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Earl Morgan and Barry Llewellyn joined by Naggo Morris in 1978, with the genius engineer Sylvan Morris and the mighty Niney the Observer at the controls, and a crack band featuring Sly Dunbar. Every Day Life and Mr. Do Over Man Song are crucial, tip-top Heptones.

The rubber of ER Jurken"s pure pop fantasias meets the road on his second album, aided and inspired by a power trio of players from Chicago"s Junegrass to crank it up and out of the park. Paul Von Mertens" string and horn arrangements highlight the gritted teeth and dripping sweat that belie Ed & Co"s easy riding rock, while Jurken"s heavenly vocal choir provides balm to transcend and defy the stings of everyday misfortune.

Originally released in 1999, Everything Is Green is the debut album from Brooklyn based The Essex Green, a seminal band within the Elephant 6 collective. Combining chiming guitars, warm harmonies, and subtle psych-pop textures, the album stands as a timeless document of late-90s indie pop creativity. This official vinyl reissue brings back the band's beloved debut in a beautiful transparent lime pressing, giving fans and collectors a chance to experience its delicate, sun-drenched melodies on wax for the first time since their original release in 1999. A must-have for those discovering the Elephant 6 universe or revisiting a modern classic of indie pop. For fans of: The Apples in Stereo, The Olivia Tremor Control, Camera Obscura.

The musical legacy of a night that will live on for years - Fermin Muguruza's 40th anniversary roar! Under the title "Akelarre Antifascista" (which literal translation would be "Anti-Fascist Witches' Coven", but loosely translated as Anti-Fascist Celebration), in a reference to the legendary Akelarre, a wild gathering of Basque witches, this album distils all the intensity, sweat and collective excitement of a night when thousands of voices joined together to celebrate not just a career, but a way of seeing art as resistance. On 15th February 2025, Madrid saw more than just a concert: it was a collective ritual, an anti-fascist demonstration in which thousands of voices came together as one to emphasize the tenacity of a voice that never surrendered. Four decades after lighting the fuse of combative rock in Euskal Herria, the Basque Country, Fermin Muguruza chose the capital of Spain, a city that closed its doors to him so many times and that he has described as "the heart of the beast", to make the definitive record of his 40th anniversary tour. The result is "Akelarre Antifascista", a live album that distils the history of a musical and political resistance that has spanned generations, languages and frontiers. The concert, sold out with 15,000 people, was an explosion of energy, memory and future. Right from the first chord, the Sports Palace of Madrid became an open setting, a free territory where bodies, rhythms, languages and flags mixed freely. Triple 180gr vinyl LP in trifold sleeve.

Released in partnership with our friends at Neon and Filmtrax to release Edo Van Breemen’s score to Osgood Perkin’s latest horror hit The Monkey. Based on the Stephen King short story produced by James Wan (The Conjuring, Saw), The Monkey is a new trip by Longlegs writer/director Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart.

Twenty-five years later, the monkey begins a new killing spree, forcing the estranged brothers to confront the cursed toy. The score is as playful as the movie itself, whimsical when it needs to be, but also managing to be terrifying and tense.

Lenticular edition strictly limited to 1000 copies pressed on brown & green split vinyl, housed in a printed outer O-Card. Composer Edo Van Breeman told us that when they were recording the score, "Mr. King’s Monkey haunted our process for the entire duration of post-production on this film while Mr. Perkins possessed us to mutilate sounds and arrangements in a manner beyond our control. We hope you enjoy this record, and if not... shit, man, that sucks.”

AboutBlank produces here 3 majestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM hardfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Digital Dub from East France, very Jahtari influenced, with a Low-Fi texture and some bloody good featurings with Brother Culture and Charlie P ! Indie Prod ! Support !

