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Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious ‘If I Knew What I Know Now’ and ‘The World Is Wrong’ are examples of Vice Squad’s ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, ‘Battle of Britain’, showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent ‘If I Knew What I Know Now’, followed by the sparkling old-school tongue-twister ‘Out of Reach’. Next up is the visceral ‘Get A Life’, an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic ‘Resurrection’. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of ‘Allergy’ underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime ‘Sniffing Glue’, a near-perfect punk love song that would be a huge hit if not for its subject matter. ‘Ordinary Girl’ is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. ‘The World Is Wrong’ is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It’s always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, ‘Citizen’, and continue with another teenage opus, the quite brutal ‘Scarred For Life’. ‘Voice of the People’ is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, ‘Freedom of speech is against the law; now we’re all criminals,’ snarls its derision at red-handed red tape. ‘Punk Police’ sneers over a catchy-as-COVID guitar riff, and the lyrics, ‘Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,’ call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, ‘Humane’, and I’m struck by how relevant the older songs are. Chocks away, and the awesome ’Spitfire’ takes flight like Motörhead on extra amphetamines. Merlin engines fade into ‘Born In A War’, the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the ‘Last Rockers’, the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.' The four bonus CD tracks kick off with ‘Coward’, another teen Bateman/Bond composition. ‘No You Don’t’ is just over two minutes of vocal acrobatics over a Dexedrine-driven Devo-esque chord sequence, and the frantically brilliant ‘I Dare To Breathe’ from ‘Battle of Britain’ continues the aural assault. Then the final sombre entreaty of ‘You Can’t Buy Back The Dead’ warns us that ‘Enough’s never enough; absolute power will corrupt; the war machine still rumbles on’ before fading into the future.

Purple vinyl, limited to 150 copies. Born from the murky industrial depths of Birmingham, UK, Margarita Witch Cult's self-titled debut studio album is a tour-de-force in classic metal, hard rock, doom, and mind-melting psych. A thunderous drum fill propels you into opener 'Diabolical Influence'- a lurching behemoth of a tune that makes easy bedfellows of crushing stoner riffs, Latin incantations, and a simply humongous chorus. The pace quickens with the frantic 'Death Lurks at Every Turn'- a hair-raising thrasher of breakneck snare rolls and unruly guitar solos. 'The Witchfinder Comes' only furthers the sense of foreboding, as tales of torture and pleas for exile fall on the ever-deafening ears of the listener. 'Be My Witch' comes in hot and heavy as a grungy ode to the forbidden, and the blistering 'Annihilation' concludes side A with speed-freak ferocity. The more adventurous and immersive side B is kick-started with 'Theme From Cyclops' - the deft chops of all 3 members being undeniable as we gallop into the ambitious, face-melting journey that is 'Lord Of The Flies'-a belting doom groover that culminates in a classic guitar & bass dual to rival even the most virtuosic of axe-wielders. As we near the end of our perilous sonic expedition, 'Aradia' serves up an instrumental serving of pure downtuned filth, with sleazy swagger and tasteful shredding that give extra provenance to its author's deep bag of tricks. The killer blow comes in the shape of the simply savage 'Sacrifice'- an unholy exhibition of undeniable force. The duality of the track makes for an experience that leaves our sweet listener reeling- the bludgeoning weight of its monstrous main-riff giving way to razor-sharp verses and a tripped-out, mind-bending psych jam- only to come crashing back to crushing reality as the final, fatal notes ring out. With their debut LP, Margarita Witch Cult have crafted a timeless, merciless beast- one that will chew you up and spit you out, yet somehow keep you crawling back for more.

Long overdue repress of 'Acid Guru Pond', the incredible collaboration between Bardo Pond, Japanese psych-experimentalists Acid Mother's Temple and cosmic kosmische legends Guru Guru. The fruits of an incredible collaboration, Acid Mothers Temple wrap their psych rock wizardry and cosmic space noise around Isobel Sollenberger's ethereal vocals and majestic flute playing, the collective brings out the best in one another, feasting on innovation and distortion while not losing the swirling lock groove. Classic rock riffs merge and morph into the surrounding world music influences to cook up an enchanting and meditative brew. The naming of each song after a colour only further reinforces the vibe heavy proceedings. Classic black vinyl

This is their first new album in almost two years, which is rather short considering the time it took them to prove this theorem.
The songs coexist with a vast amount of musical information, including funk, hip-hop, hard rock, gospel, southern rock, and electronica, and sound open in all directions.

Noda's talent is astonishing, but at the same time, he also uses the metaphor of word play to poke at the truth. Noda's sensitive gaze toward
love and life, which exist side by side with despair, nihilism, and death, cannot be faulted in a work that carefully and skillfully translates such detailed sensitivities into sound. It is an unquestionable masterpiece.

