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Strange Disc triumphantly returns to bring back to life a track from one of the most iconic scream queens of the 80’s and 90’s, Linnea Quigley. Introducing “This Chainsaw’s Made for Cutting”, a single by Linnea Quigley and Men In Skirts.Horror genre fans will certainly be familiar with Linnea’s work on the screen, with her work as starring and supporting roles in films like “The Return Of The Living Dead”, “Night Of The Demons”, “Silent Night”, “Deadly Night”, “The Barn” and much more. However, her body of work doesn’t end there. She also has made excellent rock n’ roll music since the early 80’s. Her band, The Skirts recorded sessions with the legendary California hardcore/punk label Mystic Records; with the track from those sessions “Santa Monica Blvd Boy” being featured in the movie “Nightmare Sisters”, as well as the Mystic Records compilation, “The Sound Of Hollywood Girls”.“This Chainsaw’s Made For Cutting”, a one sided single recorded in 1997, continues where The Skirts left off, with Linnea fronting a new group, Men In Skirts. The single is a tongue in cheek, cautionary tale warning of horrific and gruesome revenge on a cheating lover. Originally a cassette, fan club release only available out of the back pages of horror mags or at conventions. Strange Disc is proud to bring this super fun track to vinyl for the first time ever.The track was remastered by Josh Bonati, and features a new layout excellently crafted by Mike Turzansk.

Waxwork Comics is excited to release their debut comic book series, “House Of Waxwork”. Featuring all new content from contemporary writers, illustrators, and composers, “House Of Waxwork” is a rousing horror-anthology series packed with macabre tales of ghouls, ghosts, witchcraft, the occult, the living dead, revenge, and so much more. Readers will meet original and inventive characters such as The Die-Rector and The De-Composer, and will be fully immersed in the terrifying, original soundtrack music featured on the companion 7” colored vinyl that comes with each issue.In the debut release of “House Of Waxwork” Issue #1, readers will be discover what happens to an unsuspecting vacationing family when a cursed board game thrusts them into an actual fight for survival in Occult Slumber Party, penned by Gabe Soria (Batman ’66) and with music by Douglas Pipes (Krampus, Trick ‘r Treat).Also featured in Issue #1, Lighthouse Keeper will blur the lines between reality, the supernatural, and vengeance, culminating with a horrific twist. Written by Kevin Bergeron and with music by Creeper.This all new 32-page horror-anthology comic book comes with cover art By Justin Erickson of Phantom City Creative including “Occult Slumber Party” variant with Forest Green and olive splatter 7-inch soundtrack vinyl.

A bit of context for the making of this record: C-Schulz pronounces the title of the record 10. Hose Horn in German, as all the other titles and credits on the record are German, “Hose,” in German, means “trouser.” “10.” is an index for a 10th part of an imaginary series, which makes the record the first in an open-ended, non-consecutive row. Obviously, in some scales, the digit “10” is the maximum value. This index is maybe also a programmatic token to the trope of the collection, the archive, stock-footage and library-music for film, that Carsten was, and maybe is, fascinated by. It could be seen as an implicit gesture, these indexes represent a multitude of potentially interchangeable musical styles, combined with weirdly anachronistic genre-descriptions. This flirt with the idea of a retrospective archive may account for an emancipation from an anticipated upcoming of the affirmative techno-culture in Germany. In the aftermath of the recording, C-Schulz and I became even more obsessed with sound libraries, be it sound FX from film-foley, as well as ethnographic recordings of all sorts that we could examine as interesting sources for sound-manipulations, and that we kept track of in a book (and of course we're speaking about pre-internet-times). Today, 10. Hose Horn still holds as a document for a specific moment, with an idiosyncratic narrative, wildly liberating illustrative concrete-sounds and generic music-materials from their respective codes. Instead this toys with the materials’ acoustic properties and their contingent dramaturgical functions in a wonderfully strange new context.

Recorded over three sessions in 1968, “Bleak House” marks Terje Rypdals departure from psychedelic group The Dream and off to explore further territories. He would later become one of the most recognizable instrumentalist in European jazz, with releases on the ECM label filled to the brim with his exciting future-tundra guitar sounds.By this time in 1968, he was already in an almost unique position in the Norwegian music scene, at a crucial crossroads between the parallel galaxies of contemporary composition, modern jazz and progressive rock. With a go-ahead from Polydor, Rypdal set up in the studio with Jan Garbarek, Knut Riisnæs, Jon Christensen and Christian Reim (The Dream) to record his solo debut. It is an album that influenced a generation of innovative Norwegian artists and continues to do so to this day.This landmark reissue of this Norwegian classic got fully remastered from the original tapes and contains liner notes written by Rob Young (former editor of The Wire and author of Electric Eden).

Growing up in the bustling port city of Busan and running his own record shop there from the late ‘70s, Kim Byoung Duk had a front-row seat to th​e finest in foreign record imports and a taste for the psychedelic that naturally evolved into spiritual, ambient and avant-garde sounds. His growing interest in Tao philosophy and the meditative music that accompanied it provided a fertile environment for his audio imagination. Unhampered by limited access to musical gear, he made use of a wide assortment of self-sourced pots of various sizes and curvature, cymbals, wooden sculpted flutes and percussion tools—each chosen for its unique harmonic vibration—to create an entirely new and unique body of work. Experiment No. X retraces the oeuvre of Kim Byoung Duk, assembling tracks from Experiment No. 2, Pot Concerto and New Trilogy, illustrating a meditative journey from the freeness of the Tao sound, in the borders of ambient music and the avant-garde, to later groove-oriented jams which introduce rhythmic elements to the palate. This fully licensed release is the first collection of Kim Byoung Duk's music, remastered from the original tapes and including for the first time on vinyl songs from the very scarce CD New Morning. Includes four-page booklet with photographs and an interview from Kim's personal archives.

Alien Alien, Lerosa, Stoned Immaculate, Kassiel. Four slow-burning bombs that perfectly encapsulate how far that Slow Motion, slo-mo sound can be stretched. Featuring artists old as Alien Alien (Rodion & Hugo Sanchez) and Lerosa and new as Stoned Immaculate (Leo Mas & Fabrice and Max Essa) and Kassiel, Slow Motion drop the energy down a notch or two but not the emotion. Just as suitable for an early morning run as they are for a Balearic sunset, this four tracker has got essential written all over it.

Ma Spaventi, Sauvage World, Franz Scala, 2000. First part in a brace of new chapter of Italian Dance Wave Compilation Serie. Ma Spaventi, Sauvage World, 2000 and the hardest working man in disco, Slow Motion label head Franz Scala. A trippy selection of proper after hours jams, to keep feet moving and heads spinning till the sun comes up.

WLDV returns to Giallo Disco with their unique brand of Zombified Splat-alo. Four brand new tracks from the Basque DJ and producer taking in certified doom and club bangers alike. The decayed remnants of old churches, of countless unofficial Dawn Of The Dead sequels. Gore, disco pow(d)er, summer dresses soaked in blood. Stop screaming, grab the fire axe baby! Art by Eric A. Lee.

Label co-founder Vercetti Technicolor returns to Giallo Disco after the Black September LP with the soundtrack to the psychedelic neon-soaked slasher short Hard Pill. Directed by writer-director Daniel Freedman, Vercetti Technicolor’s Fulci meets Digweed score takes you from Mainetti to Martinez. Drugged out club hits and tense shadowed corridor atmospherics. No one is safe… not even you. Art by Eric A. Lee.

Mothball Record presents the first collaboration between Hysteric (Public Possession, Fuego International, Bordello A Parigi) and the prolific Shelter (from Plaisir Partagé and International Feel), who are now working together as H&S. Both known for their edit skills and obscure taste, they now bring us dark balearic versions of two underground Italo killers. With strong new beat influences, and two versions of each track for added flexibility, this record can fit easily in different sets. Limited 300 copies with slick 80s design.

