Search:party time

The Woodentops are long-time Balearic bossmen and peerless party starters and now their music is under the spotlight on this new remixes EP from Hottwerk. It is their tune 'A Pact' that gets four different versions here starting with a nice loose-limbed and percussive house workout from the UK veteran Bushwhacka!. Then Skyscraper HiFi B aka Anglo-Swedish pair Jon Dasilva and Jonas Nilsson offer a remix that slows it right down to a nice downtempo jam with indie vocals and then offer a second remix that is more sleazy and raw with a low-slung house grove topped with acid madness. Last but not least is the label head Spatial Awareness with a remix which glides on silky synths and airy drum loops with some nice trippy vocal touches.

Diese neue (!) Compilation vereint klassische Radiosessions der TVPs, den Meistern des DIY-Post-Punk und Indie-Pop. Die Doppel-LP enthält zwei BBC-Sessions aus den 80er Jahren, die bei John Peel und Andy Kershaw aufgenommen und ausgestrahlt wurden, sowie ein sehr rares WMBR-Set von 1992 mit Coversongs von Buzzcocks, Raincoats und Daniel Johnston sowie bisher unveröffentlichten Songs (und als digitaler Bonus die WFMU-Session von 1993). "Catchy hooks and schoolboy wit are in abundant supply." Pitchfork Die großartigen DIY-Fähigkeiten der Television Personalities und ihr liebenswertes, klappriges Auftreten haben sie auf so manchen subversiven Trip geführt, sowohl auf Platte als auch bei Live-Auftritten. Aber es war das Radio, das sie zum ersten Mal der Welt vorstellte, in einem Wirbelsturm wiederholter Airplays. John Peel ließ Außenstehende überall in TVPs alternative Welt eintauchen. Und auf dem Höhepunkt des Punk parodierten sie bereits die neue Revolution, ihre Single ,Part Time Punks" wurde zu einem Peel-Hit, und die Nachfrage nach weiteren Songs führte schließlich zu einer Session im Jahr 1980. In den 80er Jahren war Daniel Treacy so zu einem begnadeten Geschichtenerzähler gereift, der die moderne Welt aus seinen eigenen, verschwommenen Blickwinkel beschrieb. Seine Songs waren liebenswert, sofort identifizierbar und witzig, klare, scharfe Beobachtungen von oft magischer Tiefe. Treacy wurde zu einer Inspiration und unverzichtbaren Alternative des üblichen (auf der Insel nicht soo schlechten) Radioprogrammes, eines Mediums, das die TVPs zum Ende der 80er Jahre so gut wie aufgegeben hatte. "Tune In, Turn On, Drop Out" fängt den Weg dieses Pilgers ins Pop-Nirvana ein, ein psychedelisches Wunderland, das von dunklen und grüblerischen Momenten gezeichnet ist. Gehört wie durch ein knisterndes, Vintage-Transistorradio, welches vielleicht sogar unter dem Kopfkissen versteckt ist, so dass diese Skizzierungen der Gesellschaft ganz nah und intim Daniel Treacy's Psyche zeigen. Limitierte Doppel-LP, klassisch schwarzes Vinyl, Linernotes, gratis DLC mit Bonustracks!

Prehistoric Sounds is the third studio album by the Australian punk rock group The Saints, released in 1978. This was the final album to feature founding lead guitarist, Ed Kuepper, who left the band shortly after the release. The record was described by AllMusic as ""the textbook by which to make a great rock record where horns play as much of a role as guitar"". In 2010, Prehistoric Sounds was listed in the top 50 100 Best Australian Albums. The album features two cover versions of the soul classics ""Security"" by Otis Redding, and ""Save Me"" by Aretha Franklin. Prehistoric Sounds is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert.

2025 Repress
30 years of Fuse means 30 years of road paving.

An ode to the past and a hint to the future, Fuse shares this milestone with its original guests from 1994 all the way to its fresh party goers of the past years as a promise to keep its dance floor focused on quality music and timeless moments.

