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Vinyl Version des aktuellen Albums der britischen Heavy-Metal-Band Toledo Steel! 'Heading for the Fire' ist der Nachfolger von 'No Quarter' aus dem Jahr 2018, einer Veröffentlichung, die begeisterte Kritiken einbrachte.

Live-Termine sind für Oktober gebucht, um das neue Album mit den Labelkollegen Seven Sisters zu unterstützen
Die Band tourte zuvor ausgiebig mit RAM und High Spirits und spielte auf mehreren Festivals, darunter HRH NWOBHM (UK), Brofest (UK), Trveheim (Norwegen), Metal Magic (Dänemark) und Power of the Night (Zypern).

Toledo Steel aus Southampton erobern seit 2011 die Bühnen in ganz GB und Europa mit ihrem eigenen Stil des von den 80ern beeinflussten High-Energy-Heavy Metals, und haben sich als eine der führenden Kräfte Großbritanniens in der New Wave of Traditional Heavy Metal erwiesen.
Limited Red Vinyl!

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.” Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5. The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.” That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.” Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”

Depeche Mode have released their much anticipated new single Where's The Revolution' today. A powerful and timely track, the song vibrates with a drum laden, menacing energy, anchored in frontman Dave Gahan's vocals demanding, Where's The Revolution / Come on people you're letting me down.'

A warm welcome to Italian-American producer Matasism, who debuts on BPitch with his four-track EP Can You Feel My Soul. Matasism launched his own label Ma¨ta¨sism in 2017, releasing exclusively via the platform until very recently. He lands on BPitch with an EP that channels the essence of freedom and liberty found in the rave. It’s a compelling EP that blends trance, techno and acid influences into a memory evoking collection of music.

The remake of ‘Can You Feel My Soul’ kicks things off, firing on all cylinders with a hypnotic riff and hea- vyweight kicks. More layers are added to increase the depth and energy, leading into a mesmerising break- down. Meanwhile, the following original mix has a grizzly bassline spliced with hard-hitting beats. On the flip ‘Age Of Fantasy’ opens up with a dramatic intro leading into a powerful, enchanting main riff. Vintage sounds with a contemporary flavour. Next up is ‘Space Invaders’, a high-octane cut that utilises a trance-esque oscillating low end to captivate the listener. Get ready for an explosion of energy after the bre- akdown, transcendent.

Depeche Mode - Speak & Spell 12" Single Box

Depeche Mode realized the format's potential and embraced the power of 12" vinyl and the avenues of innovation it opened up. The 12" single allowed the band to explore new sonic possibilities while the physical beauty of the packaging gave Depeche Mode room to develop a sophisticated and commanding visual aesthetic. Depeche Mode used their singles discography as a means of offering left field remixes and other delights for their fans.
Each box set in the series will contain the singles from each Depeche Mode album on audiophile-quality 12' vinyl, with audio remastered from the original tapes and cut at the legendary Abbey Road Studios. The artwork for the exterior of each of the new box sets draws on street art iconography inspired by the original releases, while the vinyl sleeves themselves feature the original vinyl single artwork.
Speak & Spell | The 12' Singles contains a facsimile reproduction of the rare Flexi Disc 'Sometimes I Wish I Was Dead' b/w 'King of the Flies' (the Fad Gadget track as on the original release); Dreaming Of Me 12': 'Dreaming of Me' b/w 'Ice Machine'; New Life 12': 'New Life (Remix)' b/w 'Shout! (Rio Mix)'; Just Can't Get Enough 12': 'Just Can't Get Enough (Schizo Mix)' b/w 'Any Second Now (Altered)'; original single poster reproduction; download card.











Not to be confused with English commercial funk outfit, Lou Ragland's Hot Chocolate trio steamed out of the Cleveland scene in the early '70s powered by their own recipe of groove-forward R&B. Housed in a replica jacket showcasing Dick Dugan's ubiquitous cartooning, Numero is proud to present the first American repressing of this Forest City touchstone since its original release; a steaming mugful of funkier-than-thou tunes from the incomparable Ragland songbook. Hot is, after all, funk's ideal serving temperature.

Not to be confused with English commercial funk outfit, Lou Ragland's Hot Chocolate trio steamed out of the Cleveland scene in the early '70s powered by their own recipe of groove-forward R&B. Housed in a replica jacket showcasing Dick Dugan's ubiquitous cartooning, Numero is proud to present the first American repressing of this Forest City touchstone since its original release; a steaming mugful of funkier-than-thou tunes from the incomparable Ragland songbook. Hot is, after all, funk's ideal serving temperature.

 Matmos are one of the most prominent experimental electronic artists working today, crafting work by creating new conceptual frameworks and immediately testing those frameworks’ absolute limits. For ‘Regards/Ukłony dla Bogusław Schaeffer’ they’ve focused on another artist known, in large part, for doing the same.

 Bogusław Schaeffer was one of the first Polish artists creating electronic music. In step with American contemporaries like John Cage and Morton Feldman, he worked across the boundaries of classical composition, electronic experimentation and radical theatre, in playfully form-breaking ways.

 Matmos are not the first ones to recognize the power of his catalogue, from ‘Solo’ (a 2008 documentary that garnered numerous international awards), to the annual Shaeffer’s Era Festival (most recently celebrated simultaneously in Warsaw and Los Angeles), Bogusław Schaeffer’s work continues to inspire.

 ‘Regards/Ukłony dla Bogusław Schaeffer’, however, was not just inspired by his work. Matmos were given access to the entirety of Schaeffer’s recorded works to use as they saw fit, commissioned by the prestigious Instytutu Adama Mickiewicza. They re-assembled and re-combined these recorded works with modern instrumentations in a way that only Matmos could, and what emerged is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance.

 Vinyl packaged with digital download card.

THE HITMAN aka MARVELLOUS CAIN delivers his most sought after tracks on vinyl!

