THIS IS A BLACK FRIDAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 28th FROM 10AM ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

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'Live At The Bayou’ showcases some of the earliest live performances fromBad Brains, even pre-dating the band’s 1982 self-titled debut. A snapshot ofthe band’s burgeoning beginnings, these recordings from 1980 and 1981recorded at The Bayou in Washington DC, were captured between the bandbeing unofficially “banned in DC” and relocating to NYC. This is the first oftwo non-jazz releases by newly formed Time Traveler Recordings.

TRACK LISTING

LP1 - July 14, 1980:
1. Supertouch / Shitfit
2. Attitude
3. 1-2-X-U (Wire Cover)
4. The Big Takeover
5. The Man Won't Annoy Ya
6. Right Brigade
7. Redbone In The City
8. Paranoid (Black Sabbath Cover)
9. Stay Close To Me
10. Pay To Cum
11. Suck Sess
12. Banned In DC
13. I Luv I Jah
14. I
15. At The Movies

LP2 - March 14, 1981:
1. I (Incomplete)
2. The Big Take Over
3. Many Changes In Life (Barrington Levy Cover)
4. Sailin' On
5. Right Brigade
6. Rally Round Jah Throne
7. Coptic Times
8. Drum Solo / Tuning
9. Riot Squad
10. Rock For Light

THIS IS A BLACK FRIDAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 28th FROM 10AM ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

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Led by singer/guitarist/songwriter Todd Park Mohr, Big Head Todd and The Monsters have been mainstays of the jam band scene for 35 years, bringing their easygoing blend of blues, funk, and rock to stages across the country (and are touring right now!). So, you’d think 'Sister Sweetly', the biggest album of their long and illustrious career, would have made it to wax a long time ago. We mean, like a LONG time ago. After all, this 1993 release went platinum, spawned three hit singles in 'Bittersweet', 'Broken Hearted Savior', and 'Circle', and stayed on the charts for over a year! But, go figure, it hasn’t…so finally we at Real Gone have hooked up with the band to put this ‘90s classic on vinyl. Sea blue vinyl, to be exact, remastered for the format with an insert with lyrics to boot. Limited to 3000 copies!

TRACK LISTING

1. Broken Hearted Savior
2. Sister Sweetly
3. Turn The Light Out
4. Tomorrow Never Comes
5. It’s Alright
6. Groove Thing
7. Soul For Every Cowboy
8. Ellis Island
9. Bittersweet
10. Circle
11. Brother John

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Out of print 1994 EP 'The Real Janelle' b/w the first vinyl release of Bratmobile's 'Peel Session'. This is a 2025 Black Friday Record Store Day release.

TRACK LISTING

1. The Real Janelle
2. Brat Girl
3. Yeah, Huh?
4. Die
5. And I Live In A Town Where The Boys Amputate Their Hearts
6. Where Eagles Dare
7. There's No Other Way / No You Don't
8. Bitch Theme
9. Make Me Miss America
10. Panik

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First ever release of 'The Freewheelin’ Bob Dylan' as it was originally conceived, including four tracks that were withdrawn before the album came out: 'Rocks And Gravel', 'Let Me Die in My Footsteps', 'Rambling, Gamblin Willie' and 'Talking’ John Birch Paranoid Blues'. With the original never-before seen liner notes.

TRACK LISTING

1. BLOWIN' IN THE WIND
2. ROCKS AND GRAVEL
3. A HARD RAIN’S A-GONNA FALL
4. DOWN THE HIGHWAY
5. BOB DYLAN’S BLUES
6. LET ME DIE IN MY FOOTSTEPS
7. DON’T THINK TWICE IT”S ALL RIGHT
8. RAMBLING, GAMBLING WILLIE
9. OXFORD TOWN
10. CORRINA, CORRINA
11. TALKIN’ JOHN BIRCH PARANOID BLUES
12. HONEY, JUST ALLOW ME ONE MORE CHANCE
13. I SHALL BE FREE

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This product includes live audio recordings from Amazon’s Songline series which have never been pressed to physical music.

Love Record Stores Edition available from 9am on Saturday June 20th.
Limited to one per person.

Brand new limited run pressing of Black Honey's classic Corrine on heartshaped 7" vinyl in doublemint colour.

Features B Side "Mothership" which has never been released digitally.

TRACK LISTING

A: Corrine
B: Mothership

June 2018, Amsterdam, NL: 12 months ago we concluded a series of experiments with a test subject named Ben Penn. A year on, we decided to repeat this experiment at his Tilburg base. Once again, the results were startling...
.
After being provided with a sizeable dose of an enhanced and notably stronger derivative of 4-Ho Met (codenamed ST011), Penn not only reported intense hallucinations but also enhanced music production capabilities. With the aid of electronic instruments and hardware, he worked quickly, producing both his trademark “higher level inter-dimensional funk” and compositions that defied our previous expectations.

During the early stages of his ST011 experience, Penn completely ignored the provided Rhythm Composer and instead crafted a colourful, humid, jazzy and beat-free track entitled “Nix”, which boasted loose and fluid synthesizer motifs. As his hallucinatory experience intensified, Penn giddily tapped out tropical rhythms on the provided beat-making device, smothering them in alien electronics and sticky melodies. When we asked what this devilishly good cut was called, he simply replied: “Not Important”.

As the test went on and the most intense symptoms died down, Penn was much like his old self. Before the ST011 wore off completely, he was able to finish two examples of his trademark “inter-dimensional funk”: the skewed, introspective, bassline-driven wooziness of “Ben” and the mazy, kaleidoscopic goodness of “People”. The latter composition was particularly potent and ear pleasing, suggesting that his ST011 experience had finished on an intense high

STAFF COMMENTS

Patrick says: More synthetic 4/4 funk from Young Marco's entirely psychedelic Safe Trip imprint. This time round, Ben Penn hits us with a vibrating beatless jam, a tropical tonker and a pair of saucer-eyed steamers (check that bassline on "Ben"!). Grab a copy and rock a dance floor.

TRACK LISTING

1. Nix
2. Not Important
3. Ben
4. People 

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 13th ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON. IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 12.01AM SATURDAY APRIL 20th.

1000 only. Purple vinyl edition. First time on vinyl since initial press in 1995. ‘Big Laughing Jym’ follows 1994’s ‘Bufo Alvarius’ and between 1996’s ‘Amanita’, inducing tenebral states with their sludgy yet beguiling psychedelic rock. On “"Dispersion" and "Clearhead" whirlpools of bass, feedback-clogged flute, and John and Michael Gibbons' high-dosage, irradiated guitars, are definitive Pond.” (AllMusic). The record also includes ‘Hummingbird Mountain II (A Return Trip’) and ‘Dragonfly’. “Playing fuzzed out stuff of stoner dreams since the mid ‘90s.” Pitchfork // “Today they stand as an elder statesman at the epicentre of an international underground of psychedelic extremists” Sunday Times // “They’re still making jaw-droppingly visceral spine-tingling music” Shindig // Track List 1 - Dispersion 2 - Respite 3 - Clearhead 4 - Champ 5 - Soaked 6 - Hummingbird Mountain II 7 - BLJ

The sixth album by Bardo Pond, a critically revered space rock masterpiece, lovingly reissued on double purple vinyl for the first time since 2003.

TRACK LISTING

Jd
Every Man
Dom’s Lament
Walking Clouds
Test
Night Of Frog

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

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1000 only pressed on limited edition ORANGE Vinyl & DL card.

Super rare self-released recordings from 2000, from the Philadelphia psych rockers; a must-have insight into their long, strange trips. Collated from a limited run original CDr, remastered and double-dosed for maximum sound. A viral jam session remastered onto vinyl for the very first time.

"The missing link between John Cage's 4'33 and Merzbow's ultimate noise; a grinding cacophony tempered with motorik precision. Immerse yourself in the gloopily transcendental pleasures of the world's finest purveyors of psych-rock magnificence."The Quietus.

"Few contemporary bands understand psychedeliaís weird mix of weightlessness and heaviosity better than Bardo Pond." Uncut.

A deconstructed masterclass that concludes with the mystical rampage of Into Something Else, a ten-minute slice of sludge blues at its gnarliest. Bardo Pond are no ordinary band." Drowned In Sound.

TRACK LISTING

Side A. 1 Sit Sleep 2 Cymbals 3 Syn Dept.
Side B. 4 Before 5 Into Something Else

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JULY 17TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

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Brand new EP from Bibio featuring four beautiful haunting ambient pieces, reminiscent of his acclaimed Phantom Brickworks album.

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Released in 1980 on Beverly Glenn-Copeland's own label and featuring his long-time collaborator Doug Riley At Last! took it's name because it took so long for Glenn to get back in the studio and release new music (his previous recordings were in 1970)! The ultra-rare EP reveals Glenn in deep funk, soul and rock modes. Part of an ongoing reissue campaign celebrating the diverse output of this legendary musician and transgender activist. Pressed on black vinyl. Beverly Glenn-Copeland -At Last! 

TRACK LISTING

1. Montreal Main (The Buddha In The Palm) 2. Onward And Upward 3. Where There's Love 4. Journeyman

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Classic Creation 1990 lp from Biff Bang Pow! feauring Alan McGee & Dick Green, founders of Creation Records.

Unavailable on vinyl since it's release. Biff Bang Pow! were a seminal 80s indie group, overshadowed by the success of their label. Time for a re-assessment we think. This is a beautiful pastoral acoustic-led recording. Sleeve notes by Alan McGee.

TRACK LISTING

She Kills Me
The Girl From Well Lane
Baby You Just Don’t Care
If You Don’t Love Me Now You Never Ever Will
Someone To Share My Life With
Religious
Hug Me Honey

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

180g White Vinyl - first time on vinyl. Ex-London Suede guitarist Bernard Butler released his first solo album People Move On in 1998, to great critical acclaim and commercial success. This collection brings together on vinyl for the first time a collection of original and re-vocalled B-Sides from the People Move On project. 

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Andy Rourke, formerly of The Smiths & one of the most revered bassists of all time, has teamed up with front-man & guitarist Kav for their music project "BLITZ VEGA" They release their debut vinyl for Record Store Day, featuring new versions of their single "Strong Forever", including guest guitar from Johnny Marr & B-Sides / mixes & remixes from Z-Trip, Jagz Kooner, DayBreakers & Will Kennedy. The vinyl features unreleased new material, unavailable online.

TRACK LISTING

Strong Forever (single Version) Z-Trip Mix
Strong Forever Original (Jagz Kooner Mix)
Strong Forever (Day Breakers Remix)
Strong Forever ( Will Kennedy Live Band Mix)
Lost & Found (Jagz Kooner Mix)
Lost & Found ( Day Breakers Remix)
LA Vampire ( Jagz Kooner Mix)
Big Nose

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Josephine Foster's stunning collaboration with Jason Ajemian. Back on vinyl for the first time in over 16 years, this special edition features liner notes from former Chicago reader journalist Peter Margasak and new artwork. A 'remarkable... terrifyingly beautiful nightmare' of new folk, circa 2004. A minimal serenade for austere times; an off-kilter romance of voice and instrument compared to the brevity of early Bjork, featuring Fosterís fragile, hushed vocal, straight from old weird America, brought to life by way of Ajemian's bowed bass and effects, with a nod to the traditional English folk of yore in its construction.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.



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Limited Edition vinyl release of a never-before-heard collaboration between music veteran, Bruce Hornsby, and Concord Jazz artist Butcher Brown. The limited edition 12" LP pressed on Metallic Copper vinyl includes two tracks "Secret House" and "Thirty One". Exclusive release for RSD 2023.

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Toy Balloon receives itís long overdue debut vinyl pressing, featuring new artwork. Caught somewhere between traditional folk and Janschís penchant for the blues, ëToy Ballooní, from 1998, was the elder statesman of British folkís 20th studio album. Featuring a host of fantastic solo performances along with a brace of bigger sounding moments with a band including former Dire Straitsí Pick Withers on drums and the legendary Pee Wee Ellis on sax, the mainly self-penned opus also boasts a hypnotic cover of the standard ëShe Moves Through The Fairí and an evocative reading of Jackson C Frankís ëCarnivalí.

