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An official reissue, with the original gatefold jacket and the original large booklet reproduced. Pressed on 180 gram vinyl, with side D etched. Sweden's Tribulation have been one of the most innovative bands working in metal in the new millennium. Their third album The Children Of The Night (2015) saw the band leap even further from their death, black and thrash metal origins and add hints of psych rock, prog and classic rock into the mix. Pitchfork called it "a sprawling, compulsory tale that doesn't turn dull. ... There is no way to arrive at a consensus artist who will satisfy everyone, but The Children Of The Night comes close." Svart Records presents, in conspiracy with Century Media, an official reproduction of the original 2015 double LP, that has already become a rarity.

I Tried Words began with words, mostly words. Moriah Bailey laid the lyrics out on several pages. The words were crafted over many months with feedback from Bailey’s sister and input from the growing melodies and body of music that began to take shape around those words. The contributing musicians, Sarah Reid (violin), Ryan Robinson (percussion), and Ricky Tutaan (guitar), recorded their own parts and sent them to Bailey. The result is lush, intricate arrangements that complement a solid base of harp and vocals. The album explores dualities: yes/no, future/past, darkness/light, giving/taking, masculinity / femininity, wants/needs. It is in part about Moriah Bailey’s struggle to learn healthy boundaries but also about the harmfulness, complexity, and entanglement of many social boundaries. With I Tried Words, Bailey relies less on experimental sounds, and instead, lyrically focuses on her struggles to understand and make sense of definitions and expectations of femininity. It explores these themes through an intimate narrative of losing oneself in a relationship and struggling to find a way out of the relationship. The album ends with a triumphant goodbye and joyous new beginning in “Not Staying”. She sings: “I contorted my body and stretched myself thin to form a bridge between now and when. So, as I'm gathering my strength to say goodbye, please quit saying I should've tried

Indies only release on 180g baby pink vinyl, printed inner-sleeve, download card included. Marrying psychedelic pop with folk and a touch of country, 'Earthling On The Road To Self Love' is the sublime debut album by Brisbane, Australia-based artist Baby Cool – the latest side project by Nice Biscuit co-front woman Grace Cuell. Cuell says of the record, which follows her debut single 'Magic' and tours with Babe Rainbow and The Lazy Eyes: “The songs on this album are deeply sentimental. I have a lot I need to sing about to help me make sense of this earthly pod I have been gifted. If in singing these words out loud, I can help others find solace in knowing that we’re all out here flailing about in the cosmos, then it feels good to me.” Recorded with Sam Joseph (Family Jordan), the songs on 'Earthling' were brought to life with the help of Jess Ferronato (Nice Biscuit), Nick Cavendish (Nice Biscuit) and Drew Heyden (The Flamingo Jones): "I had such a beautiful community of friends that helped bring this whole thing to life. There was magic and love in every part of the process of creating this album.

Originally Released in 1999, this much sought after package is back with new art and a suave ass gatefold jacket! Beginning their career as a Midwestern garage band, the Dwarves made an abrupt change once they moved to San Francisco, maintaining their recklessness, but getting faster and faster. Free Cocaine traces the arc of that development, collecting singles, demo tracks, and other sessions from that time period, beginning with the Lucifer's Crank EP, and progressing onward. Most early tracks betray tremendous musical inadequacies -- at this point, the Dwarves were hardly the polished pop-punkers they would become by the time they signed to Epitaph. Nonetheless, even this raw material has plenty of catchiness, playing ability issues aside. The album also collects compilation cuts like "Lesbian Nun" from the Amrep compilation Dope, Guns, and Fucking in the Streets and singles all the way up through the late '90s on Man's Ruin. Though known primarily for their hard-living, and reckless violence at shows, with most sets clocking in under 20 minutes, the Dwarves, at this juncture, were the best in the underground rock world at what they did: cooking up fast-as-hell, catchy, raunchy hardcore punk. (allmusic). Mixing Lucifer's Crank, Toolin' For a Warm Teabag and other early Dwarves singles, EPs and unreleased tracks this is the noise rock Dwarves at their most untamed. Zero production value, maximum profanity. Hits include Eat You To Survive, Fucking Life and Dead Brides in White.

