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This definitive rare groove was first released in 1978 but the unique US 7” version from 1980 has not been reissued for over 40 years and has been impossible to find. It sounds how It was originally pressed and is coupled with an extended version of the ultra-rare ‘RED 3’ mix released in the UK on Grapevine, the Richard Searling/John Anderson label that preceded Expansion “Give Me The Sunshine” was composed by Johnny Simone at the time he was working with Stevie Wonder at Motown. Others in the group were Kenny Stover and Alvin Few, all three of them born under the ‘Leo’ star sign. Kenny worked as a songwriter at Motown and lived in the same house as Marvin Gaye at the time “What’s Going On” became an idea. He co-wrote “Inner City Blues” but was only credited much later. The original “I’m Back For More” included here has equal standing in the soul world too, the song later reaching new heights when covered by Al Johnson featuring Jean Carn. Both songs come from the album “We Need Each Other”, long associated with Expansion Records. The two songs featured here first appeared on Expansion 12” in 1986, the launch year of the label which in 2021 celebrates it’s 35th Anniversary.

Ever effervescent producer Kangding Ray continues to connect experimentalism and dancefloor, hitting home hard on his newest EP on Figure.
Storming out of the gate, Doppler Shift packs the momentum to take off, its dry-thumping arp-ride raising the levels from zero to hero. Meditating on murky sounds, Branches displays the producer’s extraordinary skills at splicing together seemingly disparate DNA of sounds to create otherworldly but compelling tapestries of rhythm.
Turning things for the flip, from colourful dub chords emerges Terra, a driving tune reminiscent of the 90’s spacey chill-out-rooms of. Taking it a notch deeper, Robust builds its lively groove around modular experimentations, the machines ultimately becoming an extension of the artist himself.
A special bonus for the digital version, final track Deeper begins unassumingly beatless, only to pick up the pace for a blissfully trancey journey.

VEYL is pleased to welcome Harlem to the label for a new seven track album titled ‘Bait’. The Stockholm-based duo of Martin Thomasson and Johan Skugge bring a vast history of production behind them, operating since the early aughts and known for their work in dub and minimal techno. ‚Bait’ ventures into new territory for the project, delivering infectious strains of body music, new beat, industrial and beyond coupled with soul-stirring vocals which quickly dig beneath the skin. The release is about everyday manipulation, soft power and persuasion. We exist in a world in which corporate management techniques are deployed in our everyday lives, nudging each other for short-term gain, slowly hallowing out any lasting trust while ultimately all being crushed by a hyper-capitalist system. From the opening synths of the title track to the ominous ending notes of ‘Night Vision’, we also uncover funky grooves and diabolical floor shakers which remind us of something from the past but exist perfectly in this corrupted new world. As is customary, the striking cover art was photographed by Tomaso Lisca, and it’s a fitting piece for the record, depicting a tantalizing well-oiled machine, all while something menacing lurks under the hood.

Live album by the Swedish supergroup STORMWIND!
This epic and melodic `raw´ live album was recorded at Sweden Rock Festival and has been remastered at redmount studios in Stockholm
Features Sabaton member Joakim Brodén on keyboard!
This is one of the most classic artists in its genre
Crystal clear limited vinyl edition for RSD 2021 (x500 copies)
Featuring members that are/have been active in bands such as; Sabaton, Therion, Hammerfall,
Yngwie Malmsteen, Candlemass, Royal Hunt, Dionysos and more
Re-Mastered by Magnus Lindberg at Redmount Studios (Hellacopters, Alcest, Culf of Luna,
Imperial State Electric, Misery loves Co, Lucifer, Dool, Refused and more…)

Reissue for the 1984 mini LP by Stoke On Trent’s own Broken Bones, originally out on the Aggressive Rockproduktionen label and collecting their first two singles. This enhanced 2021 edition also features the full 1985 ‘Live 100 Cub’ LP added as bonus.

Reissue for the 1984 mini LP by Stoke On Trent’s own Broken Bones, originally out on the Aggressive Rockproduktionen label and collecting their first two singles. This enhanced 2021 edition also features the full 1985 ‘Live 100 Cub’ LP added as bonus.

First time on vinyl for this legendary performance, recorded live at CBGB’s, December 1999.



“I decided to create a website for the Ramones in 1999. Joey thought it would be cool to organize a show to involve their fans. It would be a contest and the winning band would get to play with Joey himself on vocals. They won the contest hands down, performed as Joey’s band and became a favorite band of mine. It was great to suddenly have all those new songs to get into. I realized I really liked these guys when I started listening to themafter hearing a Ramones CD and vice versa.” Arturo Vega, Ramones Art & Lighting Director, AKA “The 5th Ramone”

RECORD STORE DAY 2021 TITLE!!!
Larry Coryell at the Village Gate is a live album by the “Godfather of Fusion”
This album was recorded on January 21st and 22nd, 1971 at the Village Gate in New York City. It includes
his famous track “Beyond These Chilling Winds”, plus a cover version of a song by Jack Bruce with whom
Coryell toured 3 years before
Double Blue Split Colour Vinyl
ONE TIME PRESSING COLLECTOR'S EDITION - STRICTLY LIMITED TO ONLY 2,500 COPIES
WORLWIDE!

