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The current moment in music is an interesting one: electronic music is more popular than ever, but at the same time there is a growing counterworld of new bands and musicians who are inventing new styles by reinterpreting old styles and combining live music with electronic production. Many of these new musicians are switching between "scenes" and styles - just like many young listeners do today. Kryptox, the sub-label of Toy Tonics, is a platform for these new hybrid musicians. Noah Fürbringer is one of these new talents. Moving in these intermediate worlds - a virtuoso drummer, composer and busy band leader who is at home in many genres and besides writing his own great music which he debuts on this album he also is a side musicians for some big names of the German rap and indie pop scene.

After a recent 7" single release, Bongo Joe Records follow the debut album from Nyati Mayi & The Astral Synth Transmitters. Nyati Mayi, a Belgo-Congolese multi-instrumentalist, singer and improv dancer has joined up with DJ & producer Sofa Elsewhere. After a performance at this year"s BBC Radio 3 After Dark Festival the duo have a busy live summer in Europe including a show a the Best Kept Secret Festival. Early support from Worldwide FM, Late Junction and AfroBase.

Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.

ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.

Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.

ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Neuauflage des gesuchten Disharmonic Orchestra Albums "Not to be Undimensional Conscious" aus dem Jahre 1992.

Wenn man über Progressive / Death Metal geht, dann dürfen DISHARMONIC ORCHESTRA aus Österreich nicht unerwähnt bleiben. Mit "Not to be Undimensional Conscious" beschritt die Band 1992 neue, avantgardistischere Wege, ohne dabei ihre Death Metal Wurzeln in Vergessenheit geraten zu lassen. Die einzelnen Songs des Albums zeichnen sich durch eine selten in dieser Form erlebte Verrücktheit aus jedoch ohne den Blick auf das Gesamtkonzept zu vernachlässigen. Disharmonic Orchestra gelang es mit diesem Meisterwerk avantgardistische, progressive Elemente mit Death Metal aus der Frühphase der Band zu verbinden. Nun erscheint dieser längst vergriffene und in der Szene hoch gehandelte Meilenstein erstmalig im hochwertigen Ltd, Edition Vinyl in Mint bei Metalville Records.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

Repressed! Illmatic, the 1994 studio debut of Nasir "Nas" Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G.,it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography. The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel "JoJo" Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur. Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking "Street Dreams", and the Grammy-nominated "If I Ruled The World (Imagine That)", and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more.

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Blue Vinyl

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Das ikonische belgische DJ-Duo 2ManyDJs, bestehend aus den Brüder Stephen und David Dewaele, feiert das 20-jährige Jubiläum ihres Albums 'As Heard on Radio Soulwax Pt. 2' mit einer besonderen Re-Issue. 2002 erschien es ursprünglich nach einer Reihe von Radioshows der beiden Brüder, damals vor allem bekannt als die Köpfe hinter der Electronic/Indie-Rock Band Soulwax. Die Re-Issue erscheint mit dem Foto von Richard Young auf dem Cover, das ursprünglich als Cover vorgesehen, aber nach Rechtsstreitigkeiten mit Tipp-Ex verfremdet wurde.

Neuer akustischer Angriff der US Metaller Resistance. Die amerikanischen Power Metaller haben die Schwerter einmal mehr gekreuzt, um mit ihrem bisher besten Album den Donner zu beschwören. "Skulls of my Enemy" ist ein von Hymnen durchzogener Schlachtruf, der die Metaller Gemeinde weltweit begeistern wird. Resistance haben es geschafft, den Sound und die Energie ihrer Live-Performance auf den neuen Longplayer einzufangen. "Skulls of my Enemy" liefert alles, was man von der "Los Angeles Metal Machine" erwartet.

For Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates "Brother K" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: "The Blues", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty: "Yes Dizzy, you made it".