Originally released on Axis records! This story takes place around the year 3216, in which space travel is something completely contemporary. Humanity is going too far in pushing Mother Nature's boundaries, and now the planet is in danger. Only one person is capable of saving Earth from destruction. Our protagonist travels to other planets to see if there is anything that can aid him in calling the downfall of our home world to a halt. The fragments on this disc are actually snapshots, made in between traveling, amid the rushing realization that a resolution to save the planet must be found. Quickly. DJ Surgeles has a longstanding professional relationship with Detroit legend Jeff Mills. Connected through music, DJ Surgeles learned the insides and tricks of Jeff. Many conversations and meetings over the years led to this new concept, The Escape Velocity. DJ Surgeles has also collaborated exclusively with Jeff Mills on the concepts Something in The Sky and STRMRKD, and produced a special Axis Records 10 year anniversary release, The Bells: DJ Mix back in 2007. I wanna thank Jeff Mills for making this album happen.

The pandemic affected each of us in different ways. From colossal stars to complete unknowns, it up-ended our lives, and demolished our expectations.

Take Lil Skies. The Philly talent found himself back in his home city, completing a journey that began in pace on his 2017 mixtape ‘Life Of A Dark Rose’. Re-connecting with his roots – his moniker is a nod to his father, while 2019 debut album ‘Shelby’ named after his mother – he’s delivered some of his most potent, open material to date.

‘Unbothered’ is a tight, focussed return – a snappy 14 tracks, is exudes a sense of purpose, retaining the swagger of his debut while upping the word play. It’s an inward journey, one exemplified by those early viral singles ‘OK’ and ‘Havin’ My Way’ but it’s also lit up by some special guests.

Working with alacrity, Lil Skies built ‘Unbothered’ from a series of freestyles, yet every element on the album feels exact, placed with real precision. Using a mere three features – a trilogy that boasts Wiz Khalifa, Lil Durk, and Jodeci – the emphasis is placed on his vocals, on his ability to utilise the voice as an instrument.

‘Trust Nobody’ hinges on fragile paranoia, while ‘Riot’ bristles with a palpable sense of rage. An attempt to channel the repressed – and often extreme – emotions of the past 12 months, ‘Unbothered’ pitches a cool facade against a depth of feeling that often threatens to explode – just check out ‘Think Deep Don’t Sink’ for a mission statement.

Working within clear definitions, ‘Unbothered’ feels more distilled than Lil Skies’ previous work, the sound of someone choosing to work with what they know. Lyrically it’s marked by pain and redemption, lingering on messages of perseverance, and renewal. He may claim to be ‘Unbothered’, but the marks of the pandemic are there for all to see on a brave, at times powerful, new album

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

This is what you get when Gary Superfly’s razor sharp and funky beats meet Other Lands skillful keys and synths. Verona’s young talent collaborate with Scotland’s keyboard wizard and Firecracker regular artist Gavin Sutherland for this fierce seven inch. The result is a match made in heaven..pure space funk for the next generation!

With 'The Sentimental Swordsman' Farron slips into the role of his ambient moniker Quiem, telling the emotive story of a man who has lost everyone dear to him and seeking to find inward peace, appreciation, a feeling of security, and his capacity for love.

At the beginning of this narration, The Sentimental Swordsman wanders around with no orientation, feels empty and shows his vulnerable side in 'Strayed And Aimless'. A solitary life with a focus on himself and his modest requirements.

But just one mysterious encounter can change it all. 'You Looked So Pretty On My Balcony' describes the presentiment of lightness and a gentle breeze received through the presence of the new acquaintance.

The Sentimental Swordsman still feels insecure on his journey, but he is not alone anymore and he can somehow feel a warm and buoyant glow in his breast. 'Your Singular Courage' underlines the good intentions, harmony and trust slowly building up between them.

From now on, fights are taken side by side, individual crises are resolved with the mutual support of each other and risks are taken together. A new team has been formed that seems to be unbeatable. This intimate relationship is presented by the vibe of 'My Tiny Engine'.

They are lightheartedly taking steps into an auspicious future together and enjoying each others company. But the enemy doesn't sleep. It slowly grows. Evil bubbles up, it comes silently and attacks sneakily. 'On My Mother's Birthday' describes the wounds resulting from a craven ambush that leaves nothing but pain and pure emptiness. Snatched from this new life. Unwonted silence. Feelings of guilt. Fears of loss. A 'Trauma And Its Clutches'.

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions" upon its initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes. The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: "Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university." As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a "bliss out," static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all.

Es kommt selten vor, dass eine Band mit ihrem bisher besten Werk ein comeback feiert, aber die finnischen ...And Oceans beweisen hier eindrucksvoll, dass "Cosmic World Mother" aus 2020 eine Symphonie stürzender Dämme kreativer Schleusen war, die in ein neues Gewässer, einen Ozean, wenn man so will, einbrachen.

