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Color Vinyl
Brian Borcherdt (aka Dusted) is the founding member of Holy Fuck as well as LIDS which includes members of Metz and Constantines, and has a single due out this year on Sub Pop. 

The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'
Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning. 

‘’Borcherdt has found a worthy foil who can help him steer clear of sad-bastard solipsism, introducing luminous textures that lend these recordings a greater sense of space and levity.’’ - Stuart Berman, Pitchfork

Black Vinyl
Brian Borcherdt (aka Dusted) is the founding member of Holy Fuck as well as LIDS which includes members of Metz and Constantines, and has a single due out this year on Sub Pop. 

The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'
Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning. 

‘’Borcherdt has found a worthy foil who can help him steer clear of sad-bastard solipsism, introducing luminous textures that lend these recordings a greater sense of space and levity.’’ - Stuart Berman, Pitchfork

Repress! Long out of print, and even impossible to find on vinyl at the time of its release, Get on Down presents the classic Diamond D debut Stunts, Blunts and Hip Hop. As the album title states, this album is one long party from beginning to end. Diamond shines both on the mic and behind the boards creating one of the greatest Hip Hop albums ever made. Coming in at over an hour long Stunts never has a dull moment, Diamond along with the Psychotic Neurotic's and his D.I.T.C brethren are able to make each song or interlude stand out and play through without any skip worthy moments. Literally each track has such uniqueness to it, each song fits like a piece to the puzzle. Stand out tracks like "Step To Me", "Pass that S#*t" or "Check One, Two" are perfect examples of Diamonds ability to create a different mood from song to song, the rhymes mirror the music almost perfectly. Singles such as "Best Kept Secret" and "Sally Got A One Track Mind" were perfect choices in showcasing the overall feel of the album. Although Diamond D handles the majority of the album's production, others such as Large Professor, Q-Tip, Jazzy Jay, Showbiz, and DJ Mark the 45 King co-produce on several tracks. The music he was making in 1992 cemented Diamond as one of the best producers in the game. This record is true to his heart, and because of the immense quality of its contents, it should be remembered fondly by all lovers of this music. As he puts it "Diamond is Dope Nuff Said"! //

SIDE A




SIDE B




SIDE C





SIDE D

"Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads Amorphis have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On “Halo”, their staggering fourteenth studio effort, the Fins underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes. In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, Amorphis combine the role of ancient minstrels and luminaries of the modern world, honouring tradition without getting stuck in the past. The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by
renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how Amorphis manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under the Red Cloud” followed by 2018’s “Queen of Time.” “It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable Amorphis from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates. Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud.’ However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental. That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs Amorphis offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried Amorphis significantly forward.” Indeed. Setting off with the stormy grandeur of opener “Northwards,” Amorphis take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark. However, no Amorphis album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for Amorphis,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters,” Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo,” he outdid himself once again. “‘Halo’ is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.” Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, Amorphis still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality."

"Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads Amorphis have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On “Halo”, their staggering fourteenth studio effort, the Fins underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes. In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, Amorphis combine the role of ancient minstrels and luminaries of the modern world, honouring tradition without getting stuck in the past. The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by
renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how Amorphis manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under the Red Cloud” followed by 2018’s “Queen of Time.” “It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable Amorphis from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates. Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud.’ However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental. That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs Amorphis offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried Amorphis significantly forward.” Indeed. Setting off with the stormy grandeur of opener “Northwards,” Amorphis take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark. However, no Amorphis album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for Amorphis,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters,” Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo,” he outdid himself once again. “‘Halo’ is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.” Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, Amorphis still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality."

“Da Qween can rap and sing with the best of them,” says Seattle radio station KEXP. “One listen to this album and you’ll experience freedom, rebellion, ingenuity, and unabashed self-love.” Da Qween is a self-described reefer-smoking, black, queer, non-binary, hard-femme, and "Renaissance Bitch" is their vinyl debut. This undefinable album from Seattle's queen of queer rap has been praised for both "quick wit bars that cut, and smooth soulful vocals that are sexy as fuck." Look no further than the second track, “When Worst Comes To Worst.” It's three-and-a-half minutes of unrelenting, baller versus that will bury your favorite rapper with nary a breath. Da Qween’s “Renaissance Bitch” is an expansive, ambitious, and theatrical listen, with anthems for the club, for playing Nintendo, and for celebrating 420. By the end of this record you too will be screaming, “All hail Da Qween!” Crane City Music is thrilled to release “Renaissance Bitch” on limited-edition, purple vinyl. Only 500 individually numbered copies have been pressed, with liner notes from Eva Walker of The Black Tones.

Maniacal Laughter quickly gives way to a non-stop onslaught of irresistible electronics and a ceaseless, pounding groove. Boom! You are embedded in Maedon’s world. Dark and futuristic, her album “Now I have Become Death” is another worthy addition to the Sonic Groove catalogue. This is music that works the body and captures the mind. It’s her 3rd release for the imprint, following up 2020’s “Escape to Berlin” and 2019’s “Against His Will” EP. Maedon crafts some very melodic jams, with refreshing song structure and storytelling trips achieved through excellent sample work and programming prowress. Make no mistake, this is fghting music. It’s blazing hard, with grueling energy, and a fair for the dramatic. Maedon likes relevant content, as tracks like “Rave-Act Never Forget” expose pathetic pledges from poser politicians who have dared to protest against the dance music scene in their past. You have been exposed Biden. The madness continues with the menacing “Destroyer of Worlds”, a massive rave jam with otherworldly synths based around the words of a certain man’s famously guilty post-atomic quote from the Hindu scripture known as the Bhagavad Gita. It’s a reminder of your sins, Oppenheimer. The selection continues to concoct clever experiments with pressure and feels at times like riding a roller coaster thru outer space “Destroy the Status Quo” with subtly pitch-shifting metallic highs and ravey tone-work captivates the mind as gravity drops jerk the body into uncontrollable motion. “Rudersdorf Trip” is a sick adventure into the darkness, with whispered vocals ‘this is what you want this what you need’ leading the charge of hypnotic, spiraling acid. “Childhood dreams” is an excellent ending to the LP, an innovative melodic charmer with nostalgic future vibes pumped up by a broken techno beat. In truth, all the tracks stand out; a solid efort from start to fnish. It serves as a lesson in production for her peers. She enjoys the process, creating a chance for all to dance away their pain. For Maedon, our ears are like trophies to collect. no one is safe.

yellow vinyl

“Steve Albini’s all-analogue production and the contribution of guests...add heft and texture to sounds that combine Sunn O)))’s customary force with a subtlety that can be astonishing. More mellifluous than menacing despite its formidable display of power. Life Metal may be the richest work in the band’s 21-year mission to reconfigure Tony Iommi-worthy riffage into a soundtrack for mindful meditation.”