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When The Circus Comes To Town receives it's long overdue first vinyl pressing, featuring new artwork. From 1995, the 19th studio album from the revered legend of the British folk community, saw Bert Jansch in a purple patch surrounded by the umpteenth folk revival and new generations "discovering" his virtuoso playing. Featuring 15 self-penned originals and bringing both sax and slide guitar into the mix on occasion, 'When The Circus Comes To Town' finds Jansch in fine voice as well as with swift fingers which feature on a brace of standout solo acoustic numbers.

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KRS-One and his original band Boogie down Productions are amongst a small collective of genre-making, scene building pioneers of this thing we call Hip Hop, and Poetry and 9mm are amongst 2 of their early works of wonder. The 1987 jam "Poetry" famously became the beat basis and was sampled (twice!) in MF Doom's “Doomsday”, of which original copies change hands for £200+. It’s flipped by the earlier monster “My 9mm Goes Bang”, which along with tracks by Schooly D and Ice T, can be seen as an early foray into gangster rap, albeit it, from that NYC angle. Original mixes are remastered for 2024, all housed the legendary B-Boy labels and sleeves.

Brian Poole & The Tremeloes beautiful upbeat rock 'n' roll cover of Twist And Shout has since become one of their best know hits. Pressed for the first time on 7î vinyl since itís release in 1963, this beautiful clear vinyl is key for any music lovers collection.

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Limited edition red colour pressing of this classic Black Sabbath album that hasn't been available on vinyl since its initial release in 1987.

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Bobby Conn returns with his first new album in 8 years. As always, the sound is the past 50 years of art rock and soul tossed into a blender and set on liquify. I was really into 10cc, J Dilla, Liaisons Dangeroux, Jean Claude Vannier, Anna Meredith, Slade, D'Angelo, etc. when writing this record, but I'm sure you can hear it for yourself. Musically, this is a collaboration with my partner Monica BouBou on violin and vocals and our Superband of drummer Josh Johannpeter, bassist Jim "Dallas" Cooper, keyboardist and string player Billie Howard, guitarist Devin Davis, and long time sound artist DJ LeDeuce. We recorded it over many months in a basement. There is a cameo by synth genius Felix Kubin on Brother. Mixed by the brilliant Tobias Levin and Hannes Plattmeier in Hamburg, Germany.

Bobby Conn returns with his first new album in 8 years. As always, the sound is the past 50 years of art rock and soul tossed into a blender and set on liquify. I was really into 10cc, J Dilla, Liaisons Dangeroux, Jean Claude Vannier, Anna Meredith, Slade, D'Angelo, etc. when writing this record, but I'm sure you can hear it for yourself. Musically, this is a collaboration with my partner Monica BouBou on violin and vocals and our Superband of drummer Josh Johannpeter, bassist Jim "Dallas" Cooper, keyboardist and string player Billie Howard, guitarist Devin Davis, and long time sound artist DJ LeDeuce. We recorded it over many months in a basement. There is a cameo by synth genius Felix Kubin on Brother. Mixed by the brilliant Tobias Levin and Hannes Plattmeier in Hamburg, Germany.

Black Peaches follow up their acclaimed 2016 debut with a dazzling display of musicianship on their explosive new album Fire In The Hole.

“Black Peaches existed inside me before I was aware of it,” says the band’s Rob Smoughton, also known as a member of Hot Chip and Scritti Politti. “It’s the culmination and continuation of the music I love. I started to notice how Brazilian rhythm, funk, soul, classic country and pop were all combining in the music I was writing, and I looked for other band members to join me to bring it alive.”

And he found other members to bring that combination alive in Susumu Mukai, Charlie Michael, Nick Roberts and Thomas Greene. Together they released 2016’s acclaimed Get Down You Dirty Rascals and now return with an album that continues to throw genres together with all the seamless grace of a seasoned cocktail maker but free of the postured affectations associated with such moves.

Black Peaches are a place where genres collide and musical eras meld. On their second album the band has absorbed all the tropical sounds, glistening melodies and funk-ridden grooves into a sound that is truly their own. “I wanted the combination and layering of our influences to be organic,” says Smoughton. “To create Black Peaches music. To take the ideas from the first record further into our own place.”

The result is a record that skips with the vibrancy and buoyancy of a band still in love with the idea of bringing their record collection to life, but the band now understand themselves as much as the music that inspires them and have created something new and refined.

Given the eclectic styles rooted in the make-up of the band, to enter into the world of Black Peaches is often to feel like one is flying from country-to-country with each new song. For Smoughton this musical traversing is a key part of the experience of the band. “I find the combination of mythology, history and geography to be romantic and I want our music to elicit the same thrill. I think the album conjures up the adventure of moving from one place to another; from Spain into Northern Africa, where North America tips into the South. Narratively the songs inhabit a place between the conscious and subconscious - between dreams and waking life.”

This globetrotting sonic voyage creates a sense of the unknown in the record, where each track exists as a new and unpredictable path. This is all done under the mission of creating a record that is capable of pure musical transcendence. “I really believe that music has the ability to transcend and move people emotionally and spiritually,” Smoughton says. “Our music is not about the separation between musician and audience but about the space in between.”

Yet the album also works on an intuitive and physical level. On top of its narrative of the world between the conscious and the subconscious, it is also simply a collection of songs to make you dance and move. Whether it’s the Delta blues influenced strut of “Lemonade”, the “slinky and naughty” dance floor pounce of “The Black Peach Boogie” or the Afro-Brazilian skip of “Cuatro Berimbau.”

Perhaps the most emblematic song of all when it comes to capturing the essence, power and groove of the album is the title track “Fire in the Hole”. “It comes from a phrase that miners would shout it to warn others that they had charged an explosive,” Smoughton says. “It’s to tell you something is about to explode. In this case it’s about being unable to resist the urge to dance. About giving over to rhythm and sound.”

TRACK LISTING

1. Cuatro Berimbau
2. Lemonade
3. Fire In The Hole
4. Barracuda
5. The Black Peach Boogie
6. Spice Route
7. Pillars Of Hercules

Bonus Dinked 7”
Side A
Bad Luck
Side B
Dub Peach Boogie

In contrast to its ethereal title, Ben Abraham’s ‘Sirens’ is deeply human. Its songs were written over the artist’s developing years as a writer and the album has become a kind of musical documentary of the loss, longing and growth that carried Abraham from his very first lyric to this, his first album.

Abraham first found his voice writing songs whilst working in a hospital. Eight years on, he’s made an album, toured with Emmylou Harris, co-written with Grammy-nominated singer Sarah Barreilles and made ‘Sirens’, his debut album.

Originally self-released in Australia, ‘Sirens’ is now receiving a worldwide release via Secretly Canadian.

Ben recorded ‘Sirens’ with two local friends, Jono Steer (who was his live mixer) and percussionist Leigh Fisher. A number of other Melbourne musicians joined in on sessions, including Gossling, whose angelic voice can be heard in the opening track. Gotye helped produce the haunting vocals on ‘Speak’, while ‘experimental electronic producer’ Tim Shiel assisted on ‘This Is On Me’.

‘This Is On Me’, co-written / sung with platinum-selling artist Sara Bareilles, has its own story. After Abraham posted a song (‘To Sara, From Ben’) on YouTube, Bareilles’ fans began to tweet the video and it grabbed her attention. When she played Melbourne in 2011, she invited Abraham up on stage to co-sing a cover of Bruce Springsteen’s ‘I’m On Fire’ and an original co-write was subsequently born.

TRACK LISTING

Sirens
Time
I Belong To You
She
You And Me
Collide
To Love Someone
Home
This Is On Me
Speak
Somebody’s Mother
Songbird
A Silent Prayer

Here, Barry Adamson and Pan Sonic is performed by the Hljomeyki choir and Pan Sonic. "...a blend of an Icelandic choir performing Barry's (treated) microtonal, urgent score is slowly infiltrated, first with an electronic breath and then by well-rounded bass that evolves into a satisfactory crescendo before the scary humhum returns... highly successful" (Vital Weekly). The Hafler Trio's wonderful extended reworking "weaves strong drones together before levelling them to start anew. At times it sounds eerily like the soundtrack to "the monolith" from Stanley Kubrick's 2001: A Space Odyssey, but the intermittent digital crackles and processing bring the listener forcefully up to the present tense. If you are interested in abstract and experimental electronic music, the Hafler Trio deliver a solid remix". Originally released on CD by Icelandic label Kitchen Motors in 2001, now released on vinyl for the first time by Cold Spring. Produced by Barry Adamson, Jóhann Jóhannsson, and Pan Sonic. The cover art features Icelandic electronic composer Magnús Blöndal Jóhannsson having a brain scan performed while listening to this disc.

TRACK LISTING

1. The Hymn Of The 7th Illusion
2. ""
3. The Illusion Of The 7th Hymn

Originally released in 2008, Back To The Cat, was in keeping with the artist who developed the concept of the imaginary soundtrack, with every song building a compelling narrative around Barry’s lifelong investigation of identity, sexuality, race, spirituality and society. The record picked up the threads of his previous work and continued to showcase his musical ambidexterity covering noir jazz, sun-drenched pop ballads, fractious funk, heavenly blues and subversive soul.

TRACK LISTING

A1 The Beaten Side Of Town
A2 Straight 'Til Sunrise
A3 Spend A Little Time
A4 Shadow Of Death Hotel
A5 I Could Love You
B1 Walk On Fire
B2 Flight
B3 Civilization
B4 People
B5 Psycho_Sexual

2024 ushers in a brand new Barry Adamson album entitled, ‘Cut To Black’ The album swaggeringly embraces Adamson’s trademark genre hopping compositions, covering Pop, Soul, Jazz, Hip Hop and Gospel.

A must for fans of all things Cinematic Soul, Nick Cave & The Bad Seeds, Post Punk, Massive Attack, Unloved and much more

STAFF COMMENTS

Barry says: There's an element (and not only in the cover) of Film Noire in Adamson's work, with the storytale lyricism and staggered-cool of the instrumentation, but there's also a lot more at play here. There are hints of slow-moving soul and soaring gospel hints woven through Adamson's thoroughly unique indie-rock backdrop, resulting in a varied and entirely singular album.

TRACK LISTING

1. The Last Words Of Sam Cooke
2. Demon Lover
3. Cut To Black
4. Manhattan Satin
5. These Would Be Blues
6. Please Don’t Call On Me
7. Amen White Jesus
8. One Last Midnight
9. Was It A Dream?
10. Waiting For The End Of Time

Initially released in 2012, I Will Set You Free amalgamated elements of Barry’s previous work, resulting in an album that is unmistakably Barry Adamson. Like many of Adamson’s records, the album is a genre odyssey that jumps from garage rock rock, to blues, to new-wave pop, with the adventurous brass section injecting an acid jazz touch. His overwhelming desire to examine cultural shifts and embrace them within the quest to improve oneself that often centres in Adamson’s art is clearly present in I Will Set You Free. This subsequently makes it a quintessential Barry Adamson record that fits right in with the back catalogue. 

TRACK LISTING

A1 Get Your Mind Right
A2 Black Holes In My Brain
A3 Turnaround
A4 The Power Of Suggestion
A5 Destination
B1 The Trigger City Blues
B2 Looking To Love Somebody
B3 The Sun And The Sea
B4 If You Love Her
B5 Stand In

Barry’s 2016 album, Know Where To Run, was produced by Barry himself and recorded in Brighton with Paul Pascoe, whilst WTNSS mixed and provided additional production at the legendary Dean Street Studios. The concept behind the album emerged when Barry started taking photos during a Nick Cave and the Bad Seeds North American tour, playing with the idea of traversing different states of the human condition and different states across America. The result was an audio/visual project inspired by these pictures, with the record being presented alongside a curated photobook. 

TRACK LISTING

A1 In Other Worlds
A2 Cine City
A3 Come Away
A4 Death Takes A Holiday
A5 Claw And Wing
B1 Texas Crash
B2 Mr Greed
B3 Up In The Air
B4 Evil Kind

Memento Mori charts Adamson’s career from 1978’s Magazine track, ‘Parade’ (co-written by Adamson, from their debut album Real Life), to his work as founding member, alongside Nick Cave, of the Bad Seeds (‘From Her To Eternity’, co-written by Adamson); through his nine solo albums, from 1988’s Moss Side Story to the latest Love Sick Dick EPs, bringing everything up to date with a brand new unreleased track, ‘The Hummingbird’.