Alles, was das erste Album seit 18 Jahren Pause von ...And Oceans gut gemacht hat - rasanter symphonischer Black Metal, berauschende Themen, die sich mit der Verbindung zwischen Philosophie und Übersinnlichem befassen, und das für ...And Oceans typisch abenteuerliche Songwriting - schafft "As In Gardens, So In Tombs" in den Schatten zu stellen und neu zu kontextualisieren. Es ist der Sound einer Band, die jedes Quäntchen Schwung mitnimmt und in jeder Hinsicht den Einsatz steigert.

Obwohl ...And Oceans noch nie ein Album zweimal geschrieben haben, klingt ihr neuestes Werk in vielerlei Hinsicht wie eine Gelegenheit für die finnische Gruppe, das, was sie begonnen hat, fortzusetzen und zu verbessern. Symphonischer Black Metal fühlte sich noch nie so spaßig, frei und fantastisch an!

FFV: Dimmu Borgir, Cradle of Filth, Limbonic Art, Children of Bodom, Emperor

Clear Blue/ Red Marbled Vinyl

Es kommt selten vor, dass eine Band mit ihrem bisher besten Werk ein comeback feiert, aber die finnischen ...And Oceans beweisen hier eindrucksvoll, dass "Cosmic World Mother" aus 2020 eine Symphonie stürzender Dämme kreativer Schleusen war, die in ein neues Gewässer, einen Ozean, wenn man so will, einbrachen.

Alles, was das erste Album seit 18 Jahren Pause von ...And Oceans gut gemacht hat - rasanter symphonischer Black Metal, berauschende Themen, die sich mit der Verbindung zwischen Philosophie und Übersinnlichem befassen, und das für ...And Oceans typisch abenteuerliche Songwriting - schafft "As In Gardens, So In Tombs" in den Schatten zu stellen und neu zu kontextualisieren. Es ist der Sound einer Band, die jedes Quäntchen Schwung mitnimmt und in jeder Hinsicht den Einsatz steigert.

Obwohl ...And Oceans noch nie ein Album zweimal geschrieben haben, klingt ihr neuestes Werk in vielerlei Hinsicht wie eine Gelegenheit für die finnische Gruppe, das, was sie begonnen hat, fortzusetzen und zu verbessern. Symphonischer Black Metal fühlte sich noch nie so spaßig, frei und fantastisch an!

FFV: Dimmu Borgir, Cradle of Filth, Limbonic Art, Children of Bodom, Emperor

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

A Jazzman’s Blues is the 2022 Netflix drama film written, produced, and directed by Tyler Perry. It stars Joshua Boone, Amirah Vann, Solea Pfeiffer, Austin Scott, and Ryan Eggold a.o. The film centers on the forbidden romance between Bayou and Leanne who are best friends. They fall in love as soon as they cross paths, however Leanne’s mother forbids their union and forcefully takes Leanne with her to Boston.

The orchestral music in A Jazzman’s Blues was composed by the classically trained composer Aaron Zigman, who has previously scored music for films including The Notebook, The Company Men and Sex & the City. He has also written, arranged, and produced for artists including Quincy Jones, John Legend, Phil Collins, Christina Aguilera, and Aretha Franklin amongst many others. The songs of this score have been arranged and produced by Oscar-nominated trumpeter and composer Terence Blanchard. He has been nominated for composing the scores for BlacKkKlansman and Da 5 Bloods.

The soundtrack features vocals by the cast members, including Joshua Boone, Amirah Vann and Austin Scott.

AJazzman’s Blues is housed in a gatefold sleeve and includes an unfolded “paper plane” insert with lyrics of Ruth B.’s song “Paper Airplane”.

Tape Es kommt selten vor, dass eine Band mit ihrem bisher besten Werk ein comeback feiert, aber die finnischen ...And Oceans beweisen hier eindrucksvoll, dass "Cosmic World Mother" aus 2020 eine Symphonie stürzender Dämme kreativer Schleusen war, die in ein neues Gewässer, einen Ozean, wenn man so will, einbrachen.

Alles, was das erste Album seit 18 Jahren Pause von ...And Oceans gut gemacht hat - rasanter symphonischer Black Metal, berauschende Themen, die sich mit der Verbindung zwischen Philosophie und Übersinnlichem befassen, und das für ...And Oceans typisch abenteuerliche Songwriting - schafft "As In Gardens, So In Tombs" in den Schatten zu stellen und neu zu kontextualisieren. Es ist der Sound einer Band, die jedes Quäntchen Schwung mitnimmt und in jeder Hinsicht den Einsatz steigert.

Obwohl ...And Oceans noch nie ein Album zweimal geschrieben haben, klingt ihr neuestes Werk in vielerlei Hinsicht wie eine Gelegenheit für die finnische Gruppe, das, was sie begonnen hat, fortzusetzen und zu verbessern. Symphonischer Black Metal fühlte sich noch nie so spaßig, frei und fantastisch an!