In over a quarter century, the Brussels club has stood the test of time by rooting itself in ageless music and employing pioneering artists - large or small, international or local - to command the decks of Belgium's longest running dance floor. A celebration of this legacy and the renewed imprint is in order, coming in the form of a 30 track compilation of techno's best and brightest from around the world. One track for one year, this collection of recordings highlights the status quo of enduring club music, beginning with a nod to the past: a re-release of Jeff Mills iconic 'Step to Enchantment' from 1993. This glance to the past quickly shoots us forward into the current state of techno with legendary artists like Planetary Assault Systems, DVS1, Steffi, Rodhad, Donato Dozzy, DJ Nobu and many others who headlined the club in recent years. Cementing itself as a respected escapist institution, Fuse also calls on its growing local scene to prove why Brussels continues to remain a reference in the scene even outside of its own borders.

There’s something so magically transportive about the music of the holidays, and here at iam8bit, one of our beloved favorites is The Muppet Christmas Carol. It’s one of the best holiday films of all-time, so in collaboration with our friends at Muppet Studios and Walt Disney Records, we’re so very excited to bring you an exclusively remastered revival of the classic soundtrack, breathing new life into the legendary songs and score by Paul Williams and Miles Goodman, respectively.

Ultra-Rare Old School Hip Hop!

As featured on the fourth volume of Tramp's "Santa's Funk & Soul Christmas Party" compilation series, it was high time to put it out on a good old 45! Here you have it. Be quick - limited press!

'Rhyze to the Top' is the debut LP by the American funk and R&B band Rhyze, released in 1981. It’s an essential album for fans of funk and R&B, offering a snapshot of the vibrant and dynamic music scene of the early 1980s. Second hand copies regularly change hands for £50+ and the LP has never been reissued on vinyl since its initial release 43 years ago. Now for first time soul fans can rejoice as the album has been fully remastered & lovingly reissued by Wanderick Records.

Hot on the heels of Sukuma, Durban's Sugarman Sandy B returns to Red Motorbike with Bink Party!

This time around, he's teamed up with label boss Eddie C on production, as well as an assortment of underground artists from around the globe whom he has collaborated with during his WorldKwaitour, which he combined with the 30th anniversary of his successful underground independent debut, AmaJoviJovi.
Bink, the genre Sandy B coined, is a modern take on Kwaito's loose rhythms and the mid-tempo funk we've come to know and love from the Red Motorbike stables.

Sandy B's Zulu staccato rap and R&B stylings sound as fresh as ever as he continues to connect with his global family through his international travels, currently on tour across Asia and Australia.

Bink Party into 2025!!

Enjoy The Ride Records in conjunction with Rock Ridge Music proudly present Reel Big Fish - Monkeys For Nothin’ And The Chimps For Free (Deluxe Edition).

Available in a deluxe edition for the first time, Monkeys For Nothin’ And The Chimps For Free is pressed on 2xLP colorful vinyl and includes 8 previously unreleased bonus tracks, remastered specifically for this vinyl release by award-winning Sound Engineer Dave Marino.

This expanded deluxe edition is housed in a gatefold jacket, featuring new and expanded artwork designed by Unoriginal Vinyl and the ETR Team, and includes a double-sided insert with exclusive liner notes written by the founders of Ska Punk Daily and Unoriginal Vinyl.

Fang Island's debut record, long out of print and back in stock as daisy pink splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Fang Island shared bills with uber-buzzy bands like Yeasayer and Chairlift at Cake Shop and Santos Party House, crucibles for Brooklyn hype at the turn of the aughts; but their most impactful co-sign came from Andrew WK. At least until Fang Island earned an unexpected Best New Music review at Pitchfork; in the style of the time, the group - now including drummer Marc St. Sauver and guitarist Nick Sadler - were thrust from playing "literally empty shows" at hot dog stands in Ohio to becoming the toast of SXSW and starting their North American tour with psych-rock idols the Flaming Lips in an Atlantic City casino. They would later play sprawling amphitheaters with Stone Temple Pilots, and in perhaps the best demonstration of their ability to wield pop smarts to guitar pyrotechnics, both Matt & Kim and Coheed & Cambria.

