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"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

In 1998 The Wave Pictures started carving out their own path in search of the lost essence of British Indie, since their acclaimed “Instant Coffee Baby” -nominated for The Guardian New Album Award and present in many lists of the best albums of the last 15 years– , until the most recent “When The Purple Emperor Spreads His Wings”, always giving their best in countless electrifying performances. Now The Wave Pictures are once again allied with Acuarela to release an exclusive double 7” with five songs (one, “French Cricket” included on their new album and the other four totally exclusive) and show that they are still an indie rock band without indie rock influences, a trio with its own style that doesn't want to be a blues group, but with blues –and soul, and country, and folk-, as the invisible core of everything they do. The Wave Pictures began their career in 1998. Since then the British trio hasn't stopped: at the frenetic pace of their concert schedule, they add a stakhanovist record production, which advances at the rate of almost one album per year. Example: “Great Big Flamingo Burning Moon”, which came out in February 2015, was already their thirteenth official LP (without forgetting that they have also released a large number of singles, EPs, rarities and unofficial material). But it is that in February 2016 the fourteenth album, “A Season In Hull” was released -which they recorded with a single microphone and only released on vinyl-, and in November of that same year its successor, “Bamboo Diner In The Rain” came out. In June 2018 they returned to the fray with another LP, “Brushes With Happiness”, and that November also dropped “Look Inside Your Heart”. The pandemic has made them slow down a little bit until May 2022 when they finally returned with "When The Purple Emperor Spreads His Wings". “When The Purple Emperor Spreads His Wings” is a double album dedicated to the cycle of life and in which each of its four sides (in the old fashioned way) is focused on one of the seasons of the year. The title refers to spring and its splendor. The result is pop in the style of The Wave Pictures, with all the essence of the band: those intense guitar solos by Dave, his acoustic plucking, the solid writing… in addition to the mandolin, the bluesy harmonica...you name it! All the band members, David Tattersall (vocals, guitar), Franic Rozycki (bass) and Jonny “Huddersfield” Helm (drums), are avid fans of rock'n'roll, classic country, 70s rock, soul and folk, and this album celebrates with joy all those musical loves of them, some rediscovered in recent times. Moreover, they have pointed out that Guided By Voices have also been a great source of inspiration on this recording, as well as re-listening to Sun Records’ rockabilly, African guitar records, the more country side of Neil Young, the crazy fun of The Who and some moments from The Yardbirds. The Wave Pictures are still playing what Modern Lovers did back in the day -and then Herman Dune or Hefner-, only they play it as if Rory Gallagher was their lead guitar. With the lo-fi pop-rock label as an amicable stigma, they never deny the maxim that places attitude before technique and they are always vaccinated against fashion. Years go by and they are still the same sly alley-cats, only sounding more and more classic. Tracklist: 1. French Cricket/ 2. From A Buick 6/ 3. Porcupines/ 4. Rufus Thomas/ 5. Cincinatti Flow Rag

Breton band Guadal Tejaz brilliantly continue its peregrinations in post
punk, psychedelia & kraut rock with a second and very percussive album
named 'Noche Triste'
Coco (guitar and bass), Hugo (drums and drum machine), Morgan (vocals and
guitar) and Theo (bass and Korg MS-20 synthesizer) have decided to beef up its
sound by moving towards more krautrock, post punk and electronic sounds in
order to obtain an explosive mix more sharper and efficient than ever, as it
synthesizes the saturations of punk and kraut with a cleaner and more percussive
sound driven by drum machines and other fiddling.
Noche Triste is a real kraut punk gem that can be swallowed in one go like a shot
of tequila and that you will want to put on replay instantly. This album clearly
allows Guadal Tejaz to pass a notch above with evocative name hits like "Valley
of Hate" or "Krautoxic". That track keeps all the promises of its title, because it
mixes with a DIY mastery a kind of ultra stirring synthetic kraut with a stentor
punk vocal that makes you particularly addicted, without forgetting a wah- wah
guitar that slams hard and drives the whole.

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

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

LAFMS primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures. In 1976, Joe Potts solicited recordings from LAFMS affiliates and admirers to edit and compile I.D. Art #2, utilizing correspondence art's technique of "assemblings." (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in LAFMS' motto: "The music is free, but you have to pay for the plastic, paper, ink, glue and stamps."