Lag Records are delighted to announce our first official release, a reissue of the 1986 single Neo-plant by Koharu Kisaragi and Ryuichi Sakamoto, licensed by King Records Ltd co,. Japan. The first and only single taken from Koharu Kisaragi’s Tokai No Seikatsu LP, was cowritten and produced by the Academy Award winning musician, composer and producer Ryuichi Sakamoto, best known for his contribution in the pioneering electronic group Yellow Magic Orchestra and has musical scores for Merry Christmas Mr. Lawrence, The Last Emperor and The Revenant. Neo-plant has been cut using the original master tapes by King Records engineers in Japan. The record comes with all its original artwork including the obi and insert with English and Japanese lyrics on standard black 12” vinyl.

…and in the end, not a great deal is known about the Spanish duo Futuro. The saga begins with the discovery of a cache of test pressings deep within the shelves of a very dusty record shop near the Plaza Del Toros De Valencia. As is the case with these things there was no promo sheet or any other information outside of three clues etched into the run-out groove: Futuro, Jollyman, MCMLXXXVII. Through deduction and reasoning it was soon realised that Jollyman was a short lived Italian record label that closed it’s doors in 1987. There were rumours for a while that Jollyman was a mafia wedding gift to a music enthused female family member, but as the journey continued it became slightly more likely that this was a tax write-off for it’s owners, as the label itself was never very successful, and was more likely an afterthought rather than a full on passion project. That is not to say that there were not gems hidden within it’s small catalogue, most notably from noted library musician, composer and arranger Alessandro Signoretti, without whose help this release would not be presently in front of you. Alessandro’s assistance led us to the infamous Hafenklang Studio in Hamburg, Germany. The very same studio used by Boytronic to record their classic LP ‘The Continental’ (some of the same DX presets can easily be heard on both albums) and despite the insane amounts of musicians that have passed through those doors the owner clearly remembered the duo and finally the mysterious Futuro had names: Javier C Rayón and Raúl Láynez.

Brand new label Discos Pandemicos launches with a freshly baked EP that flirts with the darker side of house.

LKR Records proudly welcomes Vienna’s talented Fingers Of God to the family, presenting a debut EP which takes you on a journey to discover all the wonderfully dark, mysterious and sometimes beautiful moments of his unique and experimental techno productions. Slick rhythms, encapsulating synths and personal flair light up the labels fourth edition.

Just in time for summer Tomahawk returns welcoming newcomer Babylon Barsebäck. His debut EP “Savannah Sides” contain four tracks packed full of warm, tough and catchy jams, groovy rhythms and energetic synth works. Skating through the light of atomic summer vibes and clustering breakbeats that underpin his distinctive vocals

Malestripper, the punk that discovered the disco, drops some trickle down acid numbers onto the October blotting paper. Low slung, falling bass lines tumble underneath an upper canopy of scintillating hats, teased acid lines and ear-tingling melodies. 10"s of dark and ready basement bliss.

Ozelot return with another heavy hitting 12" featuring 2 tracks each from Manuel Fischer and Prioleau. This one's set to run the clubs of the world ragged.

Intense drum arrangements, distorted bass lines and warm synth melodies mark the aesthetic of Foreign's debut EP on Eye For An Eye Recordings. Unlike the producer's previous techno-oriented releases on Cologne based BAROC, 'Redemption' reveals a punk approach regarding his ways of crafting music. From the non-conformist 'Ignorance Amongst Us', to the hopeful 'Hope' theme, 'Redemption' is a non-spoken manifest to a society on the verge of collapse.

Gaja makes his South London Analogue Material debut with this 5-track ripper of an EP. After discussing a no holds barred approach the tracks were recorded as live takes in Gaja’s studio in Berlin. The result is a collection of tracks that consist of hard, noisy, mesmerizing, distorted techno.

‘Voorst’ opens the A-side with a deep kick and sparse drums, dreamlike pads giving way to an ecstatic melody that is all breath and decay. The soundtrack to driving the deserted city blocks at 2am with rain coursing down the windshield. Back on X-Kalay for remix duties Rudolf C switches up this ambient masterpiece into a 90s rave banger – straight up club material. On the B ‘Silver Surfer’ momentarily ups the ante and takes us on an undulating journey through pulsating basslines, swirling arpeggios and biting hats. Closing things off perfectly ‘Kaamos’ is a stripped back jam full of emotion; a label favourite with a beguiling combination of ambient electro styles and 80s nostalgia. Big!

Limited cassette edition of 100 copies only!Always on that fresh NYC shit, Chopped Herring presents Bronx up n comin MC, Hahyeem. This 19-year old spitter recorded his debut EP "Silence" 2 years ago at the age of 17 and released it earlier this year to underground critical acclaim. The whole project is produced by another dope, young artist, Inna Attic Crookz. It's a good combination – believe!!!

B-Side features unique etchings with different “Wild Style” graphics.Charlie Ahearn's 1983 film “Wild Style” holds a place in both music and cinematic history as one of the first examples of a hip-hop film. Since its original release it has been widely praised for its hybrid approach as both a narrative musical and a documentary, and as a time capsule of sorts into the culture of hip-hop during its infancy in the 1980s. Besides its classic depictions of MCing, turntablism, graffiti, and breakdancing, the film also featured now legendary figures of the genres in acting roles, such as Grandmaster Flash, Fab Five Freddy, Busy Bee Starski, and many more. Wild Style went on to garner an immense cult following, portions of the film itself would be sampled in records by artists like Nas, Beastie Boys, MF Doom, and more, and would even be exhibited by museums in Chicago and Boston as part of programs on the art of the 1980s. Beyond the film itself however, “Wild Style's” soundtrack has gone down in music history as a crucial piece of hip-hop handicraft. During a time where the sampling of records by Queen or Kool & The Gang was commonplace in the hip-hop scene, Ahearn took a different route in soundtracking his film, calling upon seasoned musicians like Chris Stein of Blondie and R&B session drummer Lenny Ferraro to produce an entirely original set of lyricless groove, which would be sampled into true hip-hop instrumental tracks by turntablist Grand Wizzard Theodore. The mystery and intrigue surrounding the breaks became the stuff of hip-hop legend, and a treasure trove for crate-diggers and vinyl enthusiasts. In association with premium reissue label Get On Down, world-renowned DJ Kenny Dope, a longtime fan of the breaks that made up “Wild Style's” soundtrack, re-edited the tracks into full-length cuts in 2014. KayDee now presents the singles individually for the first time ever. Each 7-inch is a piece of hip-hop history, as some of the most highly regarded and sought-after instrumental beats of all time, from one of the most important music films of all time.

Another extremely rare underground record on P&P. This time however and quite shockingly not a Patrick Adams or a Greg Carmichael production. Nonetheless “Ain’t it time” is a massive Disco cut written, arranged and produced by Arthur Manning and P. J. Wyatt paired with great Vocals by Soul, Disco and Gospel vocalist Gwendolyn Dennison better known for her stage name as Queen Yahna.Queen Yahna's Career has seen her perform on Broadway as Maria in the Hit Musical, "Porgy & Bess" and the National Company of "The Wiz" as "Evillene". Based in Berlin, Germany, Queen Yahna has had a successful career outside theater as well, cutting a few dance records over the years.

