoming World champion of acrobatic flight, Mr Marvin (aka Sasha Marvin) has been one of the most appreciate italian deep house producer and DJ. Let’s only, within the many, remind Sacro Cosmico, V.F.R. and Virtualmismo produced with Christian Horbostel.
The same joyful of his acrobatic flights is present in the variety of sounds that go throughout the four original versions all included in this new precious re-release of the 1991 Entity by Mr. Marvin. In this case we must say "fly to buy it".
A new colored vinyl (grey) release on CCR Club Culture Rarities

Keith Fullerton Whitman brings his 3-part Generators series for Japan’s NAKID label to a close with a third and final instalment that ravishes the senses with hybrid analogue/digital systems tekkerz.

Hazing into a solemn start of floating organ and slurred drums, the first part fizzes into action with pranging irregularities, tentatively allowing the system to voice varying pitches and nimble rhythms that resemble balletic footwork plies as much as classically-trained instrumentalist flurries. It’s deeply trance-inducing, meditative gear that over the course of 25 minutes slowly gains momentium and complexity, first adding robust arps to complicate the structure, treading the finest line of chaos and discipline. In time, those arps turn themselves into a rhythm track, landing somewhere between Whitman's earliest junglist works as Hrvatski and a sort of plucked rhythmic minimalism that reminds us of Mark Fell’s Sensate Focus, gliding on natural, brownian motion and flux of texture, punctuated by what sound likes a plucking of a drum machine from the inside-out.

In part 2 the mood pools and diffracts in slow-fast meter, bristling ruptures of atonality that send limbs flailing one way and then another, adding subs for a dimensional shift that’s rhythmically fractured but always grounded at the low registers. The wavy embroidery of Whitman's machines trigger each other in endlessly fascinating forms of gyring workshop ballistics and dub reverberations.

A special bonus piece ‘Meakusma (Generators, Soundcheck)’ is the most curious of the lot, with a lone clarinet heard in the air, perhaps a serendipitous inclusion form someone else’s soundcheck, lending an enchanting depth perception to his frolicking bleeps.


[a] 1 | MEAKUSMA [Generators] (190606) Part 1
[b] 2 | MEAKUSMA [Generators, Redactions] (190606) Part 2
[c] 3 | MEAKUSMA [Generators, Soundcheck] (190606)

Popa Chubby stands before a sold-out crowd in Paris at l'Olympia - The
theatre where Hendrix, Miles, The Beatles and so many greatsplayed - He
tells the audience : "Je T'aime Mes Amis" !"I love you my friends" and in
that moment it's like the pandemicnever happened.Popa has not stopped
working
He followed the 2020 release celebrating his 30thanniversary ("It's A Mighty Hard
Road") with an introspective outing reflecting his timeat home : "Tinfoil Hat". The
year that has followed has lead to more upbeat themes andtimes. This is strongly
reflected on his latest recording, "Emotional Gangster", out worldwide on
Dixiefrog records on March 2022.And indeed the emotions run high on this
recording. 11 tracks featuring The Chubbfatha on many instruments and doing all
the mixing and recording duties. "Thisrecord definitely reflects happier times and
good solid dose of classic blues !" Says Popafrom his studio full of guitars in the
Hudson Valley. "I specifically included covered like"Hoochie Coochie Man" and
"Dust My Broom" to show respect for the Fathers. WillieDixon has always been my
idol you know".But the real gems here come in Popa's original compositions.
"Equal Opportunity"is a light-hearted sing along that celebrates the feminine at a
time when it is seriouslyneeded. And songs like "Fly Away" and both French and
English versions of "Why YouWanna Make War?" are big standouts !There is more
than an ample amount of pure guitar bliss on this record and slideguitar on tracks
like "Tonight I'm Gonna Be The Man" add flavor to a savory mix ! For an added
bonus Harmonica Wizard Jason Ricci joins Popa on the Blues Rockanthem "New
Way Of Walking" and the swing shuffle "Best For Last".Popa has been given many
accolades in a 30 years career. He shuns recognitionand has little use for awards
as he says it just gets in the way of the music. This has notstopped his last 3
outings from reaching the Billboard Blues Charts. He has also beengiven the
prestigious Red Rooster Award by Willie Dixon's family and been nominatedfor a
Grammy and a W.C. Handy Award.With "Emotional Gansgster Popa puts his heart
on the line and makes a play tosteal yours !