2026 Repress

DJ Support: Danny Howard, Annie Mac, Mistajam,Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne,Todd Terry, Alex Preston, Full Intention, GW Harrison,DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos,Johan S, David Penn, Sam Divine, Riva Starr, Claptone,Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KCLights, Friend Within, Dombresky, Gorgon City, ChrisLake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, LowSteppa, Mat.Joe, Raumakustik, Eskuche

Coming out the traps strong, our next 4-track vinylsampler series kicks things off with Toolroom’s very own Mark Knight who continues his impressive string of collaborations with Darius Syrossian appearing alongside him for the first time on the label. Mark and Darius, along with studio maestro James Hurr,stumbled on this classic ‘Let’s All Chant’ sample and together proceeded to write a peak-time, tech house slammer around it. With relentless energy and lush vocal licks and that all-familiar 90’s sample, this one works a treat on the dancefloor.International House don Low Steppa is next for a special release with Malta’s finest, Jewel Kid. Their track ‘Big Busta’ oozes ATTITUDE! Slamming tech house drums, an insatiable groove and a tongue-in-cheek vocal that will raise many a smile on the dancefloor. Another certified club weapon for sure! CASSIMM kicks off the flipside on the vinyl with another peak-time club weapon as he returns with ‘Say Yeah’ alongside vocalist Mahalia Fontaine. The Italian born House music maestro is on fine form as always here, hot on the heels of his ‘Love Desire’ record that went stratospheric in late 2023 on Claptone’s ‘Golden Recordings’ label. With a big bassline and oodles of dance floor energy alongside Mahalia’s rasping, diva style vocal adding that classic house vibe to proceedings! Finally, we round things off with the once mysterious but now ‘unmasked’ house duo ‘Wh0’ with a rip-roaring club banger! Remixing for the likes of The Prodigy, Basement Jaxx, Calvin Harris and Meduza whilst collaborating with Armand van Helden, Nile Rodgers and David Guetta under his Jack Back alias.This track is a heads down, no-nonsense, tongue-in-cheek club weapon! Seriously powerful drums, aplayful acid line and a very cheeky vocal that will cause a stir on many a dance floor!

Countless radio plays on Radio 1 from Danny Howard,Sarah Storie, Pete TongOther notable radio plays – Kiss FM, Toolroom Radio,Sirius XM, Data Transmission Radio, Radio 1 DanceAnthems, Radio 1 Party Anthems, Rinse FM, SelectRadio, Tomorrowland Radio

How did Dexter make a TV audience sympathize with a serial killer? No question, it took an ingenious premise, great writing, great direction…and a stellar ensemble cast headed by lead actor Michael C. Hall. But long-time viewers of the show know there was another “character” that played a huge role in the series: the soundtrack. From Rolfe Kent’s unforgettable title theme to the well-chosen Latin-tinged tunes that fit the Miami setting to composer Daniel Licht’s brilliant themes, the score of Dexter commented on the action even as it amplified its emotional power. Special mention must be made of the late Licht’s work, which employed Latin and electronic elements to portray Dexter’s warm and cold sides; among the favorites here are “Astor’s Birthday Party” and the haunting “Blood Theme” that played over the credits in every episode. In 2007, the Milan label put out a CD and a truncated single-LP soundtrack album containing music from the first season; now, for the first time, we at Real Gone Music are offering all of the music that appeared on the CD in an expanded double-LP edition, pressed on blood with white swirl vinyl and housed inside an appropriately gory gatefold. Don’t miss Michael C. Hall’s spoken word pieces, either…perversely pleasurable listening, limited to 1500 copies!

You know when one of your favourite albums of all TIME isn't on vinyl, so you just HAVE to make it happen, right…?

