Suche:mal one

Well here we are unbelievably 50 years on from year zero 1976, when the world stood still at the birth of Punk Rock. To celebrate this monumental occasion Mal-One has worked up a new song called God Save Us All From Misery and to accompany this fine effort he has also worked up alternative versions to what could be the best first 4 singles released by any band. The first four singles released by the Sex Pistols. He has produced his own takes on these classic singles with.. Someone Dropped a Bomb In The UK (Anarchy In U.K.), God Save The King (God Save The Queen), Mal-One’s Out To Lunch (Pretty Vacant) and Holiday In Someone Else’s Misery (Holidays In The Sun). So creating this rocking 5 track 12” E.P. Hope you enjoy the results and here’s to another 50 years… God save Us All…

The Punky Rocking Christmas came over two different Xmas’s for the punk connoisseur. The first back in 1977 when the Sex Pistols took themselves up to Huddersfield to play a gig for the firemen but also as they arrived in the afternoon a gig for the local kids. After much cake throwing and high jinks and with the kids all cleared out the Pistols played the evening show for the adults. This it would turn out to be the Sex Pistols last show in England, as they went to America in January 1978 and imploded. That as they say is another story.
The second Christmas Punk bonanza took place in London’s Ladbroke Grove area when The Clash, possible inspired by the Sex Pistols previous Xmas gig, decided to play their own Xmas gig in 1979 on
Christmas Day at The Acklam Hall. The added bonus was they also played at the venue on Boxing Day. So there you have it the two biggest punk bands giving two xmas treats to their fans. To celebrate these festive treats Mal-One has written two songs to celebrate both events and dubbed up both versions for this Maxi-12” special. He has also provided two sleeves a Sex Pistols sleeve 250 copies and a Clash sleeve 250 copies plus a signed print in each. As they say what more could you want in your xmas stocking.

Ho Ho Ho and a punky rocking happy Xmas to you all.

Mal- One’s new single tells us about the punk fanzines that initially appeared in late 1976, but really exploded in 1977.They provided vital information on the scene and later became a great artefact of the time. A quick, fast, format, put together by fans of the music. It provided a great way to communicate with likeminded people. A couple of interviews with band members, that were keen to encourage the support. Culled together with some reviews of gigs attended and reviews of new releases, then quickly photocopied, stapled together and away you go. It’s amazing how many fanzines there were. Some examples are listed in the lyrics of this track. If you got your fanzine copies to Rough Trade, who seemed to take them all !!!, man you got it made. The hard copy these days seems a thing of the past and is sadly missed. Today’s messages arrive mainly in digital format. To take another example from the lyric ..Punk Rock Fanzines way to go…. and only 25p a go…

All football teams for some reason or other adopt a song and make it their own. In many ways to sing along to or chant over, as their team roll out onto the football pitch. Mal-one a big fan of the instrumental track, likes the way they can set and capture the mood. He has adapted one of his tunes ‘Rude Boy Shuffle’ to help push up West London’s finest team ‘Queens Park Rangers’. In true reggae style he has added the version dub excursion to its B-Side, for further
enhancement. We hope this reggae inspired ditty hits the mark and hopefully the back of the net.

Mal-One’s first release for 2026 and his first PUNK50 release to celebrate 50 Years of Punk 1976-2026 (where did that go !! ). This 6 track 12” / mini album see’s him working the concept of the Punk Rock Disco. He has dance enhanced the tracks to suit this style. The lead track is ‘Welcome To The Punk Rock Disco’ explaining the concept and to accompany this he has reworked 5 previous tracks that he thought could work within the disco format.

The collage on the cover shows John Travolta and Olivia Newton John getting down with all the punk boys and girls at the Punk Rock Disco.. where all the best Punks Go…
Hope you enjoy the Punk Party.