Following their successful comeback, they dropped another album featuring a variety of country and pop songs, as well as covers of artists such as Jimmy Cliff and Randy Newman. The album is a stylistic follow- up to No Regrets , where the group blends their pop songs with romantic orchestral arrangements. The singles "Lines" and "We're All Alone" became firm favourites with fans, and the album is widely regarded as a hidden gem among fans of country pop and yacht rock

Gelbes Vinyl, limitiert auf 200 Exemplare. Exklusiv für den Indie-Handel. Kommt mit Texblatt und Downloadcode. Great Resignation! So wird das massenhafte Kündigen von Bullshitjobs während der Corona-Pandemie bezeichnet. Die Verweigerung die eigene Arbeitskraft zu den widrigsten Bedingungen zu verkaufen, wenn es nicht mal zum Leben reicht. Auch wenn man sowieso bald wieder ran muss - nur für einen Moment spüren, die Macht zu haben alles lahm zu legen, hörten einfach alle auf: Wertschöpfung, Broligarchie, Kaufland, Deutschland. pogendroblem haben sich also nochmal zusammengerauft und ein neues Album gemacht. Drei Jahre für ein neues Album? In der Tat: Great Resignation. Oder zu wenig die Brotjobs gekündigt? Und wenn sie die Arbeit so hassen, warum haben sich pogendroblem dann noch weiter in die Musikindustrie reinbegeben? Widersprüche schärfen und aushalten. Ambiguitätstoleranz. Nachdem AWINHSMK Ende 2022 bei Audiolith erschien, ging es für die Band wild hin- und her zwischen Pop-Festivals, Punkbühnen, Preisverleihungen und Solishows für selbstverwaltete Kulturzentren oder gegen die extreme Rechte. Nun der Nachfolger Great Resignation bei Kidnap. Das Schulterklopfen der Kulturförderung darf natürlich auch nicht fehlen. Zwölf Tracks auf 1:22 bis 2:30. Ästhetisch nochmal diversifiziert und dennoch aus einem Guss, entstanden unter Regie von Gregor Hennig im Studio Nord Bremen, gemischt von Daniel Roesberg und gemastert von Christian Bethge. Musikalisch klarer und pointierter als zuvor. Obviously (Post-)Punk, poppige Niedlichkeit, Garage Vibes, bisschen Hamburger Schule, bisschen Kraut, etwas düsterere Gitarren und natürlich Brotschneidemaschine durch FX geballert. Große Resignation! Die große Traurigkeit zieht sich durch die Platte hindurch, auch in den auf den ersten Blick lustigen Liedern. Denn hier sind sich pogendroblem treu geblieben, es geht um absurde Alltagsgeschichten, um Subjektivierung, die nicht mehr zu funktionieren scheint. Um Fragmentierung von Gesellschaft, Arbeitsbeziehungen, der Linken. Wie durch die Zeit der Monster (Antonio Gramsci) navigieren, fragen pogendroblem. Wie weiter machen gegen Faschisierung und Klimakrise? Klar ist: Es kann nicht immer so weitergehen.

Continued Sound is proud to present The Shadow by Ojiji.
In 1979, Rupert “Ojiji” Harvey put out one of the most distinctly original albums of a generation. Combining progressive jazz-fusion arrangements with soul, funk, and reggae from his native Jamaica, Ojiji’s The Shadow is an album only he could create.
Ojiji, along with his brother Carl, were performing in nightclubs before they were old enough to legally enter. At just 15, Ojiji was tapped by reggae keyboard legend Jackie Mittoo to join his band The Cougars. Not long after, the Harvey brothers teamed up with other Cougars members to form the funk band Crack of Dawn. This union proved to be groundbreaking, not just in the soul/funk genre, but for Canadian music as a whole. In 1975, they were signed to a major label, Columbia Records, the first Black Canadian band in history to do so. Tracks like “It’s Alright” and “Keep the Faith” still echo in the halls of Canadian funk history.
Personal and industry differences caused Crack of Dawn to break up in 1977, and a young Rupert Harvey was without a band for the first time. However, the creative mind never rests. Outside of the band, Ojiji had been writing and composing his own personal songs since age 17. These songs were a fusion of the sounds and styles he’d soaked up during his time with his musical mentors mixed with new emerging musical influences he was hearing every day.
With the help of his brother Carl and some Crack of Dawn bandmates, he began recording his debut solo album The Shadow. The band's tightness heard in the intricate arrangements are a testament to their interwoven musicianship at the time. Many tracks were recorded in only one-take. Each song in The Shadow’s eclectic glory paints a picture of a young man's singular lived experience through music. Regaling us with where he’s been. Inviting us to where he’s going.