With the kind permission of our pals at Best Before Records, we’re beyond delighted to announce the first ever vinyl pressing of Hey Everyone! by Dananananaykroyd - with gorgeous spot gloss sleeve, extra design flavour by original artist Keaton Henson and a bonus track 'Genuine LBS' - all presented on very limited ‘Pink Sabbath X Black Wax Splatter’ vinyl (never to be repressed in this colour).

A truly classic record, this is absolutely peerless Fight Pop. 'Liable to unite moshers and librarians' said a deeply impressed Pitchfork at the time. Let's party like it's 2009.

British Funk Renegades - Baker Brothers: A Legacy of Groove and Innovation

Since 2001, British funk luminaries the Baker Brothers have been at the forefront of the UK funk scene, consistently redefining the genre while staying true to its roots. Their groove, deeply embedded in soulful nostalgia, draws inspiration from legendary acts such as Steely Dan, Sly and the Family Stone, The Doobie Brothers, D'Angelo, The Roots, The Meters, and Prince.

Renowned for their electrifying live performances, the Baker Brothers deliver an "in-your-face" experience that takes audiences on a journey through their extensive back catalogue, spanning eight studio albums and four live albums. These albums feature collaborations with notable artists, including Hamish Stuart of the Average White Band, Snowboy, and soul divas Vanessa Freeman, Hannah Williams, Acantha Lang, and Katie Holmes.

With over ten tours in Japan and numerous European tours under their belt, the Baker Brothers have proven their enduring appeal. They continue to navigate the challenges of band life with unwavering creativity and passion, using music as their vehicle to overcome life's hurdles.

As they forge ahead with new creations, the Baker Brothers' signature sound—characterised by tight horns, a driving rhythm section, and irresistibly funky guitar riffs—remains as killer as ever. Their journey is a testament to their longevity and their unwavering commitment to pushing the boundaries of funk.

* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

Drasii is the duo of Chris Kalis and Lisa Armstrong. Since emerging as an offshoot of Chandeliers, denizens of Chicago’s loft party scene, they have been exploring more dance-oriented tempos and song structures equally suited for a large sound system or a pair of headphones.

Influenced by the American midwest electronic music scenes that they came out of, their new 12-inch record, Spirito Celeste (ETC Records, November 15th) combines deft melodic interplay and sublimely danceable rhythms conjuring everything from dreamy ambient, moody acid, and synth pop, to classic house and techno.

repressed !

It's been a busy 3 years since Danny Berman aka Red Rack'em released on his own Bergerac imprint.

Since then he's toured relentlessly, released a whole album of live music based disco/punk funk for Sonar Kollektiv as Hot Coins, managed to completely update his biggest track 'In Love Again' to make it a hit the second time around plus released spaced out, wonky party smashers on Wolf Music, Phonica, City Fly and Telefonplan.

While all this was going on Bergerac was largely on ice but now Berman is turning his energy back to the label with a vengeance.
Wonky Bassline Disco Banger is accurately titled. An uplifting intro breaks down into a slamming disco house number and just when you think you know what's going on...
Then the trademark Red Rack'em wonky bass drops in. 150% Guaranteed party smasher... Jazzy House Extension is super vintage Red Rack'em from around 2004 - something for the jazz heads out there - cracked out piano and far too loud double bass come together to birth a euphoric yet banging snapshot of a producer learning his chops. Destined is a slightly demented leftfield house number featuring mangled, pitch shifting fretless bass and vocals samples discussing someone's destiny.
A woozy end to the EP.