A rediscovered untitled Mass by Adriaen Willaert "Missa Ippolito", a
hidden ode to the Cardinal of Ferrara, Willaert's patron.Adriaen Willaert
must have already been a prolific composer before he assumed the
position of kapellmeister at the Basilica of San Marco in Venice
After all, a second Mass of his was included in a large, illuminated choral
manuscript that was produced for the Illustrious Brotherhood of Our Blessed
Lady in 's- Hertogenbosch, the Netherlands (the first Mass in this manuscript,
Missa sex vocum super "Benedicta," can be found on the LP Adriano 2). The title
page of the Mass does not mention the name of the composition, only that of the
composer, Adrianus Willart. It was catalogued as a Missa sine nomine, a Mass
without a name. It is assumed that the work was composed between 1522 and
1527, at a time when Willaert was a member of the music chapel of Cardinal
Ippolito d'Este in Ferrara, Italy. At first glance, what's striking about this
composition is that one of the tenor voices sings a cantus firmus (a "given, fixed,
foundational voice" that provides the basis for each movement of the Mass, to
which the other voices are added) that always consists of the same 13 notes: mi
ut mi sol mi ut fa mi fa mi re mi.
In an article about the Mass, the musicologist Joshua Rifkin claims to have
discovered a sogetto cavato delle parole in this sequence of notes. This is a
compositional technique common for the time in which the notes of a melody, in
this case the cantus firmus, are derived from the vowels of certain words. The
notes used for the tone poetry are those of the Guidonian hexachord, a series of
the 6 notes ut-re-mi-fa-sol-la.
For example, the word Maria (Ma-ri-a) can be "translated" into the notes la mi la.
The cantus firmus of the Mass, according to Rifkin, fits the words "Primus
Ippolitus Cardinalis Estensis" (Ippolito I, Cardinal d'Este) perfectly. The Mass is
thus almost certainly (via a hidden message in the music) an ode to the Cardinal
of Ferrara who was Willaert's patron. This rediscovered untitled Mass by Adriaen
Willaert, which we have now sung as a world premiere, can therefore rightly bear
the name Missa Ippolito.

Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
After leaving Fairport Convention in late 1969, Sandy Denny formed Fotheringay
with husband Trevor Lucas. After one UK Top 20 LP in summer 1970, the band
split while recording a follow up, leaving Denny free to make her first solo album.
A beguiling mixture of covers and originals, The North Star Grass Man And The
Ravens is one of THE essential British folk-rock albums. From the dreamlike Late
November to the plaintive Next Time Around to her reading of the traditional
standard Blackwaterside, the album is a near perfect capture of the talent on the
scene at that juncture: including Richard Thompson's unmistakable guitar playing,
John Wood's production and Harry Robinson's string arrangements. Released in
September 1971, its reputation has understandably grown exponentially over the
years. Out of print on LP for a number of years, this re-issue faithfully replicates
the original 1971 Island Records UK release with gatefold sleeve and is pressed
onto high quality 180g vinyl

Of all the celebrated home recording artists that haunt the pages of
Bandcamp and the basements of the DIY touring circuit, few have had an
output as eclectic, enigmatic, and consistent as The Cradle's Paco
Cathcart
In a departure from The Cradle's more lo- fi works, "Radio Wars" bounces from
track to track with a polished exuberance as Cathcart delivers some of their
catchiest music to date. Pumping with auto- tuned nursery rhyme hooks and
densely-programmed drum machine beats, the album boasts a sonic palette that
owes as much to the production of DJ Rashad and the erratic vocal approach of
Playboi Carti as it does to Cathcart's more familiar Dub and Gamelan influences.
It's a musical world that draws you in quickly and leaves you deeply immersed
throughout its 22 - track running time.
As with previous releases, Cathcart's lyrics celebrate and reflect on the profundity
of day-to-day city life experiences. The words are delivered through deceptively
simple refrains that often mask challenging subject matter. Radio Wars was
written and recorded in NYC in the lead up to and during the COVID-19 pandemic,
a time which included the run up to the electoral defeat of a fascist president,
historic protests against police abuse across the country, as well as the early
months of the pandemic, when NYC was at the center of the outbreak. Social and
political dissonance, alluded to in the album's title, was at a high, and that air of
contradiction can be heard throughout, bleeding into moments that feel intimate
and reflective. Coupled with bold production choices and feverish energy
throughout, "Radio Wars," is a Cradle album of and for the times.
Tracks: Lights Off / Tell Me What You Want / Ha Ha Ha! / Black River Side / My
Right Side / American Spirit / I Went in and You Came Out / Radio Wars / Let’s
Clean Up / City Life / Numb Time / I Love that Music / It’s Not Related / What’s in
Between / I Love the World I’m In