36 Jahre nach dem Fall der Mauer, präsentieren Dirk Zöllner (Die Zöllner) und Manuel Schmid (Stern-Combo Meißen) die schönsten Balladen aus dem
Land vor unserer Zeit. Keine Nostalgie Show, sondern Pflege eines hochwertigen Kulturerbes. Ein opulentes klangliches Erlebnis mit zwei Sängern,
zwei Klavieren, Saxophon, Gitarre. Lieder von Lift, Karat, Biege, Bartzsch, Bicking und Lakomy. Sänger und Pianist Manuel Schmid sorgt auch mit
eigenen Alben in der deutschsprachigen Musikszene für Aufsehen und hat 2024 mit der EP „Die Himmelsscheibe von Nebra“ die Stern-Combo Meißen
wieder in aller Munde gebracht. Saxophonist Marek Arnold ist in der internationalen Progressive-Rock Szene längst eine feste Größe und hat
gemeinsame Alben mit Steve Hackett (GENESIS), Jon Anderson (YES) oder Derek Sherinian (DREAM THEATER) veröffentlicht. Das vorliegende
Konzertmitschnitt wurde von ihm bearbeitet und gemixt. Sänger Dirk Zöllner und der Pianist André Gensicke arbeiten seit November 1987 zusammen
und gründeten im Juni 1988 ihre Bigband „Die Zöllner“. Sechzehn Alben erschienen in den vergangenen 35 Jahren. Zöllner veröffentlichte außerdem
vier Bücher und engagiert sich als Kolumnist der „Freien Presse“ für einen friedvollen gesellschaftlichen Zusammenhalt. Das Raue und das Weiche,
das Improvisierte und das Klare – schon mehrfach kam es zur Symbiose der sehr unterschiedlichen Stimmen von Dirk Zöllner und Manuel Schmid. In
Zeiten von Corona veröffentlichten die beiden ein Wohnzimmerkonzert mit besagtem Liedgut. 2024 wurde die Symbiose nun live erlebbar und als
Mitschnittfestgehalten.

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

"Brooklyn-based pianist Eva Novoa returns with The Freedom Suite: Novoa / Carter / Mela Trio, Vol. 2 — the second radiant release from her compelling trio with saxophone icon Daniel Carter and celebrated drummer Francisco Mela. This marks Novoa’s sixth album with 577 Records. The trio first came together live in 2021, followed by a series of performances, including appearances in Cambridge (Boston) and later at the Brooklyn edition of the NY Forward Festival.
"The Freedom Suite is an homage to jazz titan Duke Ellington — particularly his masterful big band suites and legendary orchestra featuring Johnny Hodges and other luminaries who helped define an era of jazz greatness. In contrast, Novoa presents her Suite in a more intimate format: the piano trio. The album comprises twelve pieces — mostly brief — with a few extended tracks such as Free to Be Free and Cyborgs.
"For this recording, Novoa also steps in as a vocalist on several tracks, including Mainstream Media, Big Grande, Global, Free to Be Free, Dream, and Cyborgs. These pieces often feature a vocal dialogue between Novoa and Mela, whose expressive, word-infused style draws from rich Cuban traditions.
'Words are powerful,' says Novoa. 'They define who we are, where we come from, and who we hope to become. Without words, there is no conversation — and without conversation, there is no real sense of time, space, or connection.'
The Freedom Suite emerged from deep philosophical and creative conversations — spoken, written, and improvised — between Novoa, Carter, and Mela. In the studio, Novoa introduced printed texts that served as thematic foundations for spontaneous, in-the-moment musical interpretation. The result is an urgent and organic interplay, where instruments speak to one another in a language as fluid as it is fearless.
"Standout track Cyborgs begins with Novoa’s percussive piano, exemplifying the trio’s dynamic, conversational energy. Creative Destruction features Novoa on electric harpsichord in a wild, electric exchange. While Free to Be Free stands out as the album’s leading single, it also captures the essence and message of the entire Suite.
"Recorded in 2021 at New York City’s legendary Sear Sound Studio, the album captures a creative explosion of sound and spirit. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs — even whistle — showcasing her expansive sonic palette. Together, the trio embodies the power of free improvisation and emotional storytelling.
"Originally from Barcelona, Spain, Eva Novoa has been cultivating her distinctive voice since childhood. Now a staple of the New York creative music scene, she has performed across the globe and collaborated with some of the most adventurous voices in jazz and beyond."