Punk parodists Splondgenessabounds achieved more than most in the early 1980s, with three chart hits, including a top-ten smash and another in the top thirty. Formed above a mini-cab office in Peckham, southeast London, they scored a contract with major label Deram through a Battle of the Bands contest, debut single B-side ‘Two Pints of Lager and a Packet of Crisps’ hitting number 7 on the singles chart in June 1980. An equally unlikely cover of Boer War saga ‘Two Little Boys’ hit the top thirty and initial single A-side ‘Simon Templar,’ based on the theme from The Saint, was also popular. This incredible debut album has each of these tracks and so much more, with plenty of fart songs and a closing dub of ‘Two Pints.’ This is the sound of the band at their magnificent best, a pick of the bunch for all Splondgs fans.

Punk parodists Splondgenessabounds achieved more than most in the early 1980s, with three chart hits, including a top-ten smash and another in the top thirty. Formed above a mini-cab office in Peckham, southeast London, they scored a contract with major label Deram through a Battle of the Bands contest, debut single B-side ‘Two Pints of Lager and a Packet of Crisps’ hitting number 7 on the singles chart in June 1980. An equally unlikely cover of Boer War saga ‘Two Little Boys’ hit the top thirty and initial single A-side ‘Simon Templar,’ based on the theme from The Saint, was also popular. This incredible debut album has each of these tracks and so much more, with plenty of fart songs and a closing dub of ‘Two Pints.’ This is the sound of the band at their magnificent best, a pick of the bunch for all Splondgs fans.

These tracks were recorded early-to-mid `74, almost a year after the band had formed and almost 2 1/2 years before the release of the first Saints` single in 1976. The recording was made in Ed Kuepper`s parents` garage, except for "Misunderstood" which was recorded at Queensland University, direct onto a mono cassette-deck and features the second line-up of the band. Before this the Saints were a 3-piece, with Ivor Hay on piano and no drummer. It captures the band near the beginning of its first phase, as opposed to the EMI release which was at the end, and without getting into a debate about aesthetics, this one`s probably better. In a different universe this would have been the first Saints LP.

‘Sleek, impassioned and thoroughly modern’ - Prog Magazine
French atmospheric rockers Klone have built their name on making music that
is as deeply introspective as it is sonically powerful. Known for their trademark
dark guitar tones and epic brooding soundscapes, the band signed with Kscope
in 2019 before releasing their first album with the label, ‘Le Grand Voyage’, that
same year to critical praise.
Now, for the first time in the band’s career, Klone are releasing a live album.
Recorded between two different shows at Sjiwa in Baarlo, The Netherlands in
October 2016 and at Moloco in Audincourt, France in November 2019 respectively, Alive captures the true essence of Klone and includes stunning performances of the singles ‘Yonder’ and ‘Breach’.
Engineered by the band’s live sound engineer Chris Edrich and Mastered by
Pierrick Noel, the band describe the moment as “a way to pay tribute to our
audience and the people who support us.”
As we await live music to return on a large scale, this is a timely reminder of
what a superb live band Klone are. Featuring recordings which represent the
band’s most popular material whilst giving testimony to the shows recorded
during the period between 2015’s ‘Here Comes The Sun’ and 2020’s ‘Le Grand
Voyage’.
This LP edition of ‘Alive’ features a bonus track “The Last Experience” and is
available as a gatefold double black vinyl on 11th June 2021.

ith canceled shows, closed venues and lost incomes, the pandemic was bad news for many music artists. But it wasn't only bad news in 2020, as many artists used their struggle to do what they do best during difficult times: create great music. This is why N.E.W.S. Records, a record company based in Ghent releases 'Bad News. Good News.'. A limited edition vinyl record with great songs that couldn't be played live because of the pandemic. The record itself is made from the ashes of newspapers and magazines containing the bad news that hit the music industry in 2020 (and prevented artists from performing live). As proof that great music always survives bad news, no matter how desperate things can get. To create the records, N.E.W.S. Records worked with And Vinyly, a UK-based company specialized in pressing vinyl records with ashes.

Many artists collaborated on the project and shared their insight on how the bad news happening in the music world influenced their music, like Johannes Genard, lead singer of School is Cool: "The one good thing about bad times is that they open new perspectives on things you've grown accustomed to, and that is exactly our core business as artists: comforting during challenging times; challenging during comfortable times and finding new ways to look at old things."

The compilation contains some exclusives like the Brihang & Compact Disk Dummies 'Steentje / I Remember' mash up, recorded live for 'Week van de Belgische Muziek' and Sam De Nef's cover of the belpop classic 'Satelliet Suzy' recorded for StuBru.

In 2018 one of metal’s most defining and revolutionary vocalists, WARREL DANE, celebrated his highly anticipated inaugural solo effort, “Praises To The War Machine”, which saw him further honing his craft to perfection. Dane, who first shattered the boundaries of conventionality with the legendary Sanctuary and Nevermore, proved that he is one of metal’s most diverse frontmen with this solo effort as he unleashes a barrage of introspective and personal lyrics that are heartfelt and extremely powerful. All of this emotion backed with his soaring angelic and dynamic vocals provides all of the necessary elements for a savagely captivating, melodic assault that quickly hooks you in. Before beginning this new venture Dane went out and surrounded himself with some of the best musicians that he could find. This search ultimately resulted in landing the renowned Peter Wichers (ex-Soilwork) on guitars and bass, Dirk Verbeuren (Soilwork) on drums and Matt Wicklund (ex-Himsa) on guitars. The effort was also recorded and mixed by Wichers (coproducer Soilwork) and features guest musicians Jeff Loomis (Nevermore) and James Murphy (Obituary, Testament, etc.). Additionally this 2021 extended version reissues contains four live tracks from the album on side C featuring singer/songwriter Jonny Smokes which also will be available on all digital platforms. “Praises To The War Machine” is an absolute must for all Nevermore fans. Prepare yourself for the sheer beauty and elegance that awaits.