90s French pop nirvana, on LP for the first time! Autour de Lucie's followup to their geographical barrier busting debut sees the band
incorporating subtle keyboards and electronic beats to their wellestablished sensuous dreamy pop charm
..
Tracks: Selon l’humeur / Immobile / Qu’avons-nous fait / Chanson sans issue (ne
vois- tu pas) / La verité (sur ceux qui mentent) / Sur tes pas / Sagrada familia /
L’eau qui dort / L’autre nous / Les promesses / Je vous ai tué ce matin /
Atomium / La 2ème chance

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Originally released in 1997, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Transparent Orange Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 12-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a Lenticular Cover Card.
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)

Originally released in 1997, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Transparent Orange Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 12-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a Lenticular Cover Card.
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)

ACCLAIMED ALBUM FROM NORWEGIAN POST-PROGRESSIVE ART
ROCKERS BACK ON VINYL
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan-Henrik Ohme (later joined by Mikael Kromer, Robert R Johansen &
Kristian Torp), Gazpacho have honed their unique sound over a string of critically
acclaimed albums & numerous tours, including several with long-time supporters
Marillion.Albums & tours, the internet & word- of- mouth praise that has greeted
them, have helped the band build a substantial international fan base. While still
an independent band, they were contacted by producer Steve Lyon (Depeche
Mode, The Cure, Paradise Lost, Reamonn, etc). This ended up as a collaboration
on one of the tracks featured on the album, 'Substitute for Murder'.
'When Earth Lets Go', originally released in 2004 has the band joined by drummer
Robert Johansen & sees them take the step from being a "studio band" to a "live
band". 'When Earth Lets Go' is seen by many as a rougher edged album than
'Bravo', a direction Gazpacho wanted to take without repeating themselves.
'When Earth Lets Go' is now available for the first time on single LP via Kscope.
"Norway's best kept Prog secret" CLASSIC PROG ROCK (UK)

LP Tracks: Snowman / Put It On The Air / Souvenir / Steal Yourself / Dingler's
Horses / 117 / Beach House / Substitute For Murder / When Earth Lets Go

ACCLAIMED ALBUM FROM NORWEGIAN POST-PROGRESSIVE ART
ROCKERS BACK ON VINYL
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan-Henrik Ohme (later joined by Mikael Kromer, Robert R Johansen &
Kristian Torp), Gazpacho have honed their unique sound over a string of critically
acclaimed albums & numerous tours, including several with long-time supporters
Marillion.Albums & tours, the internet & word- of- mouth praise that has greeted
them, have helped the band build a substantial international fan base. While still
an independent band, they were contacted by producer Steve Lyon (Depeche
Mode, The Cure, Paradise Lost, Reamonn, etc). This ended up as a collaboration
on one of the tracks featured on the album, 'Substitute for Murder'.
'When Earth Lets Go', originally released in 2004 has the band joined by drummer
Robert Johansen & sees them take the step from being a "studio band" to a "live
band". 'When Earth Lets Go' is seen by many as a rougher edged album than
'Bravo', a direction Gazpacho wanted to take without repeating themselves.
'When Earth Lets Go' is now available for the first time on single LP via Kscope.
"Norway's best kept Prog secret" CLASSIC PROG ROCK (UK)

LP2 Tracks: Intro (00:46) / Snowman (04:26) / Put It On Air (05:10) / Souvenir
(03:37) / Steal Yourself (03:52) / 117 (06:23) / Beach House (05:07) / Substitute
For Murder (06:10) / Dinglers Horses (04:19) / When Earth Lets Go (04:49) /
Etching