About DJ Yoke..

Born in the small city of Aveiro, Portugal, DJ Yoke (Gabriel Casal) is a hip hop DJ and producer with over two decades of experience shaping the underground scene. In 2011, he was awarded Hip Hop Band of the Year in Portugal and crowned champion of the DMC Battle Supremacy, alongside multiple finalist appearances in the same competition.

Known for blending raw hip hop beats with broken beat and groove-driven textures, DJ Yoke has built a solid independent catalogue, including three solo albums and three beat tapes released independently.

In 2025, he unveils Yoke Fora de Órbita, a landmark release that represents a more mature and refined stage of his artistic journey. The album marks his first physical release, available on vinyl and cassette, and reflects the strong influence of his recent years based in London.

Conceived to be performed both as a live act with musicians and as a DJ set, Yoke Fora de Órbita expands Yoke’s sonic universe beyond the traditional DJ format. Live performances with musicians are scheduled for London, Lisbon, and other European cities.

No longer just a DJ, DJ Yoke continues to redefine his role as an artist — while keeping the turntable as his core instrument.

2026 Restocked!

If you've been following the Payfone story over the last 13 years, you'll know that Phil Passera and Jimmy Day's long-running collaborative project has specialised in one-off musical morsels - sublime songs cooked up in cahoots with all manner of guest musicians and vocalists. Never ones to rest on their laurels, Day and Passera have now delivered a full six-track tasting menu in the shape of Lunch, their hotly anticipated debut album.

Recorded over an 18-month period at Passera's Barcelona studio and Day's studio in Brighton, Lunch is an unsurprisingly assured and musically detailed affair that's entirely made up of previously unheard songs. Unlike acid-flecked recent single 'Volt To Volt', which delivered a tweaked take on late 1980s house music, the album's six tracks showcase the trademark sound the duo has been developing since first joining forces 13 years ago.

Trawl back through Passera and Day's high-quality catalogue, which includes outings on Leng, Golf Channel Recordings and Defected as well as their own OTIS imprint, and that distinctive musical recipe becomes clear. Rooted in their love of classic drum machines and their trusty JUNO-60 synthesiser, the Payfone sound combines equal amounts of electronic and organic instrumentation, warm and inviting downtempo and mid-tempo grooves, and pertinent and thoughtful lyrics delivered with panache by an impressive roll call of guest vocalists.

Lunch, then, is a standalone sonic statement - an initially vinyl only album on their own OTIS imprint - that continues this impressive lineage. Like all Passera and Day's collaborative work, it is free of samples, with the pair preferring to create their own sounds from scratch. Opener 'Movin' On', featuring the honeyed vocals of former XL Recordings artist Willis Earl Beal AKA Nobody and slap-bass from Jo Gabriel Harris (who also features on three other songs across the album), is a deep and effortlessly evocative mid-tempo delight that perfectly sets the tone for what's to come.

Brooklyn-born April Pittman and Russian/Armenian vocalist Zara Kian lend their talents to woozy, sun-baked shuffler 'Paperman' before regular Payfone collaborator Ludmilla Rodriguez headlines 'Joan of Arc', a veritable Mediterranean breeze rich in tumbling analogue synth synths, elastic bass and tumbling guitar solos. Those yearning for a touch of lightly disco-flecked dancefloor heat will savour 'Spend The Night', where Los Angeles singer Collette Tibbetts AKA Carmella The Balls, accompanied by virtuoso keys courtesy of Parisian pianist Gabriel Cazes, rises above a sweet, melodious, dub disco-adjacent backing track. In contrast, 'Pamela' is low-slung and hypnotic, with 'Sofian' vocalist Barbara Alcindor ushering us through a deep, heady groove-scape.