FFV: Dimmu Borgir, Cradle of Filth, Limbonic Art, Children of Bodom, Emperor

The Finnish heavy metal band Lordi formed in 1992 by the band’s lead singer Mr. Lordi. They’re best known for wearing monster masks and using horror elements with pyrotechnics during live shows and music videos. In 2006, Lordi won the Eurovision Song Contest with their song “Hard Rock Hallelujah”.

Their debut album Get Heavy was originally released in
2002 and includes the popular tracks “Devil Is A Loser” and “Would You Love A Monsterman”. The album is available as a limited edition of 666 individually numbered copies on silver
& dark green marbled vinyl, housed in a gatefold sleeve and includes an 8-page booklet. This edition includes 2 bonus tracks, “Don’t Let My Mother Know” and the previously CD- only track “Hulking Dynamo”.

* 2022 Repress ** Profondo Nero compiled by Cinema Royale

Profondo Nero narrates a storyline that goes beyond the borders of Italy’s musical legacy. Cutting across the face of Italo disco’s leftfield musicians between the early and late ‘80s, Profondo Nero champions a multi-faceted sound that nods to the blueprint of Italo disco but tries to dig deeper. The music is unmistakably Italo disco but moves away from the familiar classic sound. Amsterdam based collector Cinema Royale stitches together eleven tracks from 1983 – 1989, celebrating a sound he fittingly describes as ‘leftfield Italo’.

The compilation connects the dots between soulful disco (Louise Freeman – Mirage), synth-pop (Mark – Dreamland), electro-rap (Loukas Thanos – Jazzburger), breaks (Santoro – Lover Message), 80s dub disco (Jet Set – Love Break), Balearic (Isamar & Compañia ‎- No Estas), boogie (Tom Hooker – Talk With Your Body) and proto-house (International Music System - An English ’93).

Profondo Nero’s title salutes the legendary oeuvre of Italian horror director Dario Argento. His Profondo Rosso (1975) is a classic example of exquisite cinematic storytelling, boasting courageous colors, expressionist camera angles and an unforgettable Goblin score forming the ingredients for an intriguing piece of art. Profondo Rosso’s music, created the spark for a new Dekmantel Records endeavor led by Amsterdam based experimental film score connoisseur, record collector and DJ Cinema Royale.

For those in the know of underground Amsterdam music culture, Arne Visser aka Cinema Royale is among the city’s longest standing record collectors. Born to an Italian mother and Dutch father, Arne was brought up on a diet of Italo disco in the 80s. Cinema Royale explains: ‘For Profondo Nero I took a plunge into the lesser known fringes of Italo disco. From there I tried to connect, among others, San Francisco boogie, Balearic, Japanese late era Italo-electro and synth-pop funk. I hope you can hear what I had in mind: an infectious showcase of my take on traditional Italo disco that will hopefully get a lot of listeners itching for a spin. It’s fair to say that lately this particular sound has seen a reappraisal and renewed interest.

As a party-starting collection for entry-level connoisseurs or suave but lazy types, I hope Profondo Nero can be an education. I’m not claiming I’m the first DJ or collector to do so, but I did try do present something special by digging deep.’ It wasn’t my goal to unearth the most obscure tracks, instead I wanted to compose a compilation that takes you on a journey.
‘In my opinion the best DJs create something extraordinary out of illogical selections by combining music against all odds and showing different kind of moods along the way. There’s a certain amount of arrogance involved: you take the music out of its original context. But by doing so in a very conscious way, you might be able to enhance the power of the individual records. Hopefully each song on Profondo Nero provides an intimate and memorable experience.’

Barely heard in his lifetime (1961-2002) but hailed as an outsider hero of ur-punk since 2009’s ‘Cosmic Lightning’ compilation, J.T. IV strikes back!

15 unheard-of tracks found on an obscure cassette tape make the schizo split in his music - rabid rock & roll fantasy and cold-eyed acoustic introspection - an epic. ‘The Future’ is J.T. IV’s mad magnum opus.