For Mal-One’s second dub album he pulled the dub versions of these tracks, as they seemed to work together as an album. New York City Punk (New York Dub), 45 Random Punk Memories (45 Random Dub), Machine Bubble Disco (Machine Bubble Dub), I Used To Play Bass In A Punk Rock Band (I used to play Dub), Never Seen A Bad Picture of Debbie Harry ( Never seen a Bad Dub), Punk Rock Fanzines (Punk Rock Fanzine Dub). JJ’s Alright (JJ is Dub) The Buzz-cocks Are Coming (The Buzz-cocks are Dub), Damned
Disciple (Damned Dub), The Satellite Kid (Satellite Dub), Punk Rock is Back! (Punk Rock is Dub) and The Revolution Is Coming ( Revolution Dub).

The cover of the album is a collage of various mementos culled together over a target painted canvas. The style and objects seemed to suit the cut up style of the tracks. To add another dub layer to the project he also took the lyrics to these tracks and cut and reworked them into a Punk Art Poem for the back side of the record sleeve. A dub reworking of words, music and image.

Hope you enjoy the indulgence.

12” Signed & Embossed Art Print

‘Well let me tell you a little something and it goes like this
Those New York Doll boys they were always looking for a kiss’
Those New York Dolls

The group that started it all back in those pre-punk days. The New York Dolls had it all, style, sass and the tunes to back it up. But as the title of their second and last studio album incurred they were simply `Too Much Too Soon’. For outside of New York and L.A. their humour and drag look was all too much for the mainstream listening public, so they imploded. But a few other bands were taking notes and by softening the edges they took over the world and as the title track of Mal-One’s latest 12” release points out;

‘But who wants a thrill without a little risk
I think we’ll just leave all that up to bands like Kiss’
Those New York Dolls

So Mal-One thought he ‘d better pay homage and let the kids know how great they were.
So we hope you enjoy this tribute to those New York Dolls that make you wanna go…
‘Yeah Yeah Yeah’.

Some time back just after then and before now, i was approached to work up a rough working script for a Punk Rock film, based on a boys entre into the whole Punk Arena and how it would affect his life. A loosely updated tale somewhere along the lines of a ‘Punk Quadrophenia’.

After many stop / starts and we are waiting for funding… etc, etc... and changing of ideas. I thought I better just get on with it. I worked up twelve tracks and put an opening script together for approval. Like some of the best made plans, as time moved on, so did the theme and the initial rush of enthusiasm rolled on to somewhere else.

A shame but lurking in the back of Punk Art studios the tapes were found and a bent up copy of the working introduction script. So here it is in all its rough and ready glory. Who knows what might have been but here is some of what could have been… hope you enjoy the idea.
Mal-One

The 2 Tone sound was a great period in the aftermath of Punk and included influences taken from Jamaican Ska.

Mal-One had already worked on some Two Tone collages and had them put aside for some future project. He thought it would be fun to record some tracks related to these images and sounds. The first track he recorded was an instrumental track in the style of Harry J All Stars ‘Liquidator’ which he called ‘Rude Boy Shuffle’. Initially to be put out as a stand alone track on some reggae label of some sort. He had a poem already which he called ‘Two Tone Story’, so put that on top of the ‘Ska Train Is Back In Town’ rhythm which he had put together for another song of that name. Finally ‘Rude Boys and Rude Girls Listen Up! ‘came together.

Adding to this a couple of dub mixes and we have a 6 track 12”. Mal-One thought the artwork worked better on a 12” format.

Hope you enjoy the outcome.

‘Well let me tell you a little story that should not be forgotten something i’ll call the ballad of Johnny Rotten’

As the opening line states in Mal-One’s latest single release, Mr Rotten lead the charge and in many respects took most of the impact. Whether that be from the media, the government, the people or in fact from his own management. His stance and attitude made it all the easier for us all to follow through the many doors he pushed open.

Although Neil Young mentioned his name in song many years ago, Mal-One felt that his deserved the full nine yards, or 3 minutes. So here is his heartfelt sonnet to the man. They took his name away and forced him out of the country. The leader of the pack and come judgement day he will be the one who cannot be forgotten..

‘God Save Liberty and God save Johnny Rotten’….