Fittingly, Passera and Day round off Lunch via a vibrant and potent sweet treat, 'Pony Bar'. Headed up by the J.J Cale-esque lead vocals of man of mystery Leon Lace, the pedal steel-sporting song joins the dots between dusty Americana, kaleidoscopic Balearic beats and lilting, slow-motion disco. Like the rest of the album, you'll be thinking about it long after you've washed down the last few musical mouthfuls.

'In 2023, sound artist and composer Weston Olencki toured across the American South. Beginning in their hometown in South Carolina, they snaked a circuitous path from the mountains of West Virginia to the banks of the Mississippi River. As the miles accumulated, so did the initial seeds of new work.
'Instruments and artifacts they acquired hitched a ride in the backseat, while songs and sounds filled their portable recorder: water in its various states, the familiar insectoid buzz of those summer nights, trains cutting through the landscape, the traditional music that lived alongside the communities that kept it. Olencki took it all in, and over time, found ways that these experiences coalesced into a bramble-like perspective of time, where past, present, and future intersect in ways both barbed and beautiful.
'Broadsides, Olencki’s newest solo full-length is the multilayered result of this journey. The album follows their landmark release Old Time Music from 2022, which presented radical interpretations of traditional tunes from Appalachia and throughout the South alongside original compositions that drew significantly on archival recordings. On Broadsides, Olencki rejects delineations between the unmoored avant-garde and the rootedness of one’s cultural heritage, revealing their porous and intertwined nature. “My mother was a quilter. Her mother before that,” they write in the album’s liner notes. “Quilting, like music, is a practice of embedding knowledge and remembrance into the very core of the thing you are making. It’s not just about the materials, but how they’re reassembled, recontextualized, stitched, woven to form new patterns - the minutiae of craft holding significance to those looking to find it. Stories woven from stories, never told the same way twice.”
'Like all great road trips, Broadsides unfolds slowly and continuously, with moments of dramatic reverie punctuating the endless melt of highway in the rearview. We’re immediately confronted by the uncanniness of revisiting old haunts, as Southern storms break through the initial churn of the freight locomotives of Alabama. Olencki’s interpretation of the bluegrass standard “Foggy Mountain Breakdown” captures the euphoria of melancholy in motion. The permutational plucks of banjo are bounced around the frame by a computer, its pitches determined within algorithmic sequences and transcriptions of classic three-finger licks. The tonalities of old-time are smeared and stretched until all that’s audible is the insistence that Heaven might be real.
'In the album’s second half, “Omie Wise,” a murder ballad made famous by Doc Watson, follows an interlude recorded on the river in North Carolina in which the titular character’s body was laid. Ghostly echoes of a dozen other renditions float through the substrata as Tongue Depressor’s Henry Birdsey accompanies them on the pedal steel guitar. The album’s central composition, “all my father’s clocks,” is a profound meditation on entropy and impermanence. The sound of their father’s extensive clock collection ticks away as Olencki pulls a bow across the length of an autoharp sourced from a rural strip mall. The instrument was left as detuned as it was found, the resonance of its deep bass drone and clanging high-end the result of years of neglect and the warping effects of Southern humidity.
'Historically, broadsides were an early form of broadcasting, an often- musicalized telling of current news pasted in the public square. The name was later taken up by Sis Cunningham and Gordon Friesen in the 1960s, whose Broadside magazine published songs and social commentary when American folk music resurfaced as an urgent way of communicating the multifaceted politics of its time.
'Olencki borrows the phrase to recall both this old form of songmaking and that later prominent reexamination of traditional music’s role in modern life, but also to draw attention to the fragmented and machine- mediated way heritage is diffused in this very different, but no less pivotal, moment.
'As a sanitized past is used as justification for current violence and domination, we can turn to these artifacts to better understand the history of ourselves, but only if they are consciously pushed to evolve. Broadsides represents one personal, striking vision of what far-flung futurisms could be respun from = these high, lonesome sounds: a reflection of the unbridled joy and deep sorrow inherent to living together through time, and a desire to push further into the untold and unknown.'