Strut present the first international release in over 30 years by legendary Afro-jazz group Oneness Of Juju with their new album Made Through Ritual on 11th July 2025.

In 1975, the late DJ / producer and jazz distributor Jimmy Gray and James “Plunky” Branch joined a musical revolution, founding Black Fire Records and releasing the label’s debut album, the classic African Rhythms by Oneness of Juju. This July, Plunky brings this important musical relationship full circle with Made Through Ritual, produced by Plunky’s son Jamiah “Fire” Branch and Jimmy’s son Jamal Gray.

The album takes a novel approach to beat culture. Working from demos created by Jamal using a selection of original jazz samples, Plunky took the tracks, replayed and re-interpreted the arrangements using live musicians. “The album explores the art of deconstruction and reconstruction in music - sampling, sequencing, and live improvisation merge with multi-track recording to craft intricate harmonies and arrangements,” explains Plunky. “The process became a ritualistic expression of creativity and transformation.”

The resulting album is a fascinating listen. Opening with the meditative soul chant ‘Share This Love’ voiced by regular Oneness vocalist Charlayne “Chyp” Green, the album opens out into a series of jazz vignettes including the title track, ‘In Due Time’ and ‘Free Spirit’. The powerful album closer, ‘Children Of The Drum’ celebrates black culture and legacy through the poetry of Roscoe Burnem.

Released on 1LP and 1CD with specially commissioned cover artwork by contemporary Ivorian artist Maxime Manga, Made Through Ritual represents an important new chapter in the Oneness story. The album will be supported by a selection of European tour dates during Autumn and Winter 2025.

The Battle of the Year Poland 2025 Official Soundtrack is a powerful compilation created especially for b-boys and b-girls, capturing the energy and raw essence of the Polish breaking scene. Curated to accompany the prestigious Battle of the Year Poland event, this release features exclusive tracks from some of the most respected and influential producers in the country.

The tracklist showcases an all-Polish lineup, including talents such as Oer Beatz (IBE Beat Battle Winner), DJ Plash (Official DJ – Olympic Games 2024 Paris), the legendary DJ 600V, DJ Pablo, and many more. Each beat is crafted to elevate the dancefloor and pay tribute to the roots and future of hip-hop culture in Poland.

This soundtrack is not just a musical release—it's a celebration of movement, rhythm, and community, reflecting the strength of the Polish breaking scene on the global stage.

For All The World, the black watch's twenty-fifth (and first double) album is a darkly poppy, brightly moody, many-splendored take on a number of the great themes: Death and Sex, Memory and Lament and Hope and Love. And it is, arguably, this heralded Los Angeles band's most sonically ambitious and moving record yet, since front man/novelist/ex-English professor John Andrew Fredrick formed the group in 1988 in Santa Barbara after he'd seen a London-by-way-of-Canada band called The Lucy Show play to twelve-or-so people in his hometown.

Having recorded 2024's Weird Rooms with producer Misha Bullock and Fredrick's son Chandler at Bullock's studio in Austin, TX, the TBW founder was keen to repeat the experience with, he says, more straightforward, classic psych/jangle/shoegaze songs. The result, though artistically satisfying, spurred a yen in John to write more songs as a sort of reaction against the batch he'd carried with him from LA to Texas. "We had such a productive time recording ‘Weird Rooms’ that I wanted to repeat the experience... without repeating the experience. And once it was over and I left Misha to do what he pleased with respect to mixing and overdubbing, all I could think was 'I need to write another album now.'" So Fredrick brought longstanding producer/engineer and TBW-associate Scott Campbell (Stevie Nicks, Acetone) along this time to help out with engineering and good cheer.

Fredrick, who has been "accused" of being "astonishingly prolific," learned that bandmate Andy Creighton had recently become unemployed, seized the opportunity to have yet another multi-instrumentalist flesh out the new songs he quickly wrote after he came back from Austin. “Achilles Past,” the first single, is in fact a song that John wrote when the production team thought the album was done—and the front man avers that it’s often the case that a very strong song comes to him, as it were, in the eleventh hour. The same could be said for “Listen You Wait”—another number that came late to the Austin sessions.

Nevertheless, the recording of the first half of For All The World has Creighton's signature indelibly stamped on it - especially on such tracks as “Fainting” and “Surely You Rally”- just as the latter half highlights Bullock's formidable talents. "They're both not just brilliant musicians and they understand my aesthetic and bring their own sensibilities to bear on my stuff. Our respective tastes meet in, you guessed it, The Beatles' realm - the great shadow that hangs over all I do, at least."

"There's A Place," the final song on side two, serves in fact as a distinct homage that's been a long time coming for a band that included a cover of "It's All Too Much" as a bonus track and that release a quite punkish, uptempo version of "Eleanor Rigby" on a 7".