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

The punk movement also came fully clothed. Mal-One’s new single talks about the fashion side of Punk that ran parallel to the music. These clothes were supplied from Malcolm McLaren and Vivienne Westwoods emporium situated at 430 King’s Road, the epicentre of the Punk Movement itself. The clothes were not cheap and you needed deep pockets to buy them. But you also needed an attitude to wear them, as many factions were not so appreciative of them, especially the ‘Teddy Boys’. You had to run the gauntlet of the King’s Road on a Saturday from Sloane Square to the Worlds End. A tricky mile, in which you always had to keep your eyes open from enemy attack.

This Album is a collection of what I call Punk Art Poetry.
Poetry put together like a lyric to tell a certain story or explain a thought on some punk related matter. Some of these stories did actually turn themselves into a song which I released on my Punk Art imprint.

Most of these poems were influenced or inspired a piece of art I was working on.
Hope you like them or can relate to these stories.

Thanks for your indulgence

Mal-One’s new single ‘When The Two 77’s Clashed’ talks about that heady time back in 1977. The year the Rastafarian faith also picked up on a biblical quote that told of an apocalyptic time coming in the year the two 77’s clash in 1977.

Well it was definitely a heady year for the punk movement that also coincided with the release of The Clash’s debut album. Mal-One describes the bands rehearsal rooms where they created the songs and whose entrance supplied the cover shot for the album cover itself. A machine gun splatter through the songs on the album and the meanings they reflected to all our lives. Hope you enjoy the ride back in time, an important time that as the lyric of the songs points out… ‘It even says it in the Bible’…..

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather
tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.
A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is PUNK. We hope you enjoy the indulgence.

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

For Mal-one’s sixth single he has chosen to use what he calls his Punk Art Poetry to shine a light on one of Malcolm Mclaren and Vivienne Westwood’s most controversial / stylistic garment, the ‘Anarchy Shirt’.

Vivienne had made the prototype of the ‘Anarchy Shirt’ on some stock of ‘Wemblex’ shirts that Malcolm had acquired and had shown it to Malcolm who said it needed to say more. So, he added the text and the quotes from ‘Situationist’ related saying’s ‘Try Subversion’ to quoting revolutionist Durutti ‘We are not afraid of the ruins’. The text over the shirt front, made using their kids ‘letraset stencil’ would say ‘Dangerously Close To Love’ or ‘Only Anarchists Are Pretty’…. sounds like a good chorus for a song. Only fifty of these shirts were originally made but like all design classics have been copied many times.

‘Some say Only Anarchists are Pretty… or Dangerously Close to Love’

Hope you enjoy the story told on this 500-copy single backed with a dubbed-up version on the B-Side.

Includes one-sided 7” ('It's All Punk (Full version)”, signed and blind stamped limited edition print, fly poster (20cm x 30cm), 20 page 12” x 12” booklet with lyrics and photos laid out in style of newspaper.

The ‘It’s All Punk Rock’ album was initially inspired by various artworks Punk Artist Mal-One had completed and titled. These titles usually turned into Punk Poetry / Lyrics and finally into songs. The idea would lead to grouping these songs together and to add the additional difficult cherry on the top. The songs would also include the word ‘Punk’ in each of their titles. Creating what we called the first Punk Art Concept Album. The title of the album as well as summing up the contents, grew from a term Mal-One had used for years when asked what had inspired a certain work or what was the meaning behind something …”It’s All Punk Rock”’ would be the quick reply.

Each song tells the story or relates the ideas behind a work, whether that be 430 King’s Road (where Punk meets Rock ’N’ Roll) the story of the various guises that Malcolm McLaren and Vivienne Westwood would conceive for their shop from LET IT ROCK, TOO FAST TO LIVE TOO YOUNG TO DIE, SEX, SEDTIONARIES. Anarchy Tour After Grundy (Punks out on Parole) the story of the `Anarchy Tour’ and what happened after the infamous appearance by the Sex Pistols on the ‘Today’ show with Bill Grundy. Punk Rock Jubilee 77, the Silver Jubilee celebrations of 1977 and its punk overtones. The Punk Rockers Gig Prayer, a Punk poem for the various venues that bands played back in those heady times. The Last Punk on Portobello Road (Ode to Joe), a lament to Mr Joe Strummer an inspiration to us all. Yes, every picture as they say tells a story, in this case never a truer word spoken.