Dizzie Gillespie, Trumpet and Vocals
Mike Longo, Piano
Alexander Gafa, Guitar
Earl May, Bass
Mickey Roker, Drums
Guest Artist : Jon Faddis, Trumpet on tracks 9 and 10

Recorded at the Singer Concert Hall

Laren Jazz Festival, 25.VIII.1973

STEREO ℗ 1973 VARA

Remastered by ℗ & © 2017 FONDAMENTA

Made and printed in Germany

Among the great moments in the career of Blossom Dearie, an exceptional singer and pianist, are the concerts she gave and recorded in the Netherlands between 1968 and 1989, of which we have a faithful reflection here, thanks in particular to a fine recording. She dominates all instrumental formats, from solo to the large Metropole Orchestra, and all repertoires, from the film song "Raindrops Keep Falling On My Head", which she magnifies, to Joni Mitchell's "Both Sides Now", which she renews with intelligence, not forgetting a masterpiece for which she is responsible, "Winchester in Apple Blossom Time". Not forgetting her other personal works, as well as "Bring All Your Love Along", of which we hear the first recorded version here. Blossom's sublime farewell, eternal spring, in the form of a delicate reverence.

‘The Jacaranda’ is a debut EP for GUSTAFFSON. Produced by Elbows award-winning Craig Potter. It’s a record inspired by Liverpool’s iconic music venue The Jacaranda club. A place where Andrew would go as a teenager to listen to records and write his music.

An EP that really focuses on Andrew's lyrics and storytelling, leaning towards Alternative Rock. With an emphasis on shining a spotlight on ordinary people, places or things but in an extraordinary way.

Frontman and lyricist Andrew is an actor. He has been on our TV screens since 2010, appearing in award-winning dramas such as BLACK MIRROR, OUTLANDER, BEING HUMAN and most recently CARNIVAL ROW.

Multi-Platinum recording artist Shayne Ward rose to fame as winner of the second series of the UK talent show The X Factor. His debut single ‘That’s My Goal’ was the 2005 Christmas No. 1, spending four weeks at the top of the chart and selling 2 million copies - still one of the all-time twenty biggest best-selling debut singles. The debut album entered the chart at No. 1 in April with first week sales 200,000 copies. Shayne has since had three further Top 40 hits and three more hit albums. Shayne's platinum selling self-titled album is available on vinyl for the very first time, and features the hit singles 'That's My Goal', 'No Promises' and 'Stand By Me'.

After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.

Johannes Schebler's musical output is all about establishing a dreamlike territory where sonic settlements can spread at ease. While Grykë Pyje (Johannes Schebler's duo with Jani Hirvonen) presents musical landscapes as open and clear spaces, Baldruin's miniature pieces tend to narrow them down, zooming into domestic sceneries that shift like malleable rooms inside a magic building. These are the quarters where the inhabitants of Schebler's musical world are configured.

Rendered in a tender manner, the tunes in Kleine Freuden (in English: small joys) unfold like a collection of fairy tales and bedtime stories. Fables and lullabies performed in whispering tones seem to carry us through a child's dream where images blend into each other. Compact, yet gauzy and free flowing melodies gather up revealing an ensemble of households where fanciful entities play care freely, leading us along their musical maze. The music is placid, childlike and playful. It wanders around in unwavering estrangement, organizing an unprecedented and intimate space as seen from a bird's eye view.

In the landscape of a bedroom where the night lamp is the sun, we take part in a lively journey, as wonder is warrant and keeper of a warm and pristine environment. Perspective shifts as we rise from bed sheet folds that turn into fragile mountain ranges. We crawl behind furniture and take shelter in secret hideouts while dust falls upon us like a blizzard. Transfiguring notions of scale and time, we are left wondering how long have we been here, wondering if music is the only true measurement of time.

To Move is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends.

We´re carried into a time and place not afraid to embrace a sense of optimism - even if it comes wrapped in a certain distorted shape. Transporting, blissful tones emanate free of concerns from the unifying keys; at least until the melodies are pulled and dragged from purity to become something wholly else – their own lived life; fitted with obstructions and unpredictability. The intertwining pianos linger like lovers in unison, full of drift, rhythm and life; all while analogue electronics and tape manipulations degrade and move them from their original form and closer towards earth itself.

The album came to light while Anna and Ed were temporarily residing in the English countryside between 2016 and 2019. Musical weekend visits from Alex turned into the fruitful collaboration presented here. 'To Move' is a compelling musical storyboard with a name that captures the essence of their music better than any written essay could do. This is music to resonate to, music to dance to, music to engulf your being. As for fans of the Sonic Pieces sound – if there is one – this record hits as close to home as it could do.

