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Fresh from starring as the town drunk, no typecasting here!, in Rio Bravo’ (the movie) Dean was at the height of his popularity when he entered the Capitol studios in the summer of 1959 to record his first
Christmas-themed songs accompanied by an orchestra arranged and conducted by Gus Levene. The results of the recordings were a charming, thoroughly entertaining Christmas record, highlighted by
fine versions of “White Christmas”, “Let It Snow! Let it Snow! Let It Snow!”, “Winter Wonderland”, “Baby, It’s Cold Outside”, “The Christmas Blues”, “Rudolph, The Red- Nosed Reindeer” and bonus
broadcast recordings of “Silent Night”, “Silver Bells” and “It’s Beginning To Look Like Christmas.

Limited coloured Crystal Clear vinyl.

The Cinematic Orchestra kündigen eine limitierte Vinyl-Reissue ihres erstmal 2003 veröffentlichten Klassikers 'Man With A Movie Camera’ an. Im Rahmen der Filmfestspiele zur Europäischen Kulturstadt Porto im Jahr 2001 wurde Jason Swinscoe vom Cinematic Orchestra beauftragt, einen Soundtrack zu einem Stummfilm zu komponieren, der einmalig aufgeführt werden sollte. Bei dem Film handelte es sich um Dziga Vertovs Experimentalwerk „Der Mann mit der Kamera“, einen frühen Dokumentarfilm aus der Ukraine von 1929, den viele, darunter das British Film Institute, fast 100 Jahre nach seiner Entstehung als einen der besten Filme aller Zeiten bezeichnen. Die Aufführung fand im historischen Coliseu do Porto statt und endete mit stehenden Ovationen von 3.500 Menschen. The Cinematic Orchestra hat die Show im Laufe der Jahre auf internationalen Tourneen aufgeführt, unter anderem im Barbican in London, im Winter Garden des World Trade Centers in New York und im Sydney Opera House.

Jules Wells is from Bordeaux, France. He started Djing in the late 90’s, and released his first productions in 2008 on Logos Recordings.

Strongly influenced by the Motor City, Jules already released material on several respected Detroit-based labels like KMS, Electrofunk, Submerge Recordings, Twilight 76 Rec, and RPD, but also on various labels such as Lo-deep (France), Purebox (Japan) and Logos (Macedonia). These EPs received massive support from many Djs, including Laurent Garnier, Underground Resistance, Carl Cox and Monika Kruse.

Now Jules Wells joined the briquerouge team for his first album ever

To be released on 2x12" LP limited bi-color vinyl edition in October 2023.


Support by Laurent Garner (play/radio show/new podcast DEEP Search planned feature on Soundcloud) /

Louis Cole ist ein Singer-Songwriter und unverschämt talentierter Multiinstrumentalist mit einem ausgeprägten DIY-Ethos aus Los Angeles, Kalifornien. Er ist auf der Mission, tiefe Gefühle durch Musik zu erzeugen und ist das Aushängeschild einer allgemein dem Jazz nahestehenden Szene in L.A., zu der Genevieve Artadi (mit der Cole 2009 die Alt-Pop/ Elektrofunk-Band KNOWER gründete), Sam Gendel, Sam Wilkes, Jacob Mann, Thundercat-Keyboarder Dennis Hamm, Pedro Martins und viele mehr gehören. Sein neues Album, „Quality Over Opinion“, erscheint Mitte Oktober 2022 auf Brainfeeder Records.
Die 20 Tracks des Albums wurden von ihm selbst in seinem bescheidenen Heimstudio geschrieben, eingespielt und produziert, aber Louis lud eine Handvoll enger Freund*innen ein, ihren Beitrag zu leisten, u.a. Genevieve Artadi, den Saxophonisten Sam Gendel, den Pianisten Chris Fishman, Nate Wood von der Band Kneebody, Marlon Mackey und den Gitarristen Kurt Rosenwinkel. Louis' Hauptinstrument ist das Schlagzeug, und er hat einen Hintergrund im Jazz, obwohl die Musik, die er schreibt, wenig Ähnlichkeit mit Jazz im reinen oder klassischen Sinne hat. Dementsprechend gehören zu Coles Maßstäben für „Quality Over Opinion“ neben Jazz-Ikonen wie Miles Davis, der schwedischen Experimental-Metal-Band mit einem ausgeprägten Hang zu Jazz, Meshuggah, Morten Lauridsen und Super Mario Kart auch grenzüberschreitende Komponisten wie Gustav Mahler und György Ligeti. Coles verrückte Musikalität ist kein Geheimnis - seit einem Jahrzehnt lädt er Performance-Videos auf Youtube hoch und hat sich so eine treue Fangemeinde aufgebaut, die sowohl sein Handwerk als auch seinen ausgefallenen Stil zu schätzen weiß. Schlagzeug, Bass, Tasten... er hat eine sehr strenge Einstellung zum Üben und zur Perfektionierung seiner Kunst. Thundercat beschreibt ihn als „einen der größten Musiker von Los Angeles“ und lud ihn Anfang des Jahres ein, auf seiner jüngsten Japan-Tour Schlagzeug zu spielen. Die beiden haben häufig zusammen geschrieben, unter anderem auf Thundercats Liebeserklärung an Cole, „I Love Louis Cole“, aus seinem Grammy-gekröntem Album, „It Is What It Is“, auf „Bus In The Streets“ und „Jameel's Space Ride“ (aus Thundercats 2017er Werk, „Drunk“) und „Tunnels In The Air“ für Louis' 2018er Album, „Time“. Auch Flying Lotus hat seine Bewunderung für Louis zum Ausdruck gebracht und ihn während der Arbeit an seinem 2019er Album, „Flamagra“ als „super inspirierend“ bezeichnet. Im vergangenen Jahr begann Louis seine bisher größte Zusammenarbeit mit dem Grammy-prämierten Metropole Orkest, unter der Leitung von Jules Buckley, für eine Reihe einzigartiger Konzerte in den Niederlanden, die 2023 fortgesetzt werden, bevor er im Oktober dieses Jahres mit seiner Big Band durch die USA touren wird.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

Since forming in early 2021, The Prize have established themselves as one of Melbourne's premier rock and roll outfits, funnelling vocal soaked hooks and harmonies through a three guitar onslaught and a pulsating rhythm section. Their unique blend of power pop and rock and roll has earned new fans and followers from all sides of the globe. The Prize’s debut EP "Wrong Side of Town' sold out on the first day of its release and received high praise from the likes of punk legend, Henry Rollins. The band quickly found itself securing plum support slots for bands like the Sunnyboys, Pavement and King Gizzard and the Lizard Wizard. This culminated in a national tour supporting The Chats in late 2022 that has helped to establish them as a premium live act with the tunes to back it up. To top it all off, The Prize are set to embark on their first international outing in August/September 2023 supporting KGLW and the Murlocs on their European tours with a number of headline dates across Europe and UK. “First Sight”, the much anticipated second release from The Prize will be out just in time for the EU/UK tour via Anti Fade Records and Drunken Sailor from August 18th

No Future, No Past – Svart Records set to release a compilation of the lost treasures of Finnish speed and thrash metal in October The roots of speeding thrash metal stretch out to the early and mid 80’s. It did not take long for the waves arising from the shores of California, central Europe and the United Kingdom hit Finland hard as well. The guiding light of Finnish thrash metal from that era was Stone from Kerava, but the entire scene that was bubbling beneath the surface was surprisingly vivid for such a small country. As the old saying goes, in the late 80’s there was not a single town in Finland without a speed metal band. These dozens – or hundreds, to be more precise – of vivacious bands formed by the long-haired youth didn’t just stay in the basements of their parents’ houses. Soon the youth centres of every county and open-minded venues such as the legendary Lepakko in Helsinki would arrange wild speed and thrash metal gigs. Studios run by more experienced musicians such as Timo Tolkki from Stratovarius were fully booked by hungry young bands eager to record their future metal classics. Many bands released 7” singles and demo tapes by themselves or with support from a record company, yet most of them permanently stayed at the demo stage through the golden era of the eighties. Svart Records is set to release a compilation of the absolute top tunes culled from these sought-after, long-lost demo tapes and singles on vinyl and CD in October. No Future, No Past – Finnish Speed & Thrash Metal Explosion combines the strongest, rarest, and most obscure Finnish metal tracks from the years 1986-1992. Backgrounds of the bands presented on the compilation differ a lot from one another. Vendetta and Damage were born from the ashes of the members’ previous hardcore and punk bands. A.R.G. and Catalepsy got their feet in the door fast of record companies such as Poko Records and Megamania, while other metal acts from that time simply faded away. After a few decades passed, some bands saw it fit to restart their careers, Sacred Crucifix and The Hirvi being examples of such comeback artists. No Future, No Past – Finnish Speed & Thrash Metal Explosion 1986–1992 will be released on October 13th on a limited 2LP vinyl edition and CD version. The compilation is packed with 18 remastered tracks of pure Finnish metal mayhem and accompanied by a booklet that contains band histories, photos, and song details. The compilation’s predecessor Real Delusions: Finnish Speed & Thrash Metal Explosion 1987-1991 was released in 2018 and its limited vinyl edition was sold out in a heartbeat, so get this rare gem now before it’s too late!

Limitierte Auflage Neon Violet Vinyl! Kari Faux ist nicht zu bremsen. Die aus Arkansas stammende Künstlerin kehrt mit ihrem dritten Album REAL B*TCHES DON'T DIE! zurück, einer 12-Track-Ode an ihre Südstaaten-Wurzeln. Die LP verwebt Karis knackige Produktion mit ihrem lässigen und herrischen Flow, gleitet mit Leichtigkeit durch ihre Dirty South-Wurzeln und verweist auf Outkast und UGK als Einflüsse, während die Femcee ihre Macht behauptet. Die Rapperin und Singer-Songwriterin hält den regionalen Vibe mit ihrer unverschämt dominanten Energie im Herzen ihres neuesten Werks authentisch. Karis Exzentrik wurde auf ihrem 2020 erschienenen Album Lowkey Superstar hervorgehoben, auf dem sie die Hörer mit ihrem verführerischen, aus Arkansas stammenden Akzent und ihren schwungvollen Arrangements faszinierte. Auf REAL B*TCHES DON'T DIE! hat sich Karis einzigartiger Blick auf die Welt und ihre Vision nur noch erweitert, was die Künstlerin auf die Verfeinerung ihres Handwerks zurückführt. "Lowkey Superstar felt very Southern - it was me getting super-immersed back into southern rap and gospel music," sagt sie und fährt fort "Since I've been in this space for over two years now, it's like, Let me keep refining this and making it better." In der gegenwärtigen Hip-Hop-Landschaft stehen weibliche Rapperinnen unangefochten an der Spitze. Methodisch in ihrer Herangehensweise an die Musik - und selbstbewusst in ihrem Ansatz, authentisch zu leben - fühlt sich Kari in der wachsenden Wiederauferstehung von Frauen im Rap zu Hause. Auf REAL B*TCHES DON'T DIE! erinnert Kari Faux die Hörer an eine unbestreitbare Wahrheit: Der Süden hat etwas zu sagen.

Das ist Killer-Crossover-Thrash-Metal, der mit großartiger Energie und Aggression dargeboten wird.

Die Platte beginnt mit einem einigermaßen perfekten Intro für diese Art von Album in Form von „The Executioner“, das heftig anfängt, dann an Geschwindigkeit zunimmt und von da an bis zum Ende von „The Mountain Wizard“ nie wirklich langsamer zu werden scheint.
„Waste 'em All“ ist das Debüt-Studioalbum der US-amerikanischen Crossover-Thrash-Metal-Band Municipal Waste. Municipal Waste wurden 2001 in Richmond, Virginia, gegründet die musikalisch in den 80ern beheimatet sind und zu den verrücktesten Bands zählten wie D.R.I., Nuclear Assault, Anthrax uva.

„Waste 'em All“ brachte sie auf die Landkarte, aber erst als sie ihr zweites Studioalbum „Hazardous Mutation (2005)“ über Earache Records veröffentlichten, kam die Sache wirklich ins Rollen.

Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club Will need to engage in a series of lewd acts of sex and violence across the country.Immortality comes at a price and you’re about to pay for it… The beating heart of The Death Wheelers is a rumbling engine. Since their self-titled debut in 2015 and in 2020’s cinematic-storytelling breakout, Divine Filth, the Canadian outfit have tapped into wind-through-hair freedom and careened down open roads of groove, not a cop in sight. Their third record, Chaos and the Art of Motorcycle Madness, more than lives up to its name on all fronts. With songs like “Morbid Bails” and “Lucifer’s Bend,” the in-the-know references abound, and The Death Wheelers draw from classic underground metal, scummer heavy rock and cast themselves into a cauldron of cultish biker devil worship, reveling in any and all post-apocalyptic dystopias with genuine glee at having just seen the world eat itself. You might hear some surf guitar. Crazy things can happen. A sample in “Triple D (Dead, Drunk and Depraved)” underscores the message: “We want to be free to ride our machines without being hassled by the man. And we want to get loaded.” That line, from Roger Corman’s 1966 film The Wild Angels, serves as a mission statement, and as “Lucifer’s Bend” starts by laughing about how you can’t get away from Satan, they might as well carve it into their forearms to be ready when the blast of distortion hits, as much Entombed as Motörhead, galloping and sinister, coated in road dust and blood. The band tells the story like this: “Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club will need to engage in a series of lewd acts of sex and violence across the country. Immortality comes at a price and you’re about to pay for it…” While forging songs adherent more to ideology than style, The Death Wheelers cast their biker cult in their own image, and on Chaos and the Art of Motorcycle Madness, they challenge death head-on as only those with no fear of it could hope to do.

Black cloud is descending – Black Magic Six set to release their fifth album in September, new single Blood of Babylon out now The title of Black Magic Six’s upcoming album Black Cloud Descending really sums up the mood and thoughts of its creators during the album making process. It tells stories of constant escaping, accepting defeat, destinies of outcasts, failures, and drunks. Tales of the wiser, exaggerated lies, vague rumours, fuzzy states of mind and suspicious circumstances – even the thought in the back of your head about the possibility of redemption while standing on the edge of the cliff right before falling in; it’s all there. The album’s first single Blood of Babylon is a garage rocking song about Sam Berkowitz’s relationship with Sam Carr’s speaking dog. Lyrical themes of the upcoming album are moving between reality and the imaginary world; remembering the moments at Belo Horizonte, how to use the powder that protects you from the evil eye, how it felt to wonder in the same alleyways with the werewolf of Istanbul or diving to safety to the bottom of a pond in Northern Savo. Listen Blood of Babylon here: https://youtu.be/S7mEujUIlrw Musically the album is on a narrow path. All the sounds heard on Black Cloud Descending are produced by Taskinen and Motherfuckin’ Japa. Sure, there are two exceptions; the gong heard in the end of Werewolf of Istanbul was recorded by Sakke Koivula at his home and the church bells in the outro of Full House Blues are ringed by unknown. Previous albums of BM6 had lots of guests playing guitar, percussions, harmonica, and visiting singers. People that one could call actual musicians. These past albums have had a softer, more versatile, and maybe even a livelier touch to them. This time around there’s only the core; the percussionist and the singing guitar player. The result is more raw, rugged, and rougher than before. Black Cloud Descending is out on September 1st on vinyl, CD, and digital platforms. The album was produced, recorded, and mixed by Mitro Kylliäinen at Kung Fu Audio along with BM6 during 2022-2023. Original art used for the album cover was made by Greger Grönholm. The band will play selected live shows to celebrate the new album in Finland, Germany, Denmark, and Spain. Dates of these gigs will be announced closer to the release date of the album.

'Ain't Ever Easy' is the best example to date. The muscular, chooglin' beat of the country funk heater "Can't Take Back" opens Ryan Curtis' sophomore album 'Ain't Ever Easy.' Like a steam train gliding into some high desert station, it bears the strong vintage machinery of Curtis' "alt-country from the high country" sound. The song lopes in on oozing guitar and keys over a backbeat that pulses sexier than a
breakup song has the right to be. Regret has rarely sounded this happy, but Curtis is capable of turning love and loss into dripping hot, powerful songs. Over the last decade the various styles of country have become Curtis' stock-in-trade. With a gravelly growl he paints cinematic pictures of picaresque people from the Midwest and the badlands; down and out townies, bar room drifters, forlorn lovers, and resilient loners fill his visionary tales, mournful subject matter he turns into country gold.

Despite being nearly 50 years old, the first two singles garnered support from Shindig Magazine, New Commute, Aquarium Drunkard, and even landed on Spotify's Fresh Indie Finds.

The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth’s nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff. On August 12, 2011 Sonic Youth played their final US show on an outdoor stage overlooking the East River at the Williamsburg Waterfront in Brooklyn. Fitting that their storied career would bookend with a panoramic view of New York City where it all began 30 years before, having left in their wake one of one of the most powerfully influential careers in rock music. Following incredible sets from Kurt Vile and Wild Flag, the band took the stage. As the sun went down over the city, Sonic Youth ripped through a 17 song set that spanned from deep cuts off their first studio album and highlighting many other albums all the way through to their last, like a band with everything to prove. Or as Brooklyn Vegan’s Andrew Sacher said at the time: “While most bands who are thirty years into their career are either fading away or living off of the nostalgia of their older material, Sonic Youth continue to sound and perform as fresh as ever.” Steve Shelley explains the uniquely career spanning set list of Live in Brooklyn 2011 and how it came to be, as well as the importance of outdoor NYC summer shows in Sonic Youth’s legacy: “This show was a culmination of a run of really special outdoor summertime shows in New York City for us, starting in ’92 with Summerstage in Central Park when we played with Sun Ra. For the Williamsburg Waterfront show I wrote out the set list to present to the band and it was a lot of material we hadn’t played in a while, a lot of deep cuts, so I wasn’t sure if everybody would feel like doing it. After worrying about which songs the band might say yes or no to, I threw those concerns out the window and I just made a list of songs that I thought would be a great set. We practiced the week of the show at our space in Hoboken and put the set together. First we’d try and make sure we had a guitar in the song’s tuning, then we’d try to remember the arrangement and try and put it together, sometimes re-learning bar by bar. In the end I think the whole song list made it through. Even as early as ’86 and ’87 we stopped playing ‘Death Valley 69’ and ‘Brave Men Run’ with any regularity. We’d just get excited about new material coming into the set and songs would get ‘retired’ and wouldn’t get played again for years. So on this particular night in Brooklyn a lot of those retired songs and deep cuts got dusted off and played for this show. It turned out to be a pretty special event with a really special song list.” The band would go on to fulfill a contracted festival run in South America a few months later but, by then, the group’s center was severed beyond repair and the festival appearances didn’t hold the same kind of weight. “The stage was facing the East River from the Williamsburg, Brooklyn waterfront, and I recall the sun going down in the west during our set. It was a pretty magical, if kinda weird day. Fitting, somehow, that our ‘last show’ should be in New York City, our home and where it all began…” Lee Ranaldo The Williamsburg Waterfront show would fondly become referred to as ‘The Last Show’ by fans and band alike, equally for its triumphant high energy performance, its unique and expansive set list and locale. Newly remixed and remastered, Live in Brooklyn 2011 is presented for the first time on 2xLP, 2Xcd, August 18, 2023.

Limited 300 only LP pressed on 'deep space black' vinyl. Housed in a gloss finished outer sleeve with black polylined inner bag and download code. Non-Returnable.

For fans of Up-Tight, Les Rallizes Denudes, Acid Mothers Temple, and deep psych rock.

Introducing TOMOYUKI TRIO, a blistering Japanese/UK psych-rock power trio featuring Tomoyuki Aoki, Mike Vest & Dave Sneddon.

Tomoyuki Aoki is the founding member and lead guitarist of the legendary Japanese psychedelic rock band UP-TIGHT, who’ve been active and since 1992 building up a cult following worldwide.

This debut collaboration between Tomoyuki Aoki & Mike Vest (of Blown Out, Bong, Modoki, Artifacts & Uranium, Drunk In Hell etc) greets two titans of guitar feedback and blissful ‘improvised every-time’ leads.

Experimental ultra-delayed vocals, shimmer over downer minor chord basslines, leaving room for Aoki’s guitar devastations.

This is introverted mournful psychedelic rock music, yet it still grooves all the way to it's inevitable oblivion.

PowerSolo had a few decades of confrontational badassery behind them already when they descended on a barn in the Isle of Mön to record this, their 85th studio (OK, barn) album. The concept was clear: let's boil up a crazy stew with all the ingredients that the fanbase knows and loves. Kind of a return to the roots and the early albums in the mid 2000s It's Raceday... and Egg. Let a bunch of very diverse songs simmer together and create a beautiful dish that is both xtra spicy, surprising, complex yet super yummy. Like a Jambalaya: distinctly American fare, but not mainstream at all. We're talking Creole and Cajun food influenced by African as well as French cuisines and made by the ingredients at hand - some high end and some cheap and maybe even gone a bit stale. Seafood, chicken and smoked pork sausage combined in a vibrant, tasty and utterly unique mouthful. Yes, the metaphor promises a lot, but the album provides. Like the aforementioned LPs, as well as the breakthrough hit album The Real Sound from 2014, Jambalaya - Xtra Spicy was recorded, mixed and produced by Ulrik Petersen and Jesper Reginal (aka The Great Nalna and Yebo of The Tremolo Beer Gut infamy) at Dark Side of The Möön / Kondi Frost Studios. The musical crew consisted of main man Kim Kix as well as his right-hand man Anders "Peasoup" Pedersen. The drums were alternately manned by none other than former PowerSolo member JC Benz and live drummer Mike "ZACK" Sullivan. A pinch of South American spice was added by Flavia Couri of The Courettes on the duet "If I Could Fly" and every dish deserved a bit of French sugar. It was applied on "She's A Trucker" by none other than Phoebe Killdeer from Nouvelle Vague and Phoebe Killdeer & The Short Straws. Kix has previously produced and guest starred on these ladies' recordings, and they were both happy to take a seat at the table of this feast that is Jambalaya - Xtra Spicy

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

'The Devil, The Heart & The Fight' is Skinny Lister's third studio album and is repressed here on yellow vinyl. The band are currently supporting Flogging Molly across the US, have summer festivals confirmed and will be touring across UK and Europe by the end of the year. 'The Devil, The Heart & The Fight' was recorded over five weeks in Newcastle Under Lyme’s Silk Mill Studio in May 2016 with producer Tristan Ivemy (Frank Turner, The Holloways), it is Skinny Lister’s most far-reaching, exciting and accomplished album yet. It’s a full-on rock record that splashes even more punk vigour and eighties pop elements across their fervent folk canvas, taking in hints of Adam Ant and The Clash. It also brings the folk storytelling tradition bang up to date with its brutally honest and close to the knuckle lyrics of real-life stories (‘Geordie Lad’, ‘Charlie’) and on-the-road mayhem, the Pogue-ish ‘Hamburg Drunk’. A mature, vibrant and varied record, it mingles classic Skinny folk romances (‘Grace’, ‘Reunion’) with epic rock takes on rafter-rattling shanties (‘Beat It From The Chest’) and hearty Dexys-style tributes to the fans they meet on the road (‘Fair Winds & Following Seas’), plus a hitherto unseen darker side. Take the deceptively upbeat ‘Injuries’, Dan’s ode on the bruising nature of life, or ‘Devil In Me’, in which Lorna comes on like a particularly melodic Glenn Close in Fatal Attraction. • The Devil, The Heart & The Fight hit the UK Top 40 in the two independent album charts (#38 ‘Breakers’ chart, and #11 Independent Album Chart). • Has received over 2.5million streams on Spotify and the videos have reached over 400K views on YouTube. • Global radio support from 6Music, Radio X in UK Radio Eins, Flux FM, Star FM in Germany and WBSD, WRFL, WYCE, KSJS, WAWL, KPNT, WRIF, KXRN, Indie.FM, WVMO, and WCSF in USA. PRESS QUOTES: “…considerably upped their game.” 4/5 Q Magazine album review “…a deafening and visceral experience.” 5/5 Independent live review from London Garage. "This album has a wholesome kind of dirtiness woven deep into the tapestry of each of the songs." Subba Cultcha "The Devil, The Heart & The Fight’ sees them break their own mould, in places amplifying the popular influences on their sound yet retaining their fundamental roots." Punktastic “(a) kaleidoscope of high octane folk punk via Dexy’s and The Pogues” Louder Than War

Crackazat & Heist present: “Senses”. A stunning mini album that sees the artist deliver a heartwarming perspective on contemporary electronic music
On “Senses”, we see the pure talent of Crackazat come to life like never before. We’ve all danced to “Alfa” or his most recent hit on Heist “Demucha” and have heard his venture into the more poppy side of things with his 2022 album ‘Evergreen’ on Freerange. “Senses” however, is on another level. Crackazat takes you on a sonic journey exploring his musical personality with live keys, vocals, bass and production all coming from his studio in Uppsala, Sweden. The
jazzy horns that are featured throughout are recorded by Adeev and Ezra Potash, better known as the Potash twins. The duo took a sidestep from their recordings with John Legend, Robert Glasper and even Diplo to dive into this project with Crackazat and help him deliver arguably his best work to date.
The 6-track album starts off with the low-slung groove of ‘I need to know’. The whole atmosphere is warm, dreamy and seems to be written to lift your spirits, no matter where you are in life. Plucked strings, arpeggios and long horn notes give this song its energy, which is subtly supported by lo-fi drums and sparse bass licks.
“Do you think about me”, keeps the energy tight with a lovely drum groove and a sparse bass section. From the first note of the track, you get the feeling like the energy could change any moment. Halfway through this is exactly what happens, when uplifting keys and a buzzing lead take control of the track. The string arrangement is subtle enough to never overshadow the other instrumentation, but simply adds a beautiful layer to a track that’s already filled with
emotion. It’s all smiles when the energy of this track is set loose!
If “Do you think about me” is Crackazat in pop mode, “Freddie’s Groove” is Crackazat in full-on jazz mode. The nod to Freddie Hubbard is clear, and Crackazat cleverly takes ideas from both the jazz legend and his legendary French sampler, Pepe Bradock for this track. The horns are deep and moody, the groove is jazz-house at its best and Crackazat’s soft vocals have the perfect amount of fragility to fit the groove. The changeover into a stabby synth section
halfway through the track is a subtle reminder from the skilled producer that – even with all these musical elements – he can direct you to the front of the dancefloor with the twist of a note.
“Phantom” sees Crackazat move into a shuffling Latin-dance vibe. Here, the song reaches its full potential through the horn section, so it’s only fitting that this is the feature track for the Potash Twins. The Latin rhythms are lush, the key progression is on point and the energy on this track just keeps on going with layers and layers of horns, powerful vocal chops, and subtle but effective percussion changeovers.
“Endless life” is a track that feels like it’s building up momentum with every repetition. Whether it’s the broken beat groove, the offbeat keys or the sparse horn hits, chord hits or leads, there’s a certain energy in this track that takes a hold of you and simply doesn’t let go.
The outro “When we last met” is built around vibey drunk keys and a downtempo hip-hop groove. There’s a hint of old school D’angelo in this track and you can clearly hear the artist feels at ease with the path he’s taking the listener on. It’s a perfect ending to a record that showcases the beautiful world that Crackazat has crafted through his compositions and one thing is for sure: This is an album we will all keep coming back to for a long time to come.
Yours Sincerely,
Maarten & Lars

Puscifer wurde irgendwo in der Wüste von Arizona geboren und ist eine Elektro-Rock-Band, ein Multimedia-Erlebnis, ein Wanderzirkus und Überlebende einer Entführung durch Außerirdische. Der Katalog der Gruppe besteht aus drei Studioalben - V is for Vagina (2007), Conditions of My Parole (2011) und Money $hot (2015) - sowie einer Reihe von EPs und Remixen. Neben dem Kerntrio, bestehend aus Maynard James Keenan (Gesang), Mat Mitchell (Gitarre, Produktion) und Carina Round (Gesang, Songwriting), umfasst die Gruppe Greg Edwards (Bass, Gitarre, Keyboards), Gunnar Olsen (Schlagzeug), sowie eine Reihe von Charakteren wie Billy D und seine Frau Hildy Berger, Major Douche, Special Agent Dick Merkin und viele mehr. Die Gruppe ist bekannt für ihre mitreißende Live-Show, bei der die Grenzen zwischen Konzert und Theater verschwimmen.

Drunk Hymns on the A Side. All the previous hits on the B Side. Lovely job A band formed over pints in a small English pub in late 2021, CARSICK have exploded onto the scene with love from the likes of Gemma Bradley, John Kennedy, Nels Hylton, Dork Magazine, Gigwise and Tom Robinson - and take influence from a range of different artists and genres, from indie rock to post-punk to hip-hop with electronic elements, but their tongue-in-cheek lyrical approach directly tackles the trials and tribulations of life as a young adult, and especially the drinking culture which dominates the band's demographic.

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

After their their 1982 masterpiece Under the Big Black Sun, X offered their follow-up More Fun In The New World only a year later. The album was once again produced by Ray Manzarek.

X achieved new rough and rocking heights with the vicious "Devil Doll," "I Must Not Think Bad Thoughts", and "Make the Music Go Bang", while returning once again to their retro '50s roots with "Poor Girl".

More Fun In The New World is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl and includes an insert.

While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

Bunny White Vinyl! While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

Naarm alchemists Sleep D's revelatory new synthetic 'Electronic Arts' is ready for circulation.

Having released 4 EPs of mind-altering club tackle since 2019's 'Rebel Force', the duo overcome second album syndrome, boiling down their chaos with a more developed sense of songwriting. Never banging one drum, 'Electronic Arts' mirrors the anything goes mania of their DJ sets, tactfully shifting through different sounds and styles. Tempos intensify and decelerate, at times pushing the threshold to 150 bpm from docile canine dreamscapes to full tilt Space Invaders in AR mind games.

Largely built on road tested material from their live performances, the album is a tangible Butter Sessions gathering, busting out the gate with Martian rave initiation Planet Waves, Outdoor System's polyrhythmic beatdown and the Orb-like hero dose affirmations of Sunrise In The Crater (I Exist). While 'Electronic Arts' is otherwise a self-dependent effort, Punch Drunk is brewed ever more potent by the hypnagogic vocals and lucid trumpet cycles of former futsal team member YL Hooi. Their unified energy incidentally manifests a profound matrix of ambient techno, motorik, Don Cherry and Everything But the Girl.

Also touching on apocalyptic doof and minimal, the album is not exclusively peak time with Maryos Syawish and Corey Kikos' specialty curveballs also playing their part. From Village To Empire finds the duo rooting down in Syawish's heritage with a tapestry of purposefully deployed Iraqi and Syrian ethnographic samples and field recordings, dubbed within range of Muslimgauze and On-U Sound. As minimal techno finale Textile trails off into footsteps wandering back to base camp with a satisfied exhale, one wonders where Sleep D's existential pathfinding could possibly take us next?

Merging a dynamic curio of melodic guitars, disconcerting monologues and a rhythm section both technical and unruly, London’s Legss create a wholly unique and mesmerising sound. New EP Fester is a literary and disarmingly lyrical collection of art-rock songs laden with ideas and sun-licked beneath the bus smog of anxious skies.

Even when leaning into more melodic territory, there’s a pervasive uneasiness that underpins both the vocals and instrumentation. Just as you drift into the relaxing arpeggio flow, vocalist Ned Green’s soft soliloquy accelerates to an exasperated yelp and we’re jolted by discordant noise-rock stabs dragging us into Legss’ deliciously feverish and poetic world.

“The lyrics were written in the summer, when you’re sun-drunk and romantic, and the buses look like they’re kissing as they cross each other, and everyone’s got a cold sore. But beneath all the sunny games there’s a bittersweet desire to be someone or something else.” - Legss

Fresh from supporting the likes of Pom Poko and Hotel Lux, Legss release Fester via The State51 Conspiracy on 16th June. Pressed on 12” black vinyl in a sealed polybag liner.

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

Kelsea’s fourth album, SUBJECT TO CHANGE, arrived on September 23, 2022. The first single, “HEARTFIRST,” quickly took over airwaves, and was the “most added song at country radio” the week of its release. Most recently, Kelsea earned a GRAMMY® nomination for “Best Country Solo Performance” for “HEARTFIRST.” Kelsea Ballerini is ready to continue making history in 2023 and beyond. The two-time Grammy nominee previously teased Subject To Change in April, and said that the '90s-tinged "Heartfirst" set the tone for what's to come. "There is a lot of nostalgia to this record," she said. "It does sound really '90s-inspired, '90s country and '90s pop... I really just wanted to start this next chapter with something that feels good. It's breezy, it's happy, and I hope people hear that."

***BACK IN PRINT ON TRANSLUCENT GREEN VINYL!!! Originally released as a 10-inch in 1991, Eggnog is a wild ride into the outer limits of Melvins-dom. The first side cuts loose with three quick blasts. “Wispy” has the Lorax (Lori Temple Black) on bass and Dale Crover on drums, pounding one note in unison while Buzz Osborne bellows and whispers and turns his guitar on and off. “Antitoxidote” is a rabid horse galloping off into the desert, with yet more stops and starts and feedback detonations. “Hog Leg” sounds like a syphillitic Jimmy Swaggert trying to mimic Dio while being backed by a drunken ZZ Top cover band. Side Two features the side-long epic “Charmicarmicat,” with seasick waves of guitar and slow-motion madness bringing communicable disease and poisonous jellyfish ashore, stinging and infecting the unsuspecting sunbathers before gently washing out to sea again.

Jeffrey Silverstein returns in 2023 with his second full-length release:
Western Sky Music - Based in Portland, Silverstein channels the natural beauty of his adopted Pacific Northwest into guitar-driven explorations of inner landscapes silverstein is joined by Barry Walker Jr. on steel (North Americans + Rose City and), Dana Buoy (Akron/Family) on drums, as well as guest appearances from William Tyler and Karima Walker. Robert Earl Thomas from Widowspeak shared quick note on the album: 'I've really been enjoying Western Sky Music, especially No Rain' and '(Theme From) Western Sky Music.' The back to back pairing of arthy slow core and blissed out tremolo meditations takes me to such a warm lace. It's a great Sunday record' Cosmic country with a gentle sweetness, reminiscent of Beachwood Sparks and silver Jews at their twangiest" - NPR Music
ummer west coast tour. March UK tour.

Appeared on Best-of lists: Aquarium Drunkard, New Commute, Raven Sings the lues, and more.

Jeffrey Silverstein returns in 2023 with his second full-length release:
Western Sky Music - Based in Portland, Silverstein channels the natural beauty of his adopted Pacific Northwest into guitar-driven explorations of inner landscapes silverstein is joined by Barry Walker Jr. on steel (North Americans + Rose City and), Dana Buoy (Akron/Family) on drums, as well as guest appearances from William Tyler and Karima Walker. Robert Earl Thomas from Widowspeak shared quick note on the album: 'I've really been enjoying Western Sky Music, especially No Rain' and '(Theme From) Western Sky Music.' The back to back pairing of arthy slow core and blissed out tremolo meditations takes me to such a warm lace. It's a great Sunday record' Cosmic country with a gentle sweetness, reminiscent of Beachwood Sparks and silver Jews at their twangiest" - NPR Music
ummer west coast tour. March UK tour.

Appeared on Best-of lists: Aquarium Drunkard, New Commute, Raven Sings the lues, and more.

Black vinyl pressing 2022! "Funny to think there was a time not so long ago when Stiff Richards was a name that required explanation - but not to you, of course, o punk connoisseur. This is your territory, after all. Music is your oxygen and the sound of the underground is your clarion call. You can explain the distinction between 'Know Your Product' and 'No, You're Product'. Hey, you're probably pretty good-looking too. You know your shit, either way. So no wonder you're drawn to this relative holy grail of modern garage rock - the 2017 self-titled debut album by the aforementioned Stiff Richards. Originally released on their own Stiff Records (and again by Legless in 2020), it lays down all the elements that made last year's mighty 'State of Mind' LP such an instant classic. OK, we've established you know the drill, but let's recap: scintillating Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It sounds like Royal Headache covering Motörhead, or maybe the other way around. It's a full-on riot in 30 minutes - the rawest of rock'n'roll bleeding into the grimiest of power chords with hooks for days. You already know you're gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping - like on sub-three-minute highlight 'Strung Out' - or sludgin' their way through groovier cuts like 'Bustin' Out', they're never less than a treat that's guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond). As a certain similarly-named record label once said, if it ain't Stiff, it ain't worth a fuck. Frightfully rude, but that's rock music for you, I suppose. Get it in your ears." - Will Fitzpatrick.