Las Vegas, Nevada rapper Dizzy Wright began rapping at just 8 years old in the group “DaFuture” with his brother and very close friend, his mother wrote his raps at the time. Dizzy broke through when he was discovered at the Sheikh Music “Rip the Mic” competition in 2010 and signed onto Funk Volume a few months later. In April 2012, Dizzy released his first Funk Volume album, “SmokeOut Conversations”, peaking at #2 on the iTunes Hip-Hop charts which he followed up with a free mixtape, “Free SmokeOut Conversations”, which has been downloaded over 200,000 times, and helped propel Dizzy to his own national 30-city tour. In December 2012, Dizzy went on to release the first of four EPs, “The First Agreement”, which reached as high as #2 on the iTunes Hip-Hop chart. In March of 2013, Dizzy gathered enough votes to be selected as the “People’s Choice” member of the XXL Freshman Class of 2013. Also in 2013, Dizzy released “The Golden Age” mixtape and followed it up with “The Golden Age Tour”. In 2014, Dizzy released “State of Mind EP” and toured the US with support from Scion AV. Following the momentum, in 2015 he hit the road in support of his sophomore album “The Growing Process”, peaking at #3 on iTunes. When 2016 hit, Funk Volume disbanded. No signs of slowing down, Dizzy dropped his “Wisdom and Good Vibes EP” and opened for Logic’s sold out, 44 city, “The Incredible World Tour”. Now he's back for 2017 with a new project, “The Golden Age 2”, with incredible features, including one from Big Krit, plus album art by Skam2.

In 1973, EMI Records Nigeria released the 45 rpm disc “Fuel for Love” b/w “Soundway,” credited to a mysterious band called Wrinkar Experience. The record was a finely-crafted gem of pop-rock and funky soul as had never before been heard coming out of the country’s nascent rock scene, and it ended up being the biggest selling Nigerian single up until that point. The success of Wrinkar Experience effectively demonstrated that was a market for homegrown pop and rock, and sent record labels scrambling to sign similar bands, kicking off the Nigerian rock revolution that is still being celebrated and discovered by new generations today. But while Wrinkar Experience launched the movement, the group itself would be short-lived: after another hit single in 1973, the band’s frontman Danie Ian split for a solo career. The remaining principal players in the group—Cameroonian musicians Ginger Forcha and Edjo’o Jacques Racine—tried to keep the Wrinkar name going before giving it up and rebranding themselves as Rock Town Express. Rock Town Express’s debut LP Funky Makossa was recorded in 1974 for ARC Records, the cutting-edge studio and label established in Lagos by English drum legend Ginger Baker. The album showcased in long format the qualities that had only been hinted at on the Wrinkar Experience singles: bright, confident pop melodies, articulate lyrics, and darkly potent funk-rock. Comb & Razor Sound is proud to present a new, fully-authorized reissue of Funky Makossa, featuring the seven tracks from the original release, plus “I Am A Natural Man” and “I Don’t Want To Know,” from Wrinkar Experience’s seldom-heard third and final single.

2x DeepChord rebuilds from the stone cold classic Bipolar Defect album. Hand numbered and marbled limited pressing of 300 copies on 10”.

Warp bundle up a haul of early, obscure B12 cuts in Electro-Soma II, a companion piece to their reissue of the AI series classic Electro-Soma, which is also made available to officially download for the first time.If Electro-Soma is the perfect springboard into B12’s stellar catalogue, then II is required further listening, collecting tracks also found on their B12 Records Archive volumes issued c. 2009, such as the mystic electro-stepper, Transient Pathways and the head-first ambient immersion Go With The Hiss, along with deeply Detroit-inspired material in the elaborate design of Debris, with the sci-fi panorama of Satori, and the lump-nib-throat inducing choral synth arrangement, Paradroid.

Limited edition of 300 copies worldwide!Dope Folks’ 85th release is the never before released “Two Tears In A Bucket” EP from Screamin' & Cryin'. Screamin’ & Cryin’ consisted of Matisse (Jon Carter -DJ, Turntablist and Producer) and Skwerm (David Ellis- MC/Rapper and Lyricist.) “Two Tears In A Bucket” was produced in 1992 in Greensboro and Raleigh, NC, and culminated in Sanford, NC at Beechtree Recording Studios. Previously, they released their only record in 1988 on Popular Records under the name Faze Two. Their “Two Tears In A Bucket” record was never shopped to record labels and it never got the attention it deserved. The group dismantled shortly after finishing production. Dope Folks is excited to unearth these 6 unreleased studio tracks and 1 track that was done for Raleigh Radio!

This record has first been released in 1956 as “Byrd jazz” with Donald Byrd as declared band leader but there were several versions of it over the years. The last reissue has been about three decades ago and so it is more than time to go for another fresh print of this back row classic of the 1950s jazz scene. On these recordings we get some floating and grooving hard bop with an ever pulsating rhythm section, dueling tenor sax by Lateef and trumpet by Byrd plus solo slots for bass, drums and piano. The leading instruments generate a cheerful atmosphere and make this live album a blissful experience for every lover of the mid 50s hard bop sound. The passion of the musicians grabs the audience immediately and when the melodies pour out of your speakers you will be captured as well by this pure essence of jazz. Far from later modal and even free jazz monoliths these catchy tunes are quite easy to follow. The band is tight and this is a great advantage. Every note, every beat of the drums sits in the right place as if they have always been there and just had to be made audible by the band. It is indeed like the sculptor who already sees the glyph within the block of marble and just sets it free. The music plays itself through the instruments. Haunting and relaxed passages, cool melodies put into memorable structures. A classic among the hipsters and beatniks with their goatbeards, metal-rimmed glasses and berets drinking, tripping and philosophizing to the sound of this and many other albums that were made from jazz aficionados for their kind.

Even half a Mal is more greatness than many people out there could take. Mel Waldron was another 1950s master of hard bop jazz and finds himself in illustrious company on his 1957 debut album. John Coltrane and Sahib Shihab are masters of tenor and alto saxophone and jazz freaks break into a sweat of joy when they hear these names. Coltrane alone could be a reason to fall in love with this record. You can always hear his very original kind of playing the tenor. No wonder that first pressings of this gem of an album go for 250 USD and even more in fine conditions. It might be a lesser known participation of the great John Coltrane with another bandleader but as he glows permanently on this album the rest of the musicians do the same. The band goes full throttle when needed but there are also thought provoking slow tunes generating an atmosphere of melancholy when Waldron makes his piano sing a dark ballad while the drummer barely stands out and just backs up the whole composition with a low key beat linked to the equally reluctant bass line. Trumpet and tenor come in play after a while to moan wearily on top of that reduced rhythmical pattern. Dark and smoke filled bars in a nameless American metropolis are exactly, what associate with these haunting melodies. And out of a sudden the band gains pace and the whole atmosphere becomes more and more cheerful. The grooves are swinging and good for a dance or two. The leading instruments alto sax, tenor sax and trumpet chatter frolicsome like a bunch of youngsters on a night out in town. These changes of atmosphere are one of the strong points of this record. Another is the overall tight interplay of all instruments. These cats were hard-nosed veterans of the jazz genre taking the 1940s dance club sounds to another level. Bebop turns into hard bop and this album shows the dignity in such a crystal clear way.