RETURN OF THE HITMAN collects together 16 of the most exclusive cuts from Marvellous Cain’s extensive back catalogue, all remastered and presented as a collectable vinyl box set package.

This album has been a long time coming, much of that time spent by Marvellous Cain digging through his studio to find original DAT recordings of his most in demand hits, in the process unearthing some exclusive, never before released gems!

This album kicks off with 2 versions of arguably his most notorious track Hitman, a certified jungle classic from 1994! For this compilation, Marvellous Cain has selected the version of Hitman previously only available on his debut Gun Talk LP back in 1995 (released on Suburban Base). He’s also treated us to the very long overdue, unreleased, DJ Stretch Dubplate VIP, originally produced in ’94, but never pressed to vinyl!

On the flip are two cuts from the infamous Lucky Spin imprint... Life Is Rollin & Miss Out. Both tracks were originally available as a very limited white label press, but never got a full release. This has been selling for £90 on reseller sites due to its scarcity.

Record 2 is again packed with rare music, with 3 of the 4 cuts being unreleased to date. The first track Will I See You? has traded hands for an incredible £500 on Discogs, we can see many buying Return Of The Hitman for this track alone!

Our 3rd slice of vinyl see’s Marvellous Cain teaming up for studio collaborations with original jungle don Bizzy B on Everyday Junglist, also with Libra for an unreleased alternative version of Nu Music discovered on the original session DAT from 1996.

The 4th and final slice of wax in this package introduces new remixes of a couple of classic tracks. CB4 has been reworked for 2022 by Marvellous Cain himself. Dubplate Style has a fresh ‘22 lick by D&B’s hardest working DJ Nicky Blackmarket alongside production partner FreezeUK who’s recently released on Ram Records sister label Prog:Ram!

We close out with two dubplate exclusives from 95 & 96 respectively, taken from Marvellous Cain’s personal arsenal of DJ ammunition, and now available for the first time to the record buying public.

Repress!

Bristol-based singer, songwriter and bandleader, who has powered her
way to the-forefront of the British blues and roots scene in recent years,
unveils her eagerly-awaited third album 'Shining in the Half Light'
Crammed with vibrant originals brought to life with her A-list touring band, it's yet
another significant step forward in a career already feted with awards and
acclaim.'Shining in the Half Light' is Bailey's first full length album recorded in the
UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer
on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon
in December 2020 at Middle Farm Studios and produced by Dan Weller, best
known for his long working relationship with Enter Shikari. Elles wanted this
record to feature 'gospel style vocals' so in steps Izo Fitzroy, an incredible artist in
her own right, who arranged the stunning background vocals on 'Shining In The
Half Light', and performed them alongside Jade Elliot and Andrusilla Mosley.
An exciting team of co-writers feature with three credits for Ashton Tucker & Will
Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up
with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding
Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the
gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the
hugely successful indie- folk outfit Noah and the Whale, on the aforementioned
'Sunshine City'. The album comes to a striking conclusion with its title track, cowritten with Nashville's Craig Lackey, written over Zoom in May 2020.
Front cover features in Blues in Britain (Jan) and MNPR (May) Features in Record
Collector, Rock and Reel, Blues Matters, HRH Magazine, Fireworks Mag,
Powerplay, and Maverick
Reviews in Record Collector, Maverick, Powerplay,Fireworks,Blues Matters,HRH
Mag
Online press in Music News, Maximum Volume, Rush On Rock, All About The
Rock, Vents, Bluesdoodles, Rock and Blues Muse,Blues Rock Review, Blazing
Minds, Decibal Report, Maverick Country
Radio- BBC Radio 2 Cerys Matthews and Johnnie Walker, Planet Rock A playlist.

Bristol-based singer, songwriter and bandleader, who has powered her
way to the-forefront of the British blues and roots scene in recent years,
unveils her eagerly-awaited third album 'Shining in the Half Light'
Crammed with vibrant originals brought to life with her A-list touring band, it's yet
another significant step forward in a career already feted with awards and
acclaim.'Shining in the Half Light' is Bailey's first full length album recorded in the
UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer
on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon
in December 2020 at Middle Farm Studios and produced by Dan Weller, best
known for his long working relationship with Enter Shikari. Elles wanted this
record to feature 'gospel style vocals' so in steps Izo Fitzroy, an incredible artist in
her own right, who arranged the stunning background vocals on 'Shining In The
Half Light', and performed them alongside Jade Elliot and Andrusilla Mosley.
An exciting team of co-writers feature with three credits for Ashton Tucker & Will
Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up
with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding
Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the
gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the
hugely successful indie- folk outfit Noah and the Whale, on the aforementioned
'Sunshine City'. The album comes to a striking conclusion with its title track, cowritten with Nashville's Craig Lackey, written over Zoom in May 2020.
Front cover features in Blues in Britain (Jan) and MNPR (May) Features in Record
Collector, Rock and Reel, Blues Matters, HRH Magazine, Fireworks Mag,
Powerplay, and Maverick
Reviews in Record Collector, Maverick, Powerplay,Fireworks,Blues Matters,HRH
Mag
Online press in Music News, Maximum Volume, Rush On Rock, All About The
Rock, Vents, Bluesdoodles, Rock and Blues Muse,Blues Rock Review, Blazing
Minds, Decibal Report, Maverick Country
Radio- BBC Radio 2 Cerys Matthews and Johnnie Walker, Planet Rock A playlist.

Jon K & Elle Andrews' MAL imprint returns with its second release - a long rumoured excursion from Equiknoxx skippers Gavin “Gavsborg” Blair and Jordan “Time Cow” Chung operating under the Gav & Jord masthead for the first time. It’s their most probing x tight set of productions thus far - showcasing that naturally wild rhythmic mutability that’s earned them followers in every corner of the experimental paradigm over the last few years.