Brand new Sunn O))) album recorded by Steve Albini.

Sunn O))) are pleased to present Life Metal, their first new studio album in four years, due for release on Southern Lord in April 2019. The album will be supported by their first European tour since 2016, including their first ever French tour - dates and details below.

Lockdown took its toll on Clive. Not the isolation or sense of impending doom - that was normal - but specifically the worldwide marmite shortage in April. On the verge of a 'Driving to Dundee barefoot' style meltdown, Clive found solace in his 20 year obsession with Alan 'foot on a spike' Partridge.

Taking Musique Concrete to its textbook conclusion, Clive has made music only using sounds from TV series 'I'm Alan Partridge'. Over 100, mainly foley samples were repurposed into the two title tracks of the Alan EP.

Alan A is a raw yet melodic, big plate of House. Containing everything from drawer slams to air bass, cereal destruction to Black Beauty, this orchestra of found sound makes for some unique and exciting rhythmic textures. Grab a cup of beans and enjoy.

Things take a dubby turn for Alan B. Late night broken beats and sultry bass worthy of Alan's Deep Bath. Featuring Lynn on jungle time-stretched vocals.

The EP is bought to a close by off-kilter acid-tinged synthwave nugget, Linton TT. It doesn't fol-low the Partridge sampling rules but needless to say has the last laugh.

Bonus Easter egg for the vinyl heads is a "Dan!" locked groove at the end of side A. Cook a cat!

Label info:
Income Trax is Clive from Accounts' filing cabinet of curiosities. Home for his more eccentric and exotic ideas.

Artist Bio:
Regional tiddlywinks champion, stationary cupboard loiterer and all-round beige sky thinker, Clive From Accounts likes two things; pens and music. But mainly pens. Using springs, tape and old synths with fonts he admires, Clive creates the musical equivalent of warm photocopies. If it's going to be that kind of party, Clive's going to put his Filofax in the mashed potato.

It's been an interesting couple of years for Clive. After being picked up by keen-eared funk wizards Fouk, Clive's vinyl debut hit the shelves perfectly to coincide with the largest record shop and club closure in living memory. Undeterred and with a fire in his belly no amount of pepto-bismol could squash, he pressed on.
A string of releases on highly respected labels On The Corner in London (making the Guardian's best tracks of 2020) and Dirt Crew Recordings in Berlin have led him nicely into the second half of 2021 with an EP on New York disco colossus Razor n Tape and the debut release of his own label: Income Trax.

To start the year 2014, Stroboscopic Artefacts bring you SA021 - a remixes selection of tracks from Lucy's forthcoming LP Churches Schools and Guns. In presenting four of the album cuts in altered impressions, SA021 helps the label keep on re-examining the timbres, tones and textures of techno.

First up is the unsettled edit of 'Catch Twenty Two' by the young Italian producer Shapednoise. The infamous Heller novel of the same name (though in numerals rather than letters) was a satirical rampage through the futility and tragedy of conflict; this is also a rampage, littered with opaque utterances of sonic thrust, stood stoutly on an unpredictable and emotional structure of aural dissonance. Following this is the Italian maestro Donato Dozzy and his presentation of 'The Illusion of Choice'. The track bounds along like a train through the jungle, powered by a distant rumble and purring synths. Skittering and melodic percussion sounds a little like birds; the drums are made of rawhide, strong, insistent, controlled. Third in line is the remix of 'Laws and Habits' by Milton Bradley. This cut is hypnosis with little regard - not an accident, but effortless. Metallic distortion buzzes like bees across your head, zipping across the top of delicate hi-hats and an elastic groove. This is a walk through the 4am night, appreciative of the glimmering streetlamps, and fearful of nothing. Last is Eomac's rework of 'The Self As Another', bringing the record to a resonant conclusion. One half of label favourite Lakker, the Irish producer begins with a melody line cut from razor-sharp cloth. The pulsating beat is dressed in metallic shimmer, confidently pursuing a dangerous course. And yet there is a pause amid this brief insistence, a moment of perspective, perspicacity. The record considers its place, and asks for contemplation.

With a selection this strong, and of such ideas and identities, this contemplation is surely a worthy vice. This may be a prelude to the full record, but it is a cut made of vehement conviction.

Released on Ruf Records in 2021, Pizza Man Blues is a snapshot of the
moment those certainties were snatched away
The Blues Boy of Matthews’ 2006 debut album has been around the block, and
the genre-crossing songs he now recounts on Pizza Man Blues are written from a
place of hard- won maturity. “This last year, we’ve all had to adapt to
circumstances,” refects Matthews. “I’ve been forced off the road, but I’ve tried to
keep the engine alive, keep earning, not lose my passion. I’ve done so many jobs,
like pizza and fower delivery driver, tree surgeon assistant, volunteering for the
NHS. These songs are all about the experiences I’ve had.”The opening charge of
Mayday would make Motörhead’s Lemmy nod approval, serving a feral fuzz lick
and a speaker-ratting chorus that asks the big questions. From the bruised organ
lines of Can’t Keep Us Apart to the thrilling torn-up guitar tone and Stax-worthy
brass on Anti-Social Media, these are songs that defy genre at every turn. “I just
wanted a ‘Krissy Matthews’ vibe,” he shrugs. “This album was the result.” But as
the indelible chorus of Grateful fades – ‘You’ve got to be grateful for what you’ve
got/ even if it ain’t a whole lot’ – it’s that sentiment that resonates. “Being a
professional world touring musician, in a pandemic, with a girlfriend in another
country, during Brexit, is not ideal,” Matthews considers. “But I’ve still found lots
of things to be grateful for and I’m a very lucky man. The only way to get through
hard times is to focus on the good times…”