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Sobald ein Song mit einer auf mehreren Spuren aufgenommenen Kakophonie des Kotzens beginnt, liegt die Vermutung nahe, dass er auf der dunklen Seite des musikalischen Spektrums zu verorten ist. Dies trifft bei TCHORNOBOGs epischen Track 'The Vomiting Choir' genau ins Schwarze. In 24:08 Minuten windet sich eine absteigende Spirale in eine schier bodenlose Grube, die mit einem größtenteils dissonanten Klangmiasma aus purer Negativität, aber auch überraschender Komplexität gefüllt ist. TCHORNOBOG wandeln weiterhin auf verschiedenen Wegen gleichzeitig, die von und zu ihrer mutmaßlichen Position in der Mitte der Kreuzung von Death, Doom und Black Metal weg- und hinführen. Freunde von DEATHSPELL OMEGA, THE RUINS OF BEVERAST und ULCERATE erkennen wahrscheinlich die allgemeine Richtung, aber die amerikanische Band aus Portland, Oregon schlägt einen ganz eigenen Kurs auf diesen stockdunklen musikalischen Gewässern ein. Wer in ihrem Kielwasser segelt, begegnet neben vielen anderen wundersamen Erscheinungen vielleicht auch dem Geist der frühen MOTORPSYCHO. TCHORNOBOG wurden 2014 von dem in der Ukraine geborenen Multiinstrumentalisten Markov Soroka ins Leben gerufen, der auch für andere Projekte wie AUREOLE, DROWN und KRUKH bekannt ist. Der ukrainische Name "Tchornobog" basiert auf einer rekonstruierten slawischen Gottheit, für die es kaum Belege gibt; außer einer Notiz in der "Chronica Slavorum", die der deutsche Chronist Helmold von Bosau im 12. Jahrhundert verfasste (und die später kopiert und phantasievoll angereichert wurde). Dieser vermutete Verursacher von Pech und Unheil, der in zahlreichen Schreibvarianten mit der Bedeutung "Schwarzer Gott" auftaucht, schaffte es als "Czernobog" untere anderem auch in Neil Gaimans Roman "American Gods" sowie dessen anschließender TV-Adaption. Das selbstbetitelte Debütalbum "Tchornobog" erschien im Jahr 2017 unter großem Beifall von Fans und Kritikern und wurde mittlerweile von Lupus Lounge weltweit wiederveröffentlicht. Derzeit arbeitet Markov Soroka an seinem zweiten TCHORNOBOG-Album. Als ersten Vorgeschmack auf die bevorstehende musikalische Dunkelheit dürfen wir alle aus vollem Hals in 'The Vomiting Choir' auf dem Split-Album einstimmen.

Sobald ein Song mit einer auf mehreren Spuren aufgenommenen Kakophonie des Kotzens beginnt, liegt die Vermutung nahe, dass er auf der dunklen Seite des musikalischen Spektrums zu verorten ist. Dies trifft bei TCHORNOBOGs epischen Track 'The Vomiting Choir' genau ins Schwarze. In 24:08 Minuten windet sich eine absteigende Spirale in eine schier bodenlose Grube, die mit einem größtenteils dissonanten Klangmiasma aus purer Negativität, aber auch überraschender Komplexität gefüllt ist. TCHORNOBOG wandeln weiterhin auf verschiedenen Wegen gleichzeitig, die von und zu ihrer mutmaßlichen Position in der Mitte der Kreuzung von Death, Doom und Black Metal weg- und hinführen. Freunde von DEATHSPELL OMEGA, THE RUINS OF BEVERAST und ULCERATE erkennen wahrscheinlich die allgemeine Richtung, aber die amerikanische Band aus Portland, Oregon schlägt einen ganz eigenen Kurs auf diesen stockdunklen musikalischen Gewässern ein. Wer in ihrem Kielwasser segelt, begegnet neben vielen anderen wundersamen Erscheinungen vielleicht auch dem Geist der frühen MOTORPSYCHO. TCHORNOBOG wurden 2014 von dem in der Ukraine geborenen Multiinstrumentalisten Markov Soroka ins Leben gerufen, der auch für andere Projekte wie AUREOLE, DROWN und KRUKH bekannt ist. Der ukrainische Name "Tchornobog" basiert auf einer rekonstruierten slawischen Gottheit, für die es kaum Belege gibt; außer einer Notiz in der "Chronica Slavorum", die der deutsche Chronist Helmold von Bosau im 12. Jahrhundert verfasste (und die später kopiert und phantasievoll angereichert wurde). Dieser vermutete Verursacher von Pech und Unheil, der in zahlreichen Schreibvarianten mit der Bedeutung "Schwarzer Gott" auftaucht, schaffte es als "Czernobog" untere anderem auch in Neil Gaimans Roman "American Gods" sowie dessen anschließender TV-Adaption. Das selbstbetitelte Debütalbum "Tchornobog" erschien im Jahr 2017 unter großem Beifall von Fans und Kritikern und wurde mittlerweile von Lupus Lounge weltweit wiederveröffentlicht. Derzeit arbeitet Markov Soroka an seinem zweiten TCHORNOBOG-Album. Als ersten Vorgeschmack auf die bevorstehende musikalische Dunkelheit dürfen wir alle aus vollem Hals in 'The Vomiting Choir' auf dem Split-Album einstimmen.