Very limited LP on Cream / Blue twist vinyl. Emma Houton is a timeless, celestial voice from New York City. We felt an urgency to share this incredibly calming product of Lockdown with the wider world, Trapped Animal Records. // "her ambient soundscapes brim with escapism _and enchantment" Highclouds Magazine // "a truly bewitching, gorgeous sonic tapestry." Beats Per Minute // Composed after ethnographic study into her Irish folk song roots, and recorded as part of her senior thesis in experimental electronic music, Emma originally wrote The Bath as a piece for eight voices to be performed live. Due to the COVID pandemic, she ended up recording all eight parts alone in her childhood bedroom, mixing and producing it herself. On recording the piece, Emma says: "When composing the album I had an interest in recreating the feelings I had hearing folk tales as a kid. We had a giant book of Irish folk tales my grandmother gave me, and I was both fascinated and scared shitless by them! I intended this to be a live performance initially and so the whole album is scored. I write most of my music by constructing layered loops of my voice using a loop pedal and then singing a melody line over them, and I was trying to translate that practice into a live performance in which each "loop" is sung and repeated, creating the effect of looping without actually recording loops. I was hoping to create something where voice is used as an instrument, rather than standing apart from instruments as it often does I took source material from hymns and traditional folk songs, with the lyrics centering on water-related themes like drowning, baptism, and purification, which I tried to reflect in the sonic environment of the piece through enveloping delays, cavernous reverb, and a general sense of being completely immersed in sound. The concept for the piece in its live form is much more of a production than the album itself, which became more of a "how do I record something written for an ensemble alone with an SM58?" project, and I've figured out how to perform these pieces solo with the loop pedal, in a very coming-full-circle turn." Emma found her way to Trapped Animal Records after a quirk in the Bandcamp algorithm led her to listen to - her now label mate - Maija Sofia's similarly named debut "Bath Time". Signed within a fortnight of making contact with the label at the end of 2020, during a bleak winter, the label quickly ploughed ahead to schedule release of "The Bath". Label partner Kerry Devine says "there was a feeling of urgency to share this incredibly calming product of Lockdown with the wider world, we felt compelled".

Bamboozle is the third album by Dutch blues rock group Livin’ Blues. Formed in The Hague in the late 1960’s, Livin’ Blues are widely considered to be one of the best blues acts from the Netherlands. Bamboozle was produced by Jaap Eggermont, who was the drummer for fellow The Hague band Golden Earring. The album contains the band’s biggest hit: “L.B. Boogie”.

Available as a limited edition of 750 individually numbered copies on white vinyl.

"On June 11, rock legends KISS will launch their new official live bootleg series, KISS – Off The Soundboard, with Tokyo 2001, recorded by the band at the Tokyo Dome in Tokyo, Japan on March 13, 2001. This marks the first in a series of upcoming live releases through UMe and will be available as a 3-LP standard black vinyl set and a 2-CD set.
Tokyo has always held a special place of importance throughout the KISStory of the band and Off The Soundboard: Tokyo 2001 captures KISS giving the packed 55,000 seat venue the quintessential KISS live experience, direct from the soundboard with such classic anthems as “I Was Made for Lovin’ You,” “Heaven’s On Fire,” “Rock & Roll All Night” and the #7 1976 Billboard hit “Detroit Rock City,” as well as rarities such as “I Still Love You” from 1982’s Creatures Of The Night. The 21-track concert is a celebration of the band’s musical legacy and features co-founders Paul Stanley and Gene Simmons, with Ace Frehley on guitar and Eric Singer on drums."

Returning to a heavier, more aggressive sound, in 1975 Black Sabbath delivered their sixth classic album in a row. Taking almost a year to complete, Sabotage is Black Sabbath at their best and possibly their most musically experimental. Brought up to date for 2021 is the original album newly remastered as well as a full concert recorded on the 1975 Sabotage Tour of North America. In addition to a selection of tracks from Sabotage, this live album includes the Black Sabbath classics War Pigs, Iron Man and Paranoid. Also included in this super deluxe edition is a replica of the rare Japanese single ‘Am I Going Insane (Radio)’, which completes the audio package for this fan-friendly deep dive into the classic Black Sabbath album, Sabotage.

Dr. Feelgood’s best-of - ‘Singles (The U.A. Years)’ - is to be remanufactured and reissued on vinyl for the first time since its original release in 1989.

Released on 11 June, ‘Singles - The U.A. Years’ is a celebration of 26 tracks of Dr. Feelgood at their absolute peak. Having formed in 1971 in Essex, founding members Lee Brilleaux (singer), John B. Sparks (Sparko) on bass guitar, John Martin (The Big Figure) on drums and guitarist Wilko Johnson, whose iconic and renowned choppy style of playing saw the band build huge notoriety in London’s live music scene resulting in a record deal with US Artists in 1974.