‘Writings Ov Tomato’ ties off a loop between Equiknoxx and their early supporter Jon K, who was pivotal in bringing their productions to the attention of Sean Canty at DDS, who went on to release their by-now seminal ‘Bird Sound Power’ album a good half-decade ago. This new set of tracks came about after MAL urged to the duo to explore any under-excavated musical territory they’d been thinking about since they began to tour the world, and the result is this incredible, purely instrumental LP that romps between Autechrian mutations, avant R&B swangers, Jersey-style sluggers and proper, wig-flipping club missiles.

Who else would boot off a new LP with a track titled ‘Childish House Mafia’? The fact it sounds like Actress formulating an industrial noise tape using ritual chants just makes it all the more screwy. The title track returns the duo to more familiar ground, with prickly “Bird Sound Power” drums notched up a few BPM and spliced with whirring trap hats and disorienting synths. ‘A Yow Jon K’ is a Kingston-fried take on sun-bleached Miami electro, with a rolling beat filled out by Gav & Jord’s hard boiled soundboard x foley crunches, before ‘Pig Pilot’, the record’s most substantial cut, loops JBC Radiophonic Workshop convulsions around a booming 4/4 that wouldn’t sound completely out of place at Berghain’s Klubnacht. Saturating the hook and allowing ferric hats to fill in the gaps, the pair manage to fabricate a sound closer to 1970s library music than Villalobos, and we’d wager you ain’t ever heard owt like it.

Combine all this with lower-key slithering industrial-ambient moments like the plughole-wonked outro ‘Brent Bird’ (named after Gav’s producer brother), the tuned tinkle of ‘No Sweat in my Sweatpants’ and the airborne elegance of ‘Appinness’, and you’ve got another Equiknoxx joint that draws from the syncretic mosaic of Afro-Latin-Sino-US influences and re-contextualises them into remarkably odd and effective structures that dance in the integers of a myriad styles.

In the spring of 2020, Ben Cook _ a.k.a. Young Governor, Young Guv, or just Guv _ was holed up in the New Mexico high desert, his U.S. tour having been abruptly covid-cancelled during a southwest swing. He and his bandmates were living moment to moment in something called an Earthship, a solar-rigged adobe structure sustainably constructed with, among other things, recycled bottles and tires. And out there in the serene vastness, as a short ride-it-out stint turned into a nine-month sojourn, Ben was writing music, slowly, little by little, mostly at night while the others slept. By the New Year, almost in spite of himself, he had created a new album, two new albums actually, and through the ordeal he was forever changed. In a place he never expected to be, under circumstances no one could have predicted, and in the face of physical isolation, emotional desolation, and existential dread, Ben created GUV III & IV, a collection of songs dedicated and testifying to the eternal healing power of love _ how to find it in the world, in others, and most importantly, in himself. Written in the New Mexico wilderness and produced in Los Angeles, the double album will finally be available in it's entirety this summer via Run For Cover. Young Guv's talent as a songwriter has been with us for a long time. From forming iconic hardcore act No Warning in 1998 to joining Toronto legends Fucked Up, Ben Cook started writing songs as Guv in 2008 between a slew of other projects that were ambitiously working to define the genres they operated in. When he first started working with Run For Cover in 2019, the plan was to release a single record - but with too many songs to turn away, the project expanded into his first double album, GUV I & II. GUV III & IV finds the same ambition and expertise in hit-making, but this time the individual records hone into specific parts of Guv's sonic palette. GUV III is full of iconic hooks, power-pop guitar riffs and dancable-rock songs, while GUV IV takes notes from psych rock, electro pop and Laurel Canyon jangle to make something that as a whole, can only be defined as definitively GUV

If there's one thing we’ve all gained over the past two
years, it's Perspective.

With live music in jeopardy during the COVID pandemic, Pigeons Playing Ping Pong retreated to Wright Way Studios in their hometown of Baltimore, MD to record their sixth studio album and remind themselves of the healing power of music. Perspective’s

Die britische Band Fellowship wird mit ihrem Debütalbum die Power-Metal-Szene mit eingängigen Melodien, rasanten Gitarren und lebensbejahender Lyrik aufmischen! “The Saberlight Chronicles" steht in der magischen Tradition von Twilight Force, Rhapsody und Majestica und hebt die Emotionen des Genres auf ein neues Niveau. “The Saberlight Chronicles" ist zu gleichen Teilen ein erzählerisches High-Fantasy-Konzeptalbum und eine gefühlvolle Sammlung von absoluten Knallern... zumindest sagen sie das so - sie sind schließlich Briten! Das Album greift das Thema psychische Gesundheit in einer Zeit auf, in der wir alle eine Aufmunterung brauchen, und erzählt eine mythische Geschichte über Selbstwert, Selbstfindung und die Suche nach Mut; Und dies alles in Songs, die so eingängig sind, dass man schon beim ersten Hören mitsingt. Metal hat sich noch nie so gut angefühlt!

Originally released in 2012,Tender Oppositesis TOPS’ debut album, nowcelebrating it’s 10year anniversary with a special edition LP. A lush array oftimelessly crafted songs,Tender Oppositesgathers its strength throughdelicate intimacy. These are moving songs that succeed earnestly,disregarding trends and myth-making, focusing instead on pure popcraftsmanship.

TOPS' tendency to opt towards making straight-forward, stripped down andhonest recordings lets their pop songwriting shine out in the open. With aheart frmly attached to their sleeves, their songcraft delves into theemotional intricacy of personal relationships, asking questions about powerand desire. Riley Fleck’s measured drumming and David Carriere’strademark guitar licks work in tandem and in service of Jane Penny’sunmistakable, wistful voice.

• Sony Music Masterworks and Milan Records announce the vinyl release of “My Hero Academia: World Heroes' Mission” with music by composer and arranger YUKI HAYASHI. The film adaptions are based on the original Comic Series “My Hero Academia”, which sold over 50 million copies worldwide.