Never-before released Ahmad Jamal in the 1960s,
recorded at the Penthouse Jazz Club in Seattle.
Official release supervised by Ahmad Jamal. This is
Volume One.
Remastered audio transferred from the original tape
reels.
Includes an extensive booklet with previously
unpublished photos from Chuck Stewart and Don
Bronstein, essays by jazz writer Eugene Holley Jr. and
producer Zev Feldman, plus interviews with Ahmad
Jamal, Jon Batiste, Kenny Barron, Aaron Diehl and
Marshall Chess.
This will mark the first release from producer and ‘Jazz
Detective’ Zev Feldman’s new label venture, Deep
Digs Music Group, in partnership with Elemental
Music.
Featuring Ahmad Jamal on piano, Richard Evans on
bass and Chuck Lampkin on drums.

Here is the sound of momentum: Sarah Lee Langford and Will Stewart
roving together through the oldest tropes of country music and every
other genre
Here find rugged landscapes, whiskey barrooms, the same old bad luck and love.
And yet the nine-song romp delivers a hundred fresh takes.Langford and Stewart
are frequent collaborators. They perform here with friends Keelan Parrish (Vulture
Whale), Brian Gosdin (Dexateens), and Ford Boswell (Early James), as well as on
Langford's previous LP Two- Hearted Rounder (Cornelius Chapel Records). But
that album came out in 2019, back when we all lived on another planet. Their
latest full-length release together Bad Luck & Love resonates with all that we've
survived.
These are Birmingham, Alabama's hymns to the hard work of getting by, in
relationship and on stage. If exploration is a theme of Bad Luck & Love, the pedal
steel that makes the record so red-dirt earthy ends by taking us to outer space. "I
thank my lucky stars 'cause I think stars are lucky / Plus we're spinning around in
space, no place to lay our heads."

LP is black vinyl + LP3 insert for full album Download. Check out the first 18 or so seconds of “Can I Ride”, the title track on the first release by Polvo, the two-guitar juggernaut that represented the other side of Chapel Hill indie rock (more on that in a moment). That two-note riff, and the guitar twang that follows, recalls the opening notes on another monster song: “The Sprawl”, a key track on Sonic Youth's epochal Daydream Nation, an album released in October 1988, less than two years before Polvo formed. This compilation's nine tunes—the first seven from the Can I Ride double 7” EP (1990), the last two from the “Vibracobra” b/w “The Drill” 7” (1991) are not quite the sound of a torch being passed, but they were a sign that Sonic Youth's weird tunings, the hardcore punk and proto-indie rock on SST Records, and R.E.M.'s hazy rock (three big influences on this era of Polvo) were changing lives. Even back then, the impossibly catchy roar from Merge’s flagship act Superchunk was known to outsiders as the sound of Chapel Hill. But Polvo was something different from the same region. While the band never cottoned to the “math rock” tag (and it’s hard to disagree with them), there is no question that there was a distinct “how can we make guitar rock sound different from all the other guitar rock” vibe going on in the mid-Atlantic, from Richmond (math rock’s true home, don’t @ me) to the North Carolina Triangle over to Louisville and down almost to Atlanta. (If the Mastodon dudes aren’t down with Polvo, I’ll eat your shoe.) No, Polvo were their own brand of squall, not afraid of big hooks (“Leaf ”), odd tempos and textures (“Lull”) and rolling thunder (“Totemic”), and answers to the musical question, “What if the Feelies grew up on Dinosaur Jr.?” (“Tread on Me”). Indie rock? Not the 2022 kind. Math rock? Eh, not really. This was the sound of a new Southern rock, of a pre-internet guitar storm that looked at what came before and said, “What's next?” Track listing: Side A 1. Can I Ride 2. Leaf 3. Lull 4. Totemic 5. Tread on Me. Side B. 6. Teen Dream 7. Snake Fist Fighter 8. Vibracobra 9. The Drill

Recorded 18th September 1971 at The Goodbye Summer Festival, The
Oval London, which might seem an unlikely venue for a rock concert,
however at that time, the home of Surrey Cricket was on the verge of
bankruptcy and looking for alternative income promoter Rikki Farr was on
the lookout for a large outdoor venue to help raise funds for the
humanitarian crisis in Bangladesh
The Oval, close to the city centre and with a capacity of 31,000, was the ideal
venue. America's infectious folky acoustic songs were ideal fodder for a festival,
however they were largely unheard of in '71. Their self-titled debut was released
earlier that year, however "Horse With No Name" wasn't on it and in fact was
released later in November '71.