Hope you enjoy the ride sonically and visually.

Mal-One’s latest single is again taken from a title of one of his Artworks Kiss Me Punk (till my mouth gets Numb). The cover of the single is the artwork itself, giving the listener something to contemplate as ‘The needle hits the Plastic, hear those speakers hum’ as the lyrics point out.

This single does not carry the usual ‘Version’ side, but is what we call a ‘Double “AA” Feature’, as the flip side track is the full unedited version of the title track to Mal-One’s forthcoming debut album “It’s All Punk Rock’’ due out on 15 October 2021. Hope you enjoy this double feature…long live the 45…..

Limited Vinyl 500 copies

Mal-One’s first venture into 12’’ world pays homage to the great Debbie Harry and the Blondie Boys. The group back in the day had pushed the fact that they were a group and even had a badge that stated ‘BLONDIE IS A GROUP!‘. But they seemed to succumb to the fact that Miss Harry was the focal point and most of their sleeves carried her picture. Who could blame them? as the song title says… Never Seen A Bad Picture of Debbie Harry.

The artwork is a Mal-One collage of Miss Harry, and the release carries a poster that Mal-One has again put up around London as part of his continuous street galley series. The track has a `Rapture’ inspired Rap in which Mal-One fires out as many Blondie track titles that he can piece together in the allotted time. This four-track record contains what Mal-One calls the “Punk Rock Disco Beat” continuous play of both sides may cause ‘Pogo Dancing’ and / or ‘Enjoyment’.


You have been warned….

It’s All Punk Dub………

There were two trains leaving the musical station back in the late seventies. One was punk rock the other was reggae. I had a foot in both, which we called The Punky Reggae Party.

When I cut tracks for the `It’s All Punk Rock’ album, released in October 2021, I always cut a dub / version of the track. Some came out as the flip side of the 7’’ singles in true reggae style and some were worked on more and changed. Some I dropped different lyrics on top of the backing track simply because it seemed to work. All had the bass /drums pushed up,
lyrics dropped in /out when needed. I always saw these as a different way of listening to the tracks and these seem to work together as an album release.

Hope you enjoy the ride…

1976 the writings on the wall
Police and Thieves, Riots at the Carnival
Dreadlocks In Moonlight, Anarchy In The UK
New Rose, M.P.L.A.

1977 the Silver Jubilee
Two Sevens Clash, In The City
The red, white & blue meets the red, green & gold
It’s a punky reggae party, so I’m told

1978 Ah Strictly Roots
Gabicci tops and bondage suits
Nah pop no style in me whistle and flute
Creepers, Clarkes & DM boots

1979 this is No Fun, Rasta No Pick Pocket
Got me copy of Hong Kong Garden
looks like we a buying what we are sold
Cos the punks & teds are fighting in the King’s Road

Punk Rock meets version International herb
Pass the ready rub
You’ve had It’s All Punk Rock
Now It’s All Punk Dub …..

Limited Edition 500 copies

Punk Artist Mal-One’s new single Punk Badge celebrates the forgotten but much-loved culture of the button badge. Especially the Punk Badge that just in wearing the item was a statement in itself. It told you more about the person than 1000 words could ever do. Their affiliations likes, even their dislikes, for the pricey some of 25p!!!

To tell this story Mal-One has created 6 one off 18’’ inch badges and has used them to create the 7’’ sleeve artwork. There are 100 of each design. So be a good Punk and collect the set…

Punk artist Mal-One latest single tells the story of Malcolm Mclaren and vivienne westwoods’s 430 kings road emporium.
How malcolm acquired the remises and transformation from it’s rock’n’roll origins ‘let it rock’, ‘too fast to live to young to die’ through to its development as ‘sex’ and ‘seditionaires’, which was the centre of the punk storm.
All in 2 minutes and thirty seven seconds.
It also ties in with the publishing of mal-one’s book;

Worlds end- sex pistols/ mclaren/ westwood
A chronology 1971-1978

RSD2018 TITLE
London Artist MAL-ONE is releasing a limited edition 7'' single to celebrate everything Punk and as a lead up to his PUNK Art show 'Never Mind The Punk 45' .