• Based on Kōhei Horikoshi’s most successful manga series, ‘My Hero Academia: World Heroes’ Mission’ is an action-adventure film directed by Kenji Nagasaki. When a sinister organization threatens to wipe out all superhuman powers, the fate of the world is on the line. But before they can succeed in putting their evil plans into action, the Pro-heroes around the world assemble to come up with a counter plan to stop the worst from happening.

• The soundtrack of the critically acclaimed, hugely popular film adaptation is now being released as a stunning double coloured vinyl with a double gatefold.


• My Hero Academia: World Heroes’ Mission is the third movie, following the success of My Hero Academia: Two Heroes and My Hero Academia: Heroes Rising (75M streams to date), and marking a major shift in the series' story - putting Deku in a precarious position of being painted as a villain.


• Besides the movie adaptations, the comic was adapted into an anime series. The 5th season of the series is currently on air. You can watch it on Funimation and Crunchyroll in the UK and you can find “My Hero Academia Season 1” on Netflix.
About the composer Yuki Hayashi:
• Yuki Hayashi was born in Kyoto, Japan in 1980. Being an active member in a men's rhythmic gymnastics team in his early years spawned his interest in BGM while selecting songs to complement performances. This led him to begin teaching himself music composition while at university, despite not having a background in music itself. After graduating, Yuki acquired the basics of track making under house techno DJ and sound-maker Hideo Kobayashi and started producing his first range of music accompaniments for dance sports. His experience as a rhythmic gymnast has enabled Yuki to intuitively incorporate an eclectic range of music and produce a unique sound, empowering scenes from TV drama, animation and film.

Red Vinyl

That we live in a world changed is beyond question. Since 2015's Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. Imaginations is not escapism, it's a kaleidoscope and an alternative view, an agent of change.Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson's best songs a collision between the political and personal. Though potentially a love song, there's a glowing anger in the lines I want your ruin, I want destruction, I won't be through until we mend this...' this is rapturous transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... Who else could write a song about privilege (Let's Talk About Privileges) and make a heart-rending chorus of It's never being afraid of the police, it's expecting every thank you, every please.' The artist's vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there's overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there's also seams of optimism sewn into the album's genetic code. Any revolutionary will tell you that anger alone achieves nothing - Nilsson's mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change, Don't be sad, but do get mad at all the small men who act so tall, in the end they always fall, there ain't no sin in giving in to love, that's just how we're winning the fight.' Love can be visceral, a weapon with which to fight the power.On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism about the future when we need it the most. New boys, new girls.. give me your smile and I'll give you mine' Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we're never alone in the process.

Mother Naomi and daughter Wynonna enjoyed an astounding run of 14
number one singles from 1984 to 1989, ranking them as one of the most
popular country acts of the '80s
Their music combined elements of traditional country harmony singing,
bluegrass, and Appalachian folk with pop, rock, and polished contemporary
production. Moreover, Wynonna's powerful, bluesy, often sexy lead vocals
established her as one of the finest female country singers of her era. But even
more important than their widely accessible sound -- or their considerable visual
appeal -- was their sympathetic understanding of working-class and small-town
women, earned through a long, hard struggle of their own.

Nach dem längsten Winterschlaf aller Zeiten - die neue Spidergawd! Aufgenommen und gemischt in den Sörgarden Studios September 2020, und das erste Spidergawd-Album mit Brynjar Takle Ohr an der Co-Leadgitarre. Mit der Einführung zweier Leadgitarren hat die Band endgültig ihr musikalisches Rückrad gefunden. 'VI' konkretisiert dieses Neue Inkarnation mit voller Power! Zurück ist auch Saxophonist Rolf Martin Snustad, der die Band 2019 verlassen hat. Spidergawd machen exakt da weiter, wo sie schon bei S. 'IV' und S. 'V' aufgehört haben. Der Unterschied diesmal ist der Co-Songwriter Brynjar Takle Ohr, während sich beim Vorgänger noch Bassist Hallvard Gaardløs als Co-Pilot austoben durfte. Die jetzt aus fünf Musikern bestehende Band liefert wuchtigen Hardrock mit klassischen 80er-Jahre-Reminiszenzen, zitiert Bands wie Thin Lizzy & Co und zeigt dabei unmissverständlich auf, 'wo der Barthel den Most holt'.
Eine umfangreiche Europa-Tour ist für 2022 in Planung!
Das abermals aufwendige und ansprechende Artwork ist der wieder der Idee der grafischen Wiedererkennungsmerkmale bei Spidergawd geschuldet.
Das Vinyl kommt in Purple Vinyl und inkl. CD-Beilage! Die LP steckt wieder in einer festen Kunstoffhülle mit dem typischen Öffnungs-Siegel.

Classic Double Black Vinyl, DL card. The Nightingales' last original full-length for two decades stands as the final masterpiece postpunk album released before the C86 era. Back on vinyl for the first time in over 3 decades, the reissue is updated to include the whole of the 1985's 7" single "It's A Cracker" and "What A Carry On" 12" EP, plus a clutch of rare tracks never before released on vinyl and a bit of history from Robert Lloyd. Despondently anti-Thatcher and with an air of hopelessness, In The Good Old Country Way has the sense that time was allowed for experimentation and reflection during its creation. Expectations were high as The Nightingales released their sole Vindaloo album and possibly the most underrated album of the postpunk era. The opening number is heavy on the hoedown, not unlike records their pals The Mekons would release around the same time - a rootsy underlayment to songs of wit, energy and observation, adaptable both to lengthy groove-based observation and high-octane rants alike. Maria Smith's violin weaves in and out of songs, while the rhythm section of Pete Jenner (bass) and Ron Collins (drums) hold what might have been a disjointed mess, but it's multi-instrumentalist / arranger Pete Byrchmore who shares the spotlight with Lloyd. "It's A Cracker" stuns, not stylistically dissimilar to their recent records for the first ninety seconds, though featuring a bridge hinting at new developments in their sound which could be heard on the next Nightingales release, ‘What A Carry On’. A sublime record, it features the powerful title track in two version, one of the band's best songs, "Comfort And Joy", and the tenderly alienating "First My Job". "Lloyd's cracked it. A fucking good album." Mark E. Smith, The Fall.