Soul4Real bring you the last 45 in their trio of previously unreleased Jimmy Gresham Playground Studios recordings from the mid-70’s; a perfect tribute to a great but under-recognized.
“A Million Things” has been a huge collaborative effort, meticulously pieced together in 2020 from an unfinished vocal track. Jimmy’s trademark rich, velvet voice, imbued with soul and inflected with a large pinch of southern grit, has been complemented perfectly by the addition of multitalented Marc Franklin’s evocative vibes, horn and string arrangements. Clayton Lancaster laid down the gorgeous, choppy guitar licks which drive the whole mid-tempo groove, and the absolute pinnacle is formed by the glorious, soaring backing vocals of Jimmy’s sister, Mary.
A recording that sounds as though everybody had been in that same Florida studio in the mid-70’s, bouncing off each other’s talent, on a day when they could feel the electricity in the air and they knew something special had been created.
Flip it over to find Jimmy in a more down-home style on "No Way to Stop It", a worthy track getting its first release on vinyl thanks to the efforts of the Soul4Real team.

The second release in January to celebrate the 25th anniversary of Frank de Groodts career as a recording artist is a re-press of his legendary Sonar Bases 4 10 double 12 . Exactly 21 years ago, in January 1997, Frank elevated to electro stardom with this astonishing combination of dark electronica and electro beats.

Frank at the time lived just outside the city of Amersfoort, which is where he was born and lives again these days, some 30 minutes northwest of Utrecht. His first ever release in January 1994 was a techno EP on U-TRAX, as Pieces of a Pensive State of Mind. Later that year, he released his first 12"-es on Djax records as The Optic Crux, and he continued to keep making up artists names in the following 25 years, like Fastgraph and The Operator. He is also one half of the live outfit Random XS (together with DJ Zero One), collaborated with Arno Peeters (a.k.a. Spasms) as Urban Electro and with Detroit's Dennis Richardson as Ultradyne. And that s not even all of his alter egos.

The sound of these eight unique tracks called for a new moniker back in the nineties: Sonar Base (ironically misspelled on the original release as Sonar Bass). All track on this re-press have been remastered for maximum impact. The double vinyl goodness kicks off with Earth Probe, that very subtly creeps towards us, before it kicks in with a rather obese bassdrum. As if Frank wanted to ease his listeners into his then new sound, this track basically is in techno/acid style, but has the slower tempo that characterizes the rest of the electro tracks of this release.

Immediately following, is the unrivaled beauty of Welcome To Sonar Base #4, a track that slowly builds up before it takes us on a deep space journey at two thirds. The 11 minute Sonar Base #5 has been a DJ favorite for 21 years, reaching out to both electro and techno lovers, while Sonar Base #6 is the type of ultra-pure electro that really puts your woofers to the test.

Arrival At Dwell Probe is another one of our favorites, with superfine beats, desolate voice samples and deep and moody synths. Very musical, truly a top piece that will leave you totally unprepared for Blunted. This track has the rolling type of hiphop-style beats that mix well with LL Cool J's Mama Said Knock You Out, but of course has the space-station atmosphere that makes it unmistakably a Sonar Base track.

The fast pace and merciless beats of Intergalactic Anecdote rush us to the finale: Sonar Base #10, a worthy closing track, with deep bassdrum patterns and melancholic strings that also please fans of broken beats. It stops and goes and keeps demanding your attention, making you wanting to go back again to the first track disc and start your Sonar Base trip all over again.

Who still sleeping on the kid?! Two of the hardest working veterans in the game, legendary MC Jim Jones has teamed up with cult favorite producer Harry Fraud for the new project, The Fraud Department. Pairing Jones’ iconic delivery with Fraud’s knack for cloud-like production, The Fraud Department elevates the duo’s best attributes and showcases how their chemistry is undeniable. The album features appearances from Belly, Dave East, Trav, French Montana, Curren$y, Jay Worthy, Conway the Machine, Marc Scibilia, Big Body Bes, Maino, and Kenny Sway.

‘Expressions of Interest’ is the debut album from Melbourne/Naarm post-punk group screensaver.

Sonically, the 10 track album is rich and detailed, and pays homage to its era of inspiration (late 70s-mid 80s post-punk and new wave) with gripping vocals, dissonant guitar, melodic basslines, washes of synths and motorik drumming. Engineered by Julian Cue alongside band member Chris Stephenson and recorded over multiple studio sessions between 2020-2021

The album opens with the ominously titled ‘Body Parts’, an immediately arresting song that showcases the bands penchant for blending classic post-punk elements, leaning into a sound somewhere between the Banshees and Protomartyr.

Maynard doubles down on these themes in the frenetic second track, ‘No Movement’. Guttural organ tones swim under overdriven guitar, jagged and intense. Additional textures and sound effects are used percussively to embellish the dynamics, creating a feverish atmosphere with some Martin Hannett like flourishes.

The album takes a surprising turn into electronic driven krautrock on track three with 'Buy, Sell, Trade' - a rollicking piece of danceable ephemera, dominated by swirling synth sounds and punctuated with electronics reminiscent of Sparks/Moroder collaborations. Chris Stephenson's masterful guitar work begins with Greg Sage-esque determination before a crescendo into a lush Frippertronics outro.

'MEDS' transports us back to the foundation established on 'Body Parts', a gothy piece, full of tribal toms and dirge-y synths. Industrial punk rock nearly swallowed whole by the keys in the middle and slowly building back to complimentary guitar and vocal hooks.