Headcat is an American rockabilly supergroup formed by vocalist/bassist Lemmy (of Motörhead), drummer Slim Jim Phantom (of The Stray Cats) and guitarist Danny B. Harvey (of Lonesome Spurs and The Rockats).

The band was formed after recording the Elvis Presley tribute album by Swing Cats A Special Tribute to Elvis in July 1999 to which the future bandmates all contributed. After recordings were finished they stayed at the studio and Lemmy picked up an acoustic guitar and started playing some of his old favorite songs by Johnny Cash, Buddy Holly, and Eddie Cochran. The rest of the guys knew them all and joined in. The name of the band was created by combining the names Motörhead, The Stray Cats, and 13 Cats, which resulted in Headcat. In 2006, the band released their first studio album on June 27, Fool's Paradise. It included cover songs from artists such as Buddy Holly, Carl Perkins, Jimmy Reed, T-Bone Walker, Lloyd Price, Elvis Presley, and Johnny Cash. On the recordings, Lemmy played acoustic guitar. In later years, Lemmy began to use his signature Rickenbacker bass in live performances.

The band's second studio album, Walk the Walk...Talk the Talk, was released in 2011. This was the first new material by the band in eleven years, following up from the Lemmy, Slim Jim & Danny B album in 1999. It has two original songs ‘American Beat’ and ‘Eagles Fly on Friday’. While the first album was all acoustic, the second studio was all electric with Lemmy playing bass like he did in Motörhead.

Dreamcatcher is a previously unreleased live concert which was recorded at the Dreamcatcher theatre at the Viejas Casino in Alpine CA on 1st Feb 2008. It was produced by the band and mastered by guitarist Danny B Harvey.

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

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

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

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

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

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

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

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

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

Blue Vinyl

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

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

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

1976 planten ex-Yardbirds-Sänger Keith Relf und seine Schwester Jane, Jim McCarty, Louis Cennamo und John Hawken, die ursprüngliche Besetzung der Band Renaissance, eine Wiedervereinigung. Doch der damalige Sänger und Gitarrist Keith Relf verstarb, bevor das Projekt in dieser Form umgesetzt werden konnte. In der Folge übernahm Jim McCarty, die akustische Gitarre und einen Teil des Gesangs. Schlagzeuger der neuen Band wurde Eddie McNeill, dazu kam noch John Knightsbridge an der Gitarre. Da die Band Renaissance jedoch in komplett anderer Besetzung fortbestand, musste ein anderer Name gewählt werden. Die ursprünglichen Renaissance waren nun Illusion. Illusion veröffentlichten 1977 und 1978 zwei sehr schöne Alben auf Island Records. Sie werden nun erstmalig als LP wiederveröffentlicht.
Das Mastering von den original Tapes wurde im renommierten AIR Studio von Paul Samwell-Smith (für 'Illusion') bzw. Phil Kinrade überwacht. Beide Alben kommen mit teilweise Spotlack im Artwork sowie bedruckten Inner Sleeves!

1976 planten ex-Yardbirds-Sänger Keith Relf und seine Schwester Jane, Jim McCarty, Louis Cennamo und John Hawken, die ursprüngliche Besetzung der Band Renaissance, eine Wiedervereinigung. Doch der damalige Sänger und Gitarrist Keith Relf verstarb, bevor das Projekt in dieser Form umgesetzt werden konnte. In der Folge übernahm Jim McCarty, die akustische Gitarre und einen Teil des Gesangs. Schlagzeuger der neuen Band wurde Eddie McNeill, dazu kam noch John Knightsbridge an der Gitarre. Da die Band Renaissance jedoch in komplett anderer Besetzung fortbestand, musste ein anderer Name gewählt werden. Die ursprünglichen Renaissance waren nun Illusion. Illusion veröffentlichte 1977 und 1978 zwei sehr schöne Alben auf Island Records. Sie werden nun erstmalig als LP wiederveröffentlicht.
Das Mastering von den original Tapes wurde im renommierten AIR Studio von Paul Samwell-Smith (für 'Illusion') bzw. Phil Kinrade überwacht. Beide Alben kommen mit teilweise Spotlack im Artwork sowie bedruckten Inner Sleeves!

Part 5 of the various artists series is at it again with 5 tracks by 5 different producers and a mixture of feel good party time music and contemplative music. You will hear familiar Running Back names like Storken (this time together with JStaaf) refining their comic tropes (or imagine Foreigner doing house music) next to newcomers like Archie Ward. His Pizza Girl puts musical toppings on a pounding underbelly that wouldn't be out of place in any warehouse, while Moritz and Amount dial it back a bit. Their respective tracks are gleaming with a special kind of elegant end-of-night euphoria that is hard to come by - and all the nicer if it happens. Remember: trance is a state of mind! Last but not least, Australia's Jonus Eric delivers an IDM-leaning piece of outsider dance. Hot soup, hot swallow!