Dalton was a band from Tunis, the capital of Tunisia. They came together as a band around 1968 when most of the members studied together at the University of Tunis. The band had five members. Faouzi Chekili on guitar, piano and vocals, Ridha Kouhen on bass guitar, Mustapha Rehouma and sax and percussion, Sadok Gharbi on trumpet and vocals and Skaner Alim on drums and vocals. They were active in the local scene, playing music that was heavily influenced by American soul and funk and at the same time regional musical traditions. In the early 70s the band got a regular gig at a beach hotel called Sahara Beach Resort on the coastline of Tunisia. They had six month contracts for a couple of years in the early 70s and during that time they would play every single night of the tourist season. While the hotel gig required the band to play sets leaning towards tourist entertainment, the regular work helped put some money into the band's accounts. Using those funds the band was able to travel to Rome to record their one and only 7' single release "Alech" around 1971/1972. The band eventually dismantled in the mid 70s and returned briefly as a new group with new members in the late 1970s under the name Carthago but that is a different story.
"That "Soul Brother" is my jam.... !!!!" Lefto
The single itself impressed us heavily when we first stumbled upon it through French collector Victor Kiswell. While the b-side "Soul Brother' sounds like a Tunisian version of modern soul / AOR with it's English lyrics and lush arrangements, the title track "Alech' is the one that will get every party started. An infectious 3/4 rhythm, a great horn arrangement and brillantly layered vocals that made us think of Brazillian music or the Georgian groove band Gaya. Luckily Faouzi Chekili, the former band leader and composer uses social media communication so he was easy to track down. He is still active as a renowned musician in the Tunisian jazz scene and remains active recording and playing concerts both in Tunisia and internationally.

Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.

Canadian band the Holiday Crowd as part of the Snowflakes Christmas Singles Club, it was a match too good to not be made. The Toronto, Ontario-based indie rockers formed in 2010 and released a mini-album, a full-length and a 7" between 2012 and 2016. In 2022, the group returned with a new single, 'Party Favours', like their other records released by Portland, Oregon label Shelflife Records. Despite being Canadian, the band's sound is heavily influenced by British indie rock of the 1980s and early 1990s. For their Snowflakes Christmas single, the original four members of the band, lead vocalist Imran Hanniff, guitarist Colin Bowers, British-born bassist Alex Roberts and drummer David George Barnes, reunited to write the original 'Winterland'.

Winterland' takes you right back to the 1980s with its jangly guitar, rolling bass, pounding drums and Imran's warm vocals. The song seems to look back on childhood memories, but the parts about the heart that turned to coal, the last-minute shoppers and the 'graveyard malls' show that there is a deeper meaning to the lyrics. The single's B-side 'Hard Candy Christmas' was written by Carol Hall for the 1978 musical 'The Best Little Whorehouse in Texas'. The song became a hit for Dolly Parton in 1982 when it was featured in the movie version of the musical in which she starred. The Holiday Crowd's reworking of the song perfectly captures the melancholy of the original, with its message of focusing on the sweet things in life, even when times are hard. The single is released on snow-white bio-vinyl in a sleeve with a playful design by Kenichi Ueda and limited to 300 copies.

Anything goes, everything is OK,’ is New Cool Collective’s free and easy creed. These eight jazz players are continually reinventing themselves, finding new inspiration and inspiring others. Brilliant as ever under a new spotlight, New Cool Collective excels on their 25th album Everything is OK, released by Dox Records this autumn on 25 October 2024.

Earlier this year, the band celebrated its thirtieth anniversary with a pocket-sized ode to their prolific past: 30 Years Live. Having played and partied, the group turned their attention to the future: what next for an ensemble that thrives on musical experiment and collaboration? Where to now? Which way to go to rekindle that creative spark and foster that flame?

New Cool Collective has met the challenge head-on, determined to surprise their audience, and themselves too. They spent a little time reflecting, considering suggestions, weighing up options – eight creative artists exploring, coalescing. Soon their ideas gelled into something special. They laid down a series of tracks that both build on the band’s thirty-year history and feed on a newfound freedom to simply be New Cool Collective. Everything is OK embodies that sense of a group which knows how to surpass expectations, to make music from the heart, to go back to their roots, back to the essence of those early years.

Anything goes, everything is okay on a record that features extensive brass arrangements and orchestral elements. There’s something magnificent about those seductively intimate tracks, something way beyond the traditional orchestral big band sound. New Cool love to experiment with alternative production techniques, developing the final mix themselves to create a unique, unmistakably recognizable sound – however surprising or unusual the music, you know you’re listening to New Cool Collective – like you’re there and the band is playing just for you.