It's from this point in the album that the band let's their other influences rise to the surface, as they explore touches of EDM on 'Static State' - a brutal, death-disco style track, Krystal Maynard's lead synth and gloomy vocal complimenting the pounding drums and dub-esque bass line culminating in a track worthy of the dancefloor.


Opening side two we have 'Skin', beginning with a solid and simple backbeat, James Beck’s post-punk percussion provides a steady and minimal framework for the rest of the band to colour in with great depth and detail. Giles Fielke’s bass guitar wobbles brilliantly leading the verse melody, whilst Chris Stephenson’s guitar drives the chorus that folds neatly in on itself.

In ‘Attention Economy’, Krystal Maynard is flexible with her lyrical style, and knows how and when to lend her voice to the greater backdrop of the composition. ‘Attention Economy’ has an almost Kraftwerkian structure - repetitious, but engaging with its constant tom driven beat, lush synth lines and minimal bass tones.

Just when you thought things had slowed down, screensaver ramp things right back up again with ‘Overnight Low’ - a no holds barred thumper. Giles Fielke underpins the hard-edged sound with his bassline, keeping things smooth and tight. It brings to mind a hybrid of PiL’s ‘Annalisa’ and Wire’s ‘Two People In a Room.’

Before you can catch your breath, we have ‘Regular Hours’ - another industrial track, and perhaps the sister song to ‘Static State’ heard earlier on side one. Seething electronic drum samples cut through an abyss of growling synths, Giles Fielke hanging up the bass temporarily to accompany Krystal Maynard on synth duties.

The album closes with the fittingly titled ‘Soft Landing’, literally bringing the listener back down...softly. The song is heavy on atmos, and resembles the aesthetics previously encountered on ‘Attention Economy’ a few tracks earlier.

‘Expressions of Interest” was recorded at various locations across Melbourne, with a handful of songs being captured before the start of the Covid pandemic in January 2020. With the recording timeline being drastically altered, the band shifted focus to work on what would become their first single ‘Strange Anxiety’, throughout the first months of the Melbourne 2020 lockdown.

 ‘Paint It Blue’ is dedicated to the man who, for many still today embodies
the central figure at the genre’s source: Julian Edwin ‘Cannonball’
Adderley (1928 - 1975). Maybe he didn’t invent Funk. Together with his
co-musicians in his 60s quintet, Cannonball’s alto sax style, his attitude,
humour great musicality, and his love for his audience allowed him to
become a synonym for funk.
 Nils Landgren, born in 1956, grew up between the music of his father, a
Jazz cornet-player, and the music of his grandfather, a pastor on the
island Gotland. He first heard Cannonball Adderley on ‘Kind Of Blue’. In
this Miles Davis Sextet of the late 1950s, they were all together: “Miles,
the master of beauty. Coltrane, the master of sound. And Cannonball
Adderley, the master of funk,” Nils Landgren writes in the liner notes to
‘Paint It Blue’. From that point on, he procured everything of
Cannonball’s that he could lay his hands on. “Without the soul of
Cannonball it would have been impossible to form my group Funk Unit
many years later,” he writes.
 Landgren edited Cannonball’s live concert announcements into his own
arrangements, so that the time jump between the original and the
nouveau arrangement appears non-existent. An effective device that
literally brings this revered musician into the fold of Nils Landgren’s Funk
Unit.
 Whoever speaks of Cannonball Adderley, must also speak equally of his
brother Nat Adderley. It was an obvious thought to invite the most
important brothers in Jazz after the Adderleys to guest on ‘Paint It Blue’;
with the high energy Funk-Jazzrock of the late 70s, the Brecker brothers
have proven worthy heirs to the Adderleys. Both of them solo on
Landgren’s track ‘You Dig’.
 The equally noble and forcible groove is delivered by the sideman to
countless Soul greats, Bernard Purdie. Bernard’s own stylistically related
production with the Brecker Brothers, Nils Landgren, amongst others is
now strongly in the public consciousness on ‘Soul To Jazz’. Much like
Cannonball Adderley, Airto Moreira owes important impulses to his time
with Miles Davis.
 ‘Paint It Blue’ is possibly Nils Landgren’s most lavish record to date and
with some certainty also his best. Landgren’s playing is cool and smooth,
with warmth, temperament and thought. Here his sound combines
organically with everything he surrounds himself with. The album sounds
as if the recordings for it were a pure joy for all participants. Nils
Landgren has the prerequisite for serious fun, the gift of intelligent
serenity.

Apart from a series of successful studio albums and worldwide hit-singles such as ‘Wind Him Up’, ‘On The Loose’, or ‘How Long’, it’s mainly been SAGA’s haunting concerts that have inspired their fans and – as a direct result – have been the reason for the outstanding success of their live albums. ‘Detours (Live)’ was recorded over the course of eight shows in Germany, Austria and France, using a mobile recording studio. It was originally released in 1999 as a truly worthy SAGA live album that captures the fantastic atmosphere at the concerts and leaves nothing to be desired thanks to its captivating set list. For the first time ever, this brilliant live album is now available on vinyl – as a 3LP gatefold edition on heavyweight vinyl. The reissue also comes with enhanced artwork and personal liner notes by Jim Crichton.