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun.

Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced post-punk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones.

Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

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

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

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

A relatively new name in the world of hard edged techno, Irish DJ & producer sjush made his presence felt with a string of selfreleased EPs and an appearance on SPEED'S free download series in 2021. The young up and comers' taste for raw, bewitching techno combined with a penchant for rave has left listeners in hypnotic euphoria, making him one to watch and gaining support from Manni Dee, Yasmin Gardezi, Pelin Vedis, Riot Code & more. Now on his first vinyl release, sjush produces four relentless and brooding cuts of late-night techno on TITDM.

'Aura' sets pace with an array of pounding kick drums and its commanding sensibility; inducing primal states through carefully selected grooves and propelling synths. 'Burner' then enters the fray with bone crushing percussion, also underlining sjush's solid grasp of mixing both aggressive techno with a 90s sheen. 'Cataclysm' feels more detached and spacey, still engrossed in powerful low end and foreboding pads, before the EP comes to a cinematic close with 'Grain Feeder'. Marching kick drums meet with equally relentless leads, while percussion that could easily replicate the noises from predator form to create a mindexpanding, sensory experience best heard under the cover of darkness.

Having already made her name in different UK scenes and subcultures, Eva has previously collaborated with Swindle, Mungo’s Hi Fi, Gardna, Benny Page and Zed Bias. Through Brandy Kisses, she explores an amalgamation of sounds and genres that have shaped her artistry. Effortlessly jumping from soulful croons to punchy rap verses, Eva showcases all avenues of her incredible singing and songwriting ability to create a seamless body of work. The album is entirely produced by UK Hip Hop Stalwart and beat maker extraordinaire, Dirty Dike - Adding to his already very impressive list of production credits, having produced LPs & EPs for names such as Rag'n'Bone Man, Ocean Wisdom, Ronnie Bosh, and more... it is safe to say that the production on this is top notch.

With endorsements from MTV UK, Clash Magazine, Line Of Best Fit, Crack Magazine, an epic album launch party at Rough Trade Bristol as well as a mesmerising acoustic set on BBC Radio 4 - ‘Brandy Kisses’ is tipped to to be one of the R&B albums of the year.

Last 30 copies in stock now. The album is now in the Scottish album of the year shortlist. LP on very Limited HILL FOG CLEAR vinyl. Co-produced by Stephen McAll and Shimmy-Disc founder Kramer. First pressing on “Hill Fog” Colored Clear Vinyl, limited to 500. RIYL: Mazzy Star, The National, Will Oldham / Bonnie “Prince” Billy, Nick Drake. Constant Follower’s debut album "Neither Is, Nor Ever Was" was borne out of a respect for change, and the inevitable passing of time that frightens, comforts and humbles every one of us at once. It is a haunting testimonial to the temporary joys and fleeting moments that define the human experience no matter the individual passages it takes. The name of the outfit itself is a reflection of those things that we carry through life, for better or worse, that ultimately make us who we are. The current band consists of Stephen McAll (vocals, acoustic guitar, electric guitar, synth, bass), Andrew Pankhurst (electric guitar), Amy Campbell (backing vocals and synth), and McAll’s partner Kessi Stosch (backing vocals, synth and bass). "Neither Is, Nor Ever Was" co-produced by Scottish singer-songwriter Stephen McAll and the legendary record producer Kramer. The recording for the album began in early 2020 at La Chunky studios in Glasgow with engineer Johnny Smillie. This was interrupted by the birth of McAll’s daughter. If you listen closely, her cries are just audible during some of Kessi’s backing vocals, and shortly afterwards by Covid 19 restrictions. McAll began recording the rest at his own CFFC studio in Stirling. The recording was then beautifully mixed by Kramer. Once the LP was complete Kramer also did the final mastering. The videos for the release are truly short films that have been submitted to film festivals. They are enchanting, ethereal and immersive, the band’s visuals are as moving and cinematic as their sound. Martin J Pickering, who is renowned for his work with Dua Lipa, Paloma Faith and Lethal Bizzle, is behind their latest music video for “Set Aside Some Time”. The result - intense pangs of emotion interspersed with moments of reflection and acceptance, an ephemeral ode to the passing of time. Tracks: Side A 1. I Can’t Wake You 2. The Merry Dancers On TV 3. Set Aside Some Time 4. Spirits In The Roof Tree 5. Altona Side B 6. Weave of the World 7. One Word Away 8. Little Marble 9. What’s Left To Say 10. WEICHA