In Memory of Chris Broderick of the Singing Loins, who passed away earlier this year. We proudly present a vinyl reissue of this Medway folk classic! A re-issue of one of our favourite early releases and a rather overlooked classic album, a one off collaboration between Billy Childish and legendary Medway folkies The Singing Loins. This was recorded in 1993 when Billy was in Thee Headcoats and The Singing Loins were in their first incarnation. The Singing Loins formed in late 1990, a two piece band playing “Authentic raw folk from the Medway Delta”. They were Chris Broderick on vocals/stick and Chris ‘Arfur’ Allen on guitar. They had recorded two classic albums before this both of which were released on Billy’s own Hangman records. The album features a few Childish classics reworked including ‘You Make Me Die’ and ‘Every Bit Of Me’ as well as 4 tracks written by Billy & The Loins especially for this album. TRACKLISTING 1. The Bitter Cup 2. Pocahontas Was Her Name 3. The Hanged Man's Dance 4. You Make Me Die 5. I Don't Like The Man That I Am 6. The Double Axe 7. At The Bridge 8. Every Bit Of Me 9. Somebody Else 10. The Ferry Man (Zeebrugge) 11. One Day You Die 12. Brimfull of Hate 13. Dragging Through This 14. One More Bottle to Drink

This is a limited edition pressing of 500, 140-gram, black vinyl records in deluxe tip-on “old style” jackets. Exquisitely printed on textured, water color paper. Digital download included. Be Earth Now comprises forty minutes of potent poetic recitation by Joanna Macy and Anita Barrows from their seminal translation of Rainer Maria Rilke’s The Book of Hours. Channeled in a spiritual fervor in 1899, The Books of Hours remains a profound and highly prescient body of work. Rilke’s poems illuminate paths of embodied mysticism, passionately express ecological grief, and reveal the exquisite expanses of the human heart. The Book of Hours, and now Be Earth Now, offer a poetic map for navigating the heartbreak, rage, and soaring love that so many of us feel in these ecologically urgent and socially emergent times. Rilke’s poems surge with passion and pain for a world that was already teetering toward peril at the turn of the last century, due to the rapid industrialization of Europe, and humankind’s increasing alienation from nature. This work flowed through Rilke in a torrent with sometimes as many as five or six poems arriving in a single day, each self-complete and with no need for later revision. While truly mystical poetry, Rilke’s musings on spirituality overtly critique fundamentalism and organized religion. Instead, Rilke extolls what he finds sacred in the mundane and conjures a sense of wonder for both the more-than-human-world and simply for existence itself. So, who better to give voice to these mystic treasures than Joanna Macy and Anita Barrows? Not only because of their enchanted translations, but also because these women are unquestionably two of our righteous elders. Macy and Barrows have worked diligently for many decades, through art, activism, education, psychology, and spiritual practice, to bring some balance back to this world. The same world that Rilke pleaded with his God to sustain for “just a few more hours,” so that we might have time to mend our relationship with the natural world, to cherish and connect with what is good and real, and to possibly even learn to “be earth now.” A1 Anita Barrows Recites Selections from Rainer Maria Rilke's 'The Book of Hours' B1 Joanna Macy Recites Selections from Rainer Maria Rilke's 'The Book of Hours'

Their third studio album Driver (CD is Available from Epitaph). Lead track “Sober” examines how people’s perception of each other change and deteriorate over time, especially in the wake of a relationship gone sour. On Driver, co-produced by Stevie Knipe and Kyle Pulley (Shamir, Diet Cig, Kississippi), Knipe delves into the emotional space just beyond a coming-of-age, where the bills start to pile up and memories of college dorms are closer than those of high school parking lots. Ultimately seeking the answer to the age-old question posed by every twenty-something; what now? Over the course of 10 tracks, Knipe sets out to soundtrack the queer rom-com they’ve been dreaming of since 2015. Driver incorporates an expert weaving of sonic textures ranging from synths and shakers to ‘00s-inspired guitar tones which convey a loving attention to detail. Lyrically, Knipe radiates an unmistakable honesty mixed with a level of wit and a sense of humor producing intimate yet relatable indie pop songs. Adult Mom began as the solo project of Stevie Knipe at Purchase College. Adult Mom now falls between the playful spectrum of solo project and collaborative band with beloved friends and musicians Olivia Battell and Allegra Eidinger. Since forming in 2012, Adult Mom has released ­ve EPs and two full-length albums; Momentary Lapse of Happily (2015), and Soft Spots (2017). Knipe writes clever and intimate indie pop songs that o‑er a glimpse into the journey of a gender-weird queer navigating through heartache, trauma and subsequent growth.

Tracklist: 1. Passenger 2. Wisconsin 3. Breathing 4. Berlin 5. Sober 6. Dancing 7. Adam 8. Regret It 9. Checking Up 10. Frost