The nine songs that comprise You Become The Mountain are heavily
inspired by the landscapes of the Pacific Northwest, meditation, longdistance running and Silverstein's work as a special education teacher
Expanding on the minimalist approach heard on How on Earth, Silverstein invited
pedal- steelist Barry Walker Jr. (North Americans, Rose City Band) and bassist
Alex Chapman (Parson Redheads, Evan Thomas Way) to round- out an
increasingly meditative sound.
Led by the spirit of late Detroit musician Ted Lucas, Silverstein was moved to
create an album featuring both instrumental and lyric- based compositions.
Silverstein casts a wide net in 40 minutes, offering fans of both traditional and
experimental folk entry points into his universe. Primarily tracked live and void of
heavily processed sounds, the LP serves as a proper introduction to a songwriter
who celebrates patience and restraint in the highest regard.

Humour live together in Glasgow and formed in lockdown
The music is intended mostly to be a backdrop to Andreas' lyrics, which are a
mixed bag. We hope that each song looks the way that it sounds. Our musical
influences don't shed much light on the project – we don't listen to much postpunk although we all quite like it. We listen to stuff with good lyrics and stuff that
makes you feel sad.

Swedish Meatballs Vol 2 - The Psychedelic Hard Rock
Underground 1970-1977
Way-out heavy psych mindblowers with blistering guitars and pounding
drums! Sweden " heaven and hell
Strictly limited edition of 500 copies only. Comes with a striking day- glow
coloured sleeve and a massive 16- page booklet cram packed with photos and
previously untold stories. Subliminal Sounds swings open the portals to the long
lost, ultra-rare, or previously unreleased, music and history of these loud and hairy
underground hard rocking champions. Possessed zit covered Viking teens going
berserk and blasting loud and heavy sounds at youth halls making the stoner kids
go meatball crazy. Mini skirt moose hunters. Mid-70s communal people parks
hedonistic punch- drunk all- night benders. Local biker club bacchanalias with
fierce lesbian bikers make out on stage as the band's rambles on. Heavy metal
greasers in their imported American muscle cars chicken racing with ice bears.
Hard rock glam rockers accompanying XXX live shows and a previously unknown
connection to all mighty Bathory goat. All in a day's work for the Swedish
Meatballs. This is a tasty new release in our series: The Swedish Hard Rock
Underground " A Smorgasbord of Heavy Sounds !

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

The very limited 7” release of ‘Prayer for Peace’ accompanies the boxset and features a picture of Lora and Poly together during their time living at the temple. ‘Prayer for Peace’ is a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. 1 Essential Logic – ‘Prayer For Peace’ 7” A ‘Prayer For Peace’ (Full Album Version) B ‘Beyond’ (Full Album Version)

“El Ten Eleven have cemented their place in the annals of instrumental music.” OC Weekly // El Ten Eleven’s 2007 album Every Direction is North is back in print on Green Glass Vinyl. - Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print, on Green Glass Vinyl. 181.8 k Spotify Listeners, 1.12 Million Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. Track Listing: 3 Plus 4 / Every Direction Is North / Hot Cakes / Estrella / Music for Staring at Ceilings / Keep Dax Pierson / Living on Credit Blues / The 49th Day Bye Annie, Bye Joe, Bye Michael, Bye Jake

Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print 10th Anniversary, on Orange Vinyl. 181.8 k Spotify Listeners, 1.12 Million Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. Transitions is the 2012 album by post-rock duo El Ten Eleven. Bobbing and weaving from one time signature and tempo to another, the duo of Kristian Dunn and Tim Fogarty jolt the listener into new sonic territories with the delicacy of a tilt-o-whirl. Includes a cover of Duran Duran's "Tiger Tiger". Back in print on Orange Vinyl. A refreshing trifecta of compositional prowess, intricate riffage, and experimental pop melodies. --Premier Guitar // “El Ten Eleven is proof that live looping and programming can rock; and that instrumental tracks can captivate and hold a room’s attention as well as any vocal-led group.” --Tape Op! // Track Listing: Transitions / Thanks Bill / Yellow Bridges / No One Died This Time! / Birth / Tiger Tiger / Lullaby