The Collective Cuts sub-label of Cinthie’s 803 Crystal Grooves makes a welcome return
with a fresh VA package, featuring Willy Mikkelson, Luca Olivotto, Batch One and Roque
(CRP).
Since its inception back in 2020, Cinthie’s Collective Cuts imprint has welcome the likes of
KETTAMA, 9th House, S3A, UC Beatz, Anaxander, Azuni and many more onto the label. Here
the story continues with more dynamic house jams from Cinthie’s coterie of underground
artists from across the globe.
Nashville, USA’s WiLLY MiKK leads with Devastate, laying the foundations for the records
with a classic Hip House vibe, fusing crisp drums, bright stabs and bumpy bass with
choppy hip hop vocals. Small Great Things head honcho Luca Olivotto follows with
‘Passion’, the Berlin based Italian delivers his refreshing disco-tinged House aesthetic via
funky guitar licks, bright chord melodies, ethereal pad textures and shuffled drums.
Batch One’s ‘When U R Free’ follows to open the flip side, merging snaking arpeggios and
bouncy bass notes with uplifting piano lines and a raw, robust rhythm section. Spanish
artist based out of Basel, Switzerland Roque (CRP) then concludes the package with ‘Bring
It Down’, perfectly rounding things out on a deeper tip, raw, reduced drums carry the
groove alongside an amalgamation of chopped vocal chants, dubbed out stabs and tension
building strings.

Reissued vinyl of 2023 album HELLMODE.Jeff Rosenstock makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils five degrees hotter, and with each new album, Rosenstock's music grows more unwieldy and lawless. Louder, faster, more feral. Which brings us to 2023_a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock's appropriately titled, anarchic record, HELLMODE. "To me, the album feels like the chaos of being alive right now," Rosenstock says of HELLMODE. "We're experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We're just feeling way too much all at once!" But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in HELLMODE, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like abruptly being flung into a Nintendo game on level 99. Vinyl is transparent black ice coloured!

Multidisciplinary artist Lyra Pramuk - producer, composer, vocalist, performance artist and astrologer - shares her sophomore album Hymnal: an earthy, raw and psychedelic burst of euphony for our collective healing. Classically trained and deeply inspired by Berlin"s club culture, Lyra has garnered critical acclaim for her vocal virtuosity and original, genre-fluid sound rooted in experimental vocals, instrumental composition and left-field electronics.

Multidisciplinary artist Lyra Pramuk - producer, composer, vocalist, performance artist and astrologer - shares her sophomore album Hymnal: an earthy, raw and psychedelic burst of euphony for our collective healing. Classically trained and deeply inspired by Berlin"s club culture, Lyra has garnered critical acclaim for her vocal virtuosity and original, genre-fluid sound rooted in experimental vocals, instrumental composition and left-field electronics.

"Connect is the latest and sixth album by world famous Dutch DJ Ferry Corsten. Connect represents a culmination of over 30 years of ground-breaking contributions to electronic dance music that has shaped the global music scene. The album is a sweeping journey through Ferry's career-spanning exploration of genres—trance, house, progressive, and techno—brought together by his signature sound and masterful emotional storytelling. Connect features a host of contemporary artists including producers Marsh, 22Bullets, Silva City (Alan Fitzpatrick & Reset Robot), and more. It also features vocalists Chris Howard, Diandra Faye and MERYLL amongs others. The album pushes the boundaries with features like AI-generated vocals, showcasing the evolution of electronic music in both artistry and technology. Every track on Connect resonates with Ferry Corsten’s unmistakable trance roots, yet each forges its own distinctive path. Connect is a testament to Ferry Corsten’s artistry, weaving a rich tapestry of progressive, house, breakbeat, and trance into a cohesive journey that celebrates the power of music to connect and inspire. Connect is available as a limited edition of 1000 individually numbered copies on purple marbled vinyl and includes an insert with notes by Ferry for each track."

Mysticisms is delighted to present the music from one of the inspirations for the whole Dubplate series, the lesser known, but admired Digi Dub label. Hailing from the late 80s / early 90s South-East London squat scene, the music of label head Lee Berwick and cohorts was unlike any other at the time. Not simply a retake on digital dub emanating from Jamaica, Digi Dub mixed the heritage of reggae with the alternative-culture of Britain to forge a unique version.

Inspired by punk and the early electronics of the likes of A Certain Ratio, Cabaret Voltaire and Throbbing Gristle, Berwick came to music production later, after first quitting a career as a computer programmer to travel through Asia, returning after several years just as electronic “computer music” was gaining a fundamental new lease in 1988. A regular at Jah Shaka gigs over the burgeoning rave scene of the time, he steadily built a studio centered around the Akai Sampler.

Based, at the time, in South-East London, it’s lack of underground “Tube” lines and challenging transport links, helped create its own social and music eco-system. Squatted houses, shops, clubs and parties all thrived around the triangle of Bermondsey, New Cross and Camberwell. After meeting Kenny Diezel and the Mutoid Waste Company, he started to formulate his “dubby electronic sound” by literally play live to thousands of wide-eyed Ravers at Mutoid Waste parties.