This is an ancient Blue Note rarity recorded at Rudy Van Gelder’s legendary studio in 1956 with legendary bass man Paul Chambers doing the deep notes. First press originals in adequate condition go for about 500 Euro. So what does this sextet featuring trumpeters Donald Byrd and Lee Morgan with tenor saxophone hero Hank Mobley as bandleader and piano madcap Horace Silver backing the rhythm section with his extraordinary chord progressions have to offer? The album is widely labeled as “hard bop” and it shows a great development from the mid to late 1940s bebop scene where John Coltrane, Charlie Parker and other now mystical protagonists brought the swinging dance music of the even older big bands to a new level of sophistication and still maintained an earthy and highly spirited atmosphere. Same goes for the hard bop and post bop scene of the later half of the 1950s from which finally modal jazz and free jazz emerged within the wink of an eye. All four lengthy compositions on this album are still one step behind the next level and show a playfully jamming band executing comprehensible harmony lines backed by tricky yet enthralling grooves that in the end move straight forward despite the rhythm section playing mostly around the pulse. The duels of both trumpets and the tenor sax heat up one’s soul as they are aligned with the racy rhythm patterns. The melodies themselves are quite cheerful and cool. When Paul Chambers takes the bow in one passage of the fourth tune “Mobleymania” and scratches some cool lines backed up with an everflowing drum pulse nobody may sit still. All six musicians here are fairly well connected with each other in terms of playing tightly to what the next improvises. Especially Mobley burns with every note he plays and if you bushwhack through to the core that carries the steaming dialogues between trumpets and saxophone you will find some maniacs building rhythmical patterns par excellence. This album certainly demands many spins before you will be aware of every beautiful detail. Indeed a classic of 1950s jazz aside from the greasy mainstream sound. Let's go wild with Hank Mobley, Donald Byrd and Lee Morgan. Includes two bonus tracks.

Attention, this is one of the non-music cult obscurities that came out of nowhere during decades of music history. This 1961 released fictional dialogue between a moderator and somebody involved in the late 1950s hipster / beatnik movement in which both discuss the meaning of words and phrases from the youth and „hipster“ language of the 50's. It is different to the typical spoken word records where either political or philosophical pamphlets get recited. It is a dialogue, a comedic dialogue with some audience noises fadet in, some strange narrations and examples how to speak in a 1950s beatnik style. It is an interesting authentic document of its time and certainly a challenge even for those who speak English fairly well. A collectors item for fans and retro hipsters a time when a vivid counter society was pulsating beyond the idyllic world on the surface. Includes two bonus tracks and the original Hip Manual.

Here Motörhead cover songs by Metallica, Judas Priest, The Rolling Stones, Ted Nugent, Sex Pistols, Ramones, Rainbow, Twisted Sister, Ozzy Osbourne and David Bowie.

Limited editin box set including the album on vinyl and CD plus Motörhead VIP-pass with lanyard and backpatch. Here Motörhead cover songs by Metallica, Judas Priest, The Rolling Stones, Ted Nugent, Sex Pistols, Ramones, Rainbow, Twisted Sister, Ozzy Osbourne and David Bowie.

Like a Woman is the debut studio album by American singer Kacy Hill.Kacy Anne Hill is an American model and singer-songwriter, currently signed to Kanye West's Good Music. She was born and raised in Phoenix, Arizona and had previously worked as a model for American Apparel, as well as a backup dancer on The Yeezus Tour for Kanye West. She released “Experience”, her first non-album single independently in 2014, with an EP release scheduled for October 2015. The first single from the EP, “Foreign Fields”, was released in 2015. Hill was also #6 on Dazed and Confused's Readers' 100 list and #29 on the Dazed 100 list in 2014.

“Pretty Girls Like Trap Music” (stylized as Pretty Girls

Pure Philly Magic!

The Sean Price legacy continues with his highly anticipated posthumous release of 'Imperius Rex'. This release marks Sean Price's 4th official studio album.The project features all new music with features from Doom, Prodigy, Styles P, Smif N Wessun, Rock, Method Man, Raekwon, Inspectah Deck, Junior Reid, Buckshot, Ruste Juxx, Bernadette Price & more. Production from Alchemist, Harry Fraud, Nottz, amongst others.

* Fresh off the back of the immense ‘Reprisal EP’ on Metalheadz last month, label head honchos Artificial Intelligence return to their own imprint with a second artist EP to reinforce the 10 Years of Integral campaign.* Catalogue number 40 – True Colours consists of 4 unique and deep futuristic soul jams that are very much at the forefront of the sound that the label has been pushing recently. Prepare yourself for the ultimate emotional rollercoaster in true AI fashion.* Kicking off the new EP, ‘Ask Yourself’ encapsulates celestial grooves and sublime melodies of a deeper, and somewhat delicate nature. The pristine programming on this production brings sheer delight to the eardrums. * Next up, title track ‘True Colours’ turns the emotions up a notch. Dubby sub bass and punchy breaks with plenty of space and a sublime vocal make for a serious dancefloor roller that pulls at the heart strings. The intricate sampling brings a unique vibe that pushes the AI sound into superfresh territory, yet it still cleverly remains true to the superduo’s signature soundscape.* ‘Waiting For’ switches the mood over to affectionate vibes of a more somber nature. Listeners will be sure to get caught up in this stunning journey of synth chords and emulating bass hook comprising the most blissful of melodies.* Wrapping up this outstanding EP 'Holding Out' instantly draws you in with its epic cinematic intro and exquisite harmonics. The minimal drum programming makes way for a wonder of depth and intricacies in this truly majestic production that brilliantly champions soulful musicality within drum & bass.* Mark your iCals now with 18th August as the official release of Artificial Intelligence’s second full artist EP for Integral Records. Reserve your limited edition vinyl copy now to avoid disappointment!

Alex Eveson returns with his full LP, as a mixtape containing all Dead Man's Chest material + 3 x 10” dubplate style vinyl releases, containing all unreleased tracks off the mixtape.

Alex Eveson returns with his full LP, as a mixtape containing all Dead Man's Chest material + 3 x 10” dubplate style vinyl releases, containing all unreleased tracks off the mixtape.

Alex Eveson returns with his full LP, as a mixtape containing all Dead Man's Chest material + 3 x 10” dubplate style vinyl releases, containing all unreleased tracks off the mixtape.

Having become one of the UK’s most exciting acts over the past few years releasing their bass-heavy brand of garage and grime across labels like Black Butter and MTA, My Nu Leng go back to their roots as they deliver their very first drum & bass EP. And as you’d expect from a duo who’ve been drawn in to remix the likes of Naughty Boy, Rudimental and Clean Bandit, it’s big and it’s very, very clever.“We are both so excited to be releasing an EP on Shogun! We’ve been huge fans for many years and have bought and collected most of their back catalogue on vinyl. We actually both come from a big drum and bass background and became friends through mixing and looking through each other’s D&B vinyl collections. We first worked with Friction by remixing his track 'Long Gone Memory' and more recently have been working with Ed under his new alias FineArt - we showed him some drum and bass we'd been making and he mentioned the idea of an EP on Shogun. It's been over a year since that conversation started and we are really happy to now get it out there and an honour for us to bring it on Shogun whilst working with SpectraSoul and Friction on music too. Iyamah on vocals for senses really blew us away and we hope people enjoy the music as much as we did making it!” My Nu Leng 2017

Copenhagen’s Echocord Colour returns this August with Stephen Brown’s ‘Power Factor’ EP, featuring three originals from the UK Techno stalwart. Scottish producer Stephen Brown is a name synonymous with Techno across the globe having been releasing material since the mid nineties on imprints such as Derrick May’s Transmat, Subject Detroit, Skudge Records, Ben Sims’ Theory and Holland’s Djax Up Beats amongst many more. Here we see Brown join the roster of Echocord’s sub-label Colour, slotting him in alongside the likes of Mike Dehnert, Nick Höppner, Luke Hess and Deadbeat in the back- catalogue.

After the creation of Computer Disco LP (1982), Marcello Giombini produces the year after I Adore Commodore - Computer Music Flash, which was mainly made with a Commodore 64. Giombini was a veteran of music applications with personal computer, started with an Apple II Europlus and then converted to the Commodore 64 thanks to the presence of 3 independent music generators that allowed him to make more elaborate music easier.