The show feautures decallages of the debut singles of the leading names in PUNK,such as Adam and the Ants,The Clash,The Damned all the way to X Ray Spex.
It seemed only fitting to record a single that name checks some of the great record shops that sold these PUNK tunes in this fine city of ours for a Record Store Day release..

Artist MAL-ONE emerged at an early age from the Punk scene in West London and now has successfully exhibited alongside such artists as Banksy, Goldie and Peter Blake amongst others.
Inside the 7'' sleeve which is made up of a collage of a 100 PUNK singles you will also find an invite to he exhibition in May in The Herrick Gallery,Piccadilly.

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

RANDY'S 50th ANNIVERSARY CHAPTER ONE / VARIOUS - First time on vinyl for Chapter Two second part of the acclaimed previously CD only set that was released to celebrate the 50th Anniversary of Randy's Records. From Augustus Pablo's groundbreaking 'Java' to Carl Malcolm's UK pop crossover hit 'Fattie Bum Bum' Chapter Two showcase classic after classic from a all-star line up of the 70's reggae music greats including Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones & Big Youth. Beautifully packaged with inner sleeves featuring rare photos and liner notes by reggae historian, Dennis Katz.

RANDY'S 50th ANNIVERSARY CHAPTER ONE / VARIOUS - First time on vinyl for Chapter Two second part of the acclaimed previously CD only set that was released to celebrate the 50th Anniversary of Randy's Records. From Augustus Pablo's groundbreaking 'Java' to Carl Malcolm's UK pop crossover hit 'Fattie Bum Bum' Chapter Two showcase classic after classic from a all-star line up of the 70's reggae music greats including Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones & Big Youth. Beautifully packaged with inner sleeves featuring rare photos and liner notes by reggae historian, Dennis Katz.

Since emerging in 2020, the band has carved out a reputation as one of the most exciting rising acts in heavy music, with support from BBC Radio 1, Kerrang! Radio and acclaimed rock and metal press such as Metal Hammer, Kerrang! and Alt Press. 2024 saw the band make their Download Festival debut, undertake their first UK headline tour, and secure huge support slots with powerhouse bands such as Skindred. Following the release of their EP "Echoes", the band has enjoyed a busy schedule in 2025 - with appearances at 2000trees (main stage) and Alyx Holcombe's MANTRA showcase.

In recent months, Mallavora have been popping up everywhere, from the stages of Boomtown and Burn It Down Festivals, to the catwalk at London Fashion Week where they provided the soundtrack to Unhidden's latest clothing range. Most recently, you may have heard vocalist Jessica's incredible vocal abilities in an episode of BBC 1's The Celebrity Traitors, a star- studded game show that features household names such as Stephen Fry, Alan Carr and Claudia Winkleman. Jess was called upon by the producers of the show to produce 'banshee-like' wails, demonstrating her vocal range which stretches from beautiful high octave singing to the extremes of fry screaming. All of Mallavora's achievements have been leading to this moment: the announcement of their debut album ' What If Better Never Comes ?'. Set for release on March 27th 2026 via Church Road Records , this record showcases the band's growth as songwriters and highlights their constant hunger to push the envelope.

BIG reissue for a BIG record!

Support from Gilles Peterson, Natasha Diggs, Osunlade, Rich Medina, Skratch Bastid, Bobbito Garcia, DJ Koco aka Shimokita, and GUTS ( Heavenly Sweetness ), amongst many others!

This is a landmark release from Maleet, the Northern NJ Producer, originally signed to Kenny "Dope" Gonzalez's ( Masters at Work ) label in the early 2000's

Now fresh off of a feature on the latest TEYMORI ( Amin Payne ) LP, Maleet creates his own blend of Afro-Cuban Orisha based music and Soulful House with vibrant live instrumentation

Synthesizers, Fender Rhodes, Percussion and Horns are the chosen ingredients here, while the thumping drums communicate directly with the Highest energies above! The results are songs that lift your spirit and move your body, simultaneously

Right on time for the season, these songs will be populating dance floors around the globe, through the Summer and beyond

Two dance floor heaters, one direct link to the HIGHEST!