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

RELEASE OF THE CLASSIC 1996 SWEDISH BLACKENED DOOM METAL
MASTERPIECE OF MELANCHOLY 'FOR SNOW COVERED THE
NORTHLAND'.The roots of Ancient Wisdom trace back to 1992 when the
project was formed by Marcus E Norman (Throne of Ahaz/Bewitched) in
Ume, Sweden as Pain', then Ancient'
After the release of the first demo 'In The Eye Of The Serpent' in 1993, the name
was updated to Ancient Wisdom' & the recording of the second demo, 'Through
Rivers Of The Eternal Blackness' swiftly followed in December of 1993. On the
back of this, a deal was signed with Italian label Avantgarde Music, leading to the
recording of the full- length debut album,For Snow Covered The Northland'. The
studio sessions took place in December of 1994, though the album did not see
the light of day until 1996.
'For Snow Covered The Northland' was a triumphant journey of atmospheric &
melodic blackened doom metal, with sombre & hypnotic guitar leads permeating
the album to great effect amid the anguished screams. Also utilising acoustic
guitar & piano/keyboard passages, the opus overall exudes an ambience of deep
melancholy & despair. The album was recorded at The Garageland Studio &
produced by Henrik Kjellberg, plus drum programming was made by Fredrik
Thorendal, founding member of Swedish legends, Meshuggah.
' For Snow Covered The Northland' has been remastered for this release &
contains a bonus disc featuring extensive rare material from the early years of the
band, including the 'In The Eyes Of The Serpent' & Through Rivers Of The Eternal
Blackness' demos, plus rare promo & rehearsal tracks.

For Fans Of: Bacao Rhythm & Steel Band, Menahan Street Band, El Michels Affair, The Poets Of Rhythm. Debut LP from The Winston Brothers! Featuring members of Bacao Rhythm & Steel Band. Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. “DRIFT” is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre’s past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, “DRIFT” draws on the raw energy inherent to ‘60s / ‘70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift? Tracks: 1. Winston Theme 2. Boiling Pot 3. Hang On 4. Drift 5. Northern Light 6. Metering 7. One Thing 8. Free Ride 9. High Life 10. Think 11. Brother's Strut

After the relative success of The Bitter Springs' last album, The Odd Shower, Simon Rivers promptly disbanded the long-running group and began recording his first solo album, Like Yer Wounds Too, under the name Poor Performer. As Jim Wirth wrote of a recent Bitter Springs reissue, "Weaving the messy threads of suburban life into dense tapestries, he has something of the Go-Betweens' gift for melody, something of Mark E Smith’s ear for language, something of Vic Godard’s common touch, and almost none of the acclaim that should have been his due." This holds true for Poor Performer's debut album, though the songs seem based around a loose concept of issues dealing with middle-age self-reflection . . . though nothing nearly as navel-gazing as that statement might imply! Rivers: "For as long as I can remember, I've been either making records or planning to make them. But for once, this is a record I didn't really plan to make. The strange circumstances of the Covid lockdown led to its coming together. I'd lost my Dad to a demential-related death, retired from work due to mental stress, and was shielded for seven months . . . I took my banjo, my Dad's Yamaha keyboard and a few of my guitars, and booked a month of studio days at One Cat with the brilliant Jon Clayton at the controls . . . after a week or so of recording backing tracks, Jon said, "I think 57 songs is a bit ambitious, Si", so together made the decisions that shaped this record and its accompanying EP." With 7" 45s now nearly as expensive to make as a full vinyl LP, a decision was made to include likely contenders on a bonus CD EP, which certainly rivals the album in quality and perhaps generally exceeds it in immediacy, but Like Yer Wounds Too is more of a grower than anything yet released by Tiny Global Productions, and one of the releases we're most proud to present to the public. Humour, insight and brilliance abound. Album tracks: Golden London Leaves / Kempton Park / Life U Chose / Hard To Be Happy / Lil' Bro / Sleepy Little Town / No Escape From Me And You / Right As Rain / The Point / Our Souls / The Frog's Tale / Can You Whistle? / Something's Gonna Kill Ya ep tracks: The World Has Had Enough / 2 Hard 2B Happy / For A While / Get Up Them Stairs / Daylight Robbery

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

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

Broken Bells are back with their third full length album, INTO THE BLUE. Featuring two of the bigger names in indie and alternative music -- the Shins' singer/guitarist James Mercer and producer/multi-instrumentalist Brian Burton, aka Danger Mouse -- Broken Bells combined the pair's greatest strengths. On 2010's Grammy-nominated self-titled debut and 2014's more structured After the Disco, Mercer's gift for indelible, slightly spooky melodies and Burton's atmospheric productions complemented each other perfectly. In the late 2010s, the duo reconvened to release a succession of singles ahead of their third album. Mercer and Burton were inspired to collaborate when they met at 2004's Roskilde music festival in Denmark, where they discovered they were fans of each other's work. However, they didn't start writing and recording together as a band until March 2008, when Mercer holed up in Burton's home studio in Los Angeles. They took a different approach to working together than with their other projects: Burton avoided the sample-heavy style he used on The Grey Album and Beck's Modern Guilt, and played only live instruments; Mercer broadened his vocal style to include falsettos and deeper registers. Mercer and Burton made their official debut as Broken Bells in 2009, releasing their debut single, "The High Road," late that year. Their self-titled debut album came out in March 2010; it reached number seven on the Billboard 200 Albums chart and was nominated for a Best Alternative Album award at the 2011 Grammy Awards.