After his memorable ‘Wolves’ EP of last year (which garnered great support and earned record of the week on B.Traits BBC Radio 1 show) Florian Busse returns to connected for his new release ‘Heus’ EP on vinyl and digital,retaining and developing his idiosyncratic sound sculpting, Florian has delivered another unique take for the dancefloor.

Miles Mosley is a vocalist, upright bassist, guitarist, pianist, composer and arranger from Hollywood, California. He was named after Miles Davis. A founding member of the acclaimed collective, The West Coast Get Down, Mosley has released albums containing his own solo work, in addition to recording and touring with artists including Jonathan Davis (Korn), Miss Lauryn Hill (as her Musical Director and bassist), Harvey Mason, Kendrick Lamar, India Arie, Chris Cornell, Mos Def, Common and Andra Day. Now he releases his new album in cooperation with Alpha Pup Records. The genre-defying and otherworldly core six-piece band consists of the best musicians taking over the scene today-including saxophonist Kamasi Washington, trombonist Ryan Porter, keyboardist Brandon Coleman, pianist Cameron Graves, and drummer Tony Austin. On “Uprising” they are joined by trumpeter Dontae Winslow and the late saxophonist Zane Musa along with a full orchestra and choir. The members all hail from Los Angeles as a family of musicians that Mosley helped bring together during their formative years, and have imprinted their stamp on the world unlike any other musical collective in recent times. Mosley combines his deep love of songwriting with his innovative, mind-bending, effects-laced upright bass.

Only one copy per customer!Martinique is an island in the Lesser Antilles, a group of islands in the Caribbean Sea found between the Greater Antilles (Jamaica, Cuba, and Puerto Rica) to the north-west and the continent of South America to the south. Martinique is one of the eighteen regions of France (there are five overseas regions) and an integral part of the French Republic. As part of France, Martinique is also part of the European Union, and its currency is the Euro. The official language is French, and virtually the entire population speaks Antillean Creole. It was first claimed by France in 1635 under the reign of King Louis XIII.Located geographically closer to the United States than to Europe, the Antilles absorbed jazz and mixed it with the traditional rhythms of their islands: the Biguine, Gwo Ka, Tumbélé. Many artists over the years have explored this uniquely affecting mix: D’Alexandre Stellio, Jean-Claude Montredon, Al Lirvat, Acques Coursil and Mario Caning. But one of the best exemplars of this fusing of American jazz and the Antillean musical tradition was pianist and composer Marius Cultier. Marius Cultier was born in 1942 in Fort-de-France, Martinique. A precocious talent for an early age, at nine he conducted with the L'Office de Radiodiffusion-Télévision Fançaise, the French national public broadcasting organisation. As a young man, Cultier hosted a radio show, ‘Punch en Musique,’ which proved a hit with the public and his name and reputation slowly built. Tragedy struck him at 14 when he was orphaned and he was looked after by this elder sister.As tragic as 1956 proved for Cultier, it was to be a watershed year for another reason - it was the year he discovered jazz. It wasn’t long before he was fusing the musical styles and language of the West Indies with jazz and he began live performances at the Hôtel l’Impératrice.Very quickly Cultier became an in-demand concert attraction in Martinique and venue owners soon began to book him across the island. His reputation grew and before long he was also performing across the Caribbean. As his stature grew, he began to receive accolades and prizes, including the International Piano Conquest prize in Puerto Rico for his performance of "Round Midnight”.He went to Canada in 1966 - initially for a few weeks - where he stayed for several years. Whilst there he met and played with established jazz artists before continuing his journey in the United States, and then Europe, where he played in Paris at the Palais des Congrès at the invitation of the then President, Valérie Giscard D’Estaing, before returning to Martinique in 1973.This release is pressed on heavyweight vinyl. The cover is presented on original glued prints on thick cardboard in a PVC outer sleeve.

Sent back in time to drop music in the futur.

This new gatefold 2LP vinyl edition is presented over two 180-gram discs, which play at 45rpm for optimum sound quality. High resolution mastering from the best-known sources and half-speed cutting were supervised by Miles Showell at Abbey Road Studios. Each album contains an Obi, Download Voucher and Abbey Road Half Speed Master certificate.

This new gatefold 2LP vinyl edition is presented over two 180-gram discs, which play at 45rpm for optimum sound quality. High resolution mastering from the best-known sources and half-speed cutting were supervised by Miles Showell at Abbey Road Studios. Each album contains an Obi, Download Voucher and Abbey Road Half Speed Master certificate.

This new gatefold 2LP vinyl edition is presented over two 180-gram discs, which play at 45rpm for optimum sound quality. High resolution mastering from the best-known sources and half-speed cutting were supervised by Miles Showell at Abbey Road Studios. Each album contains an Obi, Download Voucher and Abbey Road Half Speed Master certificate.

This new gatefold 2LP vinyl edition is presented over two 180-gram discs, which play at 45rpm for optimum sound quality. High resolution mastering from the best-known sources and half-speed cutting were supervised by Miles Showell at Abbey Road Studios. Each album contains an Obi, Download Voucher and Abbey Road Half Speed Master certificate.

Das Debütalbum der schwedischen LoFi-Electro-Wave-Punk-Formation.Parallel zum vierten Album ist das legendäre Debüt, das bereits 2006 auf dem schwedischenLabel Lobotom Records erschien und 2009 noch mal von Krawallex in Deutschlandnachgepresst wurde, jetzt wieder lieferbar. Die damals als Duo (Elvis Creep, Deus Deceptor)agierenden Stockholmer hatten mit humorvoll betitelten Songs wie „Indie Girl“, „Pink-Eye-Paranoia“, „Gay Wedding“ oder „Finkus Cooked My Cock“ bereits ihren unverkennbaren Soundzwischen garagigem Bubblegum-Pop-Punk, New Wave-Melancholie und zappelig fiepsender8Bit-Electro-Ästhetik gefunden, agieren auf ihrem Debüt aber noch herrlich ungeschliffen unddirekt. Sicher sind die folgenden Alben objektiv ausgereifter und opulenter, dennoch ist „WhatYou Didn‘t Know When You Hired Me“ für viele Fans der Band bis heute ihr bestes Album.

Die schwedische Electro-Wave-Glam-Pop-Band veröffentlicht ihr viertes Album.Mit dem selbstbetitelten Vorgänger (2013) hatte die zum Quartett um die Gründer Elvis Creepund Deus Deceptor angewachsene Band überraschend viele Musikmedien auf ihrer Seite, vonder Darkwave- über die Gitarren- bis hin zur Pop- und Electro-Fraktion ernteten die Schwedenviel Lob und Zustimmung. Und das, obwohl die stets futuristisch maskierten Musiker mitihren Songtiteln, Texten und auch der zuckersüß melodischen Musik stets jeden Verdacht vonangestrengter Ernsthaftigkeit zerstreuten. Letztlich schaffen sie es auch auf „Alfa Gaga Cp Wifi“nicht, auch nur einen Deut anders als sie selbst zu klingen - aber warum auch? Die elf neuen Songsführen mit Witz fort, was die Skandinavier so eigen macht: überpoppige Teen-Melodien und Hookswerden mit LoFi-Bubblegum-Punkrock, Wave und einem elektronisch blubbernden und sirrenden8Bit-Setup kurzgeschlossen, die besungenen Themenwelten wechseln verspult zwischen Sci-Fi,Dada- und Hedonismus sowie einem Hauch von Queerness. Als Fullband-Besetzung agieren sieschon seit dem letzten Album deutlich fokussierter, hier kommt endlich das perfekte Update.Ein quirlig schillernder und nerdiger Soundclash mit wahren Hitqualitäten!