Recording as Launch DAT, the first tracks with Kenny formed, soon joined by Harry and Nick, the trio progressed from building a sound system to L.S. Diezel being created. Friends since their teens Harry and Nik progressed from playing in bands, jamming Sly and Robbie dubs to moving from the countryside of the Home Counties to urban Peckham and into the orbit of Mutoid Waste and the squat and party scene.

Progressing to include Atari S1000HD, Akai S3200XL, Alesis Sequencer and Roland 303, the sound expanded but the raw spirit remained. The early recordings with Berwick, in the beautiful “Lovers style” that is For The Love Of and its stripped-back instrumental “Stepper” dub accompaniment in Bad Boys, as well as an early take on take on the merging of digital dub and hip hop in Skunk Funk, all capture the essence of that London period.

However, the inclusion of the seminal Suicidal Dub, that appeared as the title to their debut album and was recorded on a bus a few years later after Mutoid had relocated to Rimini, Italy, offers a glimpse to the future. Heralded as a proto-dubstep classic it has long been sought after and its inclusion makes for the essential.

Mutate The Mystery.

Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. The follow up to “American Landscapes “ entitled “ The Day The Angels Cried” releases June 6 and coincides with a world tour. The duo weaves an intricate Lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem’s work comes from a tradition of avant-garde minimalism and lends itself well to the director’s stark cinematic works. Jarmusch has played guitar in bands on and off since the late ‘70s. Van Wissem’s compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called “New Music for Early Instruments.” The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem’s compositions, and sees himself as someone filling in the background to Jozef ’s foreground, like the “scenic” on a film shoot, the one who paints the backdrops. “The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury.” .According to Van Wissem: We started with layers of instrumental parts.. Jim recorded a otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track " The Day The Angels Cried" The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition. “The Day The Angels Cried” ( Inc 040/41) releases June 6th on Incunabulum Records, right before the duo start their World tour. releases June 6, 2025 Jozef Van Wissem Voice, Baroque And Renaissance Lutes, 12 String Electric Guitar, Slide Guitar, Electronics, Found Recordings Jim Jarmusch Voice, Electric Guitars, Acoustic Guitars, Passerelle Bridge Guitar, Electronics, Found Recordings

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Born from a desire to explore her background in film composing to create a music film, Hannah Holland’s upcoming album 'Last Exit On Bethnal’ is set for release via PRAH Recordings on 18th July. Together with director Lydia Garnett, the multi-faceted London producer shaped ideas born out of images the pair weren’t finding in film, inspired by queer icon filmmakers like Kenneth Anger and Derek Jarman. “We wanted to craft something unapologetically for dykes: a poetic, surreal exploration of dyke power and sexuality set in a fantasy underworld,” explains Holland. Once the film was shot, she channelled its stunning imagery and the energy of the cast into making the record. Seductive and bass-driven, its nine tracks merge sleazy guitars with 707 machine drums, beautiful evolving arps, and surreal moments of Lynchian dreaminess and Aphex Twin-inspired atmospherics. "It was a really amazing collaborative experience and coming together of a community to make something totally unique….and hot!” she continues. The first single ‘Biker’ features a filthy synth hook atop Hannah’s signature bass-guitar, perfectly capturing the raw and sexy energy of the album and its visual centrepiece. You can listen to it here. The film will be screened at a one-off club night at London’s ICA on 11th April in association with Culture Divided, Somesuch and Bala Project.

Hannah Holland has played a pivotal role in London’s alternative and queer London club scene since the mid-noughties. Rooted deeply in London’s fertile musical community, musical exploration and the transcendent potential of dancefloor have always been her biggest inspiration. Her recent delve into experimental theatre, film and TV scores has proved a future further artistic voyage to explore her creative vision. Holland first arrived on dancefloors sharing electro-tinged techno, with equal inspiration taken from the sounds of DnB and jungle heard at legendary parties such as Metalheadz, which she had frequented in her early teens. Having already been “borrowing” (and perhaps never since returning) Kraftwerk, Grace Jones and Talking Heads records from her parents, the influence of this metropolitan musical soup ensured that Holland emerged on the decks with a unique musical character and diverse taste, hallmarks of her sound that she has not lost since. This has been reinforced with trusted residencies at iconic parties such as Trailer Trash, Adonis, Glastonbury’s NYC Downlow, or undertaking far-reaching marathon sets at Berlin’s Panorama Bar. In 2006 Hannah started Batty Bass with vocalist Mama. Immediately a roadblock party and then a record label with releases from Josh Caffe and The Carry Nation sitting in its discography, Batty Bass explores the disparate strains of electro, acid, techno and house. Hannah also released her own music on the label including the ever-anthemic Paris’ Acid Ball.