Given the respective outputs of committed ambient explorers and sound designers zake (best known for releasing no less than five fine albums in 2019) and 36 (most recently seen on A Strangely Isolated Place with the superb album "Fade To Grey"), you'd expect this trip into aural deep space to be rather good. It is of course, with the four tracks mixing echoing sonic tones and drifting sound effects with slow-burn electronic melodies and the kind of immersive, sustained chords that were once the preserve of German maestro Pete Namlook. The third track in the suite, appropriately titled 'Stage 3', is little less than stunning, in part because of its grandiose, almost classical intent. No surprise to discover, then, that after a stretch of being out of print it's back via a reissue, this version being a limited clear vinyl edition.

Given the respective outputs of committed ambient explorers and sound designers zake (best known for releasing no less than five fine albums in 2019) and 36 (most recently seen on A Strangely Isolated Place with the superb album "Fade To Grey"), you'd expect this trip into aural deep space to be rather good. It is of course, with the four tracks mixing echoing sonic tones and drifting sound effects with slow-burn electronic melodies and the kind of immersive, sustained chords that were once the preserve of German maestro Pete Namlook. The third track in the suite, appropriately titled 'Stage 3', is little less than stunning, in part because of its grandiose, almost classical intent. No surprise to discover, then, that after a stretch of being out of print it's back via a reissue, this version being a limited clear vinyl edition.

Vinyl Only

It's with great pleasure that Follow Da Groove presents the third release with a name that needs no introduction: Orlando Voorn. Underground Savage, a journey through dub, techno, funk and electro...let yourself be carried away by these sounds.

Macadam Mambo launches another special LP to end the 2022 season, presenting the debut album of this Belgo-Italian aural freak show called « Sexo Y Fantasia ». A delicious record full of sun by aspect, dreamy, dubby and balearic in the tone, flavored and contrasted with little bits of darkness and tension in the background. As the name suggests it, the sexiness is in every note, the erotic male voice is floating all over it, surfing on waves of endless reverb and delay. Throughout being anchored with clear hints from the 80ties and 90ties, this 35 minutes oeuvre still keeps full modernity in its form. DJ-friendly, it’s also an excellent overall listening experience to enjoy from beginning to end while sipping a fancy cocktail somewhere out in a cosmic dreamland.

Don’t miss this joint, it might be one of the highlights of the year

URBAN WARFARE

Music has always been a common means to deal with global events – so does this new release on Snork Enterprises by Lee Holman. Having actually performed in Ukraine shortly before the war, Lee Holman clearly has chosen the title of his new release by purpose. “Urban Warfare” dedicates for titles, all of them bearing names with military connotation, to the recent events in Ukraine and beyond.
The musical means of his choice to process the happenings are raw, straight forward electronic sounds echoing from the underground. His combination of beeping, roaring and crooked tunes creates a dystopian atmosphere in each track – yet, each in its unique way. This makes the release a diverse collection of four tracks of unadorned urban club sounds dashing through present day history.

LEE HOLMAN

An uncompromising underground ethos, Lee Holman has garnered support from a host of Techno's brightest names.
Performing in clubs since the late nineties, he has travelled throughout Europe, North America, South America, Asia and everywhere inbetween, compounding a reputation for his unique vision on Techno. Playing a fusion of deep, raw and energetic electronics, his sound creates a myriad of tension, constructing the perfect combination of musicality for club appearances.
Performances both as a live act and as a DJ have unlocked opportunities to share hallowed ground with Techno’s elite, appearing in prestigious underground venues such as TRESOR Berlin, Corsica Studios London, 8Bahn Arnhem, Sub-Scape Antwerp, Move Medellin, Tag Chengdu, Arkham Shanghai, Nechto events Kyiv + many more.
Production has earned him international recognition, leaving his mark at the forefront, building a reputation for consistency, originality and delivering his dynamic sound on both cutting edge and classic Techno Labels. Generating consistent support, he has remixed for high profile artists such as Aubrey and Gary Beck and has himself been remixed by leading Techno mainstays ranging from Orlando Voorn to Mike Dehnert.
Founding the Kawl Imprint, the label’s aim was to provide diversity in Techno and this formula was immediately picked up on and amounted to rave reviews and impressive charts and plays by leading connoisseurs of the underground.
This year, his releases have been frequent and in demand, with his production skills confirmed for Knotweed Records, Science Cult, Shaded Music, Nechto and more, adding to an already excellent discography.
With an ever expanding release schedule, combining remixes and a new label project called Demarcation, Lee Holman promises to be unrelenting in his definition of essential timeless Techno.