The 2009 comp LP, ‘Cosmic Lightning’, cast his tragic silhouette up on the big screen
for all to see: the lost boy, alone in the world, standing before the mic and releasing
his inner star with glee and vengeance, his antisocial visions flying high atop a raging
funnel of distorted guitars and blunt rhythms. Or couched, childlike, within a heart
breaking billow of acoustic guitars - a schizophrenic split that only magnifies the
display of his deep emotions.
‘The Future’ goes even further, excavating fifteen recordings from a previously
unheard-of cassette entitled ‘The Best Of Johnny Zhivago Retrospective 1979–1993’,
and adding four more uncollected tracks from his slim (and impossible to find
anyway) discography.
Of these nineteen tracks, eight are covers - and J.T. IV’s picks, from Velvets to Mott
the Hoople, Roxy Music, Lee Hazlewood, The Kinks, Eno and Stephen Sondheim,
sharpen our image of the misfit adrift; on the outside looking in, but maybe just a few
steps away from his goal.
‘The Future’ unfolds like an epic, as both sides of J.T.’s persona - the street-smart,
damaged rocker and the heart struck poet of the scene - live on together in the best
performances of his short career.
A punk of the old order, John Henry Timmis IV was born in 1961 into a dysfunctional,
abusive and eventually broken family. By the mid-70s, he was desperate to get out,
running away from his mother’s home several times while still a teenager living in the
greater Chicagoland area. At wit’s end, she had him committed to the Menninger
Clinic for a year or so. Released on his own reconnaissance, he began his meteoric
ascent to the mythic level of self-aggrandizement in which he appears here. Inspired
by the underground, proto-punk sounds in the air (the likes of which any sharp-eyed
young thing might chance upon in the back pages of Creem, Crawdaddy, Trouser
Press, etc.) and desperate to be heard himself, J.T. presented like the scabby
younger brother of Bangs and Laughner: born only to rock, his musical conception a
rabid personality crisis of proselyte elitism and nihilist excess.
Now, 20 years on from his passing, ‘The Future’ is ever farther away from the world
in which he struggled so mightily - but his stinging iconoclasm, whether screamed
from Marshall amps or mic-ed up close, feels ever more powerfully infused with his
unique breadth of illness and essence.
These songs represent the two sides of J.T. - and while they emanate from the 80s,
they find themselves potently renewed in the polarized world of today, making ‘The
Future’ a worthwhile destination for everyone who ever had a heart touched by the
transgression and freedom promised by rock & roll.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Limited edition two LP set on purple (A&B) and silver (C&D) vinyl. First time on vinyl. Originally released on CD only in 1996 – Features full lyrics and extensive liner notes from Genesis Breyer P-Orridge. TRIP RESET - A STORY OF A LOST ALBUM RE-AWAKENED by GENESIS BREYER P-ORRIDGE and PSYCHIC TV featuring“THE ANGELS OF LIGHT” A biodelic configuration illuminating thefollowing hallucinogenic songs:

With so much going on in the world right now, it's safe to say we need to spread far more Joy then is circulating…

And who else deliver's Joy of this magnitude? The king of disco, Dr Packer. The Legendary Champion Records has enlisted the mirror ball man of the last decade to flip this absolute classic from Staxx and the gorgeous vocals of Carol Leeming. Perfect for sunsets AND sunrises, charge your cocktails!


DJ Feedback:

David Guetta - tasty update

Utah Saints - Minitsry Of Sound / FFRR - Cool groove. Production on point

DJ Kue - Dope!

MING - Nice one, I'll Play !!!

Steven 'Sugar' Harding - Milk & Sugar / M&S Recs - Love it!

DJ Rae - Good memories, nice work

Ember - Huge!

D.O.N.S. - Cool House tune. Support!

Black Legend - Defected / Simma Black - big one

Ruben Mandolini - Snatch! / Mother / Saved - Nice!

Sugarstarr - Defected / Toolroom / Vienna - Excellent

Tommie Sunshine - PACKER ALWAYS DELIVERS!!!

Vanilla Ace - Nice sounds

Kyle Kinch - Realm / Solotoko / Farris Wheel / HUGS - groovy

Severino - sweeet

MB Mgmt - top draw !

Jerk Boy - I've been eye'ing of this for a reboot for years ! I played this to death back in the day!..great remix !

Yolanda Be Cool - Sweat It Out / Club Sweat - cool...

Transparent Blue Vinyl

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions" upon its initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes. The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: "Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university." As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a "bliss out," static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all.