Over 1.5m albums sold in the UK and 3 consecutive no 1 albums for Noel Gallagher’s High
Flying Birds – plus a record breaking 10 consecutive chart-topping studio albums in the UK
for Noel.
- Debut eponymous album released 17th Oct 2011, debuted at no 1 with 122.5k sales and
achieved double Platinum status less than 6 months post release
- International Magic DVD release of the 02 Arena gig Feb 2012 certified Gold on shipment
-2011-2012 live schedule saw NG HFB visit 32 countries across 6 continents, playing 150
shows over a 15 month period. 406k headline tickets and 1.2m festival tickets sold
- Chasing Yesterday, released 2nd March 2015, no 1 album on release with 89.1k sales and
certified Platinum
- 2015-2016 18 month world tour covering 122 shows in 28 countries. Almost 400k headline
tickets and 1.25m festival tickets
- Who Built The Moon?’ released on 24th Nov 2017 - no 1 with 77,853 sales (almost 35k sales
ahead of no 2), Silver album after only 4 days and certified Gold 2 weeks post release
- Tour covering 59 shows in 17 countries with 245k headline tickets and 550k festival tickets
- Noel Gallagher’s High Flying Birds released a series of 3 multi-genre EP’s over the course
of 2019 and 2020
- 2019 saw a host of headline festival dates covering 150k tickets sold across the summer
plus tours of the USA and Australia with Smashing Pumpkins and U2 respectively

This journey, this slowly drifting sonic meditation, is an 'inner soundscape', a dialogue between the senses, the conscience and the world, inside / outside, interconnected. Like waking up from a long dream, and being stuck into its echo. The April Sessions immerges the listener into a drone-ish universe, full of random acousmatic events, inner monologues and a vast and unwritten subjective map to be drawn.

The April Sessions has been living in a seedy hotel in Brussels for a few months. She listens to the sparse traffic outside her window, locked in and locked down. 'Everything is constructed', she says to herself, 'even the sound of a solitary aircraft at 25,000 feet traverses the sky no further out than the inside of my skull'. Other weird sonic phenomena criss-cross the inner cosmos of her brain and streak across her private sky like comets. And then there is the unshakeable presence of that inner monologue, known to her variously as the Tacit Dictator, the Subvocaliser and, nightmarishly enough, the voice of the Merlucid Hake. (Anthony Moore, St Leonards, 10th of March 2021)

Anthony Moore, Dirk Specht and Tobias Grewenig have known each other and worked together since the early 2000s. They have collectively participated in a number of projects including live performances and recordings. In 2016, as part of The Missing Present Band, they released the live LP 'The Present Is Missing' on A-Musik. The following year they released 'Ore Talks', a double LP, realised in collaboration with Therapeutische Hörgruppe Köln.

Anthony Moore was born in 1948, founded the band Slapp Happy (circa 1972) with Peter Blegvad and Dagmar Krause, then worked alongside a.o. Fred Frith and Tim Hodgkinson in the unclassifiable band Henry Cow. He released several solo albums, composed soundtracks for experimental movies. His path also crossed Kevin Ayers's, Pink Floyd's, Richard Wright's. He was appointed professor for research into sound and music in the context of new media at the Academy of Media Arts in Cologne, Germany. He still continues to write and perform.

Dirk Specht is a sound artist, musician and curator. He studied architecture and media art and is active in the fields of sound works for choreography, radio drama, sound art, film and video art soundtracks. He published releases with several bands and projects. He has been an assistant for research into sound from 2011 to 2016 at the Academy of Media Arts in Cologne, and is a founding member of Therapeutische Hörgruppe Köln.

Tobias Grewenig studied at the Academy of Media Arts in Cologne. He primarily deals with non-linearity in his audiovisual installative works and performances, including projects with the artist group 'Therapeutische Hörgruppe Köln', the ensemble 'The Knob, The Finger & The It' and the improvisation collective "Frequenzwechsel". The conception and development of electronic instruments and code is a key component of his artistic work. He lives and works in Cologne.

Lee 'Scratch' Perry's Black Ark Studio opened its doors in 1974. Situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic
equipment, a Teac Four-Track Recorder, a Sound craft mixing desk, an Echoplex delay unit and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo. He managed mixing down the tracks from Four track to Two track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios.

Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxsone’ Dodd’s sound
system, rising quickly to the position of record scout and organising recording sessions during his 3-year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the latter of which would help him set up his ‘Upsetter’ label in 1968, which would see his first of many recordings telling the injustices done to him by previous employers. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected to Perry when he inherited it as a nick name alongside many others during the course of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perrys work in 1968 with producer Joe Gibbs was fruitful and resulted in many successful releases, but again feeling a lack of credit and itchy feet, it was time to move on. Still not having a studio of his own, Perry recorded at the various Kingston establishments at the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. His dream was always to build his own studio and not to have to work to the constraints of the other studios and producers.