* A composite of Mixing Desk recordings from shows featuring original Stooges Guitarist Ron Asheton * Features all the classics from the first two Stooges albums * 6 tracks recorded in the studio, 5 of which are re-recordings of iconic Stooges tracks from across Stooges & Funhouse LPs * Presented in a deluxe card gatefold sleeve with photos of all band members and full colour printed inner bags * Royalties paid to the artist / estates * Advertising and reviews in Record collector / Vive le rock / R2 / Shindig * Released on 50th Anniversary of the Stooges concert at Kings Cross in London 15th July 1972 (the concert that spawned the iconic LP cover for Raw Power).

Members of Island of Love, Imposter, Lawful Killing, Antag-onizm, Powerplant. For Fans of Sheer Terror, Crumbsuckers, Cro-Mags, Slayer. Quality Control HQ proudly releases The Masters' Orders, the new LP from South London UK hardcore band Mastermind, the jewel in the crown of UKHC. This is the band's third release after 2019's Bad Reaction EP and comes on the heels of recently released single "Price You Pay". The new release, which was recorded at East London's most vibrant independent music hub, Fuzzbrain Studios, finds Mastermind continue to walk a well crafted line between almost jazz like song writing wrapped in the meat and potatoes sound of 80s NYHC, but this time amping up the rabid dog energy to another level. Having played with a range of punk and hardcore bands from Judge to Chubby and the Gang on their home turf, this summer sees Mastermind, with members of Island of Love, touring with NYHC upstarts Combust across Europe and playing Fluff Fest, equally comfortable playing to punks, metalheads and everyone in between. If one proposes that the classic late eighties NYHC sound owed a chunk of its identity to blue collar meat heads from Queens, then the same can be said for London hardcore’s meatiest riffs coming from Croydon cousins who work construction, built their own instruments and met their lead guitarist on the tram. This band reminds me of Rest in Pieces, Breakdown, Sick of it All, Sheer Terror, Inside Out NYC, and a touch of Cleveland’s Die Hard with a healthy dose of crossover picking and a heap of sick guitar solos. Something all of the above bands had in common was the ability to blur the fine line between great genius and great stupidity. It's a delicate natural balance reached only by bands that don’t take themselves too seriously but would kick your ass if you called them a joke. There is a clearly defined love of hardcore, in its many forms, behind the songwriting in Mastermind – a band of young heads and scene mainstays who intend to have fun playing hardcore the way they like it. After a four year run with a solid demo and a crushing EP, Mastermind are ready to present you with their masterpiece – The Masters’ Orders

Battering Ram kommt aus einer kleinen schwedischen Bergbaustadt - Filipstad. Ein Ort, von dem Sie noch nie gehört haben, ein Ort, an dem Sie noch nie waren und den Sie höchstwahrscheinlich nie besuchen werden. Dort oben im Norden, in den skandinavischen Wäldern, ist der Mensch noch ein Mensch, das Leben ist noch einfach, und die Seelen sind noch frei. Dort oben ist die Musik noch rocken. Hart. Hart wie ein Fels.

Das 2017 in den tiefsten Wäldern Schwedens gegründete, schwergewichtige Quartett erweckt schnell großes Interesse bei den Rockfans daheim in Skandinavien, aber auch auf internationalem Boden. Rocker auf der ganzen Welt haben erkannt, dass es bei den Gnomen und Trollen in den nordischen Märchenwäldern gegossen wurden.

Hart wie ein Stein und härter als Hardrock. Schwer wie Blei und doch nicht nur Metall. Dennoch, am Ende ist das, was Battering Ram spielt, ist schnörkelloser Rock'n'Roll mit viel Gewicht, Power und Attitüde.

Mit ihrem ersten Full-Length-Album haben Battering Ram die Türen zur Rockszene förmlich aufgestoßen. Ihr selbstbetiteltes Debütalbum, das 2020 erschien, erhielt zahlreiche positive Kritiken in Musikmagazinen wie dem Sweden Rock Magazine, Metal Temple und
Roppongi Rocks. Und jetzt ist die Filipstad mit einer neuen Ladung von Killer-Songs zurück. Second To None" wird dem hohen Anspruch gerecht, den Battering Ram mit ihrem Debütalbum setzten und liefert eine Sammlung von Songs, die zeigen, wie Hard Rock und Heavy Metal klingen sollten, wenn sie aufeinander treffen: roh, heavy und mit gigantischen Hooks! Diese Band steht für alles, was Rockmusik der alten Schule einmal ausgemacht hat. Die Band ist sowohl in Sound und Qualität nahe an den Schwergewichten des Genres, deren Ursprünge in den 1970er und 80er Jahren liegen. Während die solide Basis von Battering Rams Sound echt und authentisch ist, verpassen sie ihrer Musik dennoch ihre eigene moderne Handschrift.

The Exit Planet Earth series continues with the first ever collaboration between two undisputed electro-funk heavyweights Egyptian Lover & Soul Clap. Egypt knows how to rock the TR 808 like no other and has been a true player on the LA electro scene since 1984. While Soul Clap have forged their unique E-Funk sound coming out of New York City as part of the Crew Love collective. The resulting track 'Hai Karate' is a slice of superbly produced classic electro designed to rattle bass bins from Miami to Mars.
Following form in classic electro directions, Futurenauts present their debut track 'We are the Futurenauts' that brings a slower based groove reminiscent of 'A Love from Outer Space' into the cosmos and delivers a powerful message to humanity. The flip sees a welcome return to 20/20 Vision from the Maltese magician Sound Synthesis who continues the vocoded vocals but adds a state-of-the-art assault on the senses with a slamming track aimed firmly at the discerning dancefloor. EPE 08 is finished off in fine style by Mick Wilson & August Artier with 'Akira's Cry', which fuses a deep house bassline and chords with tight break beat programming and powerful lead strings.