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

Born to a Frafra father and an Akim mother, he grew up in the rainforest of southern Ghana before moving up to the land of the Frafra in the savannah of northern Ghana as a young boy. Growing up in Namoo, his father's village of origin, he was deeply impressed by the glorious moments he experienced during the services at the village's church. All that singing and drumming ensured he was thefirst at church every Sunday, long before the service even started.

His only wish at the time was to be old enough to join the church choir. When he turned thirteen his wish came true and he instantly had hisfirst studio experience, as the choir recorded a series of cassettes on which he performed.

After he hadfinished school he focused on his own career as a Frafra-Gospel artist. In 2007 he released hisfirst album, but it took anotherfive years for him to have his break through as a leading singer. Since the release of his third album in 2012, which contained the original version of "Mam Yinne Wa", he was booked for almost all of the festivals and celebrations in the region and was also invited to almost all of the countless Frafra communities which exist all over Ghana.

In 2013 Max Weissenfeldt visited Bolgatanga, the capital of the Frafra for thefirst time. When he stepped out of the bus at the main market a song by Alogte was playing loudly through some big speakers. He was immediately captured by the music and arranged to meet with Alogte. After a short introduction they both agreed to do some recordings.

Weissenfeldt had some instrumentals with him, so he charged his laptop well, packed his microphone and Alogte drove with him through the savannah into the backcountry of the Frafra land. When they had arrived in Namoo, Max set up his studio and Alogte assembled the Sounds of Joy. The result was "Zota Yinne", which became Oho'sfirst single released on Philophon in 2014. For some reason the song became a hit in Reggae sound system circles and is already a very sought after collectors item.

The same year Weissenfeldt returned to Ghana from Germany with some fellow musicians to play an extended tour through Ghana alongside Alogte Oho & His Sounds of Joy and Kologo master Guy One (Guy One - #1, released on Philophon in 2018). During that tour he learned a dozen songs by Alogte. Following this, 2016 saw the release of the follow up single "Mam Yinne Wa". In the same way as the locally released version pushed Alogte to the top of Frafra- Gospel singers, this newly produced version made him a global player.

Mam Yinne Wa - God, You Love Me So. It looks like that somebody has heard him!

Emanating from a ‘prehistoric’ existence near the end of the last millennium, Andy Votel and his slightly older college mates were once best recognised in Mancunian clubs and bars as teenage vinyl nerds and bum-fluffed battle rappers under the collective name Violators Of The English Language (which in acronymic form explains Andy’s own exotic pen-name).

As steadfast supporters of the 1980s / 90s Brit-core rap scene coming out of London, the multicultural Violators’ Mancunian accents were perhaps a bridge-too-far to secure dream job contracts for humble labels like Kold Sweat and Music Of Life. An unlikely constructive meeting with Gang Starr’s DJ Premier (while Andy helped out at a radio station), plus playing warm up DJ sets for countless US rap heroes might have temporarily added inspirational fuel to the fire, but after an active period combining graffiti, rapping, scratching, obsessive record digging and beat making into their daily operations, adulthood eventually began to rear its unwelcome head.

A decade later, Andy Votel and his digging skills would begin to provide direct sample material for the likes of Madlib, Mos Def, Jay Z, Nas, Dr Dre, Ghostface Killa and Action Bronson, amongst others, and the Violators’ black book of breakbeats and catalogue numbers soon began to feed a same-butdifferent rap beast.

For a project that has taken thirty years, it would be totally inadequate to call the formation of Hypocritical Beatdown Records a lockdown-project. There’s a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

As well as Andy Votel taking care of both production and part of the microphone duties, some might recognise fellow MC and solo recording artist Figure Of Speech as a prominent voice here. The trio of Magnets (Rap Group) sees Andy also joined by local B-Girl legend Jeni Chan aka Penny Chew, and rapper and DJ Benjamin Hatton who has previously recorded with Kid Acne, The Mongrels and Sheffield’s Invisible Spies’ long-running squadron. Widely respected visual artist Rick Myers (now living in Massachusetts) also contributed scratches for many of these recordings via file sharing and custom dub-plates to keep the Violators’ authentic line-up intact, as well as galvanising the crew’s semi-reluctant art-school roots.

Extra production credits for the label also go to Sean Canty from Demdike Stare, and the late great Dan Dwayre aka Black Lodge (Mo Wax) who sadly passed away during the completion of these recordings. The members of Violators Of The English Language who you’ve not yet heard of will quickly make themselves known as the needle drops on this long-mooted debut vinyl release.