Following a huge wave of global support since its digital debut, ‘Edge Of Desire’ from Jonas Blue & Malive finally lands on 12" vinyl. A fitting format for one of the most talked-about house records of the past twelve months.

Since its release in July 2025, ‘Edge Of Desire’ has become a genuine streaming and club phenomenon. The sun-drenched house cut built on shimmering guitar riffs, bubbling synths and an irresistible vocal hook quickly took on a life of its own, topping Beatport Overall Chart and spending weeks in the Top 10 while racking up 100 million streams worldwide and over 100,000 global radio plays. From major playlists to festival stages, the track’s uplifting energy has made it a staple for selectors and listeners alike, with early DJ support from tastemakers including Adriatique, Adam Ten and Carlita.

Now, ahead of summer 2026, the record arrives on a special 12" vinyl edition bringing together the original alongside standout reinterpretations from some of house music’s most respected names. Dutch favourite Franky Rizardo delivers a groove-heavy club workout, Florida legends Jazz-N-Groove add their unmistakable soulful house touch, while Grigoré & Serve Cold transform the track into a deep, rolling dancefloor weapon.

With the original continuing to dominate playlists and dancefloors around the world, the vinyl release of ‘Edge Of Desire’ feels perfectly timed. Ready to soundtrack open-air sets, beach parties and late-night club moments throughout the season. For DJs, collectors and house music fans alike, this pressing captures the record at the peak of its momentum: a modern Defected anthem finally given the wax treatment it deserves.

Mercury Studios freut sich, die Veröffentlichung einer aufwendigen Neuauflage zum 20-jährigen Jubiläum
von Therapy?s beliebtem elften Studioalbum „One Cure Fits All“ bekannt zu geben, das am 27. März
erscheint. Das Album wurde unter der Aufsicht der Band neu gemastert und wird als Deluxe-Doppel-CDEdition erhältlich sein, die eine exklusive zweite CD mit seltenen B-Seiten und Demos zu jedem Song des
Albums enthält.
Darüber hinaus wird „One Cure Fits All“ zum ersten Mal auf Vinyl veröffentlicht, gepresst auf schwarzem
Vinyl und einer roten Variante.
Lange Zeit nicht auf Streaming-Plattformen verfügbar, wird diese neu gemasterte Ausgabe das Album
endlich weltweit auf Streaming-Diensten verfügbar machen.

Maui Blue & Orchid Vinyl. Nachdem wir American Don mit (Steve) Albini fertiggestellt hatten, waren wir kurz davor, dass die Spannungen zwischen uns so groß wurden, dass wir uns trennen mussten. Ich (Eric) war überzeugt, dass wir bei den Aufnahmen die wahre Essenz der Songs verloren hatten. Es war keine einstimmige Entscheidung, mit Steve aufzunehmen. Wir haben das Album komplett mit Gitarrenloops geschrieben, und Team Storm & Stress wollte im Studio mit Pro Tools weitermachen, was sowohl zu dem passte, was wir machten, als auch zu dem, was wir erreichen wollten. Steve hatte gerade den großartigen A-Raum bei Electrical fertiggestellt, und Damon bestand darauf, dass wir dort die Drums aufnehmen würden. Er gab in dieser Frage nicht nach. Sobald wir dort ankamen, wurde uns klar, dass alle Songs, die wir mit unseren Pedalen in mehreren Overdubs geschrieben hatten, nur Mono-Gitarrenaufnahmen zuließen. Wir haben das Problem gelöst, indem wir die Songs zu einem einzigen Loop gespielt und alle Gitarren später überlagert haben, sodass ein volles Stereofeld entstand, das zu den grandiosen Drum-Aufnahmen von Steve passte. Dieser Ansatz hat unsere Spielweise total verändert. Das hat zwar magische Momente der Improvisation ermöglicht (Peter Criss Intro), aber als das Album fertig war, klang es aufgebläht und die Darbietungen waren träge. Ich war mir immer sicherer, dass der Sound des Akai Headrush und die Tempi, die er für Damon vorgab, das Herzstück dieser Songs waren. Ian stimmte mir zu. In einem gewagten letzten Versuch hatte ich die Idee, Greg Norman (der für Steve arbeitete!) anzurufen und ihn zu fragen, ob wir nach unseren nächsten Shows heimlich in sein Studio in S. Chicago kommen und das Album LIVE neu aufnehmen könnten. Es war ein riesiger Schritt, der niemals hätte funktionieren können, aber wie durch ein Wunder waren alle einverstanden, und wir versuchten es. Greg hat uns persönlich und professionell in unserer heißesten Phase eingefangen. Die Tempi sind schneller, und niemand hält sich zurück. Diese echten Live-Bänder zeigen die Songs genau so, wie wir sie auf Tour gespielt haben, wo sie zwischen Juni 1999 und Juli 2000 entstanden sind. Jetzt, 25 Jahre später, wurden die Greg-Norman-Aufnahmen entstaubt und digitalisiert. Mit Hilfe moderner Restaurierungswerkzeuge und dem Fachwissen von Sir Bob Weston konnten wir diese Aufnahmen zum ersten Mal neu abmischen und mastern. - Eric Emm, Bassist