A steady stream of releases have followed on Shall Not Fade, Super Rhythm Trax, Crosstown Rebels, Classic, Nervous, as well as remixes for Blessed Madonna ft. Kylie Minogue, Planningtorock, The Knife and Goldfrapp among others. Hannah also finds the time to play bass in several bands including Black Gold Buffalo whose debut album she also co-wrote. Her much-anticipated debut album, Tectonic, came out on PRAH Recordings in 2021, with a second on the way. Hannah’s latest venture into the world of film scores have included queer icon Bruce LaBruce’s ‘The Visitor,’ Channel 4 series Adult Material and award-winning indie feature Electrician.

Hannah Holland continues to push the boundaries of electronic and live music, telling stories and carving her own path in the deeper frequencies.

High Roller Records, reissue 2025, black vinyl, ltd 250, gatefold, 16 pages A4 booklet, Original cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

High Roller Records, reissue 2025, beer galaxy vinyl, ltd 250, gatefold, 16 pages A4 booklet, Original cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

After 45 years, Trigger’s never-released second album, Second Round, invites listeners to rediscover the hard rock sound that made the band a standout act of the 1970s. In early 1979, Trigger walked out of Electric Ladyland Studios with a completed second album. Mere months had passed since their self-titled debut came out on Casablanca Records, home to KISS and Parliament. The band had toured with Cheap Trick and The Godz, met Bruce Springsteen and Joni Mitchell, and things were looking bright. But Casablanca unexpectedly went bankrupt, and the label’s artists went into freefall. Trigger unsuccessfully sought interested parties, shelved the recordings and disbanded; a disappointing end for a band who dominated the Jersey Shore club scene on their way up with fiery, kick ass live shows. RIP Trigger: 1973-1979. Jump to 2024. Guitarist Richie House is living in Northern New Jersey with his wife, enjoying a relaxing afternoon at the community pool with neighbors. One of them, Andrew Wexler is shocked to discover his friend had a band in the ’70s. He listens to their recordings, and as an avid record collector, assumes the mission of getting that unheard second album released. He writes to Ba Da Bing, a label with Jersey roots. Much excitement ensues. Second Round’s long-awaited release will now be available. All original members—Derek Remington (vocals/drums), Jimmy Duggan (guitar/vocals), Tom Nigra (bass guitar/backing vocals), and Richie House (lead guitar/vocals)—are present on the recordings. Sadly, Duggan and Nigra have passed away, but Remington and House have overseen this reissue, with songs sourced directly from the analog masters.. The Trigger of today maintains a high level of quality, albeit with a bit less flair, and even less hair. And there’s more going on here than at first listen. While the band carries the earmarks of their era—melodic hard-rock fashioned for Saturday night parties—they override the cliché with incredibly catchy songs. How would a ripping song like “Back Talk” have been received in 1979? It’s a question we’ll never be able to answer, but the raw energy of the track spans generations. “One In A Million,” however, with its full harmonies and forceful chorus, could have easily made the soundtrack for Fast Times. Celebrate the discovery of this lost gem by giving it a listen. You’ll be Trigger happy…

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

MELODIES” is the first album released on the MOON label. The album was the first album released on the MOON label, and it marked a drastic change
in sound direction from the RCA/AIR era, as a result, the range of their work expanded, and the Christmas classic “Christmas Eve” was born from their work.
The result is a monumental masterpiece that will remain in the history of pop music. Includes “Christmas Eve” “High Air Pressure Girl,” “Merry Go Round”
and more. Includes detailed liner notes by Tatsuro Yamashita himself!

This edition explores identity, presence and the fragmentation of self.
It features a standout work by iconic Los Angeles photographer Parker Day, whose hyper-saturated portraits dissect the construction of persona and the tension between surface and essence.
Design is handled by legendary New York illustrator Braulio Amado, injecting the project with bold typographic energy and haunting visual language.

The zine includes poetry by Cristiano Grim, alongside original music by:
Foie Gras – drone and reimagined Americana from San Francisco / Los Angeles
Machino – Mexican electronic producer out of LA, blending distorted guitars, psychedelic riffs, and cinematic pulse into a sound that feels like driving through a neon fever dream
Valley Latini – dark Latin pop performer from New York
David Oliver Rose – post-punk rude boy from New York
Nick Hadad – dark ambient producer based in New York

FAKE4-MASK VS PERSONA presents a 25-page, 11x11” offset-printed, paired with a 12” 180g vinyl record featuring all contributing artists.
Audio mastering by Spaventi Studio.
It operates as both an aesthetic object and a critical inquiry, merging the disciplines of literature, music, photography, and design into a single act of publication as performance.

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

A double LP package from Bardo Pond, combining two of their super rare jam volumes on vinyl for the first time. A further edition in this celebrated series, ‘Volume 4’ and ‘Volume 5’ feature more freeform improvisational pieces from the hypnotic Philadelphia outfit.