20 Jahre Horror Punk, 20 Jahre The Crimson Ghosts, 13 Jahre Hellgreaser! Zwei der beliebtesten Genre-Vertreter aus heimischen Gefilden liefern mit "Greensleeves" den Soundtrack für eine ausgelassene, düstere Pogo-Party! "Hellgreaser" und "The Crimson Ghosts" veröffentlichen mit "Greensleeves" eine ganz besondere Mini-LP mit exklusiven Songs, fernab von den üblichen Standard-Splits...denn das war für beide Bands keine Option. Bereits 2020 hatte Slaughter Lamb (Gesang, Hellgreaser) die Idee zu dieser ganz besonderen Veröffentlichung, als Verneigung vor der Szene konzipiert. Eine Hommage an die Subkultur und den Zusammenhalt auch in dunklen Zeiten. The Crimson Ghosts covern Hellgreaser, Hellgreaser covern The Crimson Ghosts.Während The Crimson Ghosts den Hellgreaser Songs "Mother of them all" und "Frozen Heart" eine ordentliche Metal Kante verpassen, schwenken Hellgreaser in den Ghosts Hits "Nightbreed" und "Don't Follow" eindeutig die Punk Rock-Flagge. Als Kirsche auf der Torte haben sich beide Bands zusammengeschlossen, um als HELLGHOSTS das englische Traditionsstück "Greensleeves" standesgemäß in eine horrorpunkige Hymne mit gänzlich neuen Facetten zu versehen - inklusive Vocal Duett von Slaughter Lamb (Hellgreaser) und Vlad (The Crimson Ghosts).

Black Haze Vinyl

20 Jahre Horror Punk, 20 Jahre The Crimson Ghosts, 13 Jahre Hellgreaser! Zwei der beliebtesten Genre-Vertreter aus heimischen Gefilden liefern mit "Greensleeves" den Soundtrack für eine ausgelassene, düstere Pogo-Party! "Hellgreaser" und "The Crimson Ghosts" veröffentlichen mit "Greensleeves" eine ganz besondere Mini-LP mit exklusiven Songs, fernab von den üblichen Standard-Splits...denn das war für beide Bands keine Option. Bereits 2020 hatte Slaughter Lamb (Gesang, Hellgreaser) die Idee zu dieser ganz besonderen Veröffentlichung, als Verneigung vor der Szene konzipiert. Eine Hommage an die Subkultur und den Zusammenhalt auch in dunklen Zeiten. The Crimson Ghosts covern Hellgreaser, Hellgreaser covern The Crimson Ghosts.Während The Crimson Ghosts den Hellgreaser Songs "Mother of them all" und "Frozen Heart" eine ordentliche Metal Kante verpassen, schwenken Hellgreaser in den Ghosts Hits "Nightbreed" und "Don't Follow" eindeutig die Punk Rock-Flagge. Als Kirsche auf der Torte haben sich beide Bands zusammengeschlossen, um als HELLGHOSTS das englische Traditionsstück "Greensleeves" standesgemäß in eine horrorpunkige Hymne mit gänzlich neuen Facetten zu versehen - inklusive Vocal Duett von Slaughter Lamb (Hellgreaser) und Vlad (The Crimson Ghosts).

Single-LP edit of Piñata lacquered at half speed master by Metropolis Mastering in London for the highest fidelity.

After the original release Freddie Gibbs & Madlib's Piñata in 2014, cover artist Jeff Jank made a new sleeve for the album in the style of a 1964 Blue Note album.

Featuring Danny Brown, Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul, Polyester the Saint, BJ The Chicago Kid, Big Time Watts, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko & Freddie Kane.

Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer.

Piñata is a gangster Blaxploitation film on wax, says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroits Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer.

On Piñata, where Gibbs can shift from textbook lessons in robbing and drugging on trackslike Scarface and Knicks, to perhaps the albums most personal song, Broken, a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rappers own Mount Rushmore of MCs (Youre getting a hurricane of all those motherfuckers hitting you at once when you listen to Freddie Gibbs, he says). Deeper, a Gibbs favorite and the third single from the album after Thuggin (2012) and Shame, (2013) is an ode to hip-hop in the mold of Commons I Used to Love H.E.R.; High, featuring Danny Brown, is self-explanatory and just what you would expect from Gibbs, Madlib and one of Detroits finest; while on Real, Gibbs addresses an old score just as Michael Corleone settled all family business on baptism day.

As a producer, Madlib, quite simply, is music, and ten years into his career-a time when other artists become comfortable-Gibbs remains restless, focused, with an eye on the competition and their position relative to his ascent. This is because mentally, hes still on the corner hustling, which would be the downfall of the average rapper. With Piñata, Gibbs confirms that he is anything but average.