Sacramento (CA) Heavyweight Crushers Return! Oromet presents atmospheric funeral doom with a melodic emphasis without surrendering the all-encompassing heaviness that is the genre's hallmark. Where some seek to immiserate and drown the listener, Oromet explores the complete nature of sorrow as the band weaves the choke of despair and the lightness of serenity. The Sinking Isle focuses on the inevitability of collapse and the cycles of ruin and rebirth. Adrift on cataclysmic seas, melody remains the compass—a hopeful light guiding the listener through themes of loss, nostalgia, and pessimism. For fans of Mournful Congregation, Bell Witch & Esoteric. Dan Aguilar: Guitar, Vocals Patrick Hills: Drums, Bass, Synth, Backing Vocals Recorded, Mixed, and Mastered by Patrick Hills at Earthtone Studios Cover Artwork: Ted Nasmith Design, Layout, Illustration: Dan Aguilar Additional Backing Vocals: Chris Lemos

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

*13 ripping songs totalling 33 minutes from the original 20-song 65 minute master reel tapes, recorded in early February 1978 for producers Flo & Eddie, the night before DMZ (the raw-assed pre-Lyres outfit that never made it!) spent 3 days trapped by a blizzard recording their Sire album. **4 page insert with info, pics and Rick Coraccio's ultra-detailed journal on how it all went down! ***LP includes DOWNLOAD CODE Kapital Ink zine: "In the annals of R&R history, as far as local American rock'n'roll scenes go, Boston is hardly ever looked upon in the same shining light as, say, NY, Detroit, San Francisco or even Austin or Seattle. Unlike those other towns, there's never even been a definitive book about the scene. Maybe it's because Boston is a perennial hard-luck place (just witness the Red Sox) with a serious New York inferiority complex hanging over its head. Boston is ignored by the industry at large, despite the fact that the city has spawned countless heavyweights in both a commercial (Aerosmith, Boston, the Cars) and aesthetic (Modern Lovers, Real Kids, Mission Of Burma) (Crypt editor note: and DMZ!! and LYRES!!) sense. Boston was the first US city to directly reflect the influence of the Velvet Underground, as epitomized by the Modern Lovers, who've proven to be almost as influential in their own right. Fast forward to the days of hardcore, and Boston was one of the pre-eminent strongholds of shave-head mania, shoring up its rep as an angry, intolerant New England outpost. Naturally the town has produced more than its share of local legends: Willie Alexander (who actually was in the Velvet Underground, albeit when the band was on its Lou Reed-less last legs); Jonathan Richman (geekus supremus no small thing considering the subsequent indie hordes, to whom he's a savior); and most of all, the great Real Kids, (Crypt editor note: and DMZ!! and LYRES!!) who could've been the equivalent of the MC5, Stooges or Flamin' Groovies in the annals of American rock if it hadn't been for a series of bad breaks but let's not get into that because it'll only reinforce Boston's eternal self-pitying plight. The fact is, the scene in Boston was more or less built by a string of bands who are so organically-interconnected that it seems like an act of God."

Featuring special guests Bobby Rush, Shemekia Copeland, Ronnie Baker Brooks, and The Sons of Blues, the record reflects Billy's lifelong journey through the music he loves. "Every song on this album has special meaning to me," Billy says. "This is the most important work I've ever done - and the best work I've ever done as well." Over his remarkable 50-year career, he has earned numerous awards and accolades, including an Emmy award, three GRAMMYr nominations, and induction into the Blues Hall of Fame. His career reads like a "Who's Who" of the Blues world. Mentored by legends such as James Cotton, Junior Wells, Willie Dixon, and Big Walter Horton, Branch has built an enduring legacy both as a performer and a teacher. In addition to releasing 15 albums with his acclaimed band, The Sons of Blues, he has contributed harmonica to more than 300 recordings by artists including Koko Taylor, Willie Dixon, Eric Bibb, Johnny Winter, Taj Mahal, Keb' Mo', Son Seals, and Big Head Todd, among many others.