Capturing the raw essence of the band, whose fearless exploration blurs the lines between structure, chaos, melody and noise. Bardo Pond's music traverses space rock, acid rock, post-rock, shoegaze, noise, Krautrock and psychedelia.

‘Volume 4’ hails from self-released sessions recorded in January 2002, its five tracks include the supremely tripped out heaviness of ‘K2’ and the balance-shifting ‘New Drunks (Revisited)’ with Isobel Sollenberger’s exquisite and, frankly, quite disturbing vocal. They’re shorter interrogations of sound by Bardo terms, almost succinct in their mesmerising riffage and off-kilter arrangements.

By contrast, ‘Volume 5’ consists of two lengthy mantras recorded between 2000 and 2004 and released as the tape spool spiralled out. ‘FUFO’ sounds like Cluster unravelling with Merzbow mixing, a post-industrial slew of hypnotic proportions, while ‘Monarch’ begins as a Current 93-like neo-folk mood piece before evolving into a wailing slice of drone-drenched Americana by way of a Velvets’ jam.

“We were pushing improvisations as far as we could. It was glorious having the studio. The more that our heads were spinning after a session, the better we knew that session would sound when we listened back. We were getting together two nights a week, usually three or four hours working on material and songs and the other half the time letting loose. Volumes 4 and 5 gather together some of these improvisations, and one early song that we felt like doing.” Adds Michael Gibbons of Bardo Pond.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

'Trá Pháidín are an Irish nine piece collective from Conamara, Galway, a wild coastal region of West Ireland where Gaeilge remains the first language. The group are currently lighting up Ireland's underground with their joyful noise, a unique and unpredictable blend of traditional Irish folk, post-rock, jazz, and Dadaist absurdity. The glorious album An 424 takes us on a psychogeographical journey along the 424 bus route which follows this remote stretch of coastline, introducing us to the landscapes and the characters who depend on the buses. Expect wild improvisational flights filled with brass, woodwinds, harp and fiddles alongside relentless grooves.

Here's what the band themselves have to say about the album:

Psychogeography is a funny aul term......the effect geography and landscape of a certain area has on the psychology, identity and nature of the local people...........I suppose

Notoriously, Conamara is famous place for psychogeoraphy due to the work of the great Tom Robinson. He walked every coastline in every area contemplating the geography, culture, history, Gaelic language, English language and folklore of the area while he was drawing it's best map with great depth and detail.

Right, so I've given context, a few buzzwords and some interesting names, now it's time for the absurd stuff....

"Bóthar Chois Fharraige" (the R336 and whatever anglicized name they call it) is well known by everyone in the South Conamara Gaeltacht (Gaeltacht is an area where Irish/Gaeilge is the dominant language, there aren't many because we were colonized by the British and our government doesn't care about its own language). The people of Conamara travel this road almost every day by car, by bike, on Peadar Óg's buses or of course, through the medium of the 424 (the bus service provided by Bus Éireann, Ireland's public-private bus company). From Bearna to Carna (maybe sometimes a detour in Casla going as far back as an Cheathrú Rua and/or Leitir Mealláin)

Every passenger is well versed of gorgeous views of the landscape that is on offer on this journey. Included are Cuan na Gaillimhe/Galway Bay, An Bhoirinn/the Burren, na hOileáin Árann/the Arann Islands,Aillte an Mhothair/the Cliffs of Moher, Portach Mhaigh Cuilinn/the bogs of Maigh Cuilinn, Bóthar Loch an Iolra/Eagle lake road, Cuan Casla/Casla Harbour, Cuan an Fhir Mhóir/Greatman's Bay, Cnoc Mordáin/Mordáin hill, Sléibhte Mhám Toirc/the Maamturk Mountains and Na Beanna Beola/the twelve pins. Passengers would also be well used the unique character of the bus. Depending on the day, you will get a unique perspective of the "complicated identity" of the Gaels as the bus travels from the Gaeltacht into anglophone Ireland, or maybe going the other way.

This is a topic you could write a PhD about (and maybe someone already has). But, if you are someone who grew up or lives in this region, you have a particular understanding at this stage of how complicated Gaelic psyche is and the kind of spectrum of identity along bóthar Choise Fharraige. With the landscape in mind, this bus journey is a great meditation of the various topics of life.

‘Bhfuil tionchar ag an mbus ar nádúr na ndaoine?
Nó an bhfuil tionchar ag na daoine ar nádúr an bhus?'

'Does the bus effect the nature of the people?
Or do the people affect the nature of the bus?'

Le gach dea-ghuí,
TP.