« Half of Tiger & Woods on a brillant release for SKYLAX RECORDS » If you ever wondered what it might be like to have a 707 or a Sampler instead of a pacemaker, you could always ask Valerio del Prete aka Delphi, who has been setting dancefloors around the world on fire for years. Delphi has displayed his mastery of acidized arpeggios and deep electronic tropes via an EP on Pigna, before linking up with Roman techno don dada Marco Passarani as the discotech duo Tiger & Woods. Several EPs and two albums of stripped back disco on Editainment and Running Back encapsulate their winning approach – reimagined loops from heady discotheques mixed through the axis of Rome, Chicago and Detroit. In 2016 he released the house/Italo/EBM stomper Blue Tuesday on a split 12” on Tiger & Woods own label T&W Records. For this new release, the brilliant producer (half of tiger & woods we repeat) kicks off the show with the very Italo-discoïde "donuts for dinner", nourished throughout by a monstrous kick and soaring synths. He poses as a worthy heir to the Italian masters of 80s pop who often used the B-side of their songs to experiment with their most adventurous ideas. Zequenz immediately made us think of an imaginary orgy between Ron Hardy and the members of Kraftwerk, this sound is incredibly sharp and would not have denoted on the decks of the legendary DJ. Which leads us straight to the most brawling track on the EP, the aptly named "Ron's lesson" and it is indeed a lesson. This crazy track (obviously dedicated to the legendary chicago DJ) seems to have come straight out of an imaginary session, we must remember how much at that time naivety and therefore distortion (!) Reigned over productions, giving an incredibly raw and edgy side on the dancefloor. Again, this song could have been released 30 years ago. And finally, to come full circle, the very graceful overheat joins the aesthetic of the first track in an elegant and dreamy way. Note that on the label's bandcamp, with the purchase of the vinyl, you can get 3 exclusive bonus tracks (Clutch play, Runinng in place, Sucker). The magic is here, CLEARLY.

Raised on the salted air and pebbled beaches amidst the faded seaside opulence of Brighton, Tigers & Flies spent much of their formative years building a friendship forged on a diet of the melodies and rhythms to be found deep within their parents’ wildly eclectic record collections. A worthy and noble pursuit for anyone, from those wonderfully endless hours, those bottomless cups of tea great ideas can flourish. Tigers and Flies are a great and flourishing idea.

From the bounce and sunny optimism of Orange Juice to the brutalist edge of Gang of Four. From XTC to Bacharach. Each listen offers more. A harmony appears where you’re convinced there wasn’t one before, or a rhythmic change you hadn’t noticed. A lyrical twist. Harmonies that seem to float in through an open window.

Marooned at home during Melbourne's 2020 lockdown, with no bandmates in sight, Mark Monnone had no option but to take matters to his cassette 8-track and set to work on the follow-up to Monnone Alone (the quartet)'s 2019 powerpop tour de force Summer of the Mosquito. The former-Lucksmiths bassist then gave his home-recorded tapes to Gareth Parton (The Go! Team, Foals, Breeders) to mix the whole glorious mess into something worthy of human consumption. The resulting ten tracks on Stay Foggy bounce blindly from glum to whimsical, from blurred to razor-sharp, showcasing Monnone's disorientated hopes, dreams and lockdown inertia with an off-the-cuff beach party twist.

J. Worra continues to breathe life into the house scene with her captivating new tune ‘some ppl fall’. A notable shift in sonics from J. Worra, this track oozes with excitement, showcasing her diversity and unique talent with its quick tempered beat and seductive melody that lures you to the dance floor and makes it impossible to leave.


DJ Support:

Round Table Knights, Riva Starr, Kyle Watson, Worthy, Sam Divine, David Penn, Christian Martin, CRAZE, Roger Sanchez, Jamie Jones, Todd Terry, Ferreck Dawn

A Svart Mondo release. The original vinyl of “Harvest Time”, the debut album by the Finnish band Elonkorjuu (which means ‘Harvest’ in Finnish), has been the among the most valuable collector’s items in Finnish rock: its average prize in 2021 is over 1200 euros, and even over 2000 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Elonkorjuu’s “Harvest Time” is a best kept secret for many Scandinavian Prog aficionados. With music inspired by groups like Cream and Free with more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them a little unique and ahead of their time. Drawing initially from the schools of bands like Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius, “Harvest Time” is entirely worth it’s reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over and great vocals sung in English,which is rare for a Finnish band of this era.
Finally receiving a worthy reissue from the vinyl obsessives at Svart Records, “Harvest Time” sees the light of day again on gatefold vinyl, including new liner notes. If you have an ear and place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably “Harvest Time” for you!

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

Recruiting some of his closest friends–who also happen to be some of rap's biggest stars–to help realize his vision, Scheme shares FAMILY, his debut album. Recent single "Soda" (over 2.5 million Spotify streams) connects unlikely kindred spirits Cordae and Ski Mask The Slump God over a stomping piano-led beat by Scheme and Take A Daytrip. Scheme also finds new angles for artists who share similar styles, creating a smoothed-out West Coast riders' anthem for Lil Mosey & Ty Dolla $ign ("Bussin' Out") and reuniting Ski Mask, Lil Yachty, and Danny Towers for "E-ER," a spirited sequel to their Gold-selling collab "How You Feel" (which also appears on the project). An ambitious debut for the multi-talented DJ/Producer/Artist, FAMILY establishes Scheme as a tastemaker with a distinct aesthetic and a wide musical range. Featuring additional appearances from Skrillex, Zacari, Lil Gnar, Shakewell, TheHxliday, Tes-X, and more.

Odd, Ordinary & Otherwise,’ the third full-length record from New Orleans
country-folk songsmith Chris Acker, is a collection of songs brimming with
true tales, eloquent songwriting, and fearless honesty.
During his decade-long songwriting career, Chris has explored musical terrain
tread by contemporary folk music’s greatest champions: Prine, Dylan, Guthrie,
etc. With ‘Odd, Ordinary & Otherwise,’ Acker has forged an unmistakable lyrical
style that’s truly his own, containing more reverence than reference to those
who came before him.
The songs of O-O-O are equally as influenced by months of isolation during
COVID quarantine as they are by Chris’ place in the New Orleans dancehall and
busking communities in years previous.
The album’s thirteen tracks flow gracefully from introspective, quiet tunes worthy of the modern Folk Music cannon, to downright barn burners ready for
the dancehall and all the space in between. Acker’s creative response to the
heartbreak and anxiety that defined the year 2020 is primarily one full of life.
The vividly painted scenes and stories that define the record are his and no one
else’s. Paired with his signature pop sensibility, playful and sometimes humorous language, and a professional sonic presentation, ‘Odd, Ordinary & Otherwise’ is a compelling record that merits close investigation.