The track shows SUEP at their best - glistening synth pop with Marr-esque jangle, sweet but emotionally incisive. Singer Georgie Stott - also known for being the keyboardist of the recently ended Porridge Radio - is at peak performance, marrying catchy melodies with off-kilter storytelling.
Receiving acclaim across BBC 6 Music and the indie press for their ‘car boot sale’ pop music, SUEP rummage through the jumble bin of music history, selecting and reassembling its best parts into something playful, strange and deeply artful. The band are affiliates of the Gob Nation collective - including The Tubs, Sniffany & The Nits, Ex-Void, and others., described by the Guardian as uniting around “a leftfield sensibility, lacerating wit and snotty attitude.”

With a slightly darker edge than their delightful EP Shop or last year’s groovy The Rain, Highway II tells the story of hope slamming into disappointment - a Valentine’s date gone wrong. Tears, cigarette breaks, running makeup and snotty sleeves paint a picture of painful emotional dislocation. It comes with an incredible, multilayered dance-routine music video from frequent collaborator, artist Jess Power.

Singer Georgie Stott says: “The lyrics for this poured out of me on Valentine’s Day when me and my partner went out on a date in the Limehouse area, over the river from where we lived in Rotherhithe. I got drunk too quickly, he got grumpy, and tears started streaming down my face because I just wanted to have a nice romantic time. We made up in the Canary Wharf Wetherspoons at the end of the night, but I went to have a cigarette before, to get out all my sobs and wrote all the lyrics on my phone in one go. Then at a practice studio we quickly wrote it around some chords I made up in the room.”
Forever is a confident debut, a masterpiece of modern indie songcraft. Across the album SUEP dip into country, synthpop, garage rock, post punk, and pub rock, but always retain their signature penchant for melodic hooks, snappy structures and straight-to-the-heart lyrics. Artfully unpretentious, the album was recorded by friend Matt Green, best known for his work with The Tubs, and mixed by Mike O’Malley of the band caroline.

Led by Georgie Stott and Joshua Harvey, SUEP have become fixtures of south-east London’s underground through a series of shared living spaces, improvised studios and DIY venues. Now with George Nicholls (The Tubs, Joanna Gruesome, GN Band), William Deacon (PC World), and Louis Forster (The Goon Sax, Expiry) completing the line up, their debut is finally on its way.
Forever is a glimpse into one of the best bands on the scene, not fitting into any trend, but also never fading into obscurantism - SUEP are a band that wear a joie de vivre loosely but fashionably. Now is their time to shine.

Restock

Collateral Intelligence's Butterflies in Funerals is widescreen, sometimes dark, often hopeful electronica with one eye on the stars, but grounded in the sheer cathartic necessity of its creation.