On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' 'Curly Locks' and in 1975 the massive crossover hit Susan Cadogans' 'Hurt So Good' that reached No 4 in the UK charts.1976 saw Island Records releasing Perrys vast output, timeless material like the Heptones 'Party Time', Max Romeo's 'War Inna Babylon' Bob Marley and the Wailers 'Jah Live', 'Punky Reggae Party' and Junior Murvins 'Police and Thieves' to name but a few.But sometimes missing out on a few classics like Perrys own 'Roast Fish, Collie Weed & Corn Bread' and possibly one of the best reggae albums of all time The Congos 'Heart of the Congos'. Dub releases like 'Revolution Dub' (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalogue of tracks to work on. We have culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Arks history. Sounding like Junior Marvin in parts and Max Romeo in others but still carrying a distinctive Falsetto voice. Some classic tracks as you can see recorded with the cream of musicians at Lee Perrys disposal. Mr Perry works his magic that gives these songs that distinctive feel that his output.
carried around the mid 1970's.

So we hope you enjoy some more lost treasures from the Black Ark that we feel should be added to that mighty cannon of material that still sound so fresh and strong today.

Extended Instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva.

press quotes from the debut album (TR181)

Lee Ranaldo/Jim Jarmusch/ Marc Urselli/ Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity - Daniel Sylvester, Exclaim! 2019
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It’s exactly this unpredictability that makes the quartet’s evocative sounds thoroughly captivating - Poscic, The Quietus
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A magical, hypnotic and somehow frightening album – Jazzthing 2019

This album was recorded in 1977 and produced by Status Quo’s FRANCIS ROSSI. Shockingly, this album has never been released on vinyl until now. It originally came out on CD in 1992 and is now long out of print and even that goes for good coin.

Du Cann’s stellar career included freakbeat heroes THE ATTACK (“Magic In The Air”), psych/prog legends ANDROMEDA, and the group he’s best known for, ATOMIC ROOSTER. Du Cann wrote their their #4 hit single “Devil’s Answer”. A couple of years later he was in DAEMON, later renamed BULLET, then HARD STUFF. In 1974 he was even a temporary guitarist for a THIN LIZZY German tour.

In 1977, he was signed to the same management company as STATUS QUO, who paired him with Quo leader, Francis Rossi. The resulting album, “The World’s Not Big Enough” included Rossi on guitar, Andy Bown (The Herd, Judas Jump, Status Quo) on keyboards, Pete Kircher (Honeybus, Status Quo, Liverpool Express) on drums, and John McCoy (Ian Gillian, Tyla Gang, U.K. Subs) on bass. Basically, this is Du Cann backed by Status Quo at their Belt Buckle Boogie peak.

A few songs from this album appeared on killer late 70s Punxploitation singles “Throw Him Jail”, “Don’t Be A Dummy” (a UK Top 40 hit!), and “Where’s The Show”. This album has been described as “Quo mixed with the Sex Pistols”, and we can’t disagree with that assessment.

Melbourne-via-Tasmanian four-piece Quivers first released
their 2018 debut We’ll Go Riding On The Hearses as hand-made
cassettes. The album dealt with singer Sam Nicholson’s loss
of his brother in a freediving accident, and “trying to not think
about that, and often coming back to ghosts, benders, water,
and pissing in the snow.” When demand for the album grew,
it received a vinyl release and led Quivers to tour the US, film
a KEXP session, and be selected by NPR Music for both the
Austin 100 SXSW preview and as a “Slingshot” artist to watch.
Their life-damaged but hopeful jangle pop has only sharpened
since then, and while 2021 follow-up Golden Doubt conjures
up REM or The Clean, there is a lyrical directness that sets this
record apart as always its own.
Golden Doubt is carried by shimmering guitars and the
harmonizing vocals of members Holly Thomas and Bella
Quinlan. Elevated by the production of Matthew Redlich
(Holy Holy, Husky, Ainslie Wills), the record explores what
comes after grief, and how one throws oneself back into love. As
Nicholson explains, the album tries to bottle “the rush of feelings
and fears when you give in to falling for someone. It’s also an
album in love with other albums, and the other bands around
us.” Before each take at Woodstock and The Aviary studios in
Melbourne, Australia, the band would imagine a scene together
(a waterhole for “Laughing Waters”, an overgrown carpark for
“Videostores”) and then dive in to capture live group takes.
Quivers need to get words on the page and sounds out to keep
moving on. Both Nicholson and Thomas lost their brothers in the
same year, and through that shared vulnerability they all have
together that runs deep. Golden Doubt is also a love letter to
playing music as a band and processing it all together rather than
just carrying it as a weight. The cancellation of a 21-date US
tour they had slated for 2020 has left them undeterred; Quivers
plans to continue being a band and get back out into the world
as soon as it’s possible.

American/Danish glam metal band White Lion released their third studio album Big Game in 1989 through Atlantic records. The album was recorded while the band were still thriving on the success of its predecessor Pride. The result is an eclectic album that addresses political and social issues, something that was rare among other bands in this genre. The album contains the single “Little Fighter”, which is about the famous Greenpeace boat The Rainbow Warrior. The album also contains a cover version of Golden Earring’s “Radar Love”, which was released as the second single. Other well-known songs from this album are “Cry for Freedom”, “Goin’ Home Tonight” and more. A critical and commercial success, the album went gold in the US and also charted well in Sweden, Norway, Switzerland, Canada and the UK – ultimately performing even better than Pride did.

This imited edition of 1000 individually numbered copies on white coloured vinyl includes an insert.