Following a first successful 2020 instalment and a contribution to our VA series, Blame The Mono are back on the Taapion mothership to deliver their second household EP. This 4-tracker stays true to the beloved influences of the duo by showcasing multiple genres and heavily using vocals, while keeping a dancefloor-focused essence. ''Sustain The Rigour'' translates the hard disciplined work Blame The Mono put in the studio switching over the techno recipe while keeping its original ingredients. Throughout the coldwave sonic explorations of Forlorn, endless vocal looping drive of Front Left Rodeo, bombastic Moog bassline of Conepusher or the spaced -out garagey vocal chops of Caledonian Woofers, this EP keeps both pace and inventivity rigorously high.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

More than one of Jack's many nicknames, Zagg is also a shout out to her
uncanny ability to select an unanticipated word or musical flourish, her
disarming poetic acumen, her ability to zoom in and out at lightning
speed and spin a phrase into a mantra, or the opposite of a mantra
Each song on this record is its own unique little world, keeping a listener
delightfully off-kilter throughout the entire affair.
Opening track 'FMK' operates likes a sonic thesis statement. For a quiet moment,
Jackie's confessing her recurring mother-in-law dreams and initiating a suddendeath round of Fuck Marry Kill. Then on a dime she somersaults into rocket-pop
posture, ready to cut loose and head to the movies with her best boogie- boy:
'Let's go to the movies and dance a little…you can share my Twizzler…Let's go to
the movies, you can dance at the movies!!!' The charging, industrial pop of 'Get
Out' is augmented with punching strings that are both lovely and foreboding. In
the lithe, Rickie Lee Jones-nodding 'Yesterday's Baby,' a giant foot-shaped cloud
looms in the mouth- shaped sky and Jackie gets microscopic — 'Why don't you
just let it burn out/Toss that glass of wine out/Stamp that Camel Light out/Shut
your mouth up shut up your mouth.' After a few more dances, deep diaphragmatic
breaths, and Blood on the Tracks winking ballads, knock-out marathon track 'Keep
Runner' gives it straight to some Wile E. Coyote tomfool who's out getting his butt
blown up again." The energy of the record, I think, comes from finding out Patti
Smith didn't make Horses until she was 29. Extremely influential Wiki experience.
Oh, and Adam Green, my all- time favorite songwriter and artist, painted me
looking like a doctrinal seer peering into a cartoon mirror for the cover.
Pressed on Transparent Yellow color vinyl.

"Circus has always had some kind of presence in my life. My grandmother grew up within a travelling circus in Denmark many years ago and a cousin of mine reputedly ran away with another travelling circus in Ibiza for a while in the 80s. Some years ago my mother sent me a few faded black and white photos of my grandmother dressed up for performance and they are amazing. There are apparently many more photos but they've been handed to a circus museum in Denmark. Perhaps some day, if I dare to, I'll go and visit... In the meantime, I give you The Circus Hunter: The soundtrack to an 80s horror circus flick that perhaps could have been. I hope you will enjoy its breezy upbeat fun as well as its dark sides." Martin Jensen (The Home Current). Martin Jensen is a Danish born, Luxembourg dwelling electronic musician. He has several previous releases across several labels including Castles In Space, Polytechnic Youth, Woodford Halse

One thing that is written in stone even in these days of near endless uncertainty is that when Topical Disco unleashes one of their vinyl releases they are a no questions asked, must have. For a label which regularly dominates the top spot of the download charts they still consistently manage to up the ante for their vinyl drops. It’s no wonder at all that the previous editions have gone on to become collector’s editions, disappearing from the shelves as quickly as you can say here today, gone tomorrow.

Volume 24 easily keeps this incredible run of club vinyl masterpieces going strong. Packed across two side of black gold are tracks from newcomers and scene heavy hitters alike Toscana, Toby O’Conner, Charly Angelz and Frank Virgilio.

The mysterious Toscana leads the way with the wonderfully enigmatic ‘The Girl With The Red Hair’, a six and a half minute slice of pleasure packed Balearic disco. Incessant, warm and inviting it combines a divine groove heavy bassline, funky guitar licks and a subtle percussive backbone with a rather brilliant stand-out guitar solo. This is a track which is guaranteed to fill those summer dancefloors.

Next up is Toby O’Conner who is returning to Tropical Disco after his lauded ‘The Heist / 1920 EP’ with another high energy slice of disco goodness in the shape of ‘Cave Of Gold’. Again this is classic Tropical Disco, combing both live chops with jazz overtones as throbbing club ready drums provide the framework for a bubbling bassline, subtle keys and sax solo’s aplenty to weave their magic. Expect jazz inspired shapes to be thrown on dancefloors across the globe when this one drops.

Over on the flip is Charly Angelz, another artist who has been making a considerable swirl on the disco scene of late. ‘Mother Phunk’ is very aptly named with an absolute gem of a bassline front and centre as classic funk vocal chops, vibey pads and guitar stabs all combine perfectly with earworm strings for anther sure fire floor filler.