EXPANSION introduce a brand new series of 10” CLASSICS back to back with the
coolest CONTEMPORARY takes of the same track. First off is the 70s masterpiece by
the MIZELL BROTHERS, as originally recorded by the master of the Hammond organ,
JOHNNY HAMMOND in 1975 on FANTASY REORDS – a jazz funk, timeless ‘rare
groove’ previously only a single as a 7” edit but glorified here in it’s full 6 minutes. The
new version is by QUASIMODE, the hippest new jazz quartet from Japan, signed to
BLUE NOTE RECORDS. They have taken the jazz world by storm and have recorded a
version of “Los Conquistadores Chocolates” worthy of comparison to the original and
on vinyl here for the first time.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released its final studio album The Sound of Perseverance (’98) to massive worldwide critical acclaim. The Sound of Perseverance is the masterstroke of one of metal’s true pioneers and innovators, and indeed worthy of the worship, adoration, and accolades that announced its original release (’98). The swansong of the metal legends, finally available once again in a gatefold double LP.

Lava Love is the new album by Zoe’s Shanghai. Led by singer Zoé Renié Harris, the band has
made a splash into the crowded neo-soul scene with their debut EP A Mirage (Meant To Last
Forever) released in 2019 - a deeply evocative sound and Zoe’s extraordinary voice gained them
immediately the spotlight as ones to watch (“a worthy torchbearer for heady and hearty soul music”-
Earmilk).
Following a successful string of EPs and singles, the Barcelona & Paris-based four-piece band is
now ready to share with the world their first full-length album.
Lava Love was recorded in an old stable in the French region of Auvergne - known for its mountain
ranges and dormant volcanoes, this region could not have been a more apt setting.
Lava and love portray in fact a dynamic flow of memory and meaning pouring out of Zoe’s
Shanghai’s heart. In and out of the metaphor, Lava and love can be powerful, frightening, beautiful,
dangerous and at the same time are essential elements that create fertile change and growth.
Through the 11 songs, the band evoke memories and pose questions - inner dialogues, life stories,
encounters and relationships – the album depicts a kaleidoscope of moods and feelings, prompting
the listener to open to the conversation: while each song presents a microcosm on its own, the album
manifests itself in the shared musical experience - immersive music to listen to and enjoy with your
loved ones.
Produced with Oli Barton-Wood (Nubiyan Twist, Joe Armon-Jones, Nilufer Yanya), the sound of
Lava Love brings together hypnotic melodies, groovy rhythms and thoughtful lyrics - fusing the
essence of multiple music styles and forging Zoe’s Shanghai unique contemporary soul.
The album follows the critically acclaimed EP ‘A Mirage’, which garnered the support of Gilles
Peterson & Huey Morgan (BBC 6 Music), Jamz Supernova (BBC Radio 1Xtra), Worldwide FM and
Earmilk to name a few.

Mondo and Madison Gate are proud to present the premiere vinyl release of Leo Birenberg and Zach Robinson's incredible score to the Netflix streaming phenomenon COBRA KAI. This 3-disc vinyl set features music from the first 3 seasons of the hit series, curated by the composers into themed collections.

This exclusive retail version comes pressed on red, white, and blue marble discs. Also featuring all new artwork from the incredible Matt Ryan Tobin and liner notes from composers Leo Birenberg, Zach Robinson, star Ralph Macchio, and showrunners Josh Heald, Jon Hurwitz, and Hayden Schlossberg.

Music from the first 3 seasons of the series curated into three collections of music:
Disc 1: COBRA KAI - a curated mix of music scoring the most badass dojo in the Vallely
Disc 2: MIYAGI-DO - curated selections from the music scoring Laruso Family, and its ties to the Miyagi legacy.
Disc 3: FINAL FIGHTS - the music from all three of the explosive season finale episodes.

All of the music has been hand selected, and in many cases expanded from their original form for the most definitive Cobra Kai listening experience available.

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

Maybe We Never Die, Anderson East's third release for Elektra/Low Country Sound takes the Alabama born, Nashville-based singer-songwriter’s seductively vintage voice in a decidedly fresh direction. The 12 tracks flow together with an overarching sense of ambience but maintain distinct musical boundaries. The energy toggles between a hunger for vulnerability in togetherness and a clinging to solitude as a romantic self-defense. There is consternation with the speed and volume at which the world operates and solace to be found in the simple act of getting up and going. And the beguiling title track, with its woozy strings swirling around East’s celestial falsetto as it curls towards the ceiling like smoke is, as they say, a whole mood; a sense of a single night’s dusk-to-sunrise contemplation. Collaborating once again with Dave Cobb along with longtime bandleader and now co-producer Philip Towns, East has found an enticing new avenue, one that maintains a connection to his past but keeps his eyes on the road ahead.

Maybe We Never Die is East's first new music since 2018's breakthrough album, Encore, which featured the Grammy-nominated #1 AAA radio single, "All On My Mind." Heralded by critics, The New York Times praised Encore as, “…an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged," while Rolling Stone declared, “On Encore, East’s influences meld seamlessly, stacking the album with Stax-worthy R&B grooves, gospel-blues ooohs and aaahs, surging keys and blasting brass.” Known for his magnetic live performances, East and his band have performed sold-out shows worldwide and have been featured on ABC's "Jimmy Kimmel Live!," CBS' "The Late Show with Stephen Colbert" and "CBS This Morning Saturday," NBC's "TODAY" and "Late Night with Seth Meyers," PBS' "Austin City Limits" and more.

“Hitting Hard” originally released in 1977 by Epsilon Records is widely regarded as one of Aguabella's seminal works, with its “street-style” rare groove fusing Brazilian, salsa, Latin jazz, and funk flavors. Playing with a talented cast of heavyweights including San Francisco vibist Nerio De Gracia, the dynamic Cedric Deon Bi on vocals, and percussion great Armando Peraza. With original copies still fetching a pretty penny in the secondary market, this limited reissue of essential Latin jazz-funk is a worthy addition to any record collection.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released its final studio album The Sound of Perseverance (’98) to massive worldwide critical acclaim. The Sound of Perseverance is the masterstroke of one of metal’s true pioneers and innovators, and indeed worthy of the worship, adoration, and accolades that announced its original release (’98). The swansong of the metal legends, finally available once again in a gatefold double LP.