Rubyworks are pleased to present a vinyl release of 'Marcata', the much-loved 2011 debut album by Dublin rock-trio The Minutes. To celebrate the 10th anniversary of its release. 'Marcata' will be released on a limited edition fluorescent pink vinyl pressing. 'Black Keys' from the album is currently soundtracking a Jameson Whiskey TV advert. 8/10 - The Goes The Fear An underground classic debut from one of Ireland’s loudest - live4ever One of the Top 30 album releases of 2011 - Hot Press. It is as fine a rock record as you'd expect from Ireland, or any other country for that matter - entertainment.ie Artrocker - The greatest rock 'n' roll band in Dublin. **** A cacophonous, confident and crushing slab of authenticity, steeped in the anarchic history of rock 'n' roll – Hot Press “A thundering combination of old school rock 'n roll with modern guitar music. The Minutes have taken their time in getting here and it was worth every second” 8/10 - State.ie **** “You want to bang your head until it and your neck ache” - Irish Daily Mail **** “Loud, energetic and worth the wait” - News Of The World ***1/2 “A melodic and irresistible strut that makes for compelling listening” - Heineken Music *** “This debut booms, bangs and pulsates from the first note. Boiling over with a sense of urgency” - The Sunday Times *** “Fans of straight up, 'classic' rock will find lots to enjoy here” - The Irish Independent “Marcata certainly cements their status as one of the most exciting sounding bands on the scene at the moment” – Goldenplec “Full of raucous thrills and high-voltage riffage” – The Guardian “Authentically gritty, pulse-quickening rock 'n' roll in the grand style” 7/10 – AU magazine “The Minutes’ debut is a classic rock n’ roll album” – We Are Noise “Heavy riffs, urgent vocals, and pounding beats, the way rock'n'roll should be” – The Herald

Almost all records are a snapshot, a musical ribbon bow that documents a very specific moment in time or simply ties-off everything up to that point. Indigo De Souza’s I Love My Mom, her debut LP initially released in 2018, was the latter; a collection of the best songs she’d written in the few years that preceded it, recorded quickly and breathlessly and thrown out into the world.

Consisting of ten songs, I Love My Mom feels both raw and unabashed. Indigo pulled a band together for the first time, and was quickly encouraged to commit her songs to tape. Recorded at her friend’s house, they played almost everything live in just a few days, and released the record naturally, with little fanfare. That the record quickly took on a life of its own, deeply resonating with those who heard it, is a testament to Indigo’s songwriting which took inspiration from the unique worlds created by Arthur Russel, Sparklehorse, The Microphones, as well as contemporaries such as LVL UP and Happyness.

Two of the songs have racked up more than a million streams each on Spotify: “Take O Ur Pants” and “How I Get Myself Killed.” The former balances an often breezy lead vocal with gnarly undercurrents of guitar before the whole thing lets rip in its punchy chorus, while the latter, the album’s opening track, finds a different mood entirely, a slacker rock gem that repeats its chorus as a chest-beating mantra. Elsewhere, “Good Heart” furthers the dichotomy which sits at the record’s core, each moment of quiet introspection soon met by a cacophonous burst of energy.

遠き火、遠き雲 (Tōki Hi, Tōki Kumo / A Distant Fire, A Distant Cloud) is the second collaboration by Tomoyoshi Date and Stijn Hüwels. The album was commissioned by Laaps.

Tomoyoshi Date and Stijn Hüwels met for the first time in 2015 in Tokyo, being introduced to each other by Chihei Hatakeyama. That same evening, they recorded what would later become Hochu-Ekki-Tou, their first album, released on Home Normal in 2019. For "Tōki hi, tōki kumo", they teamed up again to create a slow and bright album, using field recordings, processed guitar, piano and synth. The title refers to a poem by Tadahito Ichinoseko, recited by the poet on the album as well.

Tomoyoshi Date creates acoustic and organic sounds with a little touch of digital processing. He began to create electronic music in 1998. In 2003, he forms the group Opitope with Chihei Hatakeyama (released by SPEKK), in 2012 the group ILLUHA with Corey Fuller (released by 12k), and the group Melodia with Federico Durand (Home Normal). His solo albums were released from Flyrec (2009, Japan) and Own Records (2011, Luxembourg). Also he worked as emergency doctor until 2014, and started his ambient oriental medical clinic "Tsuyukusa Clinic" in Tokyo since 2014. Tomoyoshi currently resides in Narita, close to Tokyo.

Stijn Hüwels has a profound fascination for minimalism. He's using mainly layers of processed guitar and field recordings. He released on Dauw, mAtter, Eilean Rec., Home Normal, White Paddy Mountain and Slowcraft/Lifelines. He released albums in collaboration with Chihei Hatakeyama, Norihito Suda, An Moku and Ian Hawgood. Together with James Murray he forms Silent Vigils. Stijn lives and works in Leuven and Brussels, Belgium. He's also curating Slaapwel Records since 2014, a label dedicated to music to fall asleep with.

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

More a family than a band, BANDA MAJE formed in a home studio in the historic district of Salerno, in Southern Italy, on the initiative of Peppe Maiellano (composer and keyboards) and Tonico Settanta (producer, rapper and DJ). The collective has an ever-changing number of members, all of whom – a bit like the lively port city they are from – exist at the crossroads between Italian melodies and imported genres like funk, soul and disco.

Released by Four Flies Records, a label specializing in vintage Italian soundtracks and brand new productions with a strong cinematic feel, Banda Maje's debut album "Ufo Bar" transports you to an imagined version of Salerno that combines local tradition and 70s pop and film culture.