Emerging from the grey-green Pacific Northwest, “Solar Power: New Sounds in Seattle Hip-Hop” collects the best and brightest tracks from Seattle’s current hip-hop underground. This is music that thrives in the shadows, in basements, abandoned warehouses and undiscovered realms where mixtapes and mics are passed like spliffs.Local media has been positive: The Stranger declared that Solar Power “shines a light on Seattle hip-hop’s experimental brilliance.” Much like a sunbreak crashing through the gloom, this record illuminates a wildly diverse spectrum of talented, of-the-moment MCs and producers. These 14 cuts alternately build upon and refute the idiosyncratic foundations laid by Shabazz Palaces, Blue Scholars, Macklemore and Sir Mix-A-Lot.Seven of these songs are from the queens of the current scene, including a short, dense firework from THEESatisfaction’s Stas Thee Boss, DoNormaal’s haunting nouveau trip-hop, and G-Funk inspired R&B from Gifted Gab. Jarv Dee’s town classic “I Just Wanna” is the requisite Washington state weed anthem, while Dave B’s “Kandi” masterfully counterpoints smouldering guitars with vocal acrobatics.Wrapped inside a radiant, reflective sun painted by Seattle artist Ari Glass, you’ll find a honey-yellow disc, musical DNA, a slick vinyl engine: This is solar power. Seattle, rain-damp and stir-crazy, sequestered and inventive, generates its own seductive energy, especially when it comes to music. Drop the needle on any song here and you’ll hear a tale untold, an equation without a solution, an anthem in search of a nation that’s ready to fight, fuck or dance. This album is an instant artifact, capturing in permanent wax some of the ephemeral energy and angst of this auspicious, confounding moment in time.Recently proclaimed as “the best new music currently coming out of America!” by Tokyo’s hip-hop mecca Manhattan Records, Solar Power is the freshest hip-hop you’ll hear all year. Play it loud! Soak up this sunbreak music.The album contains 14 songs from the most exciting artists in Seattle’s emerging underground hip-hop scene and includes unreleased tracks, exclusive mixes and greatest hits.The release is pressed on 140g translucent orange vinyl and comes with extensive liner notes by Jonathan Zwickel.

Limited reissue of Samson's legendary 1981 LP on crimson loincloth vinyl. 'Shock Tactics' was the band's third but final release to feature the vocals of Bruce Dickinson, who was about to move on to Iron Maiden.

This collection neatly compiles Rixe's first 3 EPs on one album. All 12 cuts have been remastered for maximum volume. Rixe appeared from nowhere and went from strength to strength over the two years since the debut EP 'Coup Et Blessures' was released in February 2015. The EP was their calling card and harked back to the glory years of Bologna's finest Nabat mixed with the classic '80s French Oi! sound. It was instant and loved by all and went on to have six pressings. A year later came 'Les Nerf A Vif', another four tracker with extra bite and bile. The third EP 'Bapteme Du Feu'is precision Oi! with a pop element that's built to be loved now and in 20 years. Joined together the 3 EPs make a perfect album and proof that why Rixe are Oi! royalty in 2017. Comes with A2 poster by Matt Bellossi and artwork by Nicky Rat.

After releasing on drop bass networks, Atmosfear , Loop, Sub / Version in the early 90s, and more recently on Mego, Staalplaat, Crónica and Praxis, Pure is returning in to the techno scene with a 5 tracks EP. The tracks were recorded in 1995 together with Omniscience, no joke at all... pure analog, acid, authentic,live recorded underground Devil Hardcore/techno.

Ruff Cherry comes back after probably too long on Midgar, with Forest Of Thorns Ep. The record has been in the making since more than a year, but will finally hit the stores in a month. After the well received Ritual Ep (September 2015) the Cork based producer delivers once again messages on behalf of some obscure alien civilizations.

Originally hailing from Melbourne Australia, the now Berlin based live electronic act Forces release their latest MLP” Newbody on the label incarnation of the Berlin based Fleisch collective. The 6 track MLP maps their relationship over the last few years with four new tracks and two remixes. Ranging from taught, neurotic pop and EBM to bristling ambient landscapes, Newbody burns with a kind of pre-dawn energy that is both euphoric and paranoid. Newbody depicts the final moment in the boomerang arc of technology as it returns to completely re-enter the body, perfectly capturing the focused urgency and post-electronic physicality of Forces live.

“Made Of Bricks” is the debut studio album by English singer-songwriter Kate Nash, released in the United Kingdom August 2007. The album was a commercial success, topping the UK Albums Chart and spawning a number-two single in the form of the lead single "Foundations". The album was later released in Europe in the United States in September 2007.Kate Marie Nash (born 1987) is an English singer, songwriter, musician and actress. Nash rose to prominence in the UK with the sleeper hit "Foundations" (2007). Her debut album, “Made of Bricks”, peaked at number 1 in the UK and number 36 in the US. Nash won the award for Best British Female Artist at the 2008 Brit Awards.Her second studio album, “My Best Friend Is You”, was released in 2010 and reached the top 10 in both the UK and Germany. After being dropped by her record label, Nash self-released her third studio album, “Girl Talk”, March 2013. The album failed to match the commercial success of Nash's previous albums, though it charted inside the top 100 in the UK, Ireland, Germany and Austria.In 2017, Nash also played "Rhonda Richardson," a.k.a. "Britannica," on the Netflix series “Glow”.

You take a trio of the fnest traditonal griot musicians from Mali and put them in a studio with Western music's most revolutonary string quartet - and the resultng album is one of the most richly rewarding musical collaboratons you are likely to encounter. Together the Kronos Quartet and Trio Da Kali have created an album that is rich in texture, hauntngly melodic and strikingly inventve as violins, viola and cello combine with balafon, ngoni and the powerful female voice of Hawa 'Kassé Mady' Diabaté in transcendental style. David Harrington, who founded the Kronos Quartet in 1973, describes the album as one of the most beautful Kronos has done in forty years.' All three Da Kali members come from hereditary musical families, Balafon player and musical director Lassana Diabaté was a long-tme member of Toumani Diabaté's Symmetric Orchestra and has recorded with Salif Keita, Taj Mahal and many others. A musician of great subtlety and inventon he has honed a virtuoso two-balafon technique to perfecton. Bass ngoni player Mamadou Kouyaté is the eldest son of the instrument's greatest exponent, Bassekou Kouyaté and he holds down the groove in his father's band 'Ngoni Ba'. Singer Hawa 'Kassé Mady' Diabaté is the daughter of Mali's greatest traditonal singer, Kassé Mady Diabaté, and the power, range and phrasing of her voice led David Harrington to compare her to the late queen of American gospel, Mahalia Jackson.Kronos Quartet have earned an enviable reputaton collaboratng with contemporary composers such as Steve Reich, Philip Glass, Terry Riley and Laurie Anderson and with world music icons from Argentnian tango hero Astor Piazzola to Bollywood singer Asha Bhosle.

The 8th volume in the Riviera Disco series with Model Man and Kraver from The Netherlands, Iamnotarobot from Spain and Can Love Be Synth? from Germany!

4-tracker of alien machine funk from the mind of Mesak.

Double disco trouble by the G-Machine.

“Rewind This!” is a must-see documentary about the home video boom of the 1980s and the tape collectors obsessing, preserving and cataloging the format today. Josh Freda’s incredible synth score perfectly captures all aspects of '80s videotape culture; an album full of music recalling cheesy action synth riffs, moody horror stings and neon drenched nighttime radios. This isn’t some hollow retro futuristic re-tread of the '80s, though, as Freda manages to inject so much personality and playfulness into his music that even through the barrage of synths in play it sounds ultra contemporary and very human indeed. Includes the lo-fi punk gem ‘Head Cleaner' by Joey Division as a bonus track, and the artwork is by the kickass Hollis Brown Thornton that we have been wanting to work with for an age.Limited edition pressed on 180g black vinyl comes housed inside a 425gsm sleeve.