In the Italian panorama of the '70s, Chrisma (Christina Moser and Maurizio Arcieri) skirted the common rules of Italian pop (the aura of progressive rock or the first wave of prolific folk singers); in fact, they created Italian new wave from scratch. After the release of their 1977 debut album Chinese Restaurant (SPITTLE 051LP) -- so far from the punk revolution and so deep into the algid dynamics of the Mittel-European sound -- came Hibernation, their creative peak on which they embrace the revelation of the man-machine and venture into the realms of incomparable robots Kraftwerk. Again the album was produced by Niko Papathanassiou (brother of the Greek legend Vangelis), and it features very sophisticated cover artwork created by famous photographer Mario Convertino. Chrisma, so far ahead of their time, crafted an opus that should be considered at the same emotional level as the most famous synth-pop bands from the UK and Germany. Highlights include "Vetra Platz," a long digital ride worthy of the most famous Kraftwerk singles; "Calling" and "Gott Gott Electron," a primeval couplet of furious post-punk numbers; and the lush "Lover," with Miss Moser still in top form. This reissue includes the original artwork with a silver background. RIYL: T. Rex, Nico, Kraftwerk.

Straight out from the green hills of the Welsh countryside comes Jeb Loy Nichols, the newest sensation in Timmion's growing roster of soul-fuelled vocalists. And we certainly have a double sider of the highest calibre on offer. A seasoned and versatile music scene veteran with a major label past, Jeb has everything it takes to polish Cold Diamond & Mink's rough grooves into shining gems.

The A side gives us a rolling southern-style soul banger, which the Wyoming-born singer attacks effortlessly with his praise for an honest dance. Jeb's talent for clever song writing shines through in the lyrics which connect to our current reality, where truth has become an endangered species. The slower flip side kicks off with a Sunday afternoon worthy duo of organ and acoustic guitar before Jeb shows us how a story is weaved from minimalistic ingredients. From the rural beginnings to pastoral hardships, he lays it all bare for the listener.

In addition to this single, Jeb and Cold Diamond & Mink have a whole album of soulful gold dropping later this year. Make sure to be there to catch it when it drops.

LIMITED 180GM OPAQUE ORANGE VINYL.

BUFFET LUNCH are a Scottish group who make it their mission to craft satisfyingly imperfect pop songs filled with imagery and humour.The group’s elementary parts are Perry O’Bray (Vocals/Keys/Guitar), Neil Robinson (Bass), John Muir (Lead Guitar) & Luke Moran (Drums), united by a shared love of music on the ABBA-to-Beefheart axis.

These four ricochet between Glasgow and Edinburgh, creating music that bristles with DIY spirit and upbeat wonkiness. Their tracks are vigorous excursions, meandering into clattersome terrain as often as hiking up into the breezy, melodious foothills.The desire to lead the listener along a curious tale helps tie things together, showcasing a lyrical playfulness that pins down their puzzle of sound.

Having been an active band for a few years, playing regularly north of the border with like-minds such as Irma Vep, Robert Sotelo and Kaputt, Buffet Lunch spent early 2020 working on the follow-up to their two EPs on Permanent Slump.The fruits from such labour bore out as the band’s debut album ‘ThePower of Rocks’, out may 7th on UpsetTheRhythm.

‘ThePower of Rocks’ was recorded in a Crofters cottage/studio on the banks of Upper Loch Fyne in Argyll, over four nights and five days at the beginning of March 2020, before Covid-19 made itself such an ongoing concern. Back then four people could occupy the same space and make music, lunch and dinner together. Days fell into a pattern of long sessions and long meals.The album came together as a luminous mix of Buffet Lunch’s live chestnuts, some sparky recent songs and some new material entirely written and recorded in situ. All tracks were recorded by Neil Robinson acting as the in-house engineer.

As the seriousness of the virus and talk of national lockdowns developed - there was a feeling of anticipation more than fear in the air, but being holed up in cottage in a wild corner of Scotland surrounded by snowy mountains still took on an apocalyptic feel, albeit an apocalypse where the band were safe and overdubbing vocals. After leaving the cottage, reality (as it must) set in and finishing the album became a more remote task.

Over the following months, an extended period of listening awarded the recordings a deeper realisation, as they bounced between band members computers. Perry also started writing on his Casio keyboard and collaborated on a couple of songs (‘Ten Times’ & ‘Ashley’s New Haircut’) with Jayne Dent (of electronic music project Me Lost Me), drawing on her ethereal singing voice as a counterpoint to his own more ‘spoken’ vocals on the album. These gauzy, dreamlike tracks were then sent to other members of Buffet Lunch to add their respective parts, creating evocative new dimensions to close each half ofthealbum with.

The Power of Rocks’ rattles along like a short-story collection, exploring a variety of narratives. When it comes to the music itself, Perry describes their approach as “see what happens” but admits to a preference for simple synth melodies, plenty of percussion, and prickly guitar-parts. ‘Red Apple’ opens the album with a dizzy swagger, guitars and keyboard notes swirling in forays whilst its lyric tackles notions of social bravado. ‘Orange Peel’ follows equally serpentine with its blattering tune and jagged, yet jolly melodic twists.The themes across the album are wide-ranging and personal, from irritation with out of touch politicians (‘Pebbledash’), to love letters to seaside living (‘Bladderwrack’), to even the frailty and confusion of old age (‘Said Bernie’, ‘It Helps to Know’). Title track ‘ThePower of Rocks’ is an ode to the power of nature sunk within a rolling wave of cheery jangle. “Do you believe in the power of rocks when the sun is too hot on your face?” sings Perry as the song zigzags with consequence. ‘He Wore Two Hats’ sports similarly bop-worthy riffs and addictive nods as it deals with its story of savvy man who’d bitten off more than he could chew.