The new moniker from Maltese wunderkind Neil "Acidulant" Hales, the album was formed during a turbulent period in the artist's life, when his father was seriously ill in hospital. Butterflies in Funerals is his way of expressing the complexity of emotion he was going through at the time.

"To me it all looked like a very dark movie," he says. "That's why the tracks are are at times cold or have a sad, emotional, or hopeful feeling."

Drawing on his impressive background in acid house and electro – with releases on Balkan Vinyl and Jack Trax – the album takes in mutant breakbeat, battle-scarred ambient, and tripped out 303 grooves, but pushes his sound further and deeper than ever before.

The album cover features specially designed artwork by rising star Fei Meng, who will be exhibiting at the Royal Society of British Artists later this year.

So in 2021 join Collateral Intelligence on a journey into the recesses of the soul, and emerge, purified, and ready for the rest of the trip.

The album opens with the ominous guitar-driven Hollow Sky, accompanied by its haunting music video's verdant vistas. The song, with Iceglass ghostly vocals, shimmers with that sounds like an Omnichord flittering like sonic firefly lights and brooding bass. This perfectly scores the less traveled wanderings through the dark wooden path of Dante's perdition, leading to the titular well that graces the album cover. The Crater opens with an unsettling riff and bass, with low, repetitive frequencies on the synth create a sense of unease. Here, Iceglass recounts a fatalistic requiem for the king of romance that is cataclysmic and leaves a scar upon the earth. With Fall Industrial Wall, once again, Iceglass channels a silky and Nico-like emotive deadpan; against a dirgelike melody backed by minimal synth, bass, and drum. Almost medieval and plaintive, with its folk droning horns, deep and shallow in their resonance. This song is anachronistic, setting the scene of ruins centuries-old with crumbling edifices strewn about like memories lost in time. With the poetic lyrics of The Chamber do we find the eponymous abyss. Here, dualities are laid bare; besides love, there is heartbreak, and without this sorrow, what meaning would there be to love if one knows not what it is to lose? This song encapsulates the idea that love is heartbreak, and love lost is reaching the deepest chamber of the heart. This is carried through a sombre horn, minimalist drum machine, and deliberate bassline overlaid with Iceglass german and english lyrics. The Well is led in with a softly distorted bassline overlaid with eerie banshee howls give way to Iceglass otherworld vocal refrain, echoing through time as if emanating from a hole in the ground, and encircling that hole is a garden of woe and despair. The sinfully seductive song The Moor features a captivating SAX SOLO courtesy of Perseas; a welcome shift in tone, juxtaposed well with the intensity of Iceglass tenebrous vocal purr. This hitherto unexplored foray into dark sensuality takes the song into sordid mid 80s territory, bringing to mind a dusky drive along a serpentine road, with equally haunting instrumentations straddling time with icy fire. Broken Characters is an acoustic folk interlude featuring Selofan's Dimitris Pavlidis on guitar. Here we find a more gentle approach with its earnest and romantic lyrics. The song's melodic hook is a soft caress along with the forlorn horn elements highlighting Iceglass at her most Nico-sounding vocal yet, singing the sorrowful truth that most artists are indeed broken characters. Chimerical opens with dirgelike synth organs. The chill of winter has befallen the lamentations sung by Iceglass carried by haunting chord progressions and minimal percussion, plaintively beseeching the song's subject to remain elusive, idealistic, and a dreamer. After an album highlighting more Jill than Jack, our male protagonist finally makes his ascent in the sonorous and breathtaking Dark Hill, a masterful march of sweeping synth horns, and trepidatious drum machine with William Maybelline's bellowing voice cracking like thunder, rattling the atmosphere like his heart against his ribs. Spirals swirls in a cautionary knell of cathedral-esque droning synth dirge, with Icarian lyrics shining like a sombre ray of hope; like the sun's rays creeping into the darkest of places. The song, minimalist in its tight percussion, echoes with the solace of Larissa Iceglass vocal litany; invoking elements of the supernatural, almost like a Casio preset sequenced to the beating of an angel's wings.