The Isley Brothers “Knowledge is power. I’m a witness to that. Our parents wanted us to have a complete musical education. They exposed us to everything, classical to country, standards, show tunes.” Ronald Isley, Mojo Magazine, 2000 The Isley Brothers have delighted audiences since the 1950’s and are celebrating their eighth decade in show business. Morphing from their roots in gospel and doo-wop through funk, rock and then, finally, into slow-jam R&B, the Isley Brothers remain one of the most fascinating groups of all time.
This album contains some of the most life-affirming music ever recorded: Ronald Isley’s keening yelp offering strength and sensitivity as it is supported by brothers Rudolph and O’Kelly. Our collection picks up their story in 1969. By this time, they had been recording for 12 years for many legendary labels, from RCA, to Atlantic, to Motown.
The brothers decided to go it alone on their own label, T-Neck. The repurposed Isleys broke onto the scene with the US R&B No.1/Hot 100 No. 2, ‘It’s Your Thing’. The album of the same name was a Top 30 smash and the group’s decision was vindicated. ‘It’s Your Thing’ marked a meeting point of influences: Sly Stone, James Brown, gospel and one-time group member Jimi Hendrix, laying the template for the Isleys’ next decade, from the gritty rock covers of Givin’ It Back to the era-defining ‘3 + 3’ (with the formal addition of the two younger Isleys, Ernie and Marvin, plus brother-in-law Chris Jasper).
After the 1972 release of ‘Brother, Brother, Brother’ (featuring the classic ‘Work To Do’) T-Neck moved to CBS leading to their first Platinum-selling album (1973’s ‘3+3’). Produced with Malcolm Cecil and Robert Margouleff, ‘3+3’ was practically prescribed to every soul boy in the UK (witness Wham’s cover of ‘If You Were There’). For the Isleys to take their old R&B hit, ‘Who’s That Lady’ and turn it into hard-rocking psychedelic soul was a blazing statement of their
intent. Their version of Seals and Croft’s pretty ‘Summer Breeze’ became one of their biggest hits, with Ronald and Ernie stamping their authority on the ballad. A period of phenomenal success followed. For every standout ballad (‘For The Love Of You’, or ‘The Highways Of My Life’), there was strident, take-no-prisoners political funk - as typified by ‘Fight The Power’, a US R&B No. 1 in 1975.
It was written by Ernie on the same day as another of their greatest moments, ‘Harvest For The World’.
This collection is a beautiful overview to the group, a most fabulous re-introduction to old friends. This era is affectionately known by the Isleys as the ‘gold and platinum years’ - one listen and you will understand why.

The French psycho-indie-rock band La Femme announces the release of Teatro Lucido, their new studio album sung entirely in Spanish, released on November 4, 2022. During their time touring in Latin America and Spain, La Femme wrote a Spanish song called "Le Jardin" for their previous album Paradigmes. This track led them down the path toward creating Teatro Lucido, their first full album sung entirely in Spanish. Similar to their previous albums, La Femme wrote, composed, and produced Teatro Lucido themselves, inviting numerous female singers to participate in the process. The album found birth through their adventures in Seville, Grenade, Madrid, Mexico City, Cuautepec, Padul_ where they had so many moments of laughs and joys, tears and disappointment. Teatro Lucido draws from many of La Femme's inspirations including the famous Semana Santa in Spain; pasodoble, reggaeton, Brasilian, and Andalusian rythms; classical guitars, and Movida of the 80's. Teatro Lucido is the name of a mythic theatre where La Femme has played many times in Mexico. It is the first album from a thematic series they have planned called "Collection Odyssée."

San Diego born and raised DJ/Producer, Dillon Marinez, today releases his latest EP ‘Wormhole’, out now on Dirtybird.

Curated by Claude VonStroke, the compelling two-track project presents a dynamic soundscape showcasing the sonic duality of one of Dirtybird’s newest rising stars. The chaotic, high-energy sound of its titular track ‘Wormhole’ is instantly mesmerizing, while its companion ‘Facelift’ is a deep, rolling burner.

Regarding the EP, Dillon Marinez said, “My first Dirtybird Campout inspired both tracks. Claude’s set especially was full of some thick stabby bass which was right up my alley. This sound gave me an idea for each lead and the rest flowed naturally.”

Continuing to grow as a consistent member of the Dirtybird flock, Marinez’s latest EP, ‘Wormhole’ marks his fifth release on the esteemed label following last year’s ‘No Pressure’ EP and earlier singles like ‘Dance For Me.’

Taking inspiration from funk, hip hop, and reggae, Marinez credits his father and brother for exposing him as a kid to the multi-genre sounds that shape his music style today. A bassist since childhood, it was only natural for Dillon to be drawn to the ebbs and flows of house music. Learning Ableton in college, Marinez was able to incorporate a blend of rhythmic elements to create his unique bass lines and incredibly catchy beats known to captivate crowds.

Releasing music on Dirtybird marks a full circle moment for Dillon, as he has previously named Dirtybird’s artists Justin Martin and Shiba San as major sources of inspiration for his music.

Marinez invites fans to join him on his rhythmic journey and stream ‘Wormhole’ today.