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Nathaniel Russell is a multi-disciplinary artist from Indiana who creates drawings, paintings, prints, murals, objects, videos, and music, often with friends and fellow artists. And in 2023, he packed up his car and drove from his home in Indiana all the way to North Carolina to record new music with his long-time friend Amelia Meath (Sylvan Esso, The A's) at Betty's, the wooded studio haven of Sylvan Esso, where recent releases from The Tallest Man on Earth, Caroline Rose, Wednesday, The A's, The Mountain Goats, Flock of Dimes, Indigo de Souza, and many more have been born. This record began with a funny and sad idea Russell had about a funeral. "I imagined a picture of a funeral with a merch table. It was an idea full of darkness and sweetness to me. Immediately I thought about what my merchandise would look like, what it would be. I began to think about what the record for sale at my funeral would sound like. I started to think about the songs I have made up and sung to and with my friends, family, and myself over the years. I noticed how the songs I had sung the longest seemed connected to others from a different time. I had changed some words and how I played them but they were all of me and my time on earth. I heard how these things fit together. Of course I now needed to see this project become a reality." Songs Of was produced by Meath, engineered by Alli Rogers, and features additional performances from Joe Westerlund (Megafaun, Califone) and Nick Sanborn (Sylvan Esso, Made of Oak).

Introducing “Psyche Gems”, the Jakarta Records debut LP from LA based Rapper JUICEBOX & Norwegian producer duo Myeye. Debut LP “Psyche Gems,” a collaborative musical venture sparked by an impromptu Instagram jam session in 2021, is poised to mesmerize audiences. The brainchild of JUICEBOX, a versatile artist known for his roles as a singer, songwriter, rapper, and one half of the acclaimed group Figmore (with 10.4 Rog), “Psyche Gems” emerged from JUICEBOX's admiration for Simen Hallset's psych-pop band Gold Celeste (over 20 million Streams on Spotify). After reaching out to Simen, they swiftly connected with Henrik Norbakk, the other half of Myeye, igniting the genesis of the collaborative project. An Instagram jam session in 2021 gave sonic birth to LP “Psyche Gems”. Buttery vocals meet funky, soul-driven beats, meticulously recorded live, then chopped and repurposed to create an experience that transcends sonic definition. From vibrant head-nodding energy to lush beats seamlessly melded with an inimitable vocal delivery, “Psyche Gems” captures the essence of past and present, offering a kaleidoscope snapshot of life reflected through timeless grooves. The album's distinctive sound is characterized by meticulous layering, where each element is meticulously played, chopped, looped, and jammed over until achieving sonic perfection. United by their shared passion for old soul and jazz records, ‘90’s + ‘00’s hip hop, lo-fi indie, and psychedelic music, JUICEBOX and Myeye seamlessly fuse their diverse influences to craft a musical experience that resonates with listeners on a profound level. "We wanted to create something that inspires, provokes, and sheds light on the truths we all carry inside us," explains JUICEBOX. "Psyche Gems is more than just an album; it's an infinite journal entry of reflection, a testament to the power of music to illuminate the human experience."

Die Tokioter Band und Afrobayashi-Pioniere Ajate sind mit ihrem dritten Album zurück: Erleben Sie die explosive Begegnung von Afro-Groove und traditioneller japanischer Ohayashi-Musik! Die Band mit ihren explosiven Liveauftritten singt über die Kraft menschlicher Verbindungen, die Kraft des Zusammenseins und Zusammenlebens, die Freude am Teilen und die Schönheit des Lebens. Ajates Musik ist ein grossartiges Beispiel dafür, wie Sounds in die zeitgenössische Musik migrieren können. Mit ihrer neuen LP "Dala Toni" beweisen Ajate einmal mehr, dass sie an der Spitze globaler Musik "made in Japan" stehen.

Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.

Radio Support:

Ross Allen - Soup to Nuts NTS

Colleen Cosmo Murphy - NTS

Lauren Laverne - BBC 6 Music

Esk - Rinse FM

District Magazine (Ireland)

Peter Curtin - RTE

New Music Fix on BBC 6Music

Bill Brewster

Allchival present their second look at the music of Roger Doyle and Operating Theatre (a little known proto synth-pop act and experimental theatre group that he led.)

In reverse chronological order the second disc contains music from the United Dairies release of 1979 – ‘Rapid Eye Movements’. Experimental tape work heavily influenced by the French school of music concretists and recorded at various points during the 70s in Finland, Holland and Ireland, although it is most certainly a Roger Doyle solo record the label ran by Nurses With Wounds John Fothergill decided to release it under the group name for reasons now lost to the fog of time.