STAFF COMMENTS

Laura says: When people talk about Manchester music legends, Barry Adamson barely gets a mention, but as this compilation demonstrates, he's been responsible for some of the most incredible, genre-bending music to come out of Manchester in the last 30 years, blending post-punk, jazz, blues, soundtracks, and everything in between in his own inimitable way. Stand out tracks include "The Man With The Golden Arm" from the briliantly noir-ish "Moss Side Story" and "Set The Controls For The Heart Of The Pelvis" from 1996's "Oedipus Schmoedipus" featuring Jarvis Cocker on vocals, along with "Parade" by Magazine and "From Her To Eternity" from his days as a Bad Seed.

TRACK LISTING

The Man With The Golden Arm (Moss Side Story,1988)
Jazz Devil (As Above, So Below, 1998)
Civilization (Back To The Cat, 2008)
Set The Controls For The Heart Of The Pelvis (Oedipus Schmoedipus, 1996)*
The Snowball Effect (The Negro Inside Me, 1993)
The Sun And The Sea (I Will Set You Free, 2012)
The Big Bamboozle (Oedipus Schmoedipus, 1996)
I Got Clothes – ACR:MCR Rework (Love Sick Dick Remix EP, 2017)
Come Hell Or High Water (As Above, So Below, 1998)
Something Wicked This Way Comes (Oedipus Schmoedipus, 1996)
The Long Way Back Again (Single Version, 2006)
Up In The Air (Single Version, 2016)
007, A Fantasy Bond Theme (Soul Murder, 1992)
Sweet Misery (Love Sick Dick, 2017)
The Hummingbird (Memento Mori, 2018)
Parade – Magazine (Real Life, 1978)
From Her To Eternity – Nick Cave & The Bad Seeds (From Her To Eternity, 1984)
*with Jarvis Cocker

Barry Adamson, original member of Magazine and Nick Cave and the Bad Seeds, and a celebrated solo artist and composer, returns with the soundtrack to 'SCALA!!!', the acclaimed documentary chronicling the history of London’s most infamous independent cinema. Known for his film work, including collaborations with David Lynch, Adamson brings his trademark blend of noir, jazz, funk and atmosphere to a score that’s as evocative as the Scala itself.

The album captures the cinema’s spirit: late nights, sticky floors, sleazy underground screenings, and the intoxicating world of subversive art. Across its 22 tracks, Adamson conjures moods that shift from brooding and cinematic to playful and chaotic, echoing the wild programming and cultural rebellion the Scala embodied.

The film, directed by Jane Giles and Ali Catterall, tells the story of the legendary King’s Cross repertory cinema (1978–1993). Featuring interviews with staff, regulars and icons including John Waters, Mark Moore, Mary Harron, Isaac Julien and Ben Wheatley, alongside rare archival footage it celebrates a venue that became a crucible for counterculture, sexploitation, horror, kung-fu, LGBTQ+ cinema, live music, and cult double bills.

Barry Adamson’s original score plunges us into the underworld of late-night London - a vivid soundtrack to underground cinema and cultural rebellion.

STAFF COMMENTS

Barry says: A superb soundtrack from Adamson honouring the Scala cinema in King's Cross, and roaring out of the speakers with a mix of gritty, distorted grungy rock and sleazy funk and really everything in-between. A perfectly manicured tribute from one of the greats.

TRACK LISTING

1. SCALA!!! (Opening Title)
2. Timelines
3. Scala Posters (Mondo Bongo)
4. As Steve Woolley Sees It
5. Babs Johnson Is Divine
6. Iggy And Lou And Mick Rock Too
7. Latex Gloves
8. Acid Celluloid
9. Scala Cats
10. Sodom And Tomorrow
11. Barry's Iranian Embassy Blues
12. Spandau Politics
13. Another All Nighter
14. One Of Us / Sticky Floors Atmos
15. Pink Narcissus
16. Black Leather Lovers
17. Back To The Cats
18. Jane's Day Out In Court
19. King's Cross Skyline
20. The Party's Over
21. SCALA!!! (End Title)
22. Scalarama (Outtake)

Barry Adamson’s Steal Away EP released for the first time on vinyl via Mute. The EP was written and recorded at the time Adamson was writing his memoir ‘Up Above the City, Down Beneath the Stars’. The record ended up becoming an intrinsic part of the book writing process with Barry explaining, “The book is the past, the record is the past present. I needed to write it to get through the book, to stay present.” Sitting amongst Barry’s diverse catalogue, Steal Away EP presents a refreshing vibrancy and western-like feel that further demonstrates Adamson’s multifaceted ability in songwriting. 

TRACK LISTING

A1 Let’s Steal Away
A2 Broken Moments
B1 The Climber
B2 Sundown County Ft. Big Walt Daniels

Barry Adamson takes us Back to the Catalogue with a series of reissues on coloured vinyl and CD.

Originally released in the mid-2000s, Stranger On The Sofa is an album tied together by its mysterious cinematic composure. Each track is used to demonstrate the breadth of musicianship and re-presentation of countless timeless genres, moving in between electronica and jazz with shadowy ambience scattered throughout. Nick Plytas and Adrian Owusu provided their expertise on the organ and slide guitar, with Barry playing almost every other instrument. Composing, performing, recording and producing Stranger On The Sofa undoubtedly makes it an album that represents Adamson fully embracing the DIY aesthetic from where he began.

TRACK LISTING

A1 Here In The Hole
A2 The Long Way Back Again
A3 Officer Bentley's Fairly Serious Dilemma
B1 Who Killed Big Bird?
B2 Theresa Green
B3 The Sorrow And The Pity
B4 My Friend The Fly
C1 Inside Of Your Head
C2 You Sold Your Dreams
C3 Déjà Morte
D1 Dissemble
D2 Free Love

New album from Barry Adamson, and his most accessible to date. Still with his usual cool, dark vibes and filmic layered moods, but with an added dimension of lush, funky, soul-jazz. Add to that great musicianship and deep production and you've got yet another absolutely superb Barry Adamson album. Totally essential.

Though most debuts are the culmination of a lifetime of influences and experiences, few artists succeed in mapping their musical journey quite as vividly as Baba Ali has on Memory Device. Tracing his Nigerian heritage, an adolescence absorbing No Wave and the hip hop on NYC’s Hot 97, time immersed in the techno scene in Berlin, and the experimental punk spirit of his current base in London, Memory Device is an enthralling introduction to a musician who resolutely defies pigeonholing.

TRACK LISTING

Draggin' On
Black Wagon
Thought Leader
Nature's Curse
Better Days
The Well
Got An Idea
Waiting Room
Nuclear Family
Temp Worker 

There is a ferocious Southern engine inside of Billy Allen + The Pollies' debut album Black Noise, marking a new chapter in the evolution of the "Muscle Shoals Sound." Like The Swampers before them, the band pulls from myriad influences in rock and roll, classic soul, and psychedelia to form a genre-defying sound all of their own. The band was forged during the pandemic of 2020, when Billy Allen and Pollies frontman and principal songwriter Jay Burgess began exchanging demos and writing songs together. As the lockdown loosened, more of The Pollies became involved, and a fun writing project evolved into a proper band. When it came time to make a proper record, they enlisted their friend and sometimes Pollie Ben Tanner (Alabama Shakes) and his studio in Florence, Alabama. The result is an 11-song instant classic that moans and wails and dances and celebrates, a stellar band fronted by one of the truly great voices in Southern music today.

TRACK LISTING

1. All Of Me
2. I Thought You Wanted Him
3. If You Want Me To Stay
4. It's Okay
5. Forever
6. Need To Know
SIDE B
7. Lady Luck
8. Invited
9. Run Baby Run
10. Tears Keep On Falling
11. Go On Without Them

Daniel “Blackbelt” Andersen has been active in the Norwegian dance music community for a number of years. The Blackbelt sound can be described as Juan Atkins jamming with Airto Moreira, with a bit of Larry Levan thrown in for good measure. Sparkling tech-tinted house meets cosmic disco is the order of the day here, with lush synth washes, arpeggiated keyboard lines, simple 4/4 beats and tripped-out vistas.

A few words from Prins Thomas: 'The raw material which became “II” has the same DNA as Blackbelt’s debut. His ideas might lay around for 5-10 years before that crucial missing “middle part” pops out of nowhere (or in this instance: two old ideas gets combined into a new one) but essentially they all come out with the same colour, taste and smell… and they all sound like nothing but Blackbelt Andersen. Over a three month period in 2011 I invited Daniel into the mess that I call K16 Studios for a hectic but creative reworking of the material that he had piled up. The idea was to use Daniel’s tracks as templates and use whatever kind of tool we had at our disposal to colour in the white fields. Kalimbas, cheap old throwaway synths, guitar amps and effect boxes…'

TRACK LISTING

01. Åpenbaring
02. Delta Tango Alfa
03. Kosmos
04. Mann På Mars
05. Resten Av Ditt Liv
06. Lagniappe Del 1
07. Indre Demoner
08. Postkort Fra Berlin
09. Stressa Ut
10. Lagniappe Del 2
11. Haiku

Griffiths & Andy achieved international fame with their rendition of Nina Simone’s “Young, Gifted and Black.” The song resonated deeply with audiences in the UK, selling over half a million copies and earning Bob & Marcia a place on Top of the Pops. It reached the number #5 spot in the UK charts.

This album is packed with classic tracks & cover versions - gems like “It ain’t me babe”, “Keep The Customers Satisfied” & “Put A Little Love In Your Heart”. Their popularity soared, and the duo continued with hits like “Pied Piper,” bringing reggae to European audiences during a time when the genre was still emerging on the global stage. Their success was not just commercial but symbolic, as they inspired pride and cultural appreciation among Jamaican communities worldwide.

TRACK LISTING

Side A
1. Young Gifted And Black
2. Private Number
3. United We Stand
4. We've Got To Get Ourselves Together
5. Peace Of Mine
6. It's A Rocking Good Way

Side B
1. It Ain't Me Baby
2. Ain't Nothing But The Real Thing
3. Put A Little Love In Your Heart
4. Onion Song
5. Gee Baby
6. Keep The Customers Satisfied

An extremely rare Northern Soul 45 RPM single originally released in 1965 on the Holly label, Billy Arnell And The Sparkles "Tough Girl" was the product of two childhood friends that lived less than a block apart in suburban Fairlawn, New Jersey in the early 1960s - Billy Smith and Lou Hemsey.

Billy played guitar and sang; Lou played guitar and wrote songs, so they decided to form a band. They added friends Eddie Hoffman on organ and Jack Gullone on drums and began playing lots of gigs locally as Little Willie & The Sparkles. They were young, ambitious, and imagined themselves as the next Beatles. By a stroke of fate, they met Joe Martin of Apex-Martin Distributors in Newark, NJ, who caught the band's live show and was duly impressed. That meeting led to the recording session for the "Tough Girl" single. When they recorded the first version of the song, the producer wasn't happy, nor was Joe Martin - so he fired that producer and brought in the young, up and coming producer, George Kerr. Kerr didn't care much for the band, so they redid the entire thing without Hoffman and Guilone - with just Billy singing and Lou playing guitar.

The pair of old friends were buoyed by session aces Eric Gale on guitar, Bernard Purdie on drums, Bobbie Banks on organ, as well as a bass player whose name has been lost to time. In addition to those changes, they used the studio horn section that Hemsey arranged for, plus two trumpets, two saxes and two vibes players. The resulting single was an infectious amalgamation of rock and soul. Billy changed his surname to Arnell for the 45 release (because he thought it sounded more "show-biz") and the rest is pop history. Arnell later started a record company (Fire Sign Records) and purchased a recording studio (112 Greene Street Recording) in the trendy SoHo section of Manhattan with Steve Loeb.

As for the rest of The Sparkles, Hoffman became a teacher somewhere on Long Island, Guilone graduated from the Culinary Institute of America in Massachusetts and ended up living in Northern New Jersey. Hemsey became a well-known recording engineer, composer (Lou was the one who wrote "Tough Girl"), guitarist, arranger, orchestrator, editor, film director and producer for records and commercials.

STAFF COMMENTS

Matt says: Rare northern soul track that, apart from anything else, has a drum break intro that's just dying to be sampled by any modern beatsmiths.

TRACK LISTING

A. Tough Girl 
B. Tough Girl (Instrumental) 

Residing now in Brighton, Bess grew up in the English countryside in a creative family of songwriters and artists. Whilst her crystalline vocals draw favourable comparisons to the likes of Marika Hackman and Julia Jacklin, her lyrics evoke an imagery that often spins from the pastoral to the abstract.