(translated from Gaeilge by Peadar-Tom Mercier)'

Ground-breaking afro-rock and jazz with Memphis soul roots on this lost 1972 gem. Lovingly restored and reissued by Matsuli Music


'Black Soul' from 1972 is the third and last known album by The Anchors, a soul group originally formed in Johannesburg's Alexandra township in 1968. Their first two albums, 'Soul Upstairs' from 1969 and 'Everything' from 1971, were issued on Teal's City Special label alongside other prominent South African soul groups of the era like The Beaters, The Movers and The Flaming Souls.

On 'Black Soul', The Anchors undergo a notable shift, moving away from their early Memphis soul influences towards a pioneering African-driven sound. These changes laid the foundations for an emerging afro-fusion scene in the years to come from groups like Batsumi, The Drive and Harari.

'Black Soul' features a who's who of intergenerational musicians from great South African bands over the decades. In addition to Zacks Nkosi, the renowned bandleader of the Jazz Maniacs and long-time member of the African Swingsters in the 1940s and 50s, this album includes kwela star Little Kid Lex Hendricks, known for his Columbia recordings of the late 1950s; as well as Zack's son Jabu Nkosi who would go on to play with The Drive, Roots and Sakhile; and Banza Kgasoane later a member of The Beaters, Harari and then Mango Groove.

Now remastered for its first release since the original 1972 pressing, this lost gem offers a revealing glimpse into the evolution of South African music during a transformative era.

Zacks Nkosi (Sax), Patrick Jabu Nkosi (Organ and Flute), Anderson Nkosi (Lead Guitar), Given Sabela (Bass Guitar), Kid Lex Hendrix (Sax), Banza Kgasoane (Trumpet), Peter Morake (Drums), Hamilton Nzimande (Musical Director).
Original LP issued in South Africa on GRC’s CBS label (LAB 4037) in 1972.
Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music, and Siemon Allen at Flatinternational.
Original vinyl sourced from the Flatinternational Archive.
Artwork restoration and design by Siemon Allen.
Audio restoration, mastering and lacquers by Frank Merritt at The Carvery.
Manufactured at Pallas, Germany.

FABRICLIVE’s new incarnation as an artist-focussed label continues, with a stunning two-track 12” by the Hong Kong-born, Netherlands-based rising star Kiana Li, aka gyrofield.

Rooted in drum & bass but distinctly the sound of now, this single sparkles with freshness, and stands-out with an exquisite verve for detail and craft. Balmy and comforting, atmospheric and melodic, the cloudsurfing breakbeats and celestial propulsion of ‘Akin’ is pure friendly pressure, whilst on ‘Mother’ big vocals, low-end precision and techno swathes soar even higher.

“'Akin' and 'Mother' remind me of my earliest days writing dance music. These are two free-spirited, transportive pieces that feel like spreading my wings and letting the air take me. Brought skyward in the hand of fate, nurturing yet weathered by my very own ideals. We all wish for better days. And toil to heal.” gyrofield

gyrofield has released music on prominent labels including Critical, Overview and Noisia's Vision. Last year she released the album A Faint Glow of Bravery on Metalheadz, and the EP These Heavens for XL’s prestigious house bag series, which has previously showcased music by Blawan, Joy Orbison and Overmono.

gyrofield is a regular on NTS and an in-demand DJ, whilst radio/club support has come from Mary Anne Hobbs, Objekt, Special Request and DJ Flight. Press fans include Rolling Stone, Crack, The Quietus, The Fader, DJ Mag and Resident Advisor.

“Scintillating - a sonic portrait of heaven that takes drum & bass and imbues it with the divine” Resident Advisor

“An artist whose journey and sound are quite unlike those of anyone else” The FADER

“Her vivid productions are a breath of fresh air in the scene” DJ Mag

“Merging the atmospheric and experimental with the melodic and emotional” Crack

“Packed with shapeshifting sounds that examine the universe and beauty of nature. Fusing atmospheric and spaced-out sounds with danceable sonics” Dummy

"She will never sit comfortably in any one genre or play to expectations or rely on any standard production formulae” UKF

Back with a bang for 2025, FABRICLIVE re-enters the fabric Records fold, which also incorporates Houndstooth and fabric Originals.