After this a volte-face towards a more accessible sound, coming via his friendship with future Hollywood actress Olwen Fouéré and her connection to the theatre. It also featured the vocals of a young Spanish immigrant Elena López- bucking the 80’s trend by moving to rather than from Dublin. With Fouéré adding the theatrical element to the group (an almost essential part of any early 80s synth act) alongside pulsing synths, brass, a vocoder and the electro acoustic production talents of Doyle himself, it was the first time a Fairlight sampler was used in an Irish studio setting and gives a prescient but alternative take on the new wave sound that came to dominate the charts soon after.
Doyle’s work on the newly released Fairlight sampler had brought him to the attention of U2’s Bono who had seen a feature about his sampling experimentations and reached out to him for piano lessons. This led to a deal on the bands embryonic Mother records for what Doyle calls his first “popular song” - Queen of No Heart - which alongside “Spring is Coming” made up the backbone of the EP which was released some years later (1986) on the Mother Records label. Established by U2 in 1984 and initially intended to launch Irish bands, many of the acts – including this one – were subsequently unhappy about the label’s haphazard approach to releases and lack of promotion. The record was released as a die cut 7 inch with the two main tracks and a 12 inch EP with additional tracks – ‘Part of My Make-Up’ / ‘Atlantean’ / ‘Satanasa’. The Mother experience was for Doyle and the rest of the group a frustrating one with no promotional plan and no tour. After that Operating Theatre as a quasi pop project ‘just kind of fizzled out’ says Doyle.

Doyle, the musical maverick at the heart of the act, continues to produce to this day and has released 30 albums. A frequent collaborator we round out the record with a remix from another Irish outsider - Morgan Buckley of the Wah Wah Wino fame.

Is this release the last volume of the edits-saga?? ….It seems to be. Four bangers as usual courtesy from the boss FrescoEdits himself plus a fantastic edit from Rogue D and one from secret Italian pioneers “Kings of groove” . Super-smart sampling stuff for the most eclectic dancefloors!

"Star Wars Stories is a collection of the most famous melodies & fan favourite tracks from the recent Star Wars Universe including The Mandalorian, Solo: A Star Wars Story and Rogue One. This compilation features main themes, epic orchestral tracks and emotional songs, paying tribute to the originals John Williams, Ludwig Göransson, John Powell, Anthony Williams & Michael Giacchino. This project is a follow-up to the 2019 release Music From The Star Wars Saga – the essential collection, a compilation of music from the Star Wars films. Included are the most famous melodies & fan favourite tracks from the hugely popular tv series, paying tribute to Ludwig Göranssons’ work. This includes musical highlights from the series ranging from the infamous main theme to epic orchestral tracks & character pieces for Boba Fett & Luke Skywalker. From Solo: A Star Wars Story, this tribute to John Williams & John Powell’s 2018 album features action-loaded orchestral musical highlights from the film and themes for the beloved characters Han Solo and Chewbacca. Star Wars Stories is available as a limited edition of 1000 individually numbered copies on ""Hyperspace"" coloured vinyl. This 2LP-set is housed in a gatefold sleeve, includes an insert, and features secret inscriptions in the run-out grooves.
"

Star Wars Stories by Various Artists, released 2 May 2024, includes the following tracks: "Luke Skywalker Hallway Theme", "End Theme", "Flying With Chewie", "The Adventures Of Han" and more.

This version of Star Wars Stories comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a marble, blue & white & black disc. Another vinyl is pressed as a marble, blue & white & black disc.

For the second release of the Back to Back series of Stolen Goods goes for two stables of the scene: label manager and old school pillar of the Italian scene Lele Sacchi and Italo Spanish beat master Bawrut.
After B2B1 saw the funky deep sound of Rogue D feat Joe Le Groove and the raw house grooves of Ruff Stuff got played by Laurent Garnier on his show and by peeps like Jamie Jones and Oliver Dollar in their sets and chosen by Beatport in most of their weekend picks here we are ready for two bangers for clubbing prime time! Bawrut's fame goes a long way back to in the best of Europe's crossover of electronic dancefloor music and indie and urban flavours. An album on Ransome Note, hits for Life & Death, Correspondant and tracks supported by Dixon, Jennifer Cardini, Ricardo Villalobos Sven Bath and playing B2B with Kink and Skream in festival and clubs like Sonar, Nuits Sonores, Fabric, Sub Club, Nitsa, etc. and now this massive hands in the hair, goosebumps in the back monster of retro future rave piece of music!
Lele Sacchi is known to have an ear for bangers having been behind the decks all over the world for nearly 30 years, so whenever and with various aliases he turns into producer is quite normal to find his music out on labels like Snatch, Soul Clap, Nervous, Internasjonal, Crosstown Rebels, Pokerflat, Rebirth and more and more classic underground dance stables. This time he keeps his know funkier deep groove but adds a kille stab in the breakdown to represent a vein of peaktime monster attitude.
Again a message 'From Clubbers to Clubbers' as we love to say here at Stolen Goods records.