Embodying the mutant nature of club music in the modern age, Cocktail Party Effect comes bowling into Sneaker Social Club with a taut, wiry sound which joins dots and melts barriers at will.

The brainchild of Charlie Baldwin, who previously recorded as Kasket, Cocktail Party Effect has been forged over the past six years through heavy bursts of sound design anchored by soundsystem dynamics veering between 140 and 160 tempo zones. From 2020’s self-titled LP on Tectonic to drops on Osiris, Cold, Transfigured Time and more, Baldwin’s deftly avoided allegiance to any specific scene and instead deployed shock-inducing gear for DJs with fortitude to test on their crowds.

On SNKRX010 the commitment to physicality is prevalent across all four tracks, veering from the deadly broken beat barbs and artful fills of ‘Racka’ to the splintered breakbeat rushes and stop-start aggravation of ‘C.A.T.C.R’. ‘Grims8’ is perhaps the purest manifestation of the Cocktail Party sound though, all monochrome rigour with the contrast turned way up, powered by steely, gleaming rhythmic impulses and writhing with dense layers of sonic matter. Watch out for the glutinous bass snarl of ‘58bethe7’ though, which slams in sideways with an unabashed rave instinct crushed through a post-modern production lens.

Baldwin may be operating on his own terms, but on this 12” he demonstrates versatility to match his originality, resulting in four inventive dance destroyers tooled to bridge between styles, sets and scenes.

CYPRESS HILL - 30th ANNIVERSARY CASE BOOK
To commemorate the 30 year Anniversary of Cypress Hill’s debut album Get On Down is proud to present the complete album on 7 inch vinyl singles for the rst time ever housed in a deluxe casebook. LIMITED TO 2000 UNITS WORLDWIDE! The debut album is presented as a set of six 7-Inch vinyl records presented in a Hardcover Casebook which holds all six records in built-in sleeves Full-color 80 page booklet with liner notes by journalist Chris Faraone, complete with photos and lyrics, and more Housed in a premium outer slipcase, debossed with the iconic Cypress Hill logo in metallic red foil. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the Hip Hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress’ debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Records like "How I Could Just Kill a Man", "Pigs", "Stoned is the Way of the Walk" and "Hand on the Pump" made this album an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine. Journalist and author Chris Faraone highlights the group's relationship in the reissue's liner notes saying, "By the late 80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter's deep wrangle, the formers inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop's most formidable young producer, while straddling the bi-coastal gap." Faraone was able to dive in deep with the band for the liner notes, hearing story after story, including the particularly interesting tale of their unlikely 91 radio hit, "How I Could Just Kill A Man". In the B Side wins again story, the group recalls receiving resistance from the label in regards to which single should hit radio first. Initially, the label thought "How I Could Just Kill A Man" was too risky, and even though the single initially "The Phuncky Feel One", one of the album's strongest cuts, as the A-Side, college and commercial mix-show radio couldn't resist the dusted, heavy groove of Kill A Man. The song – which included a catchy, LA drive-by-inspired chorus – ended up as an unlikely, but powerful double A-sided single that even topped the Billboard Rap charts. More singles would follow, including "Hand On The Pump"; "Pigs"; and "Latin Lingo". And by the fall of 1991, the album was a full-blown critics darling. If you are a Cypress Hill fan and 45 collector this limited edition 30 year Anniversary 7” boxset is a must have!

Daje Funk Records makes a triumphant return with the latest instalment to the spectacular ‘Slam Dunk’ series bringing you the Slam Dunk EP3.

First up on the A-Side of this stellar four tracker is Strange, with the acid laced disco burner, ‘Keep On’. From the intro of delicious 120bpm beats with added ‘Bongonaise’, the cleanest of guitar riffs leads to a hot disco bass with stabs of Rhodes keys lovingly applied. Just when you think you have it all worked out, the acid rug pull is a masterstroke. ‘Keep On’ has a classic (but often elusive) disco vibe with a wickedly acidic twist. ‘Strange’ will rule the summer, guaranteed. Any questions?

For A2, the considerable production chops of Ezirk are on full display with ‘Erotik’ - an 80s funk inspired taxi ride through rush hour traffic to the best cocktail bar on the planet. It’s infectious, demanding fist bumps and virtual high fives. It’s a melody that sets all the possibilities of a great night out through wielding the ultimate synth power. And that breezy sax? Heaven. Put the needle down and let it take you!

On the B Side, we start with label co-owner and master of the groove, De Gama and his carefully crafted ‘Higher’. The tempo is dropped right down here, with De Gama showing his darker and funkier side. Like a joint Gil Scott Heron and Robert Plant fever dream, ‘Higher’ is an intricate lecture in immaculate beats, unimaginable concepts and chord progressions. Serious grooves. Very serious.

Rounding things off on the B Side and closing the EP is ‘R.O.C.K.’ by Hungary’s The Magic Track. These boys know how to deliver a chugger from the MT workshop. You expect them to lure you in, and ‘R.O.C.K.’ does just that. One minute you’re in church, the next in a heaving club with retro beats, thumping bass and driving piano filling the air. The Magic Track are selling magic dreams and you’re buying. The whole bag.

The Slam Dunk EP 3 slam dunks with such force it shatters the backboard. Get it in your record boxes for the summer, and let it stay there!

The French-Hong Kong DJ and producer Romain FX, founder of Fauve Radio and Fauve Records, debuts on Cracki Records !

After having made his mark on renowned labels such as Exploited, Eskimo Recordings, Novaj 新し, LAGASTA, Fantastic Voyage, Mamie's Records or Hard Fist Records, the ultra-productive artist is about to release Le Sucre d'Adam a new EP of 4 tracks and 2 remixes with the Parisian label Cracki Records.

Mixing Italian dream house, jazz, and Italo Disco, Romain FX wanted to create with this EP a timeless record and convey a message of hope for a better world.