Originally titled “February”, Osgood Perkins’ debut film was a festival hit in 2015 and has now been picked up for wider distribution by A24 under a new title, “The Blackcoat's Daughter”. The film is a bleakly desolate slow burn, harkening back to such classics as “Rosemary'S Baby” & “Let's Scare Jessica To Death” with its brooding atmosphere and emphasis on perpetual unease and dread rather than jump scares. It’s a remarkable debut, signaling the arrival of a real talent.The soundtrack was written by Elvis Perkins (Osgood’s younger brother, who released the critically acclaimed albums “Ash Wednesday” & “Dearland”). Here he has created a dark eerie masterpiece that fuses classic 1970s horror soundtrack tropes with his traditional folk roots and jazz infused inflections of Angelo Badalamenti. Forgoing synth work for traditional instruments and an experimental atonal vibe, its beguiling, otherworldly, and not of its time, which is exactly why it sounds so vital right now. This soundtrack is a rare beast indeed, uninterested in instant gratification and providing an easy one shot listen; this is a score to be savoured and poured over many times.

Mondo presents the score to “Edge Of Tomorrow”, available for the first time ever on vinyl. the sleeper hit of the summer of 2014, “Edge Of Tomorrow” (or Live. Die. Repeat. in some circles) was one of the most kinetic, and darkly funny action films to his cinemas in years. The music of “Edge Of Tomorrow”is pulsating, and bombastic. Composer Christophe Beck cleverly takes a futuristic approach to the expected soundtrack of a War film, incorporating electronic distortion and sonic bursts, Beck highlights the out-of-this-world nature of the invasion in Europe, while also grounding the more human elements of the recurring boot camp sequences.Pressed on 180-gram black vinyl.

Bekanntlich soll man die Feste feiern, wie sie fallen. Die Veröffentlichung eines zehnten Albums fällt mit Sicherheit in diese Kategorie. Und deshalb hat sich die Rostocker Punkrock-Band Dritte Wahl dazu entschlossen, ihren treuen Fans eine ganz besondere Freude zu bereiten. Denn ergänzend zur Standardausgabe erscheint ihr Tonträger "10" als limitierte "Special Edition" mit einer DVD, die den Auftritt von Dritte Wahl beim Wacken Open Air 2016 dokumentiert.Zudem bietet die Vinyl-Fassung eine Doppel-LP im Klappcover. Dabei ist die erste Scheibe "10" gewidmet, die zweite dem Konzert. Doch damit nicht genug: Abgerundet wird das Ganze durch die Studio-CD und die Wacken-DVD. Da darf man schon einmal gespannt sein, was sich Dritte Wahl für 2018 einfallen lassen, denn im nächsten Jahr feiern die Jungs ihr 30-jähriges Bandjubiläum. So viel steht schon heute fest: es soll selbstredend gebührend gefeiert werden!

Nach ersten Auftritten ab 1988 startete die Rostocker Band Dritte Wahl mit "Fasching in Bonn" 1992 ihre offizielle Punkrock-Karriere. Ein Vierteljahrhundert später sind Gunnar (Gesang, Gitarre) und Jörn (Schlagzeug) immer noch aktiv. Auf ihrem mittlerweile zehnten Album, das naturgemäß den Titel "10" trägt, werden sie von Stefan (Bass) und Holger (Gitarre, Keyboard) begleitet. Ersterer trat 2005 die Nachfolge von Bandgründer Busch’n an, der 35-jährig an Magenkrebs verstarb, Letzterer war auch schon beim Vorgängerwerk "Geblitzdingst", das 2015 als erster Dritte-Wahl-Tonträger auf Platz 23 in die deutschen Albumcharts einstieg, mit von der Partie. Lagen früher gerne drei bis fünf Jahre zwischen den einzelnen Releases, ging es mit "10" deutlich schneller. "Die Songs haben sich wie von selbst geschrieben", so Gunnar. "Wir hatten sogar mehr Material beisammen, als nötig gewesen wäre. Wir haben nichts forciert oder gewollt, sondern einfach geschehen lassen. Und deswegen klingt ‚10’ insgesamt etwas rauer. Unsere Vorgabe an uns selbst war, eine gute, unaufgeregte Punkrock-Platte zu machen." Man darf ergänzen: Und zwar eine, die bandtypisch Haltung und Aussage transportiert und zur Reflexion auffordert. Das hat bestens geklappt! Wie bei "Geblitzdingst" saß Jörg Umbreit hinter den Reglern. Er setzte die Songs in seinen Principal-Studios klangtechnisch gewohnt hochklassig in Szene.

The first thing to know, if you want to know about Propagandhi, is that they came here to rock. Right from the snarling opening riff of theirseventh album, Victory Lap, that much is clear. For everything else that swirls around the band now, and for the last 31 years — the politics, the people and, lately, a gnawing sense of despair — the sheer volume of it all hasn’t changed.Frontman Chris Hannah and bassist Todd Kowalski experienced a big change in the band when after nine years with Propagandhi, guitaristDavid “The Beaver” Guillas left the band for a teaching position and the band added a new member , Sulynn Hago, a seasoned guitar-slinger from Tampa, Florida. (That said, Guillas is still all over Victory Lap, contributing licks to four songs.)So what do you do, when you’re an unapologetically political band in a time when political speech seems more fractured than it has been in years? When the darkness looms and the rapacious maws of power seem to devour more by the day? You can’t stop the violence; you can’t save the world. But neither can you stand to sit back, and just watch it all burn. So here’s what you do: you strap up a guitar and get ready to rock.

The first thing to know, if you want to know about Propagandhi, is that they came here to rock. Right from the snarling opening riff of theirseventh album, Victory Lap, that much is clear. For everything else that swirls around the band now, and for the last 31 years — the politics, the people and, lately, a gnawing sense of despair — the sheer volume of it all hasn’t changed.Frontman Chris Hannah and bassist Todd Kowalski experienced a big change in the band when after nine years with Propagandhi, guitaristDavid “The Beaver” Guillas left the band for a teaching position and the band added a new member , Sulynn Hago, a seasoned guitar-slinger from Tampa, Florida. (That said, Guillas is still all over Victory Lap, contributing licks to four songs.)So what do you do, when you’re an unapologetically political band in a time when political speech seems more fractured than it has been in years? When the darkness looms and the rapacious maws of power seem to devour more by the day? You can’t stop the violence; you can’t save the world. But neither can you stand to sit back, and just watch it all burn. So here’s what you do: you strap up a guitar and get ready to rock.

Pressed on 150g transparent clear vinyl with red splatter.The soundtrack to the legendary anime film AKIRA is now available!Set in the year 2019 in Neo-Tokyo, the world is still recovering from the ravages of World War III. One night, teen delinquent Kaneda has his biker gang hurtle through the busy city. Kaneda’s friend, Tetsuo, is seriously injured during an accident and is taken to an army hospital. There the military notice Tetsuo’s potential psychic power, so they transfer Tetsuo to a secret government laboratory to awakening his latent abilities. When Kaneda gets involved in an antigovernment guerrilla movement, he encounters Kei, a member of the revolutionaries, and learns that the goal of the fighters is to infiltrate a secret laboratory – the very one where Tetuso is being held. The experiments to awaken Tetsuo’s powers are a terrifying success as he begins to wield psychic energy he cannot control - reminiscent of the emergence of the legendary esper boy "Akira”, which triggered World War III. The stage set, a fierce battle begins between Kaneda, Kei, the army and Tetsuo with the destiny of Earth at stake.The symphonic music to AKIRA was composed by Dr. Shoji Yamashiro, head of the beloved Japanese musical collective Geinoh Yamashirogumi, and performed by the group. Rerecorded and remastered using the most advanced audio techniques available, this release of the unforgettable score of AKIRA is peerless in quality and audio fidelity.The discs are housed in a pair of high quality eurosleeves displaying artwork from the film which are in turn packaged in a gatefold jacket featuring the beautiful skyline of Neo-Tokyo. A download card including a lengthy commentary by Dr. Yamashiro on topics ranging from AKIRA to Geinoh Yamashirogumi to his work in advanced brain studies is also included.