Double 180g coloured marbled vinyl (Disc 1: translucent sun yellow with red; Disc 2: purple with violet & white) housed in a gatefold cover. Double EP 7" on randomly coloured eco vinyl with four new tracks written for "Risk Of Rain Returns". Carefully designed, beautifully remastered and loaded with new ways to play - "Risk of Rain" is back and better than ever! Dive into the iconic roguelike full of unique loot combinations, enhanced with new Survivors, overhauled multiplayer, fan favourite content from Risk of Rain 2 and more! Ten years to the day, after "Risk of Rain" was released into the world to become a true classic, the game is revived on November 8, 2023 as "Risk of Rain Returns" to reconnect with its fans and be discovered by those who didn't realise what they were missing. Time to give the iconic game soundtrack an update as well, isn't it? Creator Chris Christodoulou gives an insight on his work as well as the extensive and luxurious new vinyl release that come with some remarkable extras: "Can you believe it's been ten years already? It seems like yesterday that I was sitting in my small bedroom/studio in front of an aching computer writing the music for 'Risk of Rain'. And here we are, ten years later, returning to it to, adding to its musical compendium. What an unexcepted, magnificent journey! With this very special release we're celebrating both, the 10-year anniversary of 'Risk of Rain' and the release of 'Risk of Rain Returns'! This modular album contains the entire Risk of Rain soundtrack remastered and the four new tracks written for 'Risk of Rain Returns' (with contributions from special guest musicians Damjan Mravunac & Maria Papageorgiou).

180g Hyperspace Coloured Vinyl
2-LP Holland
Popular / Original Soundtrack
High Quality, Gatefold Sleeve, Insert, Coloured Vinyl

With Les Liaisons dangereuses 1960, Roger Vadim stirred up a scandal. Based on the famous epistolary novel by Laclos, the director presented audiences in the early 1960s with a film in which libertinism, scheming and the upper middle classes intertwine in 1960s Paris. Gérard Philipe and Jeanne Moreau excel, and the film is often considered one of Vadim's best. It also owes much to its music, which reflects Vadim's taste for jazz. For the soundtrack to Les Liaisons dangereuses, the director called on Art Blakey and his Jazz Messengerswhose exceptional musical qualities make for a record full of daring musical ideas and a marvellous choice of brilliant themes. The majority of the tracks feature Art Blakey's Jazz Messengers of mid-1959 with trumpeter Lee Morgan, tenorman Barney Wilen, pianist Boby Timmons and bassist Jymie Merritt joining the explosive drummer/leader. This beautiful re-issue of the original recording is pressed on 180g vinyl at GZ, and packaged in a deluxe gatefold tip-on jacket with the original liner notes and a photo of Gérard Philippe and Jeanne Moreau from the film, and additional notes by recording producer Marcel Romano from 1988.

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an
intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

The Band and Album Recording:
Christopher Budd: Electric Bass, Double Bass, Guitars, Electric Sitar
Jesse Chandler: Piano, Synths, Mellotron, Flute, Clarinet
Justin Hopper: Narration
Jim Jupp: Electric Piano, Synths, Mellotron, Percussion, Sound Effects
Max Saidi: Drums, Percussion

The project came together over two years, beginning with a conversation between Hopper and Jupp during a walk on the Sussex South Downs. Originally, it was to tell the tale of an American academic unravelling while adrift in an alienating English landscape. From the beginning, the pair wanted on a narration integrated lyrically into the piece, rather than dropped on top. The words gradually became more film-noir and open to interpretation; occasionally a little tongue-in-cheek. The final
texts explore a folklore of alienation; the way we impact the landscape and it impacts us.