Reissued here for the first time, "Cartão Postal" is one of the best and most sought-after Brazilian funk-soul albums from the early ’70s. It includes some outstanding uptempo gems like Marcos and Paulo Sergio Valle’s ‘Que bandeira’, and the stellar ‘Esperar Prá Ver’, co-written by Evinha’s brother Renato Corrêa who also happened to be a member of the Golden Boys. This is a classic Brazilian soul-funk title, right up there with all the greatest albums of the genre. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics. "Cartão Postal" was originally released on Odeon Brazil in 1971, a few years after Evinha started her solo career. From 1961 to 1968 she was a member of Trio Esperança, alongside her brothers Mário and Regina. In 1969 Evinha won first prize at the Festival Internacional da Cançao Popular and her discography for Odeon took off. "Cartão Postal", her third solo album, comprises some outstanding gems. Songs like ‘Que bandeira’, by Marcos Valle, Paulo Sérgio Valle and Mariozinho Rocha, that moves between funk/soul and bossa/MPB grooves; the stellar ‘Esperar Prá Ver’, co-written by Evinha’s brother Renato Corrêa who also happened to be a member of the Golden Boys, is a mid-tempo funk soul number that features stunning arrangements and an epic bassline that is hard to be forgotten… ‘Só Quero’ emanates samba soul sounds while songs like ‘Por Mera Coincidência’ or ‘Rico Sem Dinheiro’ resemble what Trio Esperança was doing at the time: vocal-driven groovy jams spiced with celestial strings arrangements and heavy-duty drums and basslines, which is not surprising since they both worked with the same producers and arrangers, as they were all Odeon artists. Ridiculously rare and expensive now, and at the top of many collectors’ wants lists for decades, it’s finally reissued here after years unavailable.

“Music is the weed that keeps popping out of the concrete in my life. It just seems to want to come out.” –Jeff Bridges

Extensive booklet including liner notes by Sam Sweet, new interviews with Jeff Bridges, and never-before-seen archival photos.

Featuring Burgess Meredith (Rocky, Batman), members of Oingo Boingo, and assorted characters from the West Los Angeles art and music underground
Culled from a single decaying cassette tape labeled “July 1978,” these recordings are a window into the secret musical life of the Dude. Even after becoming one of Hollywood’s biggest stars, Bridges spent all his free time jamming and recording with a trusted circle of musicians composed of childhood friends, artists, and assorted L.A. oddballs.

Imagine The Band playing at CBGB with The Exploding Plastic Inevitable. Or Arthur Russell and the Talking Heads collaborating on a suite of mutant disco. Though Bridges and his friends were brought up around the movie industry, they decided to create their own private musical universe, where they could be as weird as they wanted.

Their music opens a portal to a hidden world of outlandish creativity and camaraderie in 1970s Los Angeles. It’s the missing piece of his musical evolution, revealed here for the first time in all its joyful abandon.

DESCRIPTION
Looming above Hastings on the South Coast of the UK, carved into East Hill, three black shapes are visible from a distance. Mysterious and ominous, they assume the aspect of the entrance to a church or a portal to dimensions unknown. Closer inspection however reveals them to be no more than mere follies carved and painted into the rock, as hoaxster John Coussens sought to convince visitors that an elaborate subterranean kingdom lurked within. Centuries later, this coastal town remains a place that serves as a magnet to the wyrd and the mischievous. And it’s here that the meeting of minds took place that led to 'Folly' - the second release for Rocket’s Black Hole series - an imprint focused on the unorthodox, otherworldly and esoteric. The journey that led to ‘Folly’ began in the dingy cellar of a wine bar in the town. Black Arches formed around a regular local experimental night in such environs aptly named Weird Shit, initially as a freeform musical outlet for author and musician Gareth E. Rees’ later incorporating Matt Frost from his garage rock troupe The Dirty Contacts, and frequent collaborator James Weaver, to form a vehicle for wild experimentation and psychic abandon. Given he was also a regular attendee, it was no surprise when Sexton Ming, arch maverick outsider artist and uncompromising iconoclast of over four decades standing, entered the picture. Soon after a perplexing but serendipitous chain of events took place, with demons conjured up via improvised sessions, poetic licence taken, dystopias chronicled, audio files gone awry, vocals overdubbed and laptops lost, Somehow amidst the sturm-und-drang ‘Folly’ was summoned in all its murky glory. As we embark on the second quarter of an uncertain century, just maybe this psychic travelogue is a dark prism to make sense of the chaos we confront. Whichever, it remains a spectacle as compelling as that by which Black Arches were named

Born in the vibrant alternative scene of 1980s Sao Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, and experimental elements. Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Their debut album, "Cadê as Armas?" (1986), is considered one of the most important records in Brazilian music history. Three years earlier, they recorded their first demo tape at the studio of the funk/pop band Placa Luminosa. The recording turned out great, it's the best you can wait from a Brazilian punk record: raw, aggressive, yet catchy, well-played and produced. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, this early recording by Mercenárias is more punk than their albums, but still super catchy. It has been remastered from the original tape and includes an insert with previously unseen photos and a short text by Edgard Scandurra.

Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Born in the vibrant alternative scene of 1980s Sao Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed in 1982 by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. Their debut album, "Cadê as Armas?" (1986), is considered one of the most important records in Brazilian music history. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. This is a compilation of rare tracks from 1983 to 1987. On the A side, there are 10 amazing songs that didn't make it onto their two albums. On the B side, there is a great live recording at the legendary Sesc Pompéia during their early days, as well as a "lost" studio session featuring some of their classic songs recorded for the cult film Vera. It has been remastered from the original tapes and includes an insert with previously unseen photos and a short text by Edgard Scandurra. .