Everything is OK is brimming with ideas, surprise and humour. The music is contemplative, yet it also leads straight to the dance floor: it gets you moving – body and soul. This is music for the intellect, to take you out of your comfort zone and to show you subtly, ironically: is everything really ok?

It's Flohio's world and we're all just living in it. The rapper, singer-songwriter, party starter and artist extraordinaire is the table-shaking, fiercely independent titan carving out a unique lane for herself in music; that of a disruptor. A unique figure utilising the infectious sounds of UK music – everything from sparse grime to immersive, trippy house - to deliver visceral, high-energy rap anthems for a generation.
Flohio details the album's sound palette and its significance: "I grew up around the time of games like Playstations and Nintendos; I'm bringing back the nostalgia of me in my living room playing games with my friends at age 10. Game soundtracks like Final Fantasy and Super Mario. I wanted Out of Heart to speak to my inner child and where it all started while bringing me back to now and who I am today."

Next from the label that brought you "You Time", "Unrest Hazard 1" and "First Sign of Trouble" is a sizzling 5 track slice of 12" from renowned DJs and producers who get the crowd jumpin and pumpin, Deejay Atlas and K Super. The pair are known for an impressive back-catalogue of tracks the last few years on Ruff Cutz, SweetBox, Parallax and more, as well as for running the Certain Sounds label and parties in Manchester, UK.

This one takes a look at the less glamorous side of northern England's rave scene, the goings on under a dark night sky at a free party in a field somewhere near Manchester. Illustrated through tunes that possess the brooding spirit of 1993 and 1994 jungle and ferocious vocals, albeit as always when it comes to Erupt, with a modern twist for the 2020s that tells a story of the here and now.

Also featuring appearances from Buda and Wild Swan, as well as an EXCLUSIVE fifth track that you won't find on any digital releases of this EP!

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

qebrus (pronounced Ké-brusse) was a project by Thomas Denis, an enigmatic French musician and producer born in 1981 and based in Caen, France, before his untimely passing in February of 2018. His undefinable otherworldly compositions and internet glitch trickery turned many heads catching the attention and support of esteemed artists such as Aphex Twin, Four Tet and Venetian Snares. The appeal of his music to other forward-pushing producers was emblematic of the uniqueness of his productions and led to collaborations with the likes of Tom Middleton, Otto Von Schirach and Mr Bill. His only release on Love Love Records, 'ᐔ ᐌ ᐂ ᐍ ᐚ', proved to be one his furthest reaching, originally released on CD during a flurry of musical productivity during 2017. Those 6 tracks of intricate extraterrestrial electronics now get the vinyl treatment, having been lovingly remastered or this reissue and pressed on green coloured wax.

The qebrus guise was that of an alien stranded on Earth and this concept was consistent throughout. The project gained notoriety almost exclusively on the internet, with many people's first experiences of his persona coming from the use of chaotic ASCII syntax in track titles which at the time 'broke' many of the websites he used to host his music. This theme of incomprehensibility extended to the sonic qualities of his music, foregoing any shred of familiar sounds in favour of an entirely electronically synthesised sound palate resulting in jarring and frenetic works full of near-imperceptible micro-details.

qebrus rarely performed live with one of the few occurrences being at an after-party following the now legendary Day For Night Festival 2016 in Austin, Texas where Aphex Twin played some of Qebrus' music to a crowd of 20,000 as Thomas watched on in what was undoubtedly an otherworldly experience for him.

Despite his vision being entirely self-driven without a care for popularity or recognition, there were many people across the globe that connected with the sheer weirdness of it all. 7 years on 'ᐔ ᐌ ᐂ ᐍ ᐚ' still sounds wholly futuristic and will likely remain so for centuries to come. In a time where it seems everything has already been done before Thomas leaves behind a legacy of an artist who was truly 'doing their own thing'.

Thomas is survived by his two children who will be receiving his proceeds from sales of this release.