Formed approximately three years ago, before the world changed (temporarily?), Odd Men Out are something of a garage-psych international super-group, with members originally hailing from Italy, Spain and the UK, brought together in the sprawling megalopolis of London in the sticky heat of summer 2019. Lois (drums) and Alessandro (guitar, organ, vocals) had already been playing together in legendary freakbeat trio The Embrooks since '96 (with a 10-year hiatus between 2005 and '15), while bassman Bruno had served time with moody-psych-turned-spiky-British-Beat exponents The Liquorice Experiment and Looking Glass Alice. The untried 'x' factor in this equation is frontman, guitarist, songwriter Nicolino whose love of moody 12-string folk rock and florid psychedelia shapes the overall sound of the band. Late in 2019, the quartet gathered at North Down Sound Studios in south east Kent to record the material presented here. Engineer and State Records mogul Mole was at the controls, manipulating the analogue 8-track recorder to capture the best and most exciting vibes they could offer, in a swirling sea of reverb and audio compression. Tracked predominantly live with a bare minimum of overdubs, this is classic 60s-inspired garage-psych, with elements of The Lemon Drops, Basement Wall and The Baroques to name but a few, yet the four never let their influences get in the way of producing quality original material. The pandemic caused many cancellations and postponements, but Dirty Water Records and Odd Men Out are finally ready to unleash this almighty beast!

Track list:
1. Summer 2. Magic Fudge 3. Mary B 4. Can’t Get Over 5. Big Worries (Big Troubles) 6. Look At Her 7. No 8. Knock On My Door

Whilst most of the North swung to the right in the 2019 General UK Election, the North West held onto their hope and long standing heritage of voting for what imagines itself to still be the ‘Left’. It’s 2022 and there are no political choices left, but to rise up and revolt to Stop the Rot. T.S. Warspite channel their message through a unique musical recipe that answers the question no one asked: What if Bad Religion grew up in Manchester in the 2000s? Made up of some long standing and productive members of the local scene, this sounds like friendship and experience, and some refreshing as fuck hardcore. Singer Marco Abbatiello weaves expertly through scenes of pulp reality where everything is fleeting and only some things stick. What’s left is a farcical montage of things that have rushed past you with no real sense of direction. Personally and politically, it’s all the same wretched soup of societal collapse and the rise of the technocracies. Do yourself a favour, and play this through your Tesla microchip whilst throwing a molotov at No.10. Members of Violent Reaction, Payday, Firearm, Arms Race, Rated X. T.S. Warspite is Paul Morgan, Tom Howard, Marco Abbatiello, Tom Pimlott and Miles Livingstone-Todd. Recorded and Mixed by James ‘Atko’ Atkinson at The Stationhouse. Mastered by Will Killingsworth at Dead Air Studios. Art by Chio. Photos by Meline Gharibyan

Im Zuge der Erstveröffentlichung "Bohème (English Version)" erscheinen auch ihre, als Tonträger lang nicht mehr zu erhaltenen, Alben "Bohème" (2004), "Unausgesprochen" (2005), "Das optimale Leben" (2007), und "Teilzeithippie" (2008) in neuem Gewand als "Gold Edition" als hochwertiges Digipak und streng limitiertes Gatefold 2Vinyl, 180Gramm, 45rpm
Alle Alben enthalten unveröffentlichte Bonustracks des 2005 aufgenommen Livekonzerts bei "SWR1 Kopfhörer".

Ltd. Edition 500, 45rpm

Im Zuge der Erstveröffentlichung "Bohème (English Version)" erscheinen auch ihre, als Tonträger lang nicht mehr zu erhaltenen, Alben "Bohème" (2004), "Unausgesprochen" (2005), "Das optimale Leben" (2007), und "Teilzeithippie" (2008) in neuem Gewand als "Gold Edition" als hochwertiges Digipak und streng limitiertes Gatefold 2Vinyl, 180Gramm
Alle Alben enthalten unveröffentlichte Bonustracks des 2005 aufgenommen Livekonzerts bei "SWR1 Kopfhörer".

Ltd. Edition 500, 33rpm