Listening to the album's eight funk- and soul- infused tracks also means seeing stories unfold in the streets of this re-imagined city: from the jubilant uprising organised by the women from the Rione Fornelle neighborhood in "Fornellesse", to the cigarette smuggling story in "P' ciel, p' mar, p' terr"; from the distinctly southern Italian pucundria (bittersweet melancholy) in "Sunday Embarcadero", to the saga of provincial nightlife in "Living Disco Club".

While the LP's Side A is sunny and cheerful, its Side B is more nostalgic, almost nocturnal, with bittersweet vibes in "2010" and new wave-influenced synths in "Ago". This variety of moods reflects the emotional depth behind the music of Banda Maje: "We want to leave a trace of what we experience: the narrow little streets brimming with life; our love for Neapolitan music, for Italian soundtracks from the 70s, for B-movies and the saga of cigarette smugglers; our passion for vinyls and cassette mixtapes, not to mention second-hand love affairs and dusty afternoons spent watching third-division football."

Suburban Base and Marvellous Cain assemble once again to bring a huge 4 track EP of Original Jungle material.
Marvellous Cain, a producer synonymous with Jungle/DnB and best known for the massive tunes 'The Hitman' and 'Dub Plate Style' has remained a staple in every Junglist DJ's box for over 25 years. His legendary guest appearances on Kool London and his live shows at Boomtown Festival and the Kingston Carnival brought him enough attention to warrant a remix of Bob Marley's 'Jammin' alongside General Levy.

Now Suburban Base is proud to present 'The Dubplate EP', which brings four of the most requested and rarest unreleased Marvellous Cain ‘dubplate only’ tracks together in a single release.

Opening with the never before released VIP remix of 'Dubplate Style' which has only appeared in certain A-List DJ's sets, the EP brings absolute heat from start to finish.

The super rare unreleased gem 'Snapper' brings more fire, with chopped Amen's and deep subs. Only ever promo’d and withdrawn means that its one of the most sought after tracks in Drum & Bass and Jungle, and where those handful of copies have resurfaced they’ve traded for up to £150 on discogs

'Killer' with its familiar ragga influences was again never given a full release only appearing as an album exclusive on the 1995 Telepathy Dub Plate Special project.
And completing the package is 'Giness Punch' which only appeared as bonus tracks of the CD version of Marvellous Cains 1994 album and never got released on the vinyl format of that album.

All of these tracks remained on dubplate and despite the huge demand for a full release remained exclusive to their project usages. None of these mythical tracks have ever had a digital release or full vinyl release… until now… from the vaults of Suburban Base we bring them all together on this killer EP from Marvellous Cain

Marvellous Cain's 'Dubplate EP' will be released on vinyl & digital formats on the 21st May 21 .

First Word Records is extremely proud to welcome back Children of Zeus with their sophomore album, 'Balance'.

Following the release of their debut album 'Travel Light' in 2018 (which featured in numerous 'Album of the Year' lists), Tyler Daley and Konny Kon spent the next two years extensively touring the UK, Europe, Australia and South Africa.

With shows on ice over the last 12 months, Children of Zeus took the time to mature their sound; 'Balance' is 50 minutes of future-classic British soul music encompassing hip hop, neo-soul, gospel and r&b. Konny's laidback flow once again merges with Tyler's unmistakable buttery vocals across a set of bass-heavy backdrops and smoothed-out keys, taking the blueprint from their debut and evolving it into a deeper, more-refined sound.

As with previous material, the album is largely produced by the duo themselves, though we also see the return of Grammy-winner Beat Butcha, whose previous production credits include Jay Z, Beyonce, Nipsey Hussle, & Griselda (one of Butcha's productions graces first single 'No Love Song'). Title track 'Balance' comes from upcoming producer & Soulection regular, cay caleb and also features the only vocal feature on the album, from rising UK soul talents Akemi Fox and Georgie Sweet.

The Children of Zeus journey began with a mutual love of 90s Manchester pirate radio; consuming hip hop and beats, r&b and street soul, lovers rock and dancehall, garage and bass music. Then followed decades of performing, creating and collaborating in different guises. Over the past few years, the hip hop soul duo have garnered props far and wide; from Jazzie B to Jazzy Jeff. They've done performances for the likes of Soulection and BBC, in addition to hosting their monthly NTS Radio show and collaborating with artists like Black Milk and Goldie.

From travelling light, to travelling nowhere, it's been a time where we've all had to reflect on the lives we lead. This album is about equilibrium; walking the thin line of life and striving to keep your footing firm at all times, ever pushing forward. Balancing the rough with the smooth and the work with the play.

The Children of Zeus sound is now fully grown. It's time to bring 'Balance' into the universe. This is unashamedly big people music to be played out of big speakers. The definitive sound of UK street soul in 2021. The story continues..

"Worn-denim instrumental psych country." - Raven Sings The Blues

Recorded to ¼” tape, Shakedown In Slabtown is a sunscorched ramble through widescreen

guitar instrumentalism, down-home gospel, Kosmische repetition and swampy country choogle

with the hiss left in. Bobby is joined by Guy Whittaker (Sharron Kraus, Jim Ghedi, Big Eyes) on

drums and percussion, Mark Armstrong on electric bass and keys plus a primitive drum machine

groove last heard on Suicide's debut or JJ Cale’s early records.