Buffet Lunch’s debut album accomplishes a lot in its brief 38 minutes. It stuns and startles, intrigues and entwines, drawing the listener further into its characterful world. When asked about any intent posed with this debut record Perry confides that “we hope people can hear the joy the band had making the album and the curiosity and frustration that went into the writing. There was no process or design, but there is detail, and deliberateness in our wish to explore and create.” It’s this attentive focus alongside a keen sense of humour that really sets Buffet Lunch apart, with ideas darting wilfully to and from the poignant truths at hand.

We started First Word Records in late 2003. The core team is based in London, but our roster is comprised of artists from all over the globe. As we look ahead to our 20th anniversary, and hit our 200th release, this EP is a collaborative effort from some of our current artists.

As a label, we've often championed musicians that create sounds that fall within the cracks of more defined-genres. Our aim has always been to highlight unique talent where we find it, and ultimately find things we deem worthy of inclusion in the great mixtape of life! Quite often the links may not seem apparent, but we feel blessed to have been able to slowly build a family of artists that not only have great respect for each other, but will quite often collaborate together without any prompts from us. This collection of music is a series of examples of that. 'A Family Affair'.

For this vinyl EP, there is a heavy dancefloor vibe, with four tracks that nestle within the realms of broken beat.

Following her debut EP 'Light It Again' for us in late 2020, Allysha Joy's track 'Better' is re-visited by the don Kaidi Tatham, who reworks the track in his own inimitable way; starting on a half-tempo neo-soul vein, before switching to his trademark fusion of bruk, boogie and jazz mid-way.

After a lengthy absence we're delighted to welcome back Quiet Dawn and Sarah Williams White, with a collaborative piece between the two entitled 'One By One'. You can expect longer projects from them both later in the year, but here's a little vibe to wet your whistle. This, the 'Bruk It' version doing exactly what it says on the tin.

On the flipside, we have a delicious rub of Takuya Kuroda's 'Fade' featuring the vocals of Corey King and taken from Takuya's highly-acclaimed LP 'Fly Moon Die Soon'. The remix work on this one courtesy of a killer combo in their own rights, KEARL aka Earl Jeffers (Darkhouse Family) and K15 (Profusion).

Speaking of K15, this EP closes out with his interpretation of Teotima's 'But I Can't' originally from their 2019 album 'Weightless'. Taking elements of the original vocal from Ellie Rose Rusbridge, K15 transforms this one into a dreamy boogie-tinged groove - previously supported by Mary Anne Hobbs and the like.

Two of these tracks have never been available on vinyl before, whilst the other two are brand new tracks being released for the first time on any format.

Liam Bailey follows up his 'Ekundayo' album with this heavy hitting remix 7" featuring two absolute legends. The A side is a remix of Champion featuring Black Thought of The Roots. Black Thought kills the first verse finding the pocket over the Leon Michels produced reggae banger designed to bust up woofers and blow out dance floors. Liam and Thought combine to sing praises to a woman worthy of all the admiration they can muster, and in doing so, they take what was already a classic to another level. The B side is straight from the far flung corners of outer space. Producer Leon Michels strips down and revamps the album cut Ugly Truth, making room for the most special of guests, the one and only, Mr. Lee "Scratch" Perry. The Upsetter switches between singing and talking, one minute proclaiming his powers and the next playing with the title of the original tune. Some proper Lee Perry business alongside the already unstoppable chemistry of Liam Bailey and Leon Michels...An absolute Big Crown Surehot.

The term "Guitar Hero" is bandied about loosely these days. Seems like all you have to do is look good holding the thing and you qualify. But if you ask the actual guitar heroes---like Brian May, Jeff Beck, and Eric Clapton---who THEIR Guitar Heroes are, Steve Cropper is definitely on the shortlist. If all he had done were the records with Otis Redding that would be enough, but shortly thereafter he was leaving his fingerprints on records by Wilson Pickett, Sam & Dave, Johnny Taylor, Albert King, and virtually anybody worthy who came within earshot of Memphis. He was a Guitarist's Guitarist, and a Songwriter's Songwriter.

Fire It Up is Steve Cropper's first album of new Soul/R&B material in 10 years. The album was produced by Steve and Jon Tiven, and will be released worldwide on April 23, 2021 via Mascot Label Group/Provogue.

Rhythm Syndicate Records, Conspire, and Soul Connection, are proud to announce the upcoming release of the "Deep Beats EP". The Second release on the new label will feature four lush Liquid gems that will be a welcome addition to anyone's prized collection. Conspire, a Shrewsbury native, has been a valuable contributor to Soul Deep and Smooth N Groove over the years, and now his productions are being enshrined on an RSR imprint vinyl release. His first track, "Deep Beat," is a smooth rolling tune that boasts snappy drums, lush atmospherics, and slapping percussion, that create the perfect backdrop for the soaring melodies. The song has received heavy play from LTJ Bukem and others in the scene. Conspire"s second offering is a track called, "Late Night," which ditches the smooth rolling sound and attacks the dancefloor with an all out Liquid-Jungle tune, that will heat up the clubs during prime time.

The B-Side of the vinyl release features 2 undeniable cuts from Serbia's Liquid master, Soul Connection. Over the years, soul Connection has released his timeless songs on Soul Deep, Smooth N Groove, and was featured on Big Bud's classic label, Sound Trax Records. "Dub Music," leads off his offerings with its punchy drums, smooth pads, and ticking percussion. The song lives up to its name and pays homage to the Dub music genre, with its washed out reverbs and echoing efx, that softly drift off into the distance, as the lead sounds surge the composition forward. His second offering entitled, "Keep Me High," takes a more Atmospheric approach, but encompasses the critical elements to work in any setting. The ethereal pads lead things off, and when the drop hits the Amen drums are introduced, which help elevate the tune to another level of greatness. The lead sounds fade in and out of the song, creating more interest and allowing the listener to feel the heart and soul of the tune. Overall, Conspire and Soul Connection have crafted 4 masterpieces worthy of vinyl immortality. The vinyl release is set for pre-order in early 2021, so make sure to reserve your copy before it's too late!