The first track "Zeste d'Orange" is full of joyful emotions, with a feeling of unity and sharing, strongly influenced by 80-90's pop songs like "Rise Up" by The Parachute Club, and "Send Me On My Way" by Rusted Roots.

With its melancholic keyboards, "Le Sucre d'Adam" is a pure concentrate of Italo Dream House, and it's not a coincidence that Romain FX entrusted the remix of the track to the German Lauer, specialist of the genre.

"Italominati" with its powerful bass, draws him in the field of the fairy, influenced by artists like Todd Terje or Skatebård. It is the Korean producer Shubostar, new figure of the dark disco scene, who took care of the remix for a very effective cosmic version !

Last track of the EP, "Crave Cave Rave" with its Rave UK and progressive house accents was imagined as a long DJ Set closing. Intense and heavy at the beginning, the track ends with a feeling of extreme release, closing the EP in the most beautiful way.

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

On July 1st Ploy's ascendance continues with 'Unit 18' – a new EP dedicated to his record label and club night Deaf Test's spiritual home – Venue MOT Unit 18 in Bermondsey, South London. With an already loyal following and fabled atmosphere, the parties inform Ploy's productions and vice versa. "These are three rave tracks, all influenced by sound system culture, with my take on different styles, made for various times of the early hours in our sweaty venue", he comments. Maintaining the floor-focused approach of his previous, acclaimed 'Rayhana' EP, here Ploy brings more organized chaos. Sound waves blast away cobwebs with gale-force power, and jolt you awake, like an intravenous shot from the mains. These forthright, no-nonsense workouts appear simple, but are incredibly well-made, revealing discreetly clever touches likely to provoke 'how did he do that?’ scrutiny from other producers. With ten-ton-kick-drum pressure, snares like booted dustbins and an intense build of energy, on 'Stinky' a soundclash turns into a back alley brawl... with lazers. Influenced by drill bass lines, UK bass music and soundsystem culture, the 'stink and perspiration’ lyric will be surely be apt, especially with a July release date. Imagine the scene: whilst a deranged, malfunctioning robot MC yaps and undulates, vampires chase their victim through a packed rave, before feasting on flesh. Ravey and riotous, with horror flick tropes and a touch of electro, the 138bpm wallop of 'Ninety One' is an ode to his year of birth, when magpie like, sample heavy tracks made for innocent, non-overthought, but compelling anthems. Grimey like the dance after which it's named, title track ‘Unit 18’ is a 155bpm half-time stomper, with nods to bounce, 00s hip hop, UK drill and dubstep. Combining flying congas, wookie moans and a classic DMZ stye flute line, this low slung, personality filled throbber will stand out and turn heads.

During the summer of 2020, SACRILEGA burst from the void with their debut EP, Rites of Macabre. Although a brand-new entity, the Californian power-trio features members currently aligned with Rites of Thy Degringolade, Impure Consecration, and Invocation War among others. As such, it was not surprising that that their Impious Death Metal worship was so powerful and punishing this early on. However, SACRILEGA are set to eclipse those not-inconsiderable expectations with their full-length debut, The Arcana Spear. Recorded at Ramona Studio with Charlie Koryn, SACRILEGA's debut album is a veritable firestorm of finessed fury - malice, malevolence, and mesmerizing visions writ large across throttling death metal songwriting both classic and contemporary. Driving that propulsion is underground drum-god Paulus Kressman, whose veritable eight octopus arms create a dizzying, dread-inducing landscape for his bandmates to slay with their razor-wire strings. Their songwriting always pushes forward with a near-bestial pulse that cannot be denied; still, attention is duly paid to detail within riffing and atmosphere alike, elevating The Arcane Spear beyond a mere exercise in ultraviolence. SACRILEGA thus locate that elusive balance between the cunningly precise and rabidly maximal, placing due emphasis on the songwriting itself and allowing the execution to tell the grandiose-yet-doomed tales it so requires. Featuring suitably stark-yet-grandiose artwork courtesy of Artem Grigoryev, SACRILEGA deliver one of death metal's most stunning debuts with The Arcana Spear. Embrace the grand tyranny!

Quarto Valley Records proudly announces the release of 'Brother Johnny', a
tribute to the legendary blues guitarist created by his brother Edgar Winter.
The album is a powerful sonic journey, traveling the course of Johnny's musical
life, impeccably directed, as only his brother Edgar could. Joining Edgar on the
inclusive project is an impressive array of renowned musicians who knew, or were
inspired by Johnny, including: Joe Bonamassa, Doyle Bramhall II, John McFee,
Robben Ford, Billy Gibbons, David Grissom, Taylor Hawkins, Warren Haynes, Steve
Lukather, Michael McDonald, Keb Mo, Doug Rappoport, Bobby Rush, Kenny
Wayne Shepherd, Ringo Starr, Derek Trucks, Waddy Wachtel, Joe Walsh, Phil X
and Gregg Bissonette. The guitar- driven album celebrates the expansive styles
Johnny was known for. The 17 tracks were carefully curated by Edgar and
producer Ross Hogarth to represent Johnny's evolution as an artist, honoring his
great legacy while also incorporating a personal tribute from brother to brother,
and for which Edgar penned two new songs.
Print coverage:
the Telegraph, The Daily Mirror and The Scottish Daily Express
Mojo feature and Review, Classic Rock Magazine, Record Collector, Blues In
Britian, HRH Magazine, RNR, Vintage Guitar, Rock Candy, Fireworks
Review in Blues Matters confirmed, Guitar Techniques
Online coverage: Velvet Thunder, Pennyblack Music, Spiral Earth
Radio:BBC Radio Solent, BBC West Midlands, Total Rock Radio, Forest FM, Castle
Sound Radio, 242 Radio, Brooklands Radio, Hard Rock Hell, Mystery Train,
Graham Lavendar Blues Show
Podcasts: Blues In The Night, The Blues Podcast