Owing as much to The Durutti Column as Ry Cooder, the album takes in stripped back

traditionals, fuzzed out folk funk, Hired Hand-style acoustic vignettes and wide eyed rural rock.

In the grand power-trio tradition, the album closes with a live rave up; an 11min+ elongated

deconstruction of Warren Zevon’s Join Me in LA, equal parts Dr John’s Gris Gris, E2E4 and

CCR vamp.

Bobby is from Sheffield in the UK and the touring bass player for the cosmic-country veterans "Gospel Beach".

Ian McDonnell is an Irish producer living in Wicklow near Dublin. Alongside his solo releases as Eomac he's also one half of the duos Lakker, noeverything and Lena Andersson. 'Cracks' represents a change of scenery and a change of practice from his previous two albums which were both conceptualised from the outset and recorded while living in Berlin. In contrast 'Cracks' was made in a beautiful rural part of Ireland without any outside pressure. These circumstances allowed Ian to wipe the slate clean and make an album guided by his mood on any particular day, connecting into the subtle power of his new environment and reflecting it, rather than working to please the suffocating demands of clublife. The title 'Cracks' comes from the idea that, to quote Leonard Cohen, a crack is "how the light gets in", but also of course it's a title that bears witness to the cracks fomenting in the world right now. The music comes across with depth and passion, sounding deep and mossy with Eomac's penchant for punchy, shuffling drums underpinning the emotive tracks. From the off, the furious 'Mandate For Murder' flips and repeats Akala's protest about systemic racism, rushing deep into the panicked sirens of 'Portuguese Man O' War'. The album settles into a sense of mystery, wildness and dark otherworldliness with the foggy drone and timber kick of 'Ancient Self' reflecting the awe and spiritual connections to his new environment, much like the gorgeous strings and aqueous bleeps of 'Seashells' or the pitch-shifted shoegaze of 'Prophetess'. At other points it responds to the human condition, for instance the cathartic 'Falling Through the Cracks' where a broken scream is pitted against clattering drums. At other moments it simply reaches out; 'Reasons to Live's' whispered mantra of "I know you are loved by somebody" is gently insistent. It ends with a reference to a place he's left behind, seen through the lens of nature. 'All the Rabbits in the Tiergarten' could be a missing track from Aphex's Ambient Works, albeit with cut-up scissoring drums. The album is a fruitful move, inwards and forwards.

Play On Records is proud to present Flashed Glass, a full length LP from electronic duo Sleep D and mixed chamber ensemble Ad Lib Collective. Culminating from a two-year project borne out of a live collaboration in a Melbourne underground carpark, the LP marries the euphoria of the concert hall and the club, presenting a rich sonic universe for the listener to discover.

Having first been introduced at rehearsals for Play On's 6th series in late 2018, the two groups hit it off, opting to perform a semi-improvised set together, rather than two separate sets as originally planned. They soon realised their pairing could unlock sounds they wouldn't have otherwise found on their own, and their idea for further collaboration was born.

In March 2020, the two groups recorded at Head Gap studios in Preston — layering sounds, building melodies, and striking out what didn't work — until the COVID-19 pandemic cut things short, twice, due to Melbourne's dual lockdowns. This resulted in an accidental hybrid work, finishing as a mix of live professional recordings, and DIY home-recorded samples, with the latter including crushed plastic and pulverised sea shells.

Incredible Bongo Band was formed by MGM A&R Michael Viner in 1972 to record the soundtrack to a now virtually anonymous B-Movie entitled 'The Thing With Two Heads'. "The IBB" transformed from a loose studio collective to an instrumental pop covers consortium, interpreting classics of the day in their inimitable percussive fashion. Viner recorded them at MGM studios during downtime, assembling line-ups from whichever musicians were available at the time, leading to a unique blend of multi-talented musicians that included Jim Gordon, King Errisson, Jerry Scheff, and Perry Botkin Jr. The full bands' line-up is shrouded in mystery, but their legacy is undeniable. They spawned cult-classic records that would become a goldmine for hip hop breaks and attain sampling immortality.

'Apache', which was written and made famous by the British band The Shadows, is legendary in the worlds of dance music and hip hop. It was a staple for DJs such as Kool Herc and Grandmaster Flash as they invented their world-shaking take on the art of DJing at the Bronx block parties of the ‘70s. Over the years it has become a hip hop and breakers anthem and is revered as 'the break' of all time (at least in the top three) with the rhythms of this LP even helping to coin the term 'breakbeat'.

“Bongo Rock” is significant, for being one of the musical cornerstones of rap ... it is certainly one of the most sampled LP’s in history, if not the most sampled. Almost every history-minded hip-hop DJ has a copy, and the first few bars of “Apache,” can send crowds into overdrive.” According to Kool Herc, the stylistic pioneer many people consider to be the father of hip-hop music, the Bongo’s “Apache” is “the national anthem of hip-hop.” NY Times.

Sampled over 600 times, including... Nas, Beastie Boys, Moby, Mick Jagger, Kanye West, Sugarhill Gang, Jay-Z, Aphex Twin, DJ Shadow, Massive Attack, Ultramagnetic MC’s, Unkle, LL Cool J, 2 Live Crew, 4 Hero, Fatboy Slim, to name a few…

The real story of “The IBB” is far greater than the recordings themselves and ultimately shows how a distinctly powerful musical performance can get the recognition it deserves, no matter how anonymous its origins.