“really alien sounding music”
Aphex Twin —

“Did you know that guy, Qebrus? He was on his own shit, he was making some really out there music, his music was incredible”
Venetian Snares —

“Listening to intelligent dance music producer Qebrus feels a lot like entering another dimension, his music stumbling its way through electronic chaos, leaving the listener unsure over what just happened.”
Thomas Hobbs — Crack Magazine

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

Big up ! Kicking hardcore, very different from what Martel En Tête did before : straight and efficient. Looks like it's Party time !! ENJOY !

Confidence Man’s third studio album, "3AM (LA LA LA)" released via CHAOS/Polydor Records/I OH YOU Records, sees the delinquent party starters popify 90's UK rave sounds like no one before. Inspired by a recent move to London, meeting their idols KLF, and becoming immersed in the queer club scene, Confidence Man have taken the ideas of hedonism, ecstasy and losing yourself to the music and distilled them into pure a-grade euphoria. The record spans the electronic spectrum from breakbeat and trance, to left-field Underworld size techno and the “let’s 'ave it” punk energy of legacy artists like The Prodigy. “3AM (LA LA LA)” follows their hugely successful second album “TILT”, which featured breakout single and festival crowd favourite ‘Holiday’. Staunchly defying trends and bringing Janet, Sugar, Reggie and Clarence along for a helluva good time, "3AM (LA LA LA)" feels bigger, bolder and in some ways brutal, but like, in a hot way. "3AM (LA LA LA)" is a welcome escape from the dull wasteland of modern mediocrity, bringing the weird and wonderful world of Confidence Man to the masses.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Free The Robots unveils the second instalment of his tribute project to his Filipino roots.

The veteran member of L.A.'s Low End Theory collective (alongside Flying Lotus, Gaslamp Killer, Daedelus, Nosaj Thing) keeps his trademark punchy drum breaks and deep bass, but this time adds 100% samples from his archipelago (percussion, tribal voices, field recordings...).

Screen-printed sleeve

UK artist Risk Assessment is back once again with some potent sonic weaponry that is designed to make a big impact in the club. All four of the disco cuts are peak time sounds starting with 'Something New' which is awash with some crystalline synths and gloriously lush pads. 'Party People' is nice raw and live-sounding disco with lo-fi drums, slapping hits and a James Brown-style funk vocal. 'Like This Like That!' brings some funky little guitar motifs and a jumble of percussion while last of all, 'Girl At The Disco' shuts down with a more sensuous sound and slinky grooves that worm their way into your affections.

This release is a nod to the club. 5 tracks that are made for dancing in the dark.

Hypnosis is a mind control laced phenom. S.Ringer lends his voice as your guide to gratitude, and a good time as you move to the chords that push and pull your body to the beat.

The title track Echo Chamber, is an aggressively rhythmic beat. The atonal melody is accompanied by a looping bass-line that calls for circling the floor indefinitely.

Nasty is Stefan's current interpretation of a chicago style jack track. Simple and effective chunky drums with a jackin’ cadence are agreeably accompanied by panicked staccato synth lines and an almost hollow growling distorted bass that enforce the assignment…. to Jack!

Slanted House is a cool down. Feels like a tall glass of ice water after the heated dance session you just had. With chords that are smooth and deep, laced with that rhythm and bass-line that moves you instantly.

Sweet Chariot is a jewel in the crown of this release. Simply put, a song that is so smooth and yet grooves so strongly. A skating song if you will. Reminiscent of the so so def era in Atlanta but more laid back.

These are indeed 5 interesting dance cuts to match different temperatures of a party.

"Mrs. Ladyships and the Cleanerhouse Boys" are your new favorite MOD heart throbs. Is there REALLY a new Merseybeat Revolution? How many times can you really REALLY watch The Blow-Up alone in your room? Why don't you venture out the front door and take a bite of the real thing? The Smashing Times are a mainstay in the indie pop underground. The group mistrals the new modern life perfectly, the sharper world. collaged with 12 string guitar and mallet on the floor tom. 14 tracks 33RPM.