Belbury Poly:
Jim Jupp has released EPs, singles and seven albums on Ghost Box as Belbury Poly. It’s generally a solo project, but he calls on a floating roster of like-minded musicians to extend the sound beyond studio based electronica. He is also one half of The Belbury Circle along with Cate Brooks (of The Advisory Circle) - occasional collaborators with John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including Beautify Junkyards,
John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

Surface Noise, a brand new LP of well-turned guitar pop, complete with roaring chords and propulsive rhythms behind Dunlap's clever and cultured lyrics. Austin, Texas quartet Gentlemen Rogues celebrate aggressive guitar pop anthems _ bearing the influences of The Replacements, Superdrag, Jawbreaker, and similar visionaries _ and have been gaining momentum and increased attention. Since their debut in 2011, the band _ Danny Dunlap (guitar/vocals), Josh Power (drums), John Christoffel (guitar), and Dave Hawkins (bass, vocals) _ have honed their hooks over numerous singles, EPs, and the 2022 full-length collection, A History of Fatalism. Gentlemen Rogues have supported diverse acts like the Lemonheads, Smoking Popes, the Dandy Warhols, Mrs Magician, and Riverboat Gamblers on stages across the U.S. and the UK. In 2021 Gentlemen Rogues opened for both indie-punk icons Superchunk and Bob Mould, who personally selected the band to provide sole support on the Texas leg of his Distortion and Blue Hearts tour. Little Steve Van Zandt, Springsteen's steady side-kick, has been strong supporter, Pressed on Transparent Electric Blue vinyl! Includes hand-numbered obi-strip and download card.

On Gut Buster, Yosa Peit spawns fleshy sonic escapades, a swarm of vigorously processed vocals and soulful bass, set to a backdrop of visceral percussive structures. Full of roguish curiosity, the record is cast with an air of lo-fi experimentation, but with a platinum glint of pop sensibility. Peit's second album grapples with the destructive force of modern consumption, Gut Buster is an anti-capitalist battle cry that syntheses intimacy and hostility; a surrealist-punk affirmation and a testament to Peit's singular vision and unique approach. The free-ranging sound of Yosa Peit recalls the intense arrangements of a cyber-era Prince with the surrealist tones of Arthur Russell and early Björk. At the album's core, "World Eaters" unleashes scorching guitars in search of humankind's end, "I was born on a planet, I got hungry and I ate it." Even in the face of planetary doom and personal obstacles, Yosa evokes our propensity for mischief, humor and pleasure. "bb moon" processes sound solely from her bass into wicked oblivion. "CALL ME," a song about friendship, chews up it's anthemic melody into a gnarled strut worthy of an A$AP Rocky production, while "HAD3S" urges us to find balance, nodding to the mystical fuzz of Prince. Yosa's work has been called "personal, punk, poignant, deep" yet her genre-defying production, as textured as it is catchy, escapes definition. Gut Buster takes that collective playground for creation to planetary reaches, congregating friends from Berlin, Cologne, and New York's fuzzy musical underbelly: Employee, Funkycan, Gerry Franke, Glenn Astro, Nauker, Paingel, Tbz, and UCC Harlo. The record was mixed by Brainfeeder affiliate Benjamin Vukelic in Portland and Jan Brauer in Berlin. "Glitchy yet supple, the broken beats and warped abstractions are wholly unpredictable yet deliciously odd, like an esoteric mashup of Bjork, Aphex and Laurie Anderson" Electronic Sound Classic Black Vinyl, Gloss Laminated Sleeve, Printed inner "Gut" sleeve plus DL card.

ACxDC—full name Antichrist Demoncore—are anything but subtle. So to make sure that their message is heard loud and clear, they take things a step further, smashing these ambiguous, sophisticated, and abstract notions into a pulp and shoving them down throats. What’s left are sharp, caustic, and unabashedly vicious bits of truth and poisonous tongue-in-cheek propelled by bursts of powerviolence, metallized hardcore, and grindcore. Over the seventeen short songs, the music closely follows these themes.

Japanese emo rockers nim have released their latest EP "Mushy" via Austin, TX label Shifting Sounds Records (Magnet School, Startographers, Gentlemen Rogues, Swallow The Rat). The style of nim is based in emo-rock, but the songs are unconventional and full of melodies. The band mixes male and female vocals to perform a gentle but overwhelming live performance with their sound. nim has grown in harmony with the independent scene both domestically and internationally. So far, they have released 3 full-length albums and many other singles, and have also conducted large-scale overseas tours in Australia, China, and South Korea. Their new EP "Mushy" is being released by Shifting Sounds on 10" Classic Black Vinyl. On their new EP "Mushy" the band further their emotionally charged alternative rock with a melodic and dreamy landscape. The songs are driven by chiming layered guitars and clean vocal harmonies under an indie pop song structure with lots of quiet to loud dynamics, often ending in climatic guitar explosions while sounding beautiful all at once. The band clearly draws inspiration from 90s sounding emo, shoegaze, dream pop, and jangly indie/emo rock are are not afraid to showcase these influences in their songwriting on the new EP. Japan has a number of up and coming bands paying homage to 90s emo, shoegaze and dream pop and nim should definitely be in the discussion.