Closing the EP out is scene stalwart Frank Virgilio. Hailing from Napoli Frank has been behind a virtual disco smorgasbord over the five years including regular chart bothering appearances on Tropical disco. ‘What We Love’ tips its hat to the golden era of house music, think 90’s Soulfuric meets MAW. Vibes abound here from the classic drum sounds right through to the divine ethereal percussion which adds that touch of class. This is another track which will sound just perfect on the golden Isle this coming summer, did some-one say Ibizan boat party? We’re onboard!

Side C/D / Disc 2: Instrumentals

Coalmine Records, in partnership with Duck Down Music, is excited to announce the upcoming release of the deluxe edition of Sean Price & Small Professor’s collaborative classic, 86 Witness.

Released as a limited edition gatefold 2XLP with both the main and instrumental versions, the album boasts several packaging accoutrements that involve an artwork overhaul designed with metallic inks.

For those unfamiliar with 86 Witness, the album is a testament to both Hip-Hop's Golden Era and the unbelievable talents of Sean Price, one of the genre's biggest and best voices who was taken from us far, far too soon. His hilarious, tack-sharp rhymes are complemented by the imaginative and dusty production of Small Pro, who may just be rap's best kept secret.

Like his previous projects, 86 Witness is brimming with classic lines and lyrical barbs from P. What's different here, however, is the depth of his references in addition to his incredible chemistry with Small Pro. From the verses to the beats, they have provided so many musical Easter eggs that each listen tips off something you've yet to discover. And that's not even mentioning the ambitious lineup of guests featuring Your Old Droog, Guilty Simpson, Rockness Monsta, Elucid, Castel, Reef the Lost Cauze, Curly Castro, Zilla Rocca, and more.

a 1 Bear Witness (Intro) feat. DJ Revolution







i 9 John Gotti (feat. Reef the Lost Cauze, Curly Castro & Zilla Rocca) Philly Blunt Remix
j 10 Refrigerator P (feat. Rob Kelly) Peaky Blinders Remix

Vieze Meisje is the singing, performing and all-encompassing second self of the mere mortal Maya Mertens. She writes idiosyncratic poetry that is at once heartwarmingly honest, hilariously funny and, at times, brutally elegant. Vieze Meisje has a fangirl/fanboy collaboration going on with her producing brother-from-another-mother Azertyklavierwerke, who composes acrobatic beats, loops and sounds for a deconstructed dance feast that ends incomplete sonoric mayhem. Once you have heard and/or witnessed Vieze Meisje, you are forever part of life’s Vieze Cirkel.

The official retrospective on one of Somalia's most famous and beloved private bands, Iftin, and a companion compilation to our Grammy-nominated "Sweet As Broken Dates". Digitized from cassettes recorded between 1982 and 1987 at the legendary Al-Uruba hotel's secret studio and the jams for the masses performed in the basement of Somalia's national theater. Banaadiri rhythms from Somalia's south, Mogadishu's finest vocalists, Dhaanto reggae-like guitar licks, and smoldering brass blend seamlessly with the sounds of Asia, the Middle East, and Africa to form one of rawest, most cosmopolitan eras of music anywhere. Iftin's Mogadishu is where the world's sounds begin and end.

Double LP gatefold with a 12" x 12" poster. Hardcover bookcase CD with 12 page booklet.

New, extraordinary music by Cosmic Vibrations ft Dwight Trible. An interplanetary journey from this new, LA based 6-strong ensemble of experienced musicians that define spiritual jazz in the 21st century.
This is a genre-defying amalgam of divine vocals by Dwight Trible, Sun Ra-esque jazz with world influences, laced with indigenous instruments, taking you into a cosmic journey of spiritual improvisation and beyond. Cosmic Vibrations’ Pathways & Passages is an awakening, an opportunity to soar deeper into an altered awareness, an unfolding from a multi faceted cosmic realm into the Cosmos. Simply superb.

Produced by Laurel Halo and released via Norway’s respected Smalltown Supersound label, Anja Lauvdal’s first solo release, From a Story Now Lost, is a gorgeous musical essay reflecting on time, its perception, and lost histories rediscovered. Finally exploring her own voice after more than a decade of collaborative improvisational playing – starting at her time in jazz conservatory in Trondheim – the album is a jewel of subtle beauty and innovative detail.

A freeform musician on piano, synthesizers, and electronics, Lauvdal’s discography stretches back to 2013 and includes her participation in a myriad of ensembles and collaborations exploring the limits of sound and music in many forms, including noise, jazz, and more. Following her move to Oslo after graduation, she became deeply embedded in the music community there, touring with Jenny Hval as well as playing on her records. When pandemic hit and isolation was the norm, Lauvdal began working on her own, recording her improvisations in an attempt to capture something new for herself