Repress! Get On Down is bringing back one of the best James Brown funk compilations to vinyl. Funky People Part 1 features the top tier of artists from Brown's People Records label, including The J.B.s, Lyn Collins, Fred Wesley, and Maceo Parker. Some of the James Brown organization's all-time best material is collected here, including The J.B.'s "Pass The Peas" and "Hot Pants Road", Fred Wesley's in your face politics through funk statement "Damn Right, I Am Somebody", Lyn Collins' smash hit "Think (About It)" and many more. These songs have been sampled in countless hip-hop songs over the years. Newcomers and diehard fans alike continue to dig into the James Brown and People Records vaults, and the more they do so, the more they realize that it's a nearly never-ending source of truly next-level funk and soul music. Thanks to the exhaustive efforts of Get On Down, this aural goodness will keep flowing to the public.

Colombian artist Kabinett brings a soul and harmonic proposal in the many forms of alternative disco and house through embellished productions and DJ sets finding himself every time as medium for all possibilities.

Involved in music from an early age through classical music, while being exposed and inspired by his older brothers in the many forms of what electronic music was developing, Nicolás, his given name, knew that his future and purpose was only going to be around what matters him the most, music. After learning different instruments in the early years and through a mix of self-education and formal education in contemporary music and music production, as well his first steps as a DJ, at age 20 he was ready to get involved in Colombia's capital electronic music scene as curator, DJ, label owner and music producer.

Founder of vinyl house label Nómada Records next to established artist such as Felipe Gordon & Joint4nine, his mentors, Kabinett have been fed enough to developed a full curation career working for Kaputt Club, El Coq & W Hotels, and more recently Casa Cruxada where he has helped to develop an identity for each which as of today has only enriched the local scene.

More recently as head of Kaputt.wav, his new label, which is now house of artist such as Curses, Iñigo Vontier, Theus Mago, Dombrance, Damon Jee, among many more, promises to keep growing and develope music overseas.
As of his personal artist career, have count on releases in labels such as Glitterbox, Midnight Riot Records, Partyfine, Platino Records, Duro, Playground, Sonido Moderna and more recently in Prins Thomas own label, Intersnajonal which will release his third solo EP in summer 2024.
With a deep understanding and experience on the music scene and a strong influence on dance genres, Kabinett and his music transcends the listeners souls and dive deep into a conscious dance.

One of THE most iconic albums to hail from Merseyside. ‘H.M.S. Fable’ was the third LP released from Shack following 1988’s ‘Zilch’ and 1995’s ‘Waterpistol’. A collection of majestic storytelling in guitar form, written by two extraordinarily talented brothers, Michael & John Head.

Originally released on Laurel Records/London Records in 1999, the band at that time comprised of
MICHAEL HEAD - Vocals, Acoustic Guitar JOHN HEAD - Electric Guitar, Vocals REN PARRY- Bass Guitar IAIN TEMPLETON - Drums, Percussion, Backing Vocals.

The album was voted #2 in both NME and Uncut’s critics album of the year polls, only missing out to The Flaming Lips’ ‘The Soft Bulletin’ in both.

Now released on the band’s newly-formed label Shack Songs, ‘H.M.S. Fable’ encompasses many musical styles, from orchestral guitar pop to psychedelic-tinged folk and even elements of Britpop, nicely summed up by the editor of NME Steve Sutherland in a 9/10 review, in June 1999:

‘’Not since Liam Gallagher howled his early indolent disdain has this music sounded so alive. 'Pull Together' is an anthem easily the equal of Oasis at their most loved-up and huge. ‘Comedy' tender and uplifting, like the missing track from 'Bridge Over Troubled Water', 'Daniella' a haunted and exhausted homage to Head's hero Arthur Lee, and 'Lend Some Dough' a rollicking Scouse Play For Today with a chorus that goes, "I've got a sore back and I'm itching’’ ”

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

In the 80s, the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains, an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album ‘Zilch’. In 1991, Shack made ‘Waterpistol’, an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed, but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97, they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’. They spent a long time making another classic ‘H.M.S. Fable’...