He might be vocalist in bands such as Brighton-based progressive act Diagonal and psychedelic outfit Baron, but when it comes to his solo work Alex Crispin has typically worked in more wordless fields. Last year the songwriter, vocalist and producer released a triptych of ambient albums, consisting of two older albums in 'Idle Worship' and 'Open Submission', as well as new meditative work in 'Resubmergency'. On his new self-titled album, however, Crispin re-emerges from the cavernous soundscapes to – for the first time – put his vocal and song writing stamp on a record under his own name. “I personally find it easier to create more guarded, moody music, but I was at a point where I wanted to embrace a more universal, intimate and open side to what I might say” Crispin says. “Over time I’d got over certain blocks or preoccupations and so wanted to create something accessible and open hearted, which became a big driver for this record.” Pointedly self-titled to reflect the newfound confidence in his song writing away from the collective of a band, the album’s nine tracks are a warm embrace amidst troubled times. Musically there’s nods to everything from tropicalia and Brazilian MPB, to 80’s dusk pop balladeers The Blue Nile and Paul Simon’s explorations into African music. Lyrically aware of the snowballing turbulence that surrounds us, Crispin in reaction tries to see hope and looks around at the relationships and connections in his life that provide him strength. He opens 'Invisible (To Us)' with the words “Before the world did end, there was just one moment when, everybody thought there might be time, to look around again, to laugh to cry to sing.” Elsewhere, 'Listen & Learn' strikes at the heart of other underlying themes of the record, of the rarity of people opening up, taking on new ideas and allowing change. It’s accompanied with a rich, maximal sound palette of flute and sax that play around each other as Crispin’s vocal chips in with gentle encouragement. “One of the main markers on the album that I was aware of from the start, was to let myself express joy and positivity in the music” he says. “I have come to greatly prize the power of accessibility and universality over artistic 'coolness or trend', much in the same way that so often for me, the greatest pieces of art humans make nowadays are things like Pixar movies, with their combination of undeniable human talent and craft, alongside genuinely moving and accessible themes.” Indeed, there is a cinematic feel to much of Crispin’s own music, something brought over from his ambient creations – although his self-titled album possesses a panorama all of its own. Something like 'When I Reach The Ocean' has a hazy, pastoral feel to it like something out of the Canterbury Folk scene; there’s space between the notes though, which in turn pushes the track out to a greater expanse than the comparatively soft-edged and modest sound palette used to create it. Similarly, the likes of 'Effert' revel in the space afforded to them - in the case of the aforementioned in particular, Crispin lets his voice take a back seat and creates an open wash of sound that he allows the guitar to probe and explore within. “In making any music I am definitely conscious of trying to put in only what is effective” Crispin says. “It is so easy to clutter tracks without realising it, just having the ability to add stuff can just become addictive as it’s so easy to do with recording setups now.” The album started coming together at the end of 2020, with Crispin getting most of the songs to a concrete state, before starting recording in May 2021 with Diagonal bandmates Luke Foster (drums) and Daniel Pomlett (Bass), who put down rhythm tracks. Jazz saxophonist Rob Milne then added parts which would become the glue that held the whole organic aesthetic of the album together. There’s no doubt that lockdown played a part in proceedings, with a kind of forced focus resulting in a need for joyful expression. However, Crispin and his partner also suffered a bereavement which led to her travelling for large periods of time. “It was a very intense and difficult time and I think some of the intensity of emotion of that situation coupled with being alone must have inevitably contributed to the work itself” he says. It's perhaps why when even in moments of sheer happiness, such as the 'Sabu’s' breezily euphoric opener, Crispin ponders: “No-one really cares beyond this moment, and even when it's here, it's never here”. It’s the first of several bittersweet moments on the record that give the album its weight. On this new LP, Crispin recognises that sadness doesn’t mean throwing out hope, and that even in moments of joy there’s still a path ahead of you to take.

For Fans Of: Green Day, The Lillingtons, The Queers, The Copyrights, Ramones, Lookout Records. Playing rare reunion shows in the USA and Europe! This is a limited pressing and will be gone in days! We'll be doing PR, taking out ads, and giving it the full Red Scare push! This record was originally released 15 years ago and we finally got off our ass to do the vinyl in time for some fun reunion shows. Here’s the album description from 2007… Chicago’s Methadones got our attention with their last proper album, Not Economically Viable, which came out on Thick Records in 2004. It was their breakthrough, and anyone who overlooked that LP missed out on the BEST pop punk record of 2004. We then hooked up to release a hilarious party album (21st Century Power Pop Riot) that featured The Methadones with a number of guest vocalists covering Cheap Trick, Costello, and more. Now it’s back to business, and the ‘Dones have a new batch of originals that pick up where they left off with the great Not Economically Viable. It’s called This Won’t Hurt… and they recorded it at the famed Atlas Studios in Chi-Town. The same guys that brought you stuff from The Lawrence Arms and Alkaline Trio have captured The Methadones in all their glory and have them sounding better than ever. Fronted by the venerable Dan Vapid, they have yet another album full of undeniable hits, and on top of all this, they have two tours booked in the near future…hide your beer and chicken wings!

When you drop the needle on Vocal Patterns, you are entering a world that is equal parts suave, smooth, cool, nostalgic, and kitsch. With haunting and beautiful vocals, upbeat numbers, and smooth sounds made for a late 60’s summer holiday, let this cult classic transport you back to a simpler time. Originally released in 1971, Vocal Patterns features compositions by Roger Webb and vocal performances by Barbara Moore. This powerhouse duo has their own recognition outside of library music. Roger Webb worked as a musical director alongside the likes of Rex Harrison and Bette Davis and wrote songs for Shirley Bassey and Johnny Mathis. Barbara Moore, composer of the de Wolfe cult classic “Vocal Shades and Tones”, collaborated with the likes of Jimi Hendrix, Elton John, Dusty Springfield, and Tom Jones.