The soundtrack to the legendary anime film AKIRA is now available!Set in the year 2019 in Neo-Tokyo, the world is still recovering from the ravages of World War III. One night, teen delinquent Kaneda has his biker gang hurtle through the busy city. Kaneda’s friend, Tetsuo, is seriously injured during an accident and is taken to an army hospital. There the military notice Tetsuo’s potential psychic power, so they transfer Tetsuo to a secret government laboratory to awakening his latent abilities. When Kaneda gets involved in an antigovernment guerrilla movement, he encounters Kei, a member of the revolutionaries, and learns that the goal of the fighters is to infiltrate a secret laboratory – the very one where Tetuso is being held. The experiments to awaken Tetsuo’s powers are a terrifying success as he begins to wield psychic energy he cannot control - reminiscent of the emergence of the legendary esper boy "Akira”, which triggered World War III. The stage set, a fierce battle begins between Kaneda, Kei, the army and Tetsuo with the destiny of Earth at stake.The symphonic music to AKIRA was composed by Dr. Shoji Yamashiro, head of the beloved Japanese musical collective Geinoh Yamashirogumi, and performed by the group. Rerecorded and remastered using the most advanced audio techniques available, this release of the unforgettable score of AKIRA is peerless in quality and audio fidelity.To celebrate the long-awaited release of AKIRA on the vinyl format, we have pressed the soundtrack on a pair of 180 gram black vinyl discs for an optimal listening experience. The discs are housed in a pair of high quality eurosleeves displaying artwork from the film which are in turn packaged in a gatefold jacket featuring the beautiful skyline of Neo-Tokyo. A download card including a lengthy commentary by Dr. Yamashiro on topics ranging from AKIRA to Geinoh Yamashirogumi to his work in advanced brain studies is also included.

MRH creates hand-woven electro-dystopia on 12" - next übersmasha on viennas findest Neubau!

David Roland Hooper is a Houston-native soul singer, currently based in Spain working with The Silverbacks.The SilverBacks are the champion Soul band for the black music label Tucxone Records established in Madrid. TIP!

Wordsworth's new collaborative album titled “Our World Today”, is entirely produced by Wilmington, North Carolina's producer/engineer/M.C. by the name of Sam Brown. Sam Brown has recorded and mixed music for artist ranging from Kev Brown to Nottzraw and for labels the likes of Mello Music Group and Soulspazm (KonSci). While Wordsworth has remained musically prolific, touring with his group eMC, and featured on some of the hottest releases. Wordsworth and Sam Brown's album is aptly titled “Our World Today”, provides soulful grittiness. The album is raw emotion with an uncut head nodding Hip-Hop landscape depicting the troubling and celebrated aspects of the world we live in. Songs like “The Election” and “Convicted” address controversial headlines in our daily lives. On “The Election”, Wordsworth raps, "Hillary's loss was embarrassing/this election caused fights, broke up friendships and destroyed marriages/ racial tension, threats in your inbox/social media arguments had your friends blocked." There has never been a doubt of Wordsworth's elite braggadocio wordplay which is highlighted on Horns from the Soul and Church. The song “Hero” showcases Sam Brown's stellar production while Wordsworth raps, "The Hulk is on steroids, with Gambit he's in debt still/Weapon X owes professor X for some X pills" while featuring The Last Emperor; “Hero” shows that even in our world today it's hard for a superhero to cope. The album features yU, Pearl Gates, Apocalypse, Tonedeff, Louis., and Hip-Hop icons Masta Ace and Sadat X. Wordsworth and Sam Brown are able to provide music reflecting “Our World Today” that will affect our lives forever.

An exclusive new EP from the legendary Andrew Weatherall, limited to vinyl only, and just 500 copies. The EP dives for the dub laden and spacey fringes of electronic music, with heavy driving bass - one to drop towards the end of a night. Mastered by Noel Summerville. Artwork by G.S-L Studio.

September 16th 2017 marks the 40th anniversary of Marc Bolan's untimely death. To celebrate Marc’s life and music, Demon is proud to release newly commissioned remixes of classic tracks including the UK number one hits, ‘Metal Guru’ and ‘Telegram Sam’ as well as the renowned ‘Children Of The Revolution’ and ‘20th Century Boy’. The talented remixers include ‘The Reflex’, ‘Wye Oak’ and ‘Ra Ra Riot’.The success and continuing impact of Marc Bolan as a rock visionary, who was one of the pioneers of glam rock, is undeniable. At the peak of ‘T.Rextasy’(1970-1973), the popularity of T.Rex was comparable to that of the Beatles. They boast eleven singles in the UK top ten with four UK number one hits and three UK number one albums.Over the years the music of T. Rex has been used in countless TV adverts and movies, including Billy Elliot, The Truman Show, Hot Fuzz, Velvet Goldmine and the current TV advert for Vision Express. Many recording artists including Marc Almond, Noel Gallagher, The Smiths, Suede and Kasabian have drawn inspiration from the infectious, distinctive revolutionary sound of T. Rex.A special one-off event to celebrate the 40th anniversary is taking place at London’s Shepherd’s Bush Empire on Friday 15th September. The gig will celebrate the life and work of the phenomenal Marc Bolan and T.Rex.’ Marc Almond and T.Rextasy headline the event with superstar T.Rex producer Tony Visconti conducting the Dirty Pretty Strings. Special guests include Marc Bolan's fellow band member from John's Children: Andy Ellison, original T. Rex Saxophonist Howie Casey and many others to be announced.

Another excursion into Latin and Brazilian funk and jazz from the Raro Raro label, this time setting Bobby Valentin's classic "Use It Before You Lose It" dancefloor bomb against Mongo Santamaria's funky take on "Sunshine Of Your Love" for another killer 2 sider. Double rare!

After a year's hard work and development, Cut & Paste Records are excited to announce the debut release from One of Chile's leading underground scratch musicians - Redmist.Redmist has repped hard for the South American turntablist scene with various musical collaborations, beat loopers and scratch compositions that stand out for their musical maturity, executed with surgical precision.Improvise Wisely was conceived as a musical library for scratch performers to be able to throw on the turntable and start using immediately and intuitively. The sounds have been arranged in a geometric pattern on both sides, so once the user has chosen a starting point, they can easily visualize where corresponding notes, beats and scales are on the record surface.Primarily aimed at users of Ultrapitch turntables with +/-50% pitch, a lot of care was taken in the sample selection and the mastering process to ensure the record is as functional as possible on any setup. Each side contains skipless scratch sentences, grouped by instrument style (eg: Vocal, Percussion, Bass, Synth) and they have even been arranged according to their frequency content to account for the decreasing resolution of record grooves as they get closer to the center of the disc.Both sides end with tuned lock-grooves, for endless tone-play, and the whole record follows a Jazz-inspired theme both stylistically and in terms of the scales used.Combine this with a loop-pedal, or use multiple copies and multiple DJs and within moments you will have the makings of new improvised tracks!Side A features:Tracks 1-6: Vocal Skipelss SamplesTracks 7-12: Skipless DrumsTracks 13-18: BassSIDE B features:Tracks 1-6: GuitarsTracks 7-12: Keys and BrassTracks 13-18: DrumsTracks 19-22: Bass

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