TRACK LISTING

1. Co-op
2. All You Can Do
3. Silver Fir
4. Dolly
5. Love Is Not Enough
6. How Do You Leave
7. Time Comes In Roses
8. Red Light Heaven
9. Olivia, In A Separate Bed
10. Nobody

A huge part of this exploratory new era was Aaron Dessner, who produced Light Sleeper. His isolated cabin studio Long Pond, in Hudson Valley, was once Bess' desktop background, but she never thought she would end up star-gazing on its veranda and noodling away on the same instruments used by her heroes, not to mention a certain pop star...

The immediate trust between the pair clicked the moment Atwell walked through the doors of the iconic recording space; Dessner showed her around and then promptly left her alone to play on the many instruments at the heart of her favourite The National songs. As Atwell puts it, they seemed to speak the same musical language. "I trust his ear and I knew we had the same vision" she says. Since the release of 'Already, Always' Atwell has been through a number of personal transformations including tapering off antidepressants, after "years of avoiding it". Reflections on her upbringing and re- evaluations of some of her experiences led to a autism diagnosis in May 2023, which has helped her to make sense of many different moments.

Motifs of sleeping and waking run throughout Light Sleeper, which constantly stirs and settles, Atwell embracing the full range and rawness of her voice like never before. By the title- track, which closes the album, twinkling, starry synthesisers lead her to a place of quiet realisation: "I'm ready to be a light sleeper again/To wake up and feel everything/I can carry the weight of it"

TRACK LISTING

1. Everyone Who's Not In Love With You Is Wrong
2. Release Myself 
3. Sylvester
4. Fan Favourite
5. The Weeping
6. Something Now
7. Spinning Sun
8. I Am Awake
9. Crowds
10. Light Sleeper

Recorded during that unique period in the late ‘60s when jazz, blues and rock musicians found common ground in London’s vibrant subterranean clubs, 1968s 'Definitely What!' was the second of the run of the four ground-breaking Trinity albums. Showcasing Auger's open-minded approach and his masterful organ & piano skills, the album whips up a rich blend of jazz, R&B, psychedelic touches and soulful grooves, complemented by the tight, dynamic rhythm section of Dave Ambrose (bass) and Clive Thacker (drums).

After the previous year’s 'Open' (1967) with its 'Summer of Love' feel and its melting pot of Mod R&B, cover versions of US soul hits led by Julie Driscoll’s inimitable vocals, Auger considered 'Definitely What!' as his first solo album, and so he travelled deeper into jazz territory, balancing original pieces with audacious covers. Tracks include versions of Mose Allison's 'If You Live' and of Wes Montgomery’s ‘Bumpin’ On Sunset’. “I got a letter from Wes's wife,” recalls Auger, “saying that it was Wes' favourite version. Can you believe that, Wes's wife wrote to me!”

Elsewhere, we find a dramatic re-arrangement of The Beatles’ ‘A Day In The Life’ complete with orchestral strings and a punchy horn section, alongside a supercharged version of Booker T & The MGs’ ‘Red Beans & Rice’ . 'George Bruno Money' was dedicated to Auger's drinking pal of the era, Zoot Money, and 'John Browns Body' both combine prime Hammond jazz with the very British surrealist humour that was in vogue at the time. The title track goes further “out” in a sprawling instrumental piece rooted in experimentation. Brian himself specifically states in his sleeve notes that his concept “lies along a straight line drawn between pop and jazz and aims at the 'fusion' of both elements” - ‘fusion’ at that time was not even a recognised musical term, further reinforcing Auger’s credentials as an innovator.

That forward-thinking approach was developed in 'Open' and 'Definitely What!' would come to fruition a year later with the release of 'Streetnoise' (1969) featuring the Trinity and Julie Driscoll. At the time, the move to bring together jazz, rhythm & blues, folk, gospel and pop into a progressive new sound may have annoyed the purists and confused the less open- minded, but these albums stand today as a testament to Auger’s unique position within British music, foreshadowing his future 1970s explorations with the 'Oblivion Express' and beyond. 'Definitely What!' remains a fascinating snapshot of 1960s musical experimentation - raw, eclectic, and unapologetically Auger!

This new Strut reissue is curated by Impressive Collective’s Greg Boraman in partnership with Brian and Karma Auger. The album is remastered by Cosmic Audio from the original tapes, and is packaged in Brian's favourite version of the 3 different sleeves the album was originally issued in.

TRACK LISTING

1. Day In The Life
2. George Bruno Money
3. Far Horizon
4. John Brown's Body
5. Red Beans And Rice
6. Bumpin' On Sunset
7. If You Live
8. Definitely What!

Brian Auger formed The Oblivion Express in 1970 after the demise of his chart topping jazz & R&B combo Julie Driscoll, Brian Auger, and The Trinity. Deciding he would continue to defy creative expectations with his genre bending vision, Auger even based the groups name around this precarious anti-commercial approach; “I decided that I would like to push on and see whether I could develop that music" he recalls, "but maybe I’m headed the quickest way to oblivion!”.

Auger needn't have worried, the bands first slew of albums; the heavy, jazz rock influenced debut 'Oblivion Express', 1971s laconic, folky 'A Better Land', the proto jazz funk of 'Straight Ahead' released in 1972, all made serious inroads into the United States, which proved to particularly fertile ground for the group.

By 1973, the London born Auger felt his various American influences of jazz, R&B, funk and soul had fermented into his own brand of fusion, and upon listening to the final mixes, was confident he was approaching his original musical mission, hence naming the album 'Closer To It'.

It's predecessor, 'Straight Ahead' had hit the US charts, and awoken RCA Records to the crossover potential of this somewhat undefinable music, who stepped up their game in regards the follow up, which broke out in the Tri State area, where it received major radio and press support and billboard advertising whilst the band were touring. All these factors combined favourably and resulted in Closer To It entering the Billboard Jazz, R&B and Rock charts simultaneously!

For a British multi-racial group composed of fans of African American music, this was both creatively and commercially satisfying. This acceptance of the Oblivion Express’ sound and style also led to the band touring with Herbie Hancock's Head-hunters and Earth Wind & Fire, and Brian receiving a US Congressional Certificate of Special Recognition for his ‘contribution to the American art form of Jazz’.

Regarded as his masterpiece, 'Closer To It' features some of Augers' most inventive and beautiful Hammond Organ and Fender Rhodes playing, on tunes that become the defining tracks of his career, especially the anthemic opener Whenever You're Ready, co-written with bass player Barry Dean. Happiness Is Just Around The Bend was later covered by Cuba Gooding Snrs' band The Main Ingredient who had a major hit with their version. Auger also saluted his soul and jazz hero's with his versions of Marvin Gays Inner City Blues and Eddie Harris, Les McCann's classic Compared To What.

With an iconic cover featuring the Oblivion Express train logo designed by Auger's wife Ella. Closer To It remains a highpoint in Auger's recording career.

TRACK LISTING

1. Whenever You’re Ready
2. Happiness Is Just Around The Bend
3. Light On The Path
4. Compared To What
5. Inner City Blues
6. Voices Of Other Times

Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

Auger, in the original liner notes opines how live recordings can often have drawbacks but "I hope that spirit shines through" Live Oblivion 1 & 2, 50 years on from being committed to tape, certainly achieve that and much more. 

TRACK LISTING

1. Freedom Jazz Dance
2. Happiness Is Just Around The Bend
3. Maiden Voyage
4. Second Wind
5. Whenever You're Ready
6. Inner City Blues
7. Straight Ahead
8. Compared To What 

When 'Straight Ahead' hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with 'Beginning Again', a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s 'Bumpin’ On Sunset'.  Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, 'Straight Ahead', shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. 'Change' pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, 'You’ll Stay in My Heart' brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out 'Bumpin’ On Sunset' as “the best reason to own this recording.”

Half a century later, 'Straight Ahead' still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

TRACK LISTING

1. Beginning Again
2. Bumpin' On Sunset
3. Straight Ahead
4. Change
5. You'll Stay In My Heart

Strut Records presents a fresh look at 'Oblivion Express', the 1971 album that marked Brian Auger’s shift into a new musical frontier. After years spent shaping the sound of British jazz-soul with the Trinity, Auger stepped into the new decade with a leaner, electrified ensemble and a renewed sense of purpose. This record captures the moment that transformation took shape.

'Oblivion Express' introduced a sound that was distinctly Auger’s own. Rather than echoing the fusion emerging in the United States, Auger developed a language rooted in the UK’s jazz underground, culminating in a spaced out jazz- rock / prog-fusion album awash with larger than life drum fills and Auger’s virtuosic organ playing. Between bassist Barry Dean and drummer Robbie McIntosh the album moves effortlessly between tight, articulated phrases and broader, improvisational passages. The trio’s interplay forms the backbone of the album and sets the tone for the sound that would define the early years of the Express.

Album opener 'Dragon Song' launches with a restless drive that immediately signals Auger’s new direction. Auger chose to record this version of John McLaughlin’s piece (his friend and former bandmate in 'The Niddy Griddys') after hearing McLaughlin’s album Devotion during its mix at New York’s Record Plant Studios. Auger was blown away, recalling, “Oh my god, this is amazing. I wanted to record that myself - and I did!”. Pieces like 'Total Eclipse' demonstrate the 'Oblivion Express’ command of dynamic contrast, and title track 'Oblivion Express' explores the cinematic and compositional prowess of the group through stripped back, building moments vs. explosive melodic breakdowns. Riff-heavy 'The Sword' later became known through Madlib’s usage in 2014 tracks 'Yeti Movie' and 'Parodies'.

In retrospect, 'Oblivion Express' stands as a jazz leaning, prog-rock masterpiece and foundational moment in Auger’s catalogue. It captures the starting point of a new sound that is more focused, more urgent, and fully committed to the possibilities of jazz-rock at the dawn of the seventies. The album remains a vivid document of a band discovering its identity and setting the stage for the further array of influential releases that would follow.

TRACK LISTING

1. Dragon Song
2. Total Eclipse
3. The Light
4. On The Road
5. The Sword
6. Oblivion Express

Strut Records highlights a landmark in British jazz-rock with 'Second Wind', the 1972 album from keyboard visionary Brian Auger and his powerhouse group Oblivion Express. Capturing a fully matured lineup, the record finds Auger expanding his fusion language - bridging jazz sophistication, funk-driven rhythm, and soul-infused songwriting with the clarity and fire that defined his early ’70s work.

Though Auger’s roots lie in the lineage of hard-swinging jazz organ and the improvisational fire of the ’60s British scene, he has never been an artist content with tradition. With 'Second Wind', he moves further into a hybrid language that fuses rhythm with harmonic depth and groove, without sacrificing sophistication. His playing is expansive yet precise, translating the electricity of live performance into a studio work that breathes with immediacy.

At the heart of this era of Oblivion Express is the telepathic rapport among its members. Vocalist Alex Ligertwood (in one of his earliest major recordings before Santana fame) brings a soulful intensity that feels both grounded and forward- looking. Second Wind contains tracks that have become deeply significant in Auger’s discography - original compositions 'Second Wind', and 'Truth' to name a few - but it was Auger's high octane revisioning of Eddie Harris' 'Freedom Jazz Dance', (adding new lyrics to the original instrumental) that genuinely broke barriers. The track became a DJ friendly classic and highlighted the groups deeply original approach.

The rhythm section of Barry Dean and Robbie McIntosh balances weight and fluidity, giving Auger the space to stretch across Hammond organ, Rhodes, and keys with characteristic boldness. Their collective sound is one of seamless motion: jazz-inflected lines swelling into rock-driven crescendos, funk-leaning grooves locking with vocal hooks, moments of quiet clarity emerging between bursts of improvisation.

'Second Wind' stands as a pivotal moment in Auger’s discography: a record that bridges the exploratory spirit of his earlier projects with the more groove-oriented approach that would soon bring international attention. More than five decades later, it remains a vivid document of a band carving out its own language. Music born of instinct, collaboration, and a restless desire to push beyond the expected.

TRACK LISTING

1. Truth
2. Don’t Look Away
3. Somebody Help Us
4. Freedom Jazz Dance
5. Just Me Just You
6. Second Wind

The anonymous B-Edits finished off 2023 in fine style with exquisite re-edits of Sade and Change. Now they return with a jazz-funk heavyweight on one side and a deep tropical cut on the flip. Slightly more elusive source material, I grant you, but none the less incendary for the working party and festival deejay; both with that irresistable Latin spirit.

Seriously limited copies, exclusive content, unavailable digitally. Move quick! 

STAFF COMMENTS

Matt says: More exclusive, vinyl only, blink-and-you'll-miss-it genius from the so far anonymous B-Edits cartel. Latin fire and jazz-funk jubulence with an almost Fela-esque groove. This is the dog's gonads people!

TRACK LISTING

A. Aunts & Uncles
B. Free

In May 1981 B-Movie and Soft Cell went into Advision Studios in London with the same producer, Mike Thorne (Wire, Bronski Beat, China Crisis, The Communards) to record singles for the label they were both signed to. Phonogram had really wanted to sign B-Movie but had also committed to Soft Cell, having been coerced into it by Stev0, who managed both artists and wouldn’t let them have one without the other. B-Movie commenced recording the dark moody anti-fame anthem ‘Marilyn Dreams’, whilst Soft Cell got underway on a cover of an obscure Northern Soul classic. When both songs were released in July 1981, ‘Tainted Love’ became a worldwide hit and shot Soft Cell to international fame, making them the biggest stars of 1981. B-Movie had formed in 1979, in Mansfield, a typical northern town in the middle of the Nottinghamshire coalfield. Originally a three piece featuring, vocal / bass, guitar and drums, they expanded by adding a keyboard player to broaden their initial post punk sound. Local Lincoln independent record label, Dead Good Records, firstly put them on the compilation LP ‘East’, followed by 7" inch EP and then a mini-album releases, which led to an appearance on the legendary Some Bizarre label (alongside the likes of Blancmange, Depeche Mode, Soft Cell and The The)

Major label interest followed, from which came the deal with Phonogram, B-Movie initially re-recording the track ‘Remembrance Day’, which reached No61 in the UK chart in early 1981 and, more importantly, was played by BBC Radio 1 DJ John Peel, and appearing in his Festive 50 for that year. All of the recordings the band made during their Phonogram period have been consigned to the Universal Music vault for several decades, with the band finally managing to have these returned in 2024. The various tapes have been digitised and restored, resulting in the creation of what would have been their 1982 debut LP ‘that never was’. Ten tracks including the three singles plus seven previously unreleased recordings. The CD version contains a further seven recordings including the 12” versions, single B-sides and the track “Moles’” from the Some Bizarre compilation.So “Hidden Treasures” from B-Movie, is only four decades late but still able to sit seamlessly alongside contemporaries like The Chameleons and The Sound. The LP is a darker, more brooding and psychedelic affair, more akin to the gothic elements of the Bunnymen or Joy Division, than the ‘pop sensations’ Phonogram wanted them to become. By both opening and closing this chapter of B-Movie, it puts them firmly in the same bracket as their new wave and post-punk contemporaries, which is the least they deserve, as one of the great ‘lost’ bands of the early 1980’s. "It’s nice to hear B-Movie are finally getting a chance to release their forgotten gems’” Matt Johnson (The The) Vinyl

TRACK LISTING

Vinyl Tracklisting
Side 1
1/Citizen Kane
2/Remembrance Day
3/Polar Opposites
4/Marilyn Dreams
5/Ice
Side 2
1/La Lune Lunatique
2/All Fall Down
3/Nowhere Girl
4/Crowds
5/Beginning To Fade


CD Tracklisting:
1/Citizen Kane
2/Remembrance Day
3/Polar Opposites
4/Marilyn Dreams
5/Ice
6/La Lune Lunatique
7/All Fall Down
8/Nowhere Girl
9/Crowds
10/Beginning To Fade

Extra Tracks CD Only
11/Remembrance Day (Long Version)
12/Institution Walls (Remix)
13/Marilyn Dreams (Long Version)
14/Film Music Part 1
15/Nowhere Girl (Long Version)
16/Scare Some Life Into Me (single B-side Version)
17/Moles

Somewhere between the sophisticated songwriting of Leonard Cohen and Jacques Brel, the rugged folk of Bob Dylan and Neil Young, the acoustic pop of Simon & Garfunkel, and the haunting melancholy of Nick Drake and Elliott Smith, there is Philippe B, who reminds us of the depth that can be conveyed with nothing more than a guitar and a few words.

TRACK LISTING

1. Ulysse
2. La Jeunesse Est Un Autre Pays
3. Ovni
4. La Chanson De L'été
5. 1999
6. La Ballade De Johnny Crève-cœur
7. Avant/Après
8. La Cadbury
9. Hôtel Tadoussac
10. Futurologie
11. Boule Miroir

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory. B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17. This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982. Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on 'Groove Thang'. The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

TRACK LISTING

1. B.E.F. Ident (0.34)
2. The Optimum Chant (4:11)
3. Uptown Apocalypse (3:11)
4. Wipe The Board Clean (3:47)
5. Groove Thang (4:07)
6. Music To Kill Your Parents By (1:26)
7. The Old At Rest (5:37)
8. Rise Of The East (2:53)
9. Decline Of The West (7:11)
10. A Baby Called Billy (4:02)
11. Honeymoon In New York (2:16)
12. B.E.F. Indent (0:36)

LuckyMe are proud to present Baauer’s long awaited debut album, ‘Aa’.

Following the smash ‘GoGo!’ single (2015), the ‘ß’ EP with Rae Sremmurd and Alunageorge (2014), laser-etched vinyl 12” ‘Dum Dum’ (2013) and the genre-defining ‘Higher’ with Just Blaze and Jay Z (2012) - not to mention the ‘Harlem Shake’ phenomenon - multi-platinum selling artist Baauer sets off again to change contemporary American dance music with a highly anticipated debut album.

‘Aa’ (pronounced ‘double a’) is a record that could only be made by a kid born of New York inspired by rap and dance music culture, travelling the globe sampling and processing found sounds.

This is bright, stadium, urban dance music from the 26- year-old Portuguese New Yorker (via London and Philadelphia) known as Harry Rodrigues, with special guests Future, Pusha T, MIA, Novelist, Leikeli47, Rustie and Tirzah, plus the continuing visual collaboration with multi-medium artist Jonathan Zawada.

Having previously collaborated with Al Doyle (LCD Soundsystem/Hot Chip) on their debut album, this time the duo absconded to Doyle’s studio in his own touring absence and took to production duties themselves. Laugh Like A Bomb was recorded in just three weeks before being mixed by Sheffield producer Ross Orton (Working Men’s Club / Arctic Monkeys / MIA).

“I think a lot of the process of writing this album came from pushing ourselves to our limits to get to the essential idea, and discarding anything that felt superfluous or unnecessary.” explains Baba. “There was a lot of writing, re-writing, deleting, re-recording and then just repeating that process again. A lot of times the best idea would come out of that final push when you’re too exhausted to even think and you rely on feeling.”

Returning following the release of their debut ‘Memory Device’ in 2020 and 18 months of touring across Europe and the US with the likes of Yard Act and Chk Chk Chk, Baba Ali have created an incendiary follow up with one foot firmly placed on the dance floor, the other in a state of constant frenzy. Laugh Like A Bomb showcases anxious synths and scratchy guitars that collide with concrete drum hits, pulsing bass and Baba’s snarly vocals in 40 minute collection that explores feelings of unease, abandon and desire as well explorations into the more sinister.

STAFF COMMENTS

Barry says: Stark minimal wave synth lines and snappy percussion meet euphoric hypnotic dancefloor business in a perfect clash of styles, resulting in a wonderfully evocative and singular LP. Part funk, part synth, part pop, and all hugely enjoyable.

TRACK LISTING

Hold My Head
Burn Me Out
Gold Rush!
I'm Bored
Anesthesia, Beverly Hill
Laugh Like A Bomb
Make U Feel
A Circle
Lip Service
Bankrupt Funk
Yves Klein Blue

When he‘s not writing or recording, Baba Stiltz immerses in fearless fiction by the likes of Denis Johnson and Dodie Bellamy; prose where pedestrian details become transcendent in aggregate and the inner lives of marginal characters are examined as though they were kings. A similar thesis runs
through "Paid Testimony“, the essential second tape of minimalist guitar music from the FilipinoAmerican-Swedish artist.

In recent years, Stiltz has made like Lee Hazelwood‘s Cowboy In Sweden in reverse, making annual pilgrimages from Stockholm to California and reconnecting with his roots via a guitar and a Fostex 4- track. He‘s drawn to the less glamorous corners of the golden state, an observant habitué of unkempt streets and dive bars stretching from LA to Vacaville. It‘s a long stretch from the jetset techno clubs where Baba originally plied his musical trade, but it‘s where he finds characters and ideas worth writing about.
The characters on "Paid Testimony" are on the edge and on the run. Surrounded by flawed men with big schemes since childhood, he extrapolates characters who plot bank heists and order milk and
vodka in AM hours, the type of confrontation-prone characters who 'say some shit, make everyone uncomfortable and then just split.' To focus on the rawness of this document would discount the humor and sympathy with which he treats his characters, not to mention the subtly-psychedelic songwriting recalling David Berman, early Smog, the original indie
rock minimalist poets.

On the final song, Stiltz looks back on the city that raised him, "Stockholm", referencing 'young professionals carelessly living' before adding "I can‘t say I‘m not jealous even though I live my life just like they do.' There‘s an honesty in the small details revealed on "Paid Testimony“, and a defined
sense of place, be it Stockholm, Sacramento or some dim barroom across from the Bank Of America. Baba doesn‘t quite fit in anywhere. This outsider quality has often been used as a marketing tool, yet here, it lends a writerly aspect to the proceedings, an unreality to the everyday.

TRACK LISTING

A1) Finite Jest 
A2) Running To Chris 
A3) Wild Ride 
A4) Sacramento 
A5) You Can’t Put Your Arm Around A Memory 
B1) Chasing It (Again) 
B2) Big City 
B3) Body High 
B4) Stockholm 

Baba Stiltz has written and produced the award winning soundtrack for the Swedish Movie "Shame On Dry Land (Syndabocken)". Awarded the Guldbagge price for best feature film soundtrack in 2024, the music is dense, at times oppressive, than again light-Mediterranean, all perfectly accompanying the story's vibe. 

Baba Stiltz moving between Stockholm & LA. A myth, a young legend. Writing music since the tender age of 13, not bound by genres or expectations. Used to do Skweee before he defined his own sound of tech-house - skipped that (temporarily?). Now moving on to more folkloristic styles: country, rock, indie… you name it. Good music.

TRACK LISTING

A1) Welcome Dimman
A2) Kicki
A3) Island
A4) Shame On Dry Land
A5) Follow Me
A6) Fredrik’s Gone
A7) Again
A8) Body Drop
A9) Moped Escape
A10) Karema Goodbye
B1) Voyeur
B2) Follow Him
B3) Standoff
B4) Reconciliation
B5) Love Theme
B6) Dress Rehearsal
B7) Kill Krum
B8) Believe
B9) Underwater Love

Babe Rainbow’s ‘Slipper Imp and Shakaerator’ is a sun-soaked celebration of psychedelic acid-pop, infused with the laid-back magic of Australia’s Gold Coast. A return to their roots, the album blends nostalgic riffs, shimmering 80s funk, flowing rhythms, and lysergic jams into an effortlessly joyful, homegrown album that’s wild, radiant, and ready to be shared.

TRACK LISTING

1. What Is Ashwagandha
2. LONG LIVE THE WILDERNESS
3. Now And Zen
4. Sunday
5. Apollonia
6. Like Cleopatra
7. When The Milk Flows
8. Mt Dub (ft. Stu Mackenzie)
9. Aquarium Cowgirl
10. Rainbows End (ft. Camille Jansen)
11. Re-ju-ven-ate

Byron Bay good vibe factory Babe Rainbow brings us a dripping slice of sunshine to Levitation Sessions, with a set recorded at The Music Farm with friends and family. The set features a catalog spanning tracklist of the band’s breezy psychedelic grooves, transporting us to a rural backyard setting: birds chirping, children laughing, sun shining, good vibes vibing - the chillest Session ever???

“We wanted to go so big it was almost psychedelic, so much juice you’d almost drown, and we knew we had to play all the old songs at the farm in Coorabel because all the old songs were recorded there. The Babe Rainbow is a rococo palace built to the most powerful God of all… mass entertainment. We hope you enjoy and look forward to seeing you in person on tour soon…” - Babe Rainbow

Recorded Live at the Music Farm, Byron Bay, AUS

TRACK LISTING

SIDE A
1. Morning Song
2. Peace Blossom Boogy
3. Something New
4. Blue Hour
5. Monky Disco
6. Supermoon

SIDE B
1. Planet Junior
2. Greggo
3. Rainbow Rock
4. Zeitgeist
5. Love Foreve

London duo Babeheaven — vocalist Nancy Andersen and producer/multi- instrumentalist Jamie Travis — return after four years with their highly anticipated 5-track EP ‘Slower Than Sound’, released via Scenic Route on October 24.

Following their singles ‘Beloved’ and the 6 Music-premiered track ‘Picture This’, ‘Slower Than Sound’ marks a deeply personal and intimate turn for Babeheaven. Written and recorded largely in Nancy’s home studio, the EP embraces minimal instrumentation, acoustic textures, and spacious arrangements, capturing the emotional vulnerability and euphoria the duo describe as “Post Rave” — the music you listen to on the ride home from a
party.

“It feels like a rebirth in a lot of ways,” says Nancy. “Writing at home gave me space to experiment, make mistakes, and rebuild confidence. Once I brought the songs to Jamie, we shaped them together into what you hear now.”

The EP explores love, reflection, and personal growth. Beloved conjures a comforting, almost mythic presence, while Lost For Words reflects the struggle to connect with the world and oneself. Picture This offers snapshots of a relationship, looking back while imagining its future. The cover Tiny Demons by Todd Rundgren blends seamlessly with the EP’s introspective mood, and Loud Thoughts, featuring Samba Jean-Baptiste, captures heartbreak, burnout, and creative pressure. “I hope people can find their own meaning in these songs,” Nancy says. “I’m writing for myself, but music is for each listener to interpret.”

Since debuting with Friday Sky in 2016, Babeheaven have steadily built a loyal following through their acclaimed albums Home For Now and Sink Into Me, amassing over 65 million Spotify streams and earning support from BBC Radio 1, 6 Music, and KCRW. Their live shows have sold out Village Underground,

Bush Hall, and Jazz Cafe, and they’ve shared stages with Cigarettes After Sex, Loyle Carner, and Nilüfer Yanya. Visually, Babeheaven’s world has been shaped alongside creatives including Margot Bowman, Frank Lebon, Tegen Williams, Sacha Beeley, and Joyce Ng, cementing their reputation as one of the UK’s most distinctive acts.

After facing cancelled tours, industry pressures, and a period of creative doubt, Slower Than Sound represents a return to the core of their artistry: intimate, honest, and self-produced. Jamie reflects: “Not putting out music for so long was hard, so we hope this is the start of a more prolific period for us, reconnecting with the London music community and beyond.”

STAFF COMMENTS

Barry says: An intimate selection of warmly evocative synth-pop vignettes, drenched in atmosphere and presented like a dream-world on earth. Soulful downbeat, synthy indie and hip-shaking beats wrapped in a hazy blanket.

TRACK LISTING

1. Picture This
2. Beloved
3. Lost For Words
4. Loud Thoughts
5. Tiny Demons

Kent band in hardcore / emocore shock!! This great little band sound bloody good. It's authentic and totally enjoyable emo with that darker,harder edge to it and at a great price for a longish disc.

Margate’s prolific polymath BABii follows her recent slice of UKG influenced futuristic-pop called ‘SHADOW’ with the emotive and hypnotic new single ‘BRUiiSE’ as she announces her forthcoming sophomore album MiiRROR. Released physically on the 4th June via Gloo, this highly anticipated project is a multidisciplinary manifestation of BABii’s authentic DIY sensibilities and will be accompanied by a book, ARG and live A/V show - all written, produced and creatively directed by BABii, real name Daisy Emily Warne.

Seamlessly setting the tone of what’s to be expected of the album and given the nod from tastemakers including Resident Advisor, i-D, Electronic Beats, The Independent, Hunger, Dummy Mag, Loud & Quiet, The Line of Best fit, NPR, Anthony Fantano and more, first single ‘SHADOW’ dropped alongside a video directed by BABii and Johnny Goddard that aimed to aesthetically capture the soul and imagination of where she grew up as a young child. Filmed at night time in a junkyard, this transportative visual treads the line of fantasy and reality with added VFX and costume all designed and made by BABii out of bungee cords, seat belts, tarpaulin and more. Where ‘SHADOW’ explored not facing your biggest inner demons, ‘BRUiSE’ further enlightens us to this this upcoming projects narrative as BABii sings about “being scared about making the right choice and trying to figure out whether a feeling is true or if it's just an old hurt (or bruise) trying to trick you into repeating a pattern of self sabotage.”

Music has always been a mirror for electronic pop adventurer BABii where among her songs’ skittering beats and fractured synths are reflections of her deepest self. Abandonment is at the heart of this haunting record because Warne grew up without a mother, raised in Yorkshire, Kent and Canada by a nomadic father who, after quitting a potential career playing ice hockey, hustled his way through life, turning his hand to antique dealing and building and renting out a warehouse space to creatives.

The context for this compelling new project is a long awaited interaction following the re-entry of Warne’s mother in her life that one day unleashed a tidal wave of emotions and sparked something in Warne, who decided to devote her next project to exorcising those demons - the dark reality and the idyll she had in her head as a kid. A universe built on real life heartache, MiiRROR will present a fantastical tale and exploration of “the duality of emotions: good and bad, light and dark” across ten songs and a story full of demons and junk yards.

An ardent and inspired teller of stories both dreamlike and real, BABii’s nomadic and creative upbringing by her father laid the foundations for her DIY and daring experimental approach to creation. Since her 2018 debut single ‘PHANTOM’, 2019 debut album HiiDE, GLOO collective collaborative album XYZ and most recent EP iii+, this accomplished multidisciplinary producer, songwriter, vocalist and visual artist has been consistently championed on the airwaves by the likes of Tom Ravenscroft, Lauren Laverne and Jamz Supernova on BBC Radio 1, 6 Music, 1Xtra, and in the press by tastemakers including Loud and Quiet, The Quietus, Clash, The Line of Best Fit and more.

A conceptual artist both sonically and visually, BABii’s unique and instantly recognisable, mellifluous and nymph like vocals blended with ethereal, textured and challenging productions have gained her a loyal following of fans. As we enter a new post pandemic chapter on this earth, BABii promises to provide some much needed sonic escapism as she takes us further into her world. 

TRACK LISTING

1. DRiiFT
2. BRUiiSE
3. WASTE
4. TRACKS
5. TiiME/EMiiT
6. SHADOW
7. HUNTED
8. 4WARDS:BACK
9. VOiiD
10. MOTHER

Another outstanding Jazz fusion release for Dynamite cuts. limited edition 7" release of 2 masterpieces by Alice Babs and Nils Lindberg's Orchestra. Both tracks ‎taken from the "Music With A Jazz Flavour" LP.

"Been to Canaan" – This amazing jazz-fusion vocal has stood the test of time always in demand. Never before pressed and released as 45. A massive dancer and a must have release.

"It don't mean a thing if it aint got the swing" – this famous Jazz standard covered by many different artists, But with Alice she makes it her own, backed up by the Nils Lindberg's Orchestra

TRACK LISTING

1. Been To Canan
2. It Don't Mean A Thing

If there’s a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song 'There Ain’t Enough Roses'. Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi.

Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases 'My My Baby' and 'You’re My Reason', not to forget the brilliant work that they have put out on the Raza Del Soul label from California.

So hop on in the passenger’s seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you’re more for the instrumentals, flip the single over to reveal the flute-led version that’ll send you to that sweet Steve Parks lowrider territory in no time.

TRACK LISTING

1. There Ain’t Enough Roses
2. Instrumental

Baby In Vain are a three-piece from Copenhagen, Denmark. Think Queens Of The Stone Age, Black Rebel Motorcycle Club and Sonic Youth. Their debut album, ‘More Nothing’, was produced by Rob Ellis (PJ Harvey, Torres, Bat For Lashes).

The band have previously toured with The Kills, Thurston Moore, Ty Segall, Jesus and Mary Chain.

Partisan Records released the ‘For The Kids’ EP in April 2016 and it went to #1 in the Denmark vinyl charts.

“Denmark’s Baby in Vain are giving guitar music a snarling shot of adrenaline” -NME

“A band whose sheer unrelenting attack can leave you breathless” - Clash

“Songs that thrum with fearlessness and great confidence” - The Guardian

“A visceral combination of Sleater Kinney, Babes In Toyland, and Queens Of The Stone Age with boss-ass results” - Noisey

“The Danish trio don’t fuck around.” - DIY

TRACK LISTING

K.
Each Time You Fall In Love
Sunsetz
Apocalypse
Flash
Sweet
Opera House
Truly
John Wayne
Young & Dumb

Less than a year after her album Through and Through, Baby Rose returns with Slow Burn, a collection of songs that explode her sonic palette from progressive R&B into a rawer, richer and more sprawling lens of American music. Here, Rose asserts herself as not only a once-in-tenlifetimes vocalist, but as a formidable songwriter connecting the dots where Muscle Shoals meets psych, psych meets jazz, jazz meets Americana, and the right players bring it all together. Produced by BADBADNOTGOOD, Rose and the band found an instant but seemingly endless well of inspiration; what started as an introduction became a day, became a song, became a night, became Slow Burn. Baby Rose was already a powerful position player — she can share the stage with Robert Glasper without breaking a sweat, or close an epic film like Creed III, for which she performed the closing credit song, with steely confidence. When Rose first met with BADBADNOTGOOD the idea was to say hello, get acquainted, see what a collaboration could, over time, potentially become. But the connection was instant, and together they put down lead single “One Last Dance” in just that first meeting. It was Rose’s first freestyle vocal, and it snapped crucial pieces of her vision into focus. “I’ve known deep down there were new spaces and sounds that I could rise to,” Rose explains. “I’ve always been into different sounds that bring in those rawer textures.” And so while the speed of their collaboration thrilled and surprised Rose, the potential and the end results did not. “We moved quickly,” she says, “and it really was a faucet. Once we got ‘One Last Dance’, it became clear everything was going to flow.”

The songs on Slow Burn were inspired in part by Rose’s experiences driving between her family’s home bases: the noise and chaos of DC and the quiet, Carolina countryside. Rose would crank music and let her mind drift, making room for the internal monologues and imagined dialogues you might not otherwise dare to hear. There’s a dreaminess in those moments, and they smolder on Slow Burn: memories lose their realities, feelings replace happenings. Slow Burn’s title track, for example, sets soft, ambling drums against Rose’s lyrical repetitions, as she traces those recollections—some lives, some felt— with patient, insistent desire.

The standout “One Last Dance” arrives disguised as a love song, but is actually an ode to a lost friendship, and an imagined dream of one more day like the old days. Reality blurs with feeling again, vocals layer into lullaby, and BADBADNOTGOOD’s bassist Chester Hansen brings that dreamlike quality to a sneaky, cautious but loving undertone. In fact most of the songs on Slow Burn have that stealthy, shadowed feel, like they’re arriving on tiptoe: intimate but a little dangerous, tender but a little mysterious. As complete and compelling a work as this is, Slow Burn points to a bigger, higher ascent in Baby Rose’s future. “I feel boundless,” says Rose. “It’s one thing carrying the weight of the emotion I’m going to bring as a vocalist and lyricist, but now I feel like I’m the head on a body with all these players and artists and other limbs. I’m in love with that process. When you have the right energy and the right synergy,” she says, “all that’s left is to trust yourself.”

TRACK LISTING

1. On My Mind
2. Slow Burn
3. Caroline Feat. Mereba
4. Weekness
5. It’s Alright
6. One Last Dance

Baby Rose is undeniably a once-in-a-lifetime artist. She burst onto the scene with her 2019 debut project To Myself, which has amassed over 25 million global streams to date and landed her early co-signs by SZA, J. Cole, James Blake, Kehlani, and LeBron James. Later the singer received a Grammy nomination for her contribution to Dreamville’s Revenge of the Dreamers III album and was also featured on albums from Big Krit and Matt Martians.

Through and Through will show Baby Rose like we have never seen or heard her before. Sonically, the album see’s Rose carving out a lane for herself that is unrestricted by genres and showcases her extraordinary range as a skilled singer, songwriter and executive producer. Paired with her once-in-a-lifetime voice, Through and Through will exist like nothing else in music right now. 

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances.

Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. Working with engineer Joe in a secluded outhouse surrounded by fields, the band laid down the tracks live over a day, capturing the unfiltered essence of their sound. Joe's extensive collection of homemade pedals added a unique touch to the recording, while Benny T's mixing expertise brought the album to its final form.

The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity.

On Chaos Kerry says: “Chaos is the next phase in life for us lasses in the band - babies and mid-life responsibilities. The album definitely is about how we feel and experience the world around us in our 30s and 40s. Someone who heard the album recently said it's like the The Baby Seals have grown up and I liked that because that's what I feel likes happened to me in the last two years… The album definitely has Themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously.

Title track, Chaos is one of the songs on the album which I'd written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community.

The cover photo by Jeff Pitcher sums us up and hopefully gives you a feeling of what the album sounds like. Album design was created by Igor Prato Luna, he just seemed to understand what we are about. He referenced loads of wonderful album cover, poster and flyer artwork from the 60s - 90s, and even some fabulous sci-fi artwork from the 1920s and those incredible 1950s sci-fi pulp book covers. Nothing was referenced too heavily, though, and Igor definitely made it his own. “

STAFF COMMENTS

Barry says: Clashing, distorted guitars and pumpelling percussion, topped with the near-shouted vocal trilogy of Amy and Kerry Devine and Kate Shore. It's rich in the traditions of punk rock and garage but with a more modern, sardonic vim. Superbly loud, and made for crashing around to.

TRACK LISTING

1. Yawn Porn
2. ID'd At Aldi
3. Vibrator
4. Chaos
5. Invisible Woman
6. My Labia Is Lopsided But I Don't Mind
7. Mild Misogynist
8. Nipple Hair
9. It's Not About The Money Honey

Baby? are Erin Allen (Violence Creeps, High Castle) and Max Nordile (Preening, Violence Creeps, Uzi Rash).

This collaboration sprang from a singular epic recording session. “Even though we hang 11 times weekly, shouldn’t we remotely pile on overdubs ad infinitum for havoc injection?” Did they really say that? Did they really do all this on purpose?

For fans of Wild Man Fischer, Minutemen, Electric Miles, Contortions, The Fugs, Preening.

Punked-up no-wave improv skronk to get you going all night.

Includes poster insert.

TRACK LISTING

Number One In Hell
Clocklords
But I Don't Believe You
Labor Board
Radical Document
Babbling Brook
Log Me Out
Old Skin
Fall On The Floor
Ice Cream Sandwich

The classic (anti) Britpop album issued on vinyl for the first time since its original 1996 release. Contains 4 UK top 40 singles: Candy Girl, Goodnight, Cornershop and the massive top 3 hit and radio favourite, You’re Gorgeous. 

TRACK LISTING

A1. Goodnight
A2. Candy Girl
A3. Jesus Is My Girlfriend
A4. I Didn't Want To Wake You Up
B1. Dead Bird Sings
B2. Atomic Soda
B3. You're Gorgeous
B4. Bad Shave 2
C1. Cornershop
C2. King Bing
C3. You & Me
D1. 45 & Fat
D2. Too Handsome To Be Homeless
D3. July
D4. Baby Bird

What if a song could feel like a moment you never want to end, even though you know it must? This duality exists at the heart of 'Stay Here Where It’s Warm', the debut album from Toronto duo Babygirl. Meticulously built, it’s a gently devastating record about fleeting intimacy, emotional refuge, and learning to let go.

TRACK LISTING

1. Take Me Back
2. All Is Well
3. Dancing With Her
4. You Don't Need A Reason To Call
5. You're The Difference
6. Buzzed
7. Give Up With Me
8. Can't Be Friends
9. Take Me To Heaven
10. After You
11. Stay Here Where It's Warm

Dirty Blends continue presenting the music from new signing: Nico Babylon, alongside label stalwart The Jak.

Two contrasting tracks of Muzic Box flavoured mayhem. "An Announcement..." utilizes a riotous gospel sermon in that typically Chicagoan style but adds a spitting and gurgling backdrop of acid synthesis and stripped back beats.

"Roman Romance 4 The Drum Kidz" is a homage to Fred Brown from Rocking House Records (Chicago). Dark, but with some melodious undertones, it's heavy on the hand claps and other digital, primitive percussion taken from Roland's famous drum machines.

sTriCtLy 4 tHa fReAkz...! 

TRACK LISTING

The Jak Meets Niko Babylon - An Announcement Of A Miracle
The Jak Vs Niko Babylon - Roman Romance 4 The Drum Kidz

It's the return of the nations favourite Muzic Box-inspired label - Dirty Blends, who come correct with not one but three slices of primordial jak beat and sherm-sticked warehouse trax this week.

"Drum Major" is a conceptual production from new klan member Nico Babylon who creates a hypnotic electronic blueprint focused on vintage synths and syncopated movement of rhythmic dimensions and craftsmanship. Plainly said - this is the next level of jakbeat moving forward!

On "This Nasty Possession" The Jak collaborates with Nico on this uber old school formula from the days of Chicago underground in the mid 80s along the timeline of Gherkin / Gene Hunt era. Everything you hear on this tune was created by hand, no samples were taken!

For those who like it much darker and feral. 

TRACK LISTING

Nico Babylon - Drum Major
The Jak & Nico Babylon - This Nasty Possession

Produced by The Clash’s resident innovator, Mick Jones, and even boasting a vocal cameo from Kate Moss, 'Down In Albion' evokes the sights and smells of its era yet also possesses a forward looking perspective which creates a perpetually relevant body of work that both charts and soothes the human condition.

Accompanying the album’s original 16 tracks, the anniversary edition includes five carefully chosen songs from the band’s archives, with several – despite bootleg fame amongst the band’s fanbase – getting their first official release.

'Gang Of Gin' and '352 Days' were both recorded around the album and were considered as possible b-sides but never officially released, while 'Why Did You Break My Heart/Piracy' did feature on the flip side of the single release of 'Albion'.

'Do You Know Me' and 'My Darling Clementine' are both taken from the fan favourite session for Zane Lowe’s BBC Radio 1 show, which was recorded in October 2004 and helped to lay the creative foundations for 'Down In Albion'.

Initially formed in 2003 when Doherty was temporarily excluded from The Libertines, Babyshambles quickly evolved into an alternative creative outlet for the songwriter, allowing him to explore a different range of themes within a fluid, spontaneous musical landscape.

Forging an expressive, collaborative partnership with bassist Drew McConnell, drummer Adam Ficek and lead guitarist Patrick Walden, as the Babyshambles’ line-up solidified, 'Down In Albion' managed to not only bottle the lightning of a group who always sailed close to the wind – creatively, culturally and personally – but it is also filled with insightful and timeless songwriting that skips between vivid narratives and full throttle emotion.

This edition not only celebrates their visceral mix of personal experience and state of the nation observations, but also pays tribute to Babyshambles’ Walden, who passed away earlier this year. While his characterful playing and melodic innovation is etched deep within 'Down In Albion's music, the guitarist's portrait, photographed by Hedi Slimane, has also been embedded within the sleeve using a special UV gloss.

From the nihilistic-titled yet deceptively hopeful 'Fuck Forever', via the squalor and the joy of 'Pipedown' and '8 Dead Boys', the humour of 'What Katie Did Next', the romanticism of 'In Love With A Feeling' and the melancholic yet heart-swelling 21st century anthem 'Albion', with a smile and roar Babyshambles debut is a truly immersive and invigorating web of feelings, abandon and creative energy.

TRACK LISTING

1. La Belle Et La Bete
2. Fuck Forever
3. A'rebours
4. The 32nd Of December
5. Pipedown
6. Sticks And Stones
7. Killamangiro
8. 8 Dead Boys
9. In Love With A Feeling
10. Pentonville
11. What Katy Did Next
12. Albion
13. Back From The Dead
14. Loyalty Song
15. Up The Morning
16. Merry Go Round
17. Gang Of Gin
18. 352 Days
19. Do You Know Me (BBC Radio 1 Session)
20. My Darling Clementine (BBC Radio 1 Session)
21. Why Did You Break My Heart/Piracy

The acclaimed 2007 album reissued on 1LP clear vinyl. Taken from the original 2007 masters when Pete Doherty was at the pinnacle of his creative powers, ‘Shotter’s Nation’ followed in the footsteps 'Down In Albion’, the band’s debut album, and Doherty’s first album outside of his first band - the era-defining Libertines. Both were met with commercial and critical acclaim, breaking into the top 10 of the album charts.

‘Shotter’s Nation’ is unmistakably Doherty. Melodic, stark, catchy, raw, brilliantly unique - his music has always created an unflappable loyalty from his many fans, remaining timeless, yet still sending a nostalgic excitement through its listeners. The album also features four songs co-written by Doherty’s then-girlfriend Kate Moss who also regularly performed live with them.

The approach to the recording and release of the album was an escape from Doherty’s previous methods. Stephen Street (The Smiths, Blur, Morrissey, The Cranberries) took over producer duties from The Clash's Mick Jones, and it was and his first album released by a major label, Parlophone.

TRACK LISTING

1. Carry On Up The Morning
2. Delivery
3. You Talk
4. UnBiloTitled
5. Side Of The Road
6. Crumb Begging Baghead
7. Unstookie Titled
8. French Dog Blues
9. There She Goes
10. Baddie's Boogie
11. Deft Left Hand
12. Lost Art Of Murder

Following a triumphant and eventful UK tour Rough Trade are proud to announce the release of the most anticipated album of the year: Babyshambles' debut album "Down In Albion". It includes the band's top five hit "Fuck Forever" and a new recording of their first "Killamangiro". The sixteen-track album was produced by Mick Jones and mixed by Mick Jones and Bill Price. There is a vinyl due for release later in the year - it's going to be a strictly limited double with the fourth side etched!

Parlophone are thrilled to announce that the third Babyshambles album Sequel To The Prequel. The album was recorded at Question Du Son, Paris and mixed in The Bunker, London, with producer/mixer and long time 'Shambles collaborator Stephen Street.

Filled with hooks and humour, the album features some of the band’s finest ever lyrics ranging from the tender to the downright hilarious. Musically it has already been called their most accomplished and collaborative work to date.

As Peter Doherty told the NME recently, “I don’t want this to be half arsed, I want to get up there and really fu*king smash it out. Babyshambles aren’t back, this band has always been here”.

The album - featuring sleeve artwork by Brit-art icon Damien Hirst - is released on CD, and on heavyweight 12" clear vinyl LP (including a CD of the album, plus artwork poster).

STAFF COMMENTS

Andy says: Proper songs and a solid production make this a surprisingly coherent effort from the erstwhile Libertines man.

TRACK LISTING

1. Fireman
2. Nothing Comes To Nothing
3. New Pair
4. Farmer's Daughter
5. Fall From Grace
6. Maybelline
7. Sequel To The Prequel
8. Dr. No
9. Penguins
10. Picture Me In A Hospital
11. Seven Shades
12. Minefield

Often described as a 'turntable band' (played a lot but few sales) The Babys really were on their last legs by the time they recorded this 1980 album. There is so much quality in both songwriting and performance on thaes reissues it's hard to say what went wrong--most of it has to be down to bad timing, if you like hard tight rock licks this is the stuff for you.

"Eric Broucek was the ur-engineer of the most fertile era of DFA Studios, from about 2003 to 2008 (no one knows anything precisely about that time, as it’s all lost in the fog of chaos). His hand was on all of the remixes, LPs, dance 12s. He was there in that over-designed gear dungeon almost every day, recording, mixing, struggling to not roll his eyes at Tim and me. And somewhere in that fog, he quietly dropped limited runs of three 12-inch delayed reaction bombs on his own label Stickydisc Recordings—two under the name Babytalk, and one as Watussi with another DFA regular, Morgan Wiley.

"Back in the day, Eric did not want his music released on DFA. He wanted to forge his own identity, which he did, sending out music that wandered from the DFA path with its uniquely wonky, upended and understated power. His music is so unlike everything else of that era, so profoundly singular, that it still sounds completely out of time.

"A few years back, I started DJing the tracks again, and saw how the world was still surprised by what Eric had made, and the idea of this compilation was born.

"So, in the end, Eric, we totally got to release your records anyway. We heart you, man."

-James Murphy

TRACK LISTING

1. Babytalk - Chance (Original Mix)
2. Babytalk - Chance (Hercules & Love Affair Remix)
3. Babytalk - Chance (Babytalk Remix)
4. Watussi - If All We Had Was Love
5. Watussi - Purple Moon
7. Watussi - Purple Moon (Instrumental)
8. Babytalk - Enough

Steel Drum covers of Drake, Snoop Dogg & Dr Dre, Claudja Barry, The Game & 50 Cent, A$AP Rocky, Stranger Things Theme, and more.

Bacao Rhythm & Steel Band, the mysterious steel pan outfi­t hailing from Hamburg, Germany have amassed a cult following around the globe. With a slew of classic 7”s and three critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their fourth album BRSB, Bacao are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to underground album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago.

While part of the allure of a new Bacao Rhythm & Steel Band album is ­finding out what covers they do it is equally intriguing to see what original tunes they cooked upland this record is foul of stand out originals. The album opener, “In The Crosshairs” is a rough and tough mid tempo head nodder while both “Grilled” & “Treasure Quest” pick up the tempo with heavy African Funk in‑fluences on both. Bacao goes deep with “Hazy Memories”, a bass heavy slow burner that walks a line between hypnotic and hype. All these originals stand as testament that the term “cover band” is a shoe that could never fi­t Bacao.

However, in the tradition of steel pan music, they do a heavy amount of covers. This time around there is a big West Coast Hip Hop influence with covers of Game & 50 Cent’s “How We Do”, Dr Dre & Snoop Dogg’s “Nuthin But A G Thang”, and Tupac’s “Got My Mind Made Up” all of which take on new energy and lend themselves to the BRSB steel treatment. Bacao puts another certifi­ed dance‑floor fil­ler on their resume with their cover of Claudja Barry’s uber Disco classic “Love For The Sake Of Love” which they flip into a dubbed out affair aptly changing even the title to “Love For The Sake Of Dub”. Pulling from the contemporary smash hit section of Hip Hop they cover Drake’s “Hotline Bling” and “Love$ick” by Mura Masa & A$AP Rocky. Then they go very unexpected with “Stranger Things Theme” where they take the synth heavy theme song to the hit show and give it a more hypnotizing tone than the original.

By the time BRSB is through, Bacao has taken the listener on a journey spanning a myriad of energies, tempos, and moods while keeping it all under one umbrella. For all that, these songs are alive, and they will be taken out of the context of this album and sewn into the fabric of DJ sets around the globe for many years to come. Bacao Rhythm & Steel Band continues building their legacy and pushing the boundaries of steel pan music forward with another rock solid musical offering. Enjoy.

TRACK LISTING

1. In The Crosshairs
2. How We Do
3. Hazy Memories
4. Love For The Sake Of Dub
5. Hotline Bling
6. Grilled
7. Love$ick
8. Stranger Things Theme
9. Treasure Quest
10. Nuthin’ But A G Thang
11. Got My Mind Made Up
12. The Champion’s Walk

Steel Drum Covers of Grace Jones, Galt MacDermot, Slum Village, Minnie Riperton, Jay Z, Ike Turner, and more.

Bacao Rhythm & Steel Band, the mysterious steel pan out­t hailing from Hamburg, Germany have amassed a cult following around the globe. With a slew of classic 7”s and two critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their third album, aptly titled Expansions, BRSB are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago.

Part of the allure of a new record from Bacao is ­nding out what covers they chose. However, die hard fans are also waiting to hear the original numbers like the stellar album opener “Tough Victory”. Its airtight rhythm section, brass arrangements, and layers of steel pan melodies make the term “cover band” a shoe that could never ­t Bacao. Within the next three songs they go from Jazz (Galt MacDermot), to Hip Hop (Slum Village / J Dilla), to a dance ‑oor classic (Grace Jones) taking them all on with their signature style, expanding on the originals. An easy crowd favorite is their gritty, gully, and neck snapping cover of the Timbaland produced Jay-Z club hit “Dirt Off Your Shoulder”. The infamous crushing Bacao drums start the show and the moment they start playing the top line on the pans, all bets are off. Sure to become a dance ‑oor ­ller is their bottom heavy, four on the ‑oor version of Sylvester’s classic “I Need Somebody To Love Tonight”. They venture into some gutbucket funk with Ike Turner’s “Getting Nasty” and bring the steel pans to Minnie Riperton’s Jazz classic “Les Fleurs”. Digging deeper in the modern canon and paying tribute to a tribute, they cover Erykah Badu’s homage to the late great J Dilla, “The Healer”. This is the type of thing to make Spice Adams jump on his kitchen counter and scream. From the second the beat drops they give the original Madlib production a run for its money, shaking subwoofers with the eerie tremolo bass while the pans play E. Badu’s vocal melodies.

By the time the album is through Bacao has taken the listener on a journey that spans a myriad of energies, tempos, and moods while somehow managing to keep it all under one umbrella. For all that, these songs are alive, and they will be taken out of the context of this album and sewn into the fabric of DJ sets around the globe for many years to come. Bacao Rhythm & Steel Band is breathing renewed life into the originals and continuing to push the boundaries of steel pan music, or, as the title suggests, expanding on it.

TRACK LISTING

SIDE A:
1. Tough Victory
2. Space
3. Raise It Up
4. My Jamaican Dub
5. I Need Somebody To Love Tonight
6. Dirt Off Your Shoulder

SIDE B:
1. Getting Nasty
2. Blow Your Cover
3. Represent
4. The Healer
5. Les Fleur
6. Squaring The Circles

CD Has Three Bonus Tracks:
Juicy
Look Out Baby (Here I Come)
Kaiser Noir

"By popular demand, Bacao Rhythm & Steel Band is back with another must have of a two sider. Two tracks finding their way to vinyl for the first time that were cut during The Serpents Mouth sessions but only made it to the cd and digital release. A lot of people wrote us asking for it, and here it is, a 7 inch release that lives at the intersection of Funk, Soul, and Hip Hop. The A side is Bacao's crushing cover of the Jackson 5's B-Boy classic "Great To Be Here". A tune that a lot of people probably thought had steel pans on the original version, a misconception that lead to BRSB choosing it for their inimitable treatment. They open the tune with a chunky open drum break that gives way to the steel pan work banging out the infectious and instantly recognizable guitar lines from the J5's version. The B side finds Bacao diggin deeper into the hip hop crates again and coming up with a monster of a Gang Starr track to cover. Taking on their underground street a nthem they cut for their Full Clip compilation, "All 4 Tha Ca$h". BRSB tease the tune in with the two top notes of the riff for the first 8 bars catching listeners ears and giving the DJs a record to work with. When the whole riff drops and they give away what the tune is they are covering awww shits & ooooooohs are sure to be heard out in the crowd." 

The German steel pan outfit has amassed a collection of 7s on the label that are all essential pieces in DJ boxes around the world.

The A side "Nautilus" is a cover of the Bob James uber classic that has been sampled by hip hop more times than maybe any other record. It is a DJ staple that has soundtracked many a dance floor and breakdance cypher. Bacao's version is a welcome new take on the tried and true original.

The B side is their cover of the Khruangbin cult classic "Maria También" and Bacao give the original version a run for its money. Steel pans ride over chunky drums to great effect and make this another must have for DJs around the globe

TRACK LISTING

1. Nautilus
2. Maria También

Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, Germany made significant noise in 2024 when French film Anatomy of a Fall won an Academy Award for best original screenplay. Bacao’s cover of 50 Cent’s 'PIMP' was featured so heavily in the film and plays such a huge role in the storyline that it became synonymous with its success. Subsequently, they ushered in the first appearance of steel pans in the orchestra pit at the Academy Awards so they could play the tune as director Justine Triet walked on stage to accept the award. All of this brought a lot of new fans to Bacao and pushed the streaming numbers of 'PIMP' well past 40 million. For those in the know, this tune made its way into underground fame back in 2008 when it was first pressed on band leader Bjorn Wagner’s own Mocambo imprint and was often mistaken for the original sample source from which 50 made his hit.

All accolades and international fame aside, 'PIMP' is literally just the tip of the Bacao iceberg. With four full length albums and a tall stack of 7” singles that have become staples to DJs around the world, they have been prolific since signing with Big Crown in 2014. Despite the constant releases and elaborate catalog, every recording session has borne more fruit than could fit on an album, leaving a handful of tunes in the recording vault. Here on 'Big Crown Vaults Vol. 4' we open up that vault and give all (well, most of) those tunes a proper pressing and release.

The album opens up with their cover of the Bob James uber-classic breakbeat 'Nautilus' and they put a spin on the original that puts it directly in the must have category for all hip hop and breakbeat enthusiasts. Keeping their foot on the gas, they give the BRSB treatment to the Khruangbin classic 'Maria También' with their signature bottom heavy drums taking the energy of the tune to a whole new place. Infamous for digging deep in the crates when picking material to reinterpret, they next take on Royce the 5’9”'s J Dilla produced 'Let’s Grow'. Originally the B side to the first pressing of 'PIMP' (and making an appearance on the very limited first 2LP pressing of their debut album '55') we put the 'PIMP (Version)' on here where they give their original recording the proper dub treatment with melodica and tape echo galore. They turn up the tempo and the funk covering the Jackson 5’s 'Great To Be Here' and again dive deep into obscurity with the Billy Jones dancefloor burner 'Lookout Baby (Here I Come)'. While part of the allure of a new Bacao Rhythm & Steel Band album is finding out what covers they are going to take on, it is equally intriguing to see what original tunes they’ve cooked up. While 'BCR Vaults Vol. 4' only has one original, 'Kaiso Noir', it’s an uptempo crowd-pleaser that sounds like a mix between a b-boy break and a James Bond score.

This collection of songs spans from 2008 to 2023 and runs a variety of genres from hip hop to jazz to soul and pop through the Bacao lens. The band is already at work on their 5th full length studio album and this compilation should be the perfect thing to hold fans over until it arrives.

STAFF COMMENTS

Barry says: Classic Bacao sound here, on the ever brilliant Big Crown records, with a bunch of unheard singles and versions of their most beloved pieces and their unique covers too. Big shout-out for their cover of Fiddy's 'PIMP'.

TRACK LISTING

1. Nautilus
2. Maria También
3. Let’s Grow
4. PIMP (Version)
5. Look Out (Here I Come)
6. Great To Be Here
7. Juicy Fruit
8. 8th Wonder
9. Murkit Gem
10. All For The Cash
11. Kaiso Noir
12. Guess Who’s Back
13. Giana Sisters

BACCO is a super session unit led by "Masayoshi Takanaka". The album is filled with tight, groovy West Coast rock tunes, combining high-level performances that could be described as funky fusion with explosive, emotional vocals by Jim Diamond.

TRACK LISTING

1. HIGH ACE
2. TOKYO LADY
3. CHA CHA ME
4. SEVENTEEN AND BLUE
5. GETTING’ LOST DOWN ON 8TH STREET
6. JUST ANOTHER BOY IN THE BAND
7. KID KIND
8. STAND BY ME

Bachelor, the new project from Melina Duterte (Jay Som) and Ellen Kempner (Palehound), is not a band, it’s a friend-ship. After being mutual fans for years, they finally met when sharing the bill at a show in Sacramento in 2017. Keeping in touch over text and Instagram posts, Duterte and Kempner started recording together for fun in 2018, resulting with what would become "Sand Angel", the seductive slow-burner that convinced the pair to write an album together.

Reconvening in January 2020, the duo packed the entirety of Duterte’s recording equipment into two cars and headed to a rental house in Topanga, CA. In this space Kempner and Duterte hybridized their individual song-writing talents, producing a collection that slips between moods with ease and showcases their lyrical prowess. Arriving with almost no songs written and no solid plan, they finished the 10 songs that make up Doomin’ Sun after two short weeks. That much work in so little time may sound exhausting, but it wasn’t, it was blissful and freeing.

There was a lot of pain that went into the record, especially around themes of queerness and climate change inspired by the red skies and wildfires subsuming Australia at the time. However, when the duo did shed tears during the creative process, they weren’t tears of sadness, they were tears of laughter. When Kempner and Duterte look back on those weeks, what they remember first is shortness of breath and the inability to track vocal takes without falling to the floor howling. They couldn’t remember a time they’d ever been so delirious with creativity, so overwhelmed with joy.

STAFF COMMENTS

Barry says: With more than a little nod to seminal grunge bands of the 90's (and beyond), Bachelor sees Jay Som and Palehound team up for a riotous mix of pop-