New album by the successful duo Steve Kilbey (The Church) and Martin Kennedy. Interest and profile of Steve Kilbey has been raised considerably over the past year due to The Church re-forming, touring and issuing 2 new albums. Steve’s solo albums are all getting a complete makeover and the fan clubs are ablaze with rumours and gossips regarding forthcoming releases. Reviews & advertising in Vive Le Rock, Record Collector, Classic Rock, R2, The Big Takeover. Embark on a mesmerising journey with the third and culminating chapter of the highly acclaimed trilogy by Steve Kilbey and Martin Kennedy. Building on the success of Jupiter 13 (2021) and The Strange Life of Persephone Nimbus (2022), their latest epic, 'Premonition K,' unveils a sumptuous and organic sonic landscape, delving into the dark and enigmatic realms that exist between the boundaries of life and death. This album, a testament to their musical synergy, encapsulates a darkly beautiful soundscape, drawing inspiration from diverse sources, ranging from the haunting tones of Roger Waters' Final Cut to the shadowy depths explored by early 1970s Black Sabbath. Steve Kilbey, best known as frontman of legendary Aussie post-prog rockers The Church, infuses each track with an emotional resonance and sense of mystery. Martin Kennedy co-pilots this sonic odyssey with Steve Kilbey, weaving an intricate musical bed for Kilbey's lyrical dreamings. Drawing from his twenty years of soundscaping with All India Radio, Kennedy adds layers of sonic complexity, at once warmly familiar and mysteriously strange, creating an immersive experience for the listener. Together, Kilbey and Kennedy invite you to break out the Ouija board, turn off the lights, and immerse yourself in the mysteries of 'Premonition K'

Amadis and The Ambassadors" are a music group who came together in London, through front man Amadis Ferreira; cooking up a blend of music with flavours of Afro, Funk, Reggae and Soul on the menu. Rich in melody and groove, it will take you on a journey of rhythm and conscious vibration.

I want to express my unconditional gratitude to my mother and my father for all the love they have given me, all the guidance and for showing me how to share the same with all peoples in the most prosperous manner. I would like to thank my musical family, The Ambassadors, for their courage, advice, musicianship and having believed in this vision, without visionaries beside me the journey would be much harder and dimmer to see. Words alone cannot describe the joy in my heart, this is why we play music. You are blessed. My infinite gratitude also spreads to my beautiful sisters and nieces along with family dotted around various parts of the world, Angola, Portugal, India, Switzerland, Spain, Luxemburg, France, England; and to my spiritual family of dear friends, cousins, uncles and aunties spread throughout this planet all under one firmament. You are loved. Last but not least, I would like to praise my brother and friend Jonathan Rogers for opening up his studio and being the binding cord that enabled the possibility of this album to come to fruition along with the love that only true higher spirituality brings.

5 years after his last and 3rd album, Lucas Arruda finally presents his long awaited new LP, Ominira.
Since the release of his first album on Favorite Recordings (Sambadi / 2013), Lucas Arruda has clearly established himself as one of the most talented contemporary artist and composer from Brazil. His music is filled with fusion style, mixing influences and elements from his Latin musical background, with his genuine admiration for Jazz, Soul, Pop and Funk music.
During these 10 years of collaboration with label honcho Pascal Rioux, Lucas Arruda’ music has always received great supports and feedbacks from international media and tastemakers, each album perfecting the level of composition and production. With Onda Nova (2019), Lucas dived willingly into Robson Jorge & Lincoln Olivetti influences, aiming to capture the true essence of Brazilian Funk and AOR tradition. Now a father and family man, he turned more deeply into his native influences when composing this new beautiful album. Fully composed and produced by Lucas, Ominira also features appearances from friends local musicians and artists such as Italo Vinicius (Drums), Thiago Arruda (guitars), Roger Rocha (sax), or Flavia K and Andre Motta on vocals.
"Ominira is about freedom, art and music. It's also about honoring my ancestors and my musical influences. I delved a little deeper into my African roots, in addition to Brazilian music and rhythms, and my longtime passion for Soul/Funk. After a long production process I feel like I made my best album. So, I present to you OMINIRA, a new chapter in my career. Have a nice trip!"

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

After the release of the first volume of music selected by Klinkhamer Record shop owner Michel Veenstra in 2022, the anticipation and expectation amongst the heads for a follow up compilation has been building. Now BBE Music can announce that Klinkhamer Volume 2's
collection of music from the 70's and 80's is ready to add to the series.

An eclectic selection of tracks which crosses genres and styles, Michel has once again curated a compilation album of music that will appeal to the heads, the collectors and the lovers of the groove. A melange of folk, Jazz and funk for the headphones and the dancefloor, Klinkhamer juxtaposes instrumentals with vocal tracks in English, Swedish and French over a double vinyl release and a track order that creates as much a journey as a flow.

Michel, alongside his brother Stephen, is the owner of the Klinkhamer Record shop in Groningen and a regular trader at the globally known Utrecht Record Fair since the 1990s. It is this wealth of experience, a nose for a gem and an ear for a tune that that has fed into a compilation that has music lover stamped throughout its eight tracks, all remastered from original vinyl.

Coming as a double vinyl and digital release, Klinkhamer Volume 2 is a Godfather II level of follow-up to the previous compilation in the series and really is a must for all true music collectors, vinyl junkies and lovers of tunes curated for the mind, the heart and the feet.

Alice Russell is universally acclaimed as one of the best modern soul voices of our time, while her raw talent and charisma commands attention and affection. The much-loved British soulstress returns with the most personal album of her career. 'I Am' is vulnerable and bold while addressing how we must all work on ourselves to heal – so that we can love and connect with those and the world around us more honestly and with depth.

Life, loss and grief have been a central part of this period and a new approach to creating music: “Two little ones have joined me, and one has left - my dad passed away the summer after ‘To Dust’ was released. The day after my Dad’s funeral, I found out I was pregnant with my first little one.” Alice continues: “The grief journey has cracked me open and created a more urgent need to be focused and try to go deeper with how I communicate creatively and who I AM today, and I welcome it with open arms”.

Written and produced alongside long-time collaborator TM Juke, 'I Am' is the first offering of new music from the iconic singer in over a decade and marks a new era in the remarkable career of the down-to-earth vocal powerhouse. This summer, Alice graced the main stage of Gilles Peterson’s We Out Here, supported Nile Rogers and performed as part of a tribute to Aretha Franklin across France, marking her return to the stage, where she belongs.

Alice Russell is universally acclaimed as one of the best modern soul voices of our time, while her raw talent and charisma commands attention and affection. The much-loved British soulstress returns with the most personal album of her career. 'I Am' is vulnerable and bold while addressing how we must all work on ourselves to heal – so that we can love and connect with those and the world around us more honestly and with depth.

Life, loss and grief have been a central part of this period and a new approach to creating music: “Two little ones have joined me, and one has left - my dad passed away the summer after ‘To Dust’ was released. The day after my Dad’s funeral, I found out I was pregnant with my first little one.” Alice continues: “The grief journey has cracked me open and created a more urgent need to be focused and try to go deeper with how I communicate creatively and who I AM today, and I welcome it with open arms”.

Written and produced alongside long-time collaborator TM Juke, 'I Am' is the first offering of new music from the iconic singer in over a decade and marks a new era in the remarkable career of the down-to-earth vocal powerhouse. This summer, Alice graced the main stage of Gilles Peterson’s We Out Here, supported Nile Rogers and performed as part of a tribute to Aretha Franklin across France, marking her return to the stage, where she belongs.

Gatefold Sleeve / 180g Vinyl

Returning to the well of Roger Doyle once again, his “Babel” project spans a decade of composition work before its’ initial release in 1999 as a 5CD set. Over 100 pieces and almost 50 collaborators it marks a journey through a virtual tower of Babel with each piece corresponding to a room within an imagined giant tower city. For the 25th Anniversary vinyl edition Doyle has revisited it- remastering it and providing its first vinyl edit - 80 minutes spread across two 180gm LP’s - rounding out the package with extended liner notes and a download code to the full 6 hours.

We’ve previously explored Roger’s Operating Theatre days and the idea for this project came in the early nineteen eighties while Doyle was heavily involved with the experimental theatre group. Working with emerging technologies and across a variety of genres he realised that he would be unlikely to achieve an overarching compositional style. Instead deciding to make a virtue out of the fact that he composed so schizophrenically, he wished to create a musical alphabet out of short abstract sounds with these sounds being analogous to phonemes in speech. With Blade Runner and sci-fi embedded in the zeitgeist of the times he came to the idea of the Tower of Babel as both a futuristic skyscraper and also an embodiment of language.

In the spring of 1990 Babel was finally begun and kept growing until it reached over 6 hours of music and was released in 1999.A large-scale musical structure making use of many technologies and music languages, with each piece of music being thought of as a 'room' or place within an enormous tower city. Each track in the main section corresponds to a virtual sonic architecture. The pieces are divided into two kinds: aural representations of actual spaces like The Dressing Room, The Stairwell and Mr. Brady's Room alongside internalised dream spaces like the Room Of Rhetoric, the Spirit Levels and the Mansard childhood memory room. Listeners can navigate their way differently through this virtual building at each hearing. As a supplement to the Babel Tower KBBL - the fictitious radio station – broadcasts a number of shows. Each has its own style and atmosphere. Collaborating with DJs, actors, writers and singers, KBBL is made to sound like a real radio station with ads, traffic reports and phone-ins.

Examples of the connections within the project can be found via the architecture were the saxophonist in the off-stage dressing room is rehearsing for her solo in the concert-hall (heard in Pagoda Charm) or the room off the stairwell, where the sounds of piano lessons and apartment life can be heard and the apartment where a muffled KBBL can be overheard At a molecular level The Iron Language Alphabet is a sound alphabet containing tiny fragments of sound representing letters or characters of an alien alphabet. This sound alphabet can be heard scattered through other pieces like The Room of Rhetoric, Pagoda Charm and in KBBL in Johnny’s Body at 002. Other molecular scatterings can be found in Cantilena where two songs sung by Operating Theatre’s Elena Lopez in KBBL are exploded and re-arranged to form new entities.

Doyle’s Babel celebrates language - a slight variation on the Biblical morality tale - and musical expression in all its variety.

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

'Final Symphony II' erkundet weitere beliebte Musik aus der Final Fantasy-Reihe, aufgenommen vom dem Royal Stockholm Philharmonic Orchestra. Reichhaltige, geschickte Arrangements von Nobuo Uematsus Werken, erstellt von Roger Wanamo und Jonne Valtonen, eine Suite des Co-Komponisten Masashi Hamauzu, basierend auf seiner gewaltigen Originalmusik für Final Fantasy XIII, oder das stimmungsvolle Eröffnungsstück 'In A Roundabout Way – Fanfare'. Der Pianist Mischa Cheung steht im Mittelpunkt der Final Fantasy IX-Suite 'For The People Of Gaia' und des Solo-Arrangements 'You Are Not Alone'. Schwarzes 180g Triple-Vinyl.

In Menstrual Night was recorded in 1985 by Current 93, who could never be: David Michael Tibet, Hilmar Örn Hilmarsson, Steven Stapleton, Diana Rogerson, John Balance, Ruby Tathata Wallis, Keiko Yoshida, Rose McDowall and Bee. The album was mixed by Steven Stapleton, and was originally released as a picture disc on United Dairies / Maldoror (UD022/M) in 1985.

Intranced bestehen aus Musikern der jüngsten Classic-Metal-Welle, die an der US-Ostküste aufgekommen ist (Mitglieder von unter anderem Fortress und Poisoned Chalice), und Sänger James-Paul Luna (ehemals Holy Grail und White Wizzard). Die Band gehört nach nur einer EP und Single zu den heißesten Newcomern der Szene.

Den Grund dafür erkennt man, wenn man die sechs Stücke ihres Erstlings Intranced (2022) und die zwei Songs von Rogue Warrior (2023) hört, denn das Quartett aus L.A. vereint schillernde Musikalität mit erhabenem Songwriting, was ihre Musik im Grunde genommen vom Start weg unverwüstlich macht.

"Ich wollte ein Old-School-Metal-Projekt starten, das immer noch ein Rock-Feeling aufweisen sollte", erklärt Sänger Luna. "Wie zu der Zeit, als sich Hardrock langsam in Metal verwandelte, aber immer noch Groove, Funk und Boogie enthielt." Ob traditioneller US-Power-Metal in Verbindung mit Rock'n'Roll-Großspurigkeit wie in ‚Upside Down', die Punk-Attitüde des ansonsten wehmütigen Epos ‚Dream Lover' oder die rasante Band-Hymne ‚Intranced' - Intranced setzen die Messlatte mit ihren ersten acht Songs unglaublich hoch an.

Die von einem Cover des legendären Künstlers Michael Whelan gekrönte EP ist nun zum allerersten Mal auf Vinyl erhältlich, inklusive Rogue Warrior als Bonus, um die Zeit bis zur Veröffentlichung von Intranceds erstem Album im Laufe des Jahres 2024 zu verkürzen.

Red Vinyl

Intranced bestehen aus Musikern der jüngsten Classic-Metal-Welle, die an der US-Ostküste aufgekommen ist (Mitglieder von unter anderem Fortress und Poisoned Chalice), und Sänger James-Paul Luna (ehemals Holy Grail und White Wizzard). Die Band gehört nach nur einer EP und Single zu den heißesten Newcomern der Szene.

Den Grund dafür erkennt man, wenn man die sechs Stücke ihres Erstlings Intranced (2022) und die zwei Songs von Rogue Warrior (2023) hört, denn das Quartett aus L.A. vereint schillernde Musikalität mit erhabenem Songwriting, was ihre Musik im Grunde genommen vom Start weg unverwüstlich macht.

"Ich wollte ein Old-School-Metal-Projekt starten, das immer noch ein Rock-Feeling aufweisen sollte", erklärt Sänger Luna. "Wie zu der Zeit, als sich Hardrock langsam in Metal verwandelte, aber immer noch Groove, Funk und Boogie enthielt." Ob traditioneller US-Power-Metal in Verbindung mit Rock'n'Roll-Großspurigkeit wie in ‚Upside Down', die Punk-Attitüde des ansonsten wehmütigen Epos ‚Dream Lover' oder die rasante Band-Hymne ‚Intranced' - Intranced setzen die Messlatte mit ihren ersten acht Songs unglaublich hoch an.

Die von einem Cover des legendären Künstlers Michael Whelan gekrönte EP ist nun zum allerersten Mal auf Vinyl erhältlich, inklusive Rogue Warrior als Bonus, um die Zeit bis zur Veröffentlichung von Intranceds erstem Album im Laufe des Jahres 2024 zu verkürzen.

United States Of Islam is the second part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music. Armed with a cleverly provocative title, USoI showcases a moodier side of Muslimgauze. While the trademark blend of driving percussions and minimalism reigns supreme as always, the general feel is much more dreamy and mysterious than on some of Bryn Jones’ more forthright pieces.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.

New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues. All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

Recorded in 1957, Paris.
Original LP issue: Guilde du Jazz J-1239.
When Miles Davis heard Barney Wilen for the first time during a jam session at the Club Saint-Germain in Paris, he exclaimed: “This is the best tenor saxophone I’ve heard in Europe, he plays tenor in an authentic way, much better than many current stars in the States.”

Barney Wilen’s mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother’s friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often.

He moved to Paris in the mid-’50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim’s Les Liaisons Dangereuses (1960). He’s probably the first non-US musician to play at the Newport Jazz Festival – it was in 1959.

In 1957 he made his very first album as leader, The Barney Wilen Quintet for the US label Guilde du Jazz / Jazztone at the age of 20. Unfortunately, this record was not widely distributed in France because Barney was under contract with the French label Vogue. This album reflects joy and sadness on an emotional level by the subtletly of Wilen’s musical imagination and physical releasing the essential siprit of jazz swing. On this so rare record, Barney plays with : on alto Hubert Fol, who recorded couple of times with Django Reinhardt. On Piano Nico Buninck, born in Amsterdam, is considered one of the best Young pianist in his country. Lloyd Thompson is a Young talented bassist who played with Lester Young, Dizzy Gillespie and Kenny Clarke. On drums Al Levitt, 25, has already toured in the USA with Charles Mingus, Lennie Tristano, Stan Getz and Lee Konitz.

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band BLUAI is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes.
Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of BLUAI's debut album.

Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. BLUAI's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. BLUAI thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House.

Save It For Later is the creation of a group that came together two years after the formation of BLUAI, found a common drive, and is now cruising at full speed. BLUAI is here to stay.

The spanish Techno/EBM duo formed by Roger Salmeron and Santiago Serrate returns after 11 years of their last release with their first vinyl EP with a compilation of 4 remixes recorded between 2006-2009.

The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled ‘Wyrd Psearch’ (out March 1st on Upset The Rhythm).
‘Wyrd Psearch’ was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson / Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.
Subjects covered lyrically on ‘Wyrd Psearch’ include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie.
Walker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird / wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by ‘Wyrd Psearch’ is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. ‘Wyrd Psearch’ is a document of The Pheromoans mastering their unquiet moment.

Jeff has recorded an awesome new solo album down in Muscle Shoals, Alabama, with some of the
legendary players, including Kelvin Holly (Little Richard, Bobby Bland etc.), Clayton Ivey (The Staple
Sisters, Thelma Houston), Justin Holder (Keb Mo', Delbert McClinton) and Shonna Tucker (Booker T.
Jones, Drive-By-Truckers). The album is produced the Dick Cooper of The Cooper Brothers.

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis