Suche:time 2 back

Directed in 1972 by Romano Scavolini, "Un Bianco Vestito Per Mariale'" features a cast with some familiar faces from the Italian thriller genre like Evelyn Stewart and Ivan Rassimov. The film was scored by a great name of the Italian film music scene, Fiorenzo Carpi, whose music was superbly arranged and conducted with his own and unique great style by Bruno Nicolai. Originally released on vinyl by Gemelli in 1975, three years after the release of the movie, this score is dominated by the Mariale' theme both with Piano and orchestra and Edda Dell'Orso's voice and orchestra versions, and also features several lounge and tensive themes. Long out of print, we are proud to bring this beautiful soundtrack back on vinyl as a limited edition of 500 copies, including the instrumental version of "Mariale'" and an alternative arrangement of "Garden Party", available on vinyl for the first time.

Milky Clear Vinyl. Aprender a Ser: Extended is an EP by Mexico City band Mint Field. It was recorded in the same sessions as Mint Field's latest album, Aprender A Ser. Mint Field decided to split the work into an album and an EP as they felt it was too dense for a double album and wanted these songs to co-exist in another space and have its own time to shine. As with Aprender A Ser, the EP incorporates influences from shoegaze, trip-hop, dream pop and electronic music. The final track includes longtime friend and cello player Mabe Fratti to play Cello. Time. It's something we tend to cherish. As a band, you're typically thrown into more than usual stressful scenarios when recording albums and rushing decisions becomes the norm. Mexico City's Mint Field knows this all too well. Rewind to the spring of 2020 (yes, Covid). The band started fleshing out their new album Aprender a Ser (meaning Learn To Be in English), the follow up to 2020's minimalist psych/ shoegaze album, Sentimiento Mundial. For the first time, the band was not under any time constraints in the recording process. They wrote, recorded, produced and mixed the album in isolation. They had time to slow things down and think more obsessively about the sound, environment and vibe they wanted to create. Aprender a Ser became really intimate, every single detail was meticulously worked on. Mint Field recorded take after take, but at the same time tried to keep the soul of the demos intact. Some of the guitar and drums are first takes in the final versions. The band would let a recording sit, leave it and come back to it. The songs evolved a lot doing so, but at the same time didn't lose the essence of its original intention. Thematically, Aprender a Ser talks about opening our perspective of the reality that we live every day, acknowledging each moment that we witness in life. Learning to recognize what we are, what we live, what we see, what we feel. Whether it's seeing ourselves in the past and observing how we have evolved in the present. Or the lifetime of a butterfly from its formation within a cocoon to how it lives its short life in five days. Or seeing how an orchid slowly opens every day, never forgetting the essence of what we are and will be. Nothing in life should be taken for granted. Living in the present is a gift. Learning to be (Aprender a ser) is learning to recognize our emotions, not repress them, not turn them off and feel them.

Bomp Records of Burbank, California was likely the most significant American independent record label of the 1970s. In 1979 Voxx was founded as a subsidiary of Bomp as a specialty label for '60s-styled garage and psychedelic inspired music and was home to the debut album of the Pandoras. The Pandoras really got started back in 1982 when triple threat Paula Pierce (guitar, vocals AND songwriter) met singer and guitarist Debbie Mendoza at Chaffey College Rancho Cucamonga, one of those dozens of small communities that make up the greater Los Angeles area. According to stories told around the campfire, Paula had posted an advertisement on the bulletin board inside the college's cafeteria. The ad was both simple and direct: Wanted: female musician to jam with. As legend has it, the ad also stressed a keen interest in 60's garage punk music. Debbie answered Paula's ad, and soon the two girls were bringing guitars to school and holding impromptu jam sessions between classes. A little later that year, Paula brought in Gwynne Kahn on keyboards and second guitar, and Debbie convinced drummer Casey Gomez to join. People who were around at the time pinpoint December 1982 as the official beginning of the Pandoras as a band. The Pandoras didn't waste any time getting down to business. They started gigging regularly, and their repertoire of tasty garage nuggets expanded substantially, fueled both by Paula's talented songwriting and also no doubt by her relationship with Unclaimed frontman Shelley Ganz and his extensive knowledge of obscure 60's gems. The Pandoras unleashed their first recordings on the world in 1983 with the "I'm Here, I'm Gone" EP on Moxie records. It was a meaty slab of girls in the garage punk rock, and while maybe not as polished as subsequent efforts, it clearly showed off the talent of the band. Greg Shaw had been alerted to the band a few months earlier, and always one to know a good thing when he heard it, he quickly signed them. "It's About Time" saw the light of the day in 1984 on Voxx Records and became one of the first and best efforts of authentic 1960's-styled garage punk to emerge from the revival scene. It was pure garage gold! Today, 40 years after its original release date, we are thrilled to reissue this essential '80s garage punk gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes 3 bonus tracks and liner notes by Gravedigger V's John Hanrattie. "Paula Pierce refused to play it cute. On The Pandoras' debut album she out-snarled, out-screamed, out-fuzzed and out araged the male-dominated competition-like a well-aimed go-go boot to the jugular." - Mike Stax, Ugly Things Magazine "As good a '60s punk record as any contemporary combo is likely to make." - Trouser Press

repress !

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Red marble LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Reeling In The Weeks—which felt like Years — after my first Current 93 album, I had started on the difficult second C93 album, DOGS BLOOD RISING.

Having been asked to appear on both Top Of The Pops AND The Old Grey Whistle Test 93 times in the same week after the release of NATURE UNVEILED, I realised that God was telling me that I had hit on a winning formula of Christian eschatology and Apocalyptic Christian texts over a SoundScape As Cool As Flies, but that I was missing the vital ingredient of a Simon & Garfunkel song. DOGS BLOOD RISING — which I described to myself in a VISION as an album which hoped, wished, and made bad trips sound like good trips — was essentially the Mirror Night of NATURE UNVEILED, although only half of it was recorded at Roundhouse Studios. Squats were calling, and 8-track studios were all I was able to afford. DOGS BLOOD RISING didn’t chart, except in my NightSweats. Listening to it now, it makes me as restless as I was then, staring beyond the windows there, watching and praying for something, someone, anything, anyone.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Mystery colored vinyl (a unique and kooky mix-up from an exotic palette) and limited edition of 600 copies only!

From the mystical realms of a secluded ancient island, rising from the icy spray of the forbidden northern waters, comes the haunting, savage beat of a mysterious and primitive ritual. In this forgotten place, awash with wonder and enigma, echoing with the booming of sharkskin drums and bone rattles, the rock speaks with the voice of the gods. Weaving strange and terrifying tales, and tales of beauty and joy, Pagan Rites is a breathtakingly exotic tone poem that will make any Tiki bar come alive. Ixtahuele - the modern masters of exotica - legendary debut album finally back in print! The aim of the group is to provide the perfect soundtrack to bring your mind's eye on a time-traveling, round-the-world trip; taking you to faraway exotic islands, lost lands, and ancient cities - bringing back the Ottoman Empire, Port Royal, or even the mythical continent of Mu. Ixtahuele try to push the limits of where they can take you while still staying true to the genre; because after all the true armchair traveler can't make the Hawaiian Village the destination for every trip, but must also go to the Amazon, Micronesia, the Middle East, the Caribbean, and Indochina. All aboard!

For those of you who"ve mislaid your history goggles, this archival release recalls an ancient time in the world of recorded music. Yes, back in the dinosaur days of the 1990s, a creature known as Aerial M walked the earth, before evolving into Papa M and PAJO and beyond and back. Even then, the music of M had a next-wave vibe, walking upright among the knuckle-draggers (and having drinks in the evening with others of its genetic detatchment). It was too much to last very long, of course - but some things end up lasting forever, don"t they? Fuck! So it is today that Drag City, an organization largely set up to bring you the best of all available M recordings, is proud to be there for the release of the only Aerial M session ever recorded for John Peel"s BBC Radio One show, as it was originally recorded on 3rd March 1998 and broadcast on 2nd April of the same year. The studio versions of these songs, which appear on Aerial M"s S/t album (DC114) and Papa M"s Hole of Burning Alms comp (DC231), were played by "M" himself (now revealed to be David Pajo!), which makes this album a rare alternative view of the canonical M, played by an actual Aerial M band who, all too briefly, embodied the sound for a year or so before Papa brought a brand new bag. This Session found them fortuitously roadburned from several weeks in the European Theatre. So much the better for our archival ears, as OG-M"s signature minimalist long-fuse sizzle is thrillingly intact here; in fact, even more so, as the tunes are jammed out past the studio versions" originally delineated borders, reaching rudely across the table in moments of liveness that the studio-bound project might have decided against when conferring only with the walls. For fans of their epic version of "Turn Turn Turn", this is more sweetmeats from that raucous old skull - but if you"ve not been down this road before, be prepared: the taste will set you slowly aflame. And then, before you know it, the band is dined and dashed - just like the band that Aerial M was, all too briefly amok on the earth that was too.

Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

Solid green vinyl. Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

Necrodeath is one of the most important and outrageous names in extreme metal; formed back in 1984, it is one of the first extreme metal bands originating in Italy. They take inspiration from Slayer, Dark Angel, Possessed, Venom, Kreator, Bathory, Celtic Frost and Sodom. The band is also renowned for its live performances and notably for their "wall of sound". The band released a cult-demo tape titled 'The Shining Pentagram' and obtained an incredible success in the underground, which is still considered a real "piece of thrash/black history". Tons of tributes in major magazines, fanzines and other underground outlets highlighted the release of the first two legendary albums 'Into The Macabre' (1987) and 'Fragments Of Insanity' (1989). And today after dozens of full lengths, EPs and side projects the long voyage to hell is not over yet. New Necrodeath album, anticipated by the single on vinyl and video "Transformer Treatment", is the confirmation of a trade-mark consolidated in almost forty years, where the old school of extreme metal is present throughout the album. "Singin 'in the pain" is a concept based on the movie "A Clockwork Orange" by Stanley Kubrick, where the band takes us on a one-way black/thrash journey, represented by immorality and violence, and back to a vain attempt at redemption and normality.

Experience the soulful and funky gospel sounds of the Howard Lemon Singers with the reissue of their 1977 album, Seasons, originally released by TK Records' Gospel sub-label Gospel Roots. Now reissued on vinyl for the first time through Regrooved Records, this album masterfully blends traditional gospel with modern soul elements, showcasing the Howard Lemon Singers at their most dynamic and inspirational.

Featuring rich vocal harmonies and uplifting messages, Seasons invites listeners on a spiritual journey through life's varying stages, emphasizing renewal, celebration, and introspection. Among the standout tracks is "You Are Somebody," a powerful anthem that resonates deeply with its message of affirmation and empowerment. The vinyl reissue preserves the original essence of the album, enhancing the audio quality to highlight the depth and warmth of the studio recordings.

Perfect for both avid gospel enthusiasts and newcomers, this reissue of Seasons by The Howard Lemon Singers is not just a record—it's a celebration of faith, resilience, and the human spirit. Add this pivotal piece of gospel heritage to your collection and let the timeless beauty of their music inspire you throughout the seasons of your life.

The boys are seated under the shade of a family tree that bears its fruit on the branches of Kings of Leon & the Black Crowes; deeply rooted in an unwavering respect for Lynyrd Skynyrd & Led Zeppelin. Founded as an edgy, hard rock band in 2018, Mojo Thunder have built up a rabid fanbase in the time since with its enthralling live shows and down-to-earth humility. During that time the band has become one of the most entertaining new acts to emerge from Kentucky -- a state otherwise known for its bluegrass and country music. On the album's 10 tracks, the band explores everything from the dark side of activism ("Holy Ghost") and civil rights ("Memphis") to the healing power of a live concert experience ("Greetings from Western Art") and the feeling of not being enough ("Step by Step"). A definitive journey of growth, the project sees the band as their most authentic selves yet as they push themselves -- and their listeners -- to be the best versions of themselves. Mojo Thunder's sophomore effort, The Infinite Hope will please fans of rock music as they return to some familiar sounds while also ambitiously reaching for new heights.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

repress !

If one band could be cited for the emergence of Ska music, that band would be the Skatalites.

Formed around June 1965 and built around the many musicians that had honed their craft at the Alpha Boys School in Kingston, Jamaica. The early line up consisted of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Tommy McCook (Tenor Saxophone), Johnny ’Dizzy’ Moore (Trumpet), Lester Sterling (Alto Saxophone), Jerome ’Jah Jerry’ Hines (Guitar), Jackie Mittoo (Piano), Llyod Brevett (Bass) and Llyod Knibbs (Drums).

Named originally The Satellites after the big news of the day, the Soviet space satellite. They became The Skatalites when band member Tommy McCook introduced a play on the characteristic ‘Ska’ sound, made by the guitar when following the’ after beat’ of the music.The group had already cut its musical teeth by playing under various guises around the Jamaican island in numerous ‘hotel bands’. When the big Sound System operators Sir Coxsane Dodd, Duke Reid and King Edwards needed new material to play out with and their usual source of the material, American R & B records were drying up. They turned to this pool of musicians to back up their main singers of the day. Delroy Wilson, Alton Ellis and Lord Creator to name but a few. Also to cut the many instrumental tracks they needed usually under the tutor ledge of Don Drummond, official band leader and main musical director. Their knowledge of the old mento tunes and an understanding of Jazz and R&B music somehow blended to make this musical sound that was to dominate the island from the early 60’s up until around 1966 when the sound would slow down to what we now know as Rocksteady.

The time span of the Skatalites career considering their output of litually 100’s of sides of music, was a relatively short one of just over two years. We have delved into the vaults of Wirl Records and have selected some tunes that show the dexterity of the band and what great sounds this group of musicians were capable of producing and the high quality they maintained. They recorded before they were named as a collective The Skatalites, when personal and financial problems became an issue the band split into two halves. Jackie Mittoo and Roland Alfonso going on to form The Soul Brothers band for Coxsone Dodd. Tommy McCook moving over to work with Duke Reid as musical director. Sadly, Don Drummond suffering for years from depression would see his career cut short ending in Belle Vue hospital in 1969.

But while together they cut some of the finest Ska Sounds to be found on record. We hope you enjoy this set as much as we have in putting it together.
So, stand Up, Listen Hard and do the Ska……

Bandai Namco Europe S.A.S. und Laced Records haben sich zusammengetan, um die Musik des brandneuen Teils des legendären 'TEKKEN 8'-Franchise auf Vinyl zu bringen.

Diese komplette OST-Box enthält 42 Tracks, die speziell für Vinyl gemastert wurden. Sie werden in einem Schuber aus festem Karton geliefert und sind in Spined Sleeves untergebracht. Das atemberaubende Cover-Artwork stammt von Bandai Namco Entertainment Inc. und Illustrator Samuel Donato und zeigt Jin und Jun Kazama, Kazuya Mishima sowie die Neuzugänge Azucena, Victor Chevalier und Reina.

Das 'TEKKEN 8'-Musikteam hat für den Soundtrack einen Knaller nach dem anderen abgefeuert und dabei den für die Serie typischen Sound aus knallharter Dance-Musik und Electronica beibehalten. Viele der Komponisten sind langjährige Mitarbeiter der Serie, das gesamte Team besteht aus mifumei, Hiroshi Okubo, AJURIKA, Yoshihito Yano, Go Shiina, sanodg, Rio Hamamoto, Sho Okada, Yuu Miyake, Shogo Nomura, Ayako Saso, Mitsuhiro Kitadani, Shinji Hosoe, Yoshinori Hirai und Qing Yan.

Dank des soliden und einzigartigen Gameplays und der epischen Geschichte verkaufte sich die TEKKEN-Reihe über 57 Millionen Mal und ist damit die meistverkaufte 3D-Kampfspielserie aller Zeiten.

Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.

Auf ihrem drittem Oceanator-Album stellt die Brooklyner Musikerin Elise Okusami ihr aussergewöhnliches Gespür für Pop unter Beweis und liefert 11 Songs voller melodischer Tiefe und lebendiger Energie. "Everything Is Love And Death" wurde vom Grammy-nominierten Engineer/Produzenten Will Yip (Title Fight, Turnstile, Bartees Strange) produziert und enthält einige der kühnsten Songs, die Okusami je geschrieben hat, wie z.B. das hymnische "Drift Away" mit Backingvocals von NNAMDÏ. Szenemedien wie Stereogum, Pitchfork oder SPIN loben Oceanator als "die Art von Stimme, die einen Raum zum Schweigen bringen kann".

Limited to 350 copies

Stop what you're doing and give us your full attention because Hell Yeah mainstay My Friend Dario's new album Senza Estate is going to define the sound of summer 2024. It's an eclectic eight-track collection that has something for everyone and is inspired by dreamy Italian soundtrack composers Piero Piccioni and Umiliani.

Curveball Italian talent Dario is a real dance floor don who collides acid, nu-disco, breakbeat and electro. His take on Balearic is unique and always sends dance floors wild, as proven with his last outing Food For Woofers Vol 2 earlier in the year. His new album is the sound of life by the Mediterranean, Balearic audio pleasure for daytime dreaming and nighttime dancing with vocal tracks written and performed by the UK's Space Echo Records associate Darene Obika.

Dario hails from Catania on the island of Sicily and his inspiration for Senza Estate, which translates as 'without summer,' was an imaginary holiday, weekends at the seaside, car journeys in the sun, relaxing sunsets and late-night dancing. 'For five years, I worked in a shop six days a week so despite living on a Mediterranean island I could never enjoy these things. Instead, I locked myself in the studio and jotted down the ideas, sensations, melodies and rhythms I had about another lost summer.'

'Keep On Cruising' is a downtempo opener with innocent synths that are filled with hope and promise for the warm months ahead. 'Zingarella' is a wide open sea view with wispy pads, seductive flutes and jazzy melodies that bristle with life and the tropical title cut gets more dancey on shuffling broken beats and radiant synth glows. There's a seductive laid-back cool to the tumbling keys of 'Marittimo' and 'What You Need' is a horizontal groove with loved-up vocals, 'Falò' pairs sensual acoustic guitar with work with pillowy drums and 'Il Pianeta Proibito' layers up sci-fi synths and stuttering bass into a bubbly sound that leads to cosmic take-off. 'Acid Panorama' is the melancholic closer which hints that the summer sun is setting one final time after weeks of carefree fun.

But the good news is, you can repeat the joys of My Friend Dario's masterful Senza Estate over and over again.

"2" A Jungle Brother The Jungle Brothers' 1988 debut, Straight Out The Jungle, was important for many reasons. It was sloppy and goofy but had moments of real focus and social consciousness. It was a true kitchen sink' record, that caught a rap fanbase enraptured by Eric B. & Rakim, Public Enemy and Boogie Down Productions a bit off-guard. Also of note, beyond the excellence of the album itself, the Jungle Brothers were the fulcrum for what would become the Native Tongues movement - they came first, De La Soul and A Tribe Called Quest followed, under their guidance. By 1989, the group had even more confidence, plus a Warner Bros. contract and advance in their back pocket. They used it to great advantage on the self-produced and criminally underrated Done By The Forces Of Nature, expanding their sonic palette and continuing their Afrocentric approach to music and life. Singles like What 'U' Waitin' 4' and Doin' Our Own Dang' (with De La and Q-Tip, alongside Monie Love) showed the group's fun side, which has also lead the way in the hip-house' movement. But things weren't all fun and games, as deeper, more pensive album tracks like Black Woman,' Beeds On A String,' and Acknowledge Your Own History' show. It was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. Done By The Forces Of Nature stands as one of the most cherished hip-hop documents of the late '80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man's (and woman's) rap platter. Issued for the first time ever on 2-LP with the original picture sleeve artwork, it also comes with a reproduction of the original insert, with credits and lyrics.

Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.

THE LIGHT IS LEAVING US ALL is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the Astonishing Aeonic Beautiful Talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the Voice in the Mask of one of my favourite authors, and longest colleagues, Thomas Ligotti, also joined C93.

The album’s title was given to me in a dream, in which I saw The Souls of humans pouring out of their eyes, and returning to God—The Light Had Left Them Quite!

On THE LIGHT IS LEAVING US ALL, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also Channelled my fascinations with The Red Barn Murder of 1827 and “The Witchcraft Murders” of “Bella” in Hagley Wood in c.1941 and Charles Walton in Lower Quinton in 1945.

All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead—all this while the birds were softly singing, and The Light Was Leaving Us All.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

SWASTIKAS FOR NODDY is possibly, probably, maybe, or not, a seminal and sidereal masterpiece, the inspiration for 93,000 Masks On Nothings, none of which were Groovy. For me, well, it was my first Hallucinatory PickNick, and the skies turned Pixie Red for it.

I was given the album’s title during an Acid Trip: seeing Noddy Crucified In The Sky, I asked God what the most inappropriate BirthDay present for Noddy might be. God answered me from the Acid Whirlwind: “Swastikas!”

I recorded her in a run-down basement studio in West London, whilst I was simultaneously recording IMPERIUM. On playing the finished album to certain well-chosen friends, I was told by them that I had “destroyed Current 93”, and that it sounded like “demented children on drugs singing Simon & Garfunkel in a playground”. I then knew the album sounded exactly as I had dreamed it to sound, and as God had intended it to sound. Had I ditched the earlier darkness, and skipped into flowered fields? Great Black Time had already told me “NO!—GO!”

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Current 93’s first and last album, NATURE UNVEILED dragged together my obsessions, as I had decided to make a pop album that dealt with my (then—as now!) primary fascinations: Christian apocalyptic and eschatological Christian texts.

In my Speed-Ridden Soul and Mind, I thought I was reinventing The Ronettes, and that the 2 long sides of NATURE UNVEILED were A- and B- Sides of a Wall Of Soundhogs HIT! But the reality is that I was sharing a squat in Vauxhall with Little Annie Anxiety, and hanging out with Youth in The BatCave, with chickens rescued by The Animal Liberation Front in our backyard. Or did that come soon after, soon later? The album was recorded at The Roundhouse Studios in London’s Chalk Farm, home of Bronze Records, the label of my heroes (then—as now!) Uriah Heep, and Motörhead too, for whom I had moved stage-gear on their tour promoting their debut single on Chiswick Records.

Anyway, anyway—I had not reinvented The Ronettes, though every time, every place, I listen to NATURE UNVEILED it Hits Me, And Feels Like A Judas Kiss. There has been NOTHING UNVEILED like NATURE UNVEILED, Before, Since, Or After.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Formed in 2007, The Boxmasters have recorded an impressive and diverse catalogue of music that touches on their love of a wide array of influences, but most importantly, the rock and roll of the 1960’s. Love & Hate In Desperate Places is their 17th album and the ten songs evince a wry perspective on human nature and love. The lively melodic rock cloaks the wry wit of the lyrics. The album was produced by The Boxmasters, Billy Bob Thornton and J.D. Andrew, who also wrote every song. Listening to The Boxmasters, one can hear obvious odes to the Beatles, Byrds and Beach Boys, but also important to The Boxmasters are The Mothers of Invention, Kris Kristofferson, John Prine and Big Star. Since forming The Boxmasters, several long-time friends have contributed to the sound of the band, but the core of The Boxmasters has always been Andrew and Thornton. As primary songwriters, the sound of the Boxmasters has been an evolution as the duo constantly strive to find new inspiration, new sounds and new ways of expressing what is in their hearts and on their minds. But at the core, there is a backbeat, a lyric with meaning and music played with emotion. As a touring band, The Boxmasters have cultivated a rabid cult fanbase across the United States and Canada. Opening for the likes of ZZ Top, Steve Miller, George Thorogood and Kid Rock The Boxmasters have proven to win over large audiences. As a headliner, frequent stops in Kansas City at “Knuckleheads”, Springfield, Illinois at “Boondocks” and “Merrimack Hall” in Huntsville, Alabama have shown dedicated yet still growing audiences. Two appearances at Levon Helm’s “Midnight Ramble” in Woodstock, New York were highlight performances for the band, as well as the “Ramble at The Ryman” that Levon hosted in 2008. The Boxmasters performed on “The Grand Ole Opry” in 2015, another in a growing resume of must-play venues.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

Katharine Whalen of Squirrel Nut Zippers fame, makes a triumphant return with her Jazz Squad featuring Austin Riopel on guitar, Danny Grewen on trombone, and the great Griffanzo on pianos. This time the chanteuse delivers an entire album of breezy west coast jazz sounds in the form of a tribute to Chet Baker. It was around 1996 when Katharine Whalen first made her grand entrance onto culture’s collective radar as the sultry, yet effervescent voice of the Squirrel Nut Zippers, where she remained until their initial disbandment around the turn of the century.

In addition to the Zippers putting dixieland jazz on the pop charts in the 1990s, they sneakily introduced an unsuspecting "alternative" crowd to jazz music. Her cultural impact was also felt when she voiced the song "You You You You You" a standout track from Stephin Merritt's (The Magnetic Fields) project titled The 6ths. That song would also find its way into commercials and the film Pieces of April. After recording one solo album for Mammoth Records shortly after leaving the Zippers, Whalen stepped out of the public eye.

However, she’s remained very much in the spotlight of one unique small town; Hillsborough, NC, which has been referred to as Twin Peaks meets Northern Exposure. It’s a surreal literary, liberal Mayberry. If you find yourself in this Southern portal, you can find Katharine Whalen's Jazz Squad playing monthly in a cocktail bar appropriately named Yonder. The album was recorded in an old chapel in Hillsborough by North Carolinian royalty, Jerry Kee (Polvo, Superchunk, The Kingsbury Manx). Each song was recorded with the band all playing together in the same room, the way the old jazz records used to be put to tape.

Thrasher is the soundtrack to a virtual reality video game about a creature that has a life cycle that traverses different psychedelic realities. Thrasher was composed and performed by Brian Gibson, bassist of Lightning Bolt. It is the follow up to the acclaimed best-selling game and soundtrack Thumper. The central character in Thrasher is a giant centipede like creature, so Gibson employed a lot of melodic sequences that resonated well with its segments moving through space. The soundtrack has the drive you might expect knowing Gibson"s work in Lightning Bolt combined with complex melodic structures that are absolutely irresistible. In addition to bucking the hyperreality trend in gameplay, Gibson"s DIY ethos and warehouse culture roots permeate the entire soundtrack. He says it best: "Thumper has that combination of psychedelic and iconic that takes me back to the Fort Thunder days. Thrasher is a further exploration into some of those motifs." We recommend that you play this record VERY loudly.

Issued for the very first time the original tapes of material that would go on to be re-recorded for the critically acclaimed 'Heaven & Hull' posthumously released album.o Limited vinyl pressing of 500 copies, includes four page libretto o Features guest vocals by David Bowie, Chrissie Hynde and Ian Hunter o CD features three extra studio tracks plus six live recordings. Presented in card gatefold sleeve with 8 page booklet. Mick Ronson was one of the rock 'n' roll world's lost legends. Although quiet and unassuming, he left a legacy of his brilliant work with the likes of Michael Chapman, David Bowie, Lou Reed, Bob Dylan and the Ian Hunter Band along with scores of other artists, where Mick would give his talents as producer or arranger. Side A Vinyl Tracklisting 1/ Life's a River 2/ When The World Falls Down 3/ Colour Me 4/ Like A Rolling Stone (David Bowie vocals) Side B 1/ Don't Look Down 2/ Take a Long Line 3/ Trouble With Me (Chrissie Hynde vocals) 4/ When The World Falls Down II (Ian Hunter vocals) CD Tracklisting 1. Life's a River 2. When The World Falls Down 3. Colour Me 4. Like A Rolling Stone 5. Don't Look Down 6. Take a Long Line 7. Trouble With Me 8. Life's a River II 9. Don't Look Down II 10. Maria (You & Me Demo) 11. FBI 12. Marseilles 13. Don't Look Down 14. Sweet Dreamer 15. Trouble With Me 16. Take A Long Line Tracks 11 to 16 Live in Sweden 20th October 1991. Coloured vinyl LP or bonustrack CD available.

Incognito virtuoso Lambert, known for his playful personality, bold vision, stunning neo-classical compositions, and of course his ever-present horned Sardinian mask, is back with brand-new album Actually Good. Initially intended as the score for a gritty crime drama and debut film entitled ‘The Stranger’, which, due to reasons that will become clear with time, was swiftly curtailed, the now retitled soundtrack, Actually Good, is not only ready for release, but so is a remarkable mini-documentary about the making of this crime catastrophe. Featuring rolling piano arpeggios, sedate strings and staccato synths, Actually Good combines tension and elegance in equal measures for a truly cinematic experience.

V Don and Willie The Kid are back at it with the 3rd chapter of their "Deutsche Marks" saga, and just like with any of their prior releases they bring their offering to the next level. Throughout the years the two have masterfully crafted their own sound as a duo, with V Don showcasing some of the highest quality productions in the game right now and Willie The Kid seamless delivery perfectly riding along with it. DM3 featuring guest appearances by long time collaborator Eto as well as Rome Streetz, Ransom, Lord Apex and Abe Linx, and is set to be yet another classic in their catalog!

2024 REPRESS

Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.

Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.

And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."

Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.

It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.

After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.

"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.

Betty Boo is a Hip Hop pioneer and 90's icon, as well as a a multiplatinum selling, Brit- and Ivor Novello- Award-winning singer, songwriter,
and producer from West London
After a chance meeting in McDonalds on Shepherd's Bush Green, she ended up
supporting Public Enemy on tour in the US with her Hip Hop trio The She Rockers.
In 1989, she featured as guest vocalist on The Beatmasters' Top 10 single - Hey
DJ/I Can't Dance (To That Music You're Playing).
Her first solo single - Doin' The Do - was released the following year and
announced Betty Boo as a phenomenon in her own right. Betty Boo released two
albums - Boomania and GRRR! It's Betty Boo - and then mostly retired from the
public eye. 2022 saw the unexpected return of Betty Boo with her incredible
album Boomerang.
Betty Boo now returns with a new project, 'Rip Up The Rulebook'. "I loved making
Boomerang so much that I kept writing. I'm very proud of these songs and grateful
to be back creating music full time. The album title Rip Up The Rulebook is my
response to stereo- typical ideas about what women should be doing in their fifties.
I have never had so much fun making music (with my friends Andy Wright and Gavin
Goldberg). Long may it continue".
Live dates for 2024 to be announced. Upcoming performance at London's
Islington Assembly Hall on June 15th.

Isabel Roberts mid-80s stand-out singles from the Hot Vinyl stabel reissued for the first time back-to-back on one 12". UK electric-boogie-synth-funk essentials on limited 12" as part of Backatcha's 'Hot Vinyl' reissue series.

Formed back in 2011 in Savannah, GA, Triathalon consists of Chad Chilton, Hunter Jayne and Adam Intrator. Over the years the band has experimented with multiple sounds, releasing 3 albums, one EP and has shared collaborations with several artists. Their newest release "Sleep Cycle" blends fresh but familiar sounds; there's a meditative quality to the music that is especially welcoming in the current climate. Mastered by long time collaborator Alex Previty, a few of the tracks across the EP have mantra-like lyrics - simple thoughts repeated over and over that twist and turn and slowly morph into subtle ear worms.

Recorded in the mid-80s, a decade after the first advent of UK lovers rock and tailor-made for bass-heavy sound system playback, Christine Lewin’s cover of Tyrone Davis’s ‘In The Mood’ transformed his sensual after-hours classic into a female-led hit that became a staple on Lovers playlists both then and now. Similarly, Tricia Dean’s cover of Jean Carn’s soul favourite ‘Don’t Let It Go To Your Head’ follows the same formula from producers Kpiaye and Smokey, synth-led rhythms reflecting the times rooted firmly in a local London scene. Marvin James's under the radar vocal cover of The Spinners' 'I'll Be Around' gets a reissue on vinyl for the first time backed up by the sought-after Kpiaye instrumental mix aka 'Dub mix by Surgeon McEdit'.