Ailise Blake explains the deep, personal meaning behind the album's title, "Soave": "I titled this album "Soave" not only because of the sound of the word itself, which to my ears sounds like the wind, but because for me, soave is what we perceive silently beneath the action of everyday life, that veil of calm and stillness found when we stop to listen to ourselves; it represents the light and the tenderness, yet it is still and untouchable, it is alchemical, it is transcendental, it gives a sense of peace completely subjective to the mind that perceives it."

Then known as Catacomb, their early recordings of unusual gothic doom metal were to quickly gain the band interest. It was around 1993 that the brothers decided that a name change was in order & Novembre was born. Following swiftly on the back of 2006's 'Materia' release - Novembre's first album for their then new label, Peaceville - & in the wake of the great acclaim the band was receiving at the time for its highly captivating blend of atmospheric, emotional & progressive rock/metal, arrived the follow-up opus, 'The Blue', in 2007.

Featuring among the band's strongest compositions to date & with twists of doom/ gothic which brought to mind classic bands such as Opeth, 'The Blue' was a flawlessly executed opus of soaring majestic anthems in the unmistakable Novembre style. 'The Blue' was recorded at Outersound Studios, Italy, by the band & mixed at Finnvox Studios in Finland (Nightwish, Finntroll, HIM). Artwork was created by Travis Smith (Katatonia, Opeth). Following the recent release of the band's stellar 'Words Of Indigo' album, this edition of 'The Blue' is presented on black vinyl with printed inner sleeve featuring lyrics & arrives on the vinyl format for the first time.

The album brings together the best songs from the 45 tracks he has been working on recently and shows why Melle is one of the most sincere voices on the Dutch music scene. 'Before I Lose It' is raw, personal and direct. The album is a search for identity and authenticity in sound and lyrics. The album shows that Melle not only seeks authenticity in his music, but also dares to share personal stories in his lyrics. From his long-term relationship to the search for identity and social awareness, he tackles topics such as inequality, discrimination and the influence of capitalism on our daily lives, without ever becoming cliched. This mix of intimate and socially conscious themes makes "Before I Lose It" both relatable and profound

This 2xLP is available for the first time on vinyl and blends his signature jazz and R&B mastery into a meditative soundscape. Glasper himself describes the album as a sanctuary, stating, "It's just something that quiets the world and allows you to see what's within." The album features Meshell Ndegeocello, Chris Sholar, Kendrick Scott and Burniss Travis.

Half-Speed Remaster des 2012er Albums

Anlässlich des 40-jährigen Jubiläums des Albumklassikers "Thick As A Brick" erscheint am 30. März 2012 eine Fortsetzung zum Originalalbum mit dem Titel "Thick As A Brick 2".

1972 hatte Ian Anderson mit dem Jethro-Tull-Album "Thick As A Brick" einen Klassiker des Progressive Rock aufgenommen. Im Mittelpunkt der Songtexte stand die fiktive kindliche Hauptfigur Gerald Bostock. Das Album avancierte zum Spitzenreiter in den Billboard Charts und zu einem beachtlichen Erfolg in etlichen anderen Ländern.

Vierzig Jahre später: Was würde Gerald Bostock, der nun 50 Jahre alt wäre, heutzutage machen? Wie wäre es ihm in all der Zeit ergangen? Der "zweite" Teil des Albumklassikers zieht die unterschiedlichsten Möglichkeiten in Betracht, was aus dem frühreifen Schuljungen Gerald Bostock hätte werden können, welche Wege er hätte einschlagen können. In den diversen Songs nimmt die Hauptfigur verschiedene Alter Egos an, um die Vielzahl der möglichen Wendungen zu verdeutlichen, die Schicksal und Zufall in einem Leben bereit halten. So illustrieren die Songs nicht nur Geralds Leben, sondern auch die Entwicklungen unserer eigenen Biographien, die nicht selten durch zufällige Begegnungen und Eingriffe völlig neue Wendungen annehmen, auch wenn sie manchmal zunächst noch ganz nichtig und unbedeutend erscheinen.

Ian Anderson über sein neues Album: "Wenn unsere Generation auf ihr Leben zurückblickt, überkommt sie sicherlich gelegentlich dieser 'Was wäre wenn'-Moment. Wären wir, wie Gerald, statt dem, was wir sind, vielleicht Prediger, Soldat, Penner, Geschäftsinhaber oder Finanztycoon geworden? Und all jene, die der Generation des Internet und der sozialen Netzwerke angehören, mögen darüber sinnieren, was mit den unzähligen Möglichkeiten ist, die sich bei jeder Gelegenheit anzubieten scheinen."

Im Rahmen dieser Veröffentlichung wird Ian Anderson erstmals seit 1972 "Thick As A Brick" gemeinsam mit seinen Bandkollegen John O'Hara (Keyboards), David Goodier (Bass), Florian Opahle (Gitarre) und Scott Hammond (Schlagzeug) - sowie einigen musikalischen Gästen - in kompletter Länge live spielen. Zudem präsentieren Ian Anderson und seine Band im zweiten Teil der Show auch die Fortsetzung des Albumklassikers live.

Building logically on the natural development of their two previous collections, this time the fearless threesome can be heard roaming further than ever before into the uncharted hinterlands where the deep jazz tradition of the classic tenor trio format, laden with melody and swing, ventures into the untamed regions of free improvisation. At the heart of the band is the unmistakable beat of drummer Spike Wells, who this year celebrates his 80th birthday and the 65th year of his extraordinary career at the forefront of jazz in the UK, providing the driving force behind everyone from homegrown heroes Tubby Hayes to Bobby Wellins to visitors like Stan Getz and Roland Kirk and countless others. Riding at his side to represent the current Londonbased millennial cohort is saxophonist Riley Stone- Lonergan , whose intriguing compositions and boundless creative imagination as an improvisor continue to add to his burgeoning reputation.

Representing the diversity of tastes and interests and uncompromising creative stance typical of Gen X, big- toned bassist Eddie Myer rounds up the posse. The trio initially got together through their mutual love of Sonny Rollins' touring pianoless trios of the late 50s and early 60s, but soon found themselves expanding their repertoire to explore the rich and varied territory opened up by their unique combination of individual tastes. This album is their most coherent, wide-ranging and adventurous set of recordings yet. From Ayler to Strayhorn, from be-bop to calypso, from cowboy movie to free-jazz shootout, there's a surprise at every turn, but always delivered with total sincerity and conviction and a driving desire to bring the audience with them every step of the way. 'The Rule of Three' is a bold and confident statement of intent from a real long-term project that's as invested in the music's future as it is inspired by and reverent of its past.

Best known for his film and TV scores ( Dirty Harry, Enter The Dragon , Mission Impossible , The Eagle Has Landed , to name just a few) Lalo Schifrin (1932-2025) began as a jazz pianist who worked with some of the most important musicians of his day. The Insensatez session was cut during Schifrin's involvement in Dizzy Gillespie's band, which explains the participation of musicians from that aggregation. First issued as Piano, Strings & Bossa Nova in 1962 (produced by Creed Taylor), this album was reissued with one less title, as Insensatez on Verve in 1969. Featuring 12 Brazilianized themes and four Lalo Schifrin originals - 'The Wave', 'Rio After Dark', and 'Silvia' from Schifrin's movie score El Jefe, and 'Lalo's Bossa Nova' written for Quincy Jones' 1962 album Big Band Bossa Nova. Insensatez offers a rare insight to Schifrin's superb musicianship, not only as a composer, but also as a pianist



c 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]



[c] 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]

Coming of age at the dawn of the bebop era, Art Farmer rejected the mechanical playing that much of bebop seemed to encourage. Instead, Farmer became known for his warm, fluid tone, and his ability to make the trumpet sing like a tender yet stately baritone voice. On Modern Art (his last small group collaboration with Bill Evans, with whom he had first recorded in 1956), Art Farmer emphasises style over technique. The group swings with both authority and subtlety on all eight tracks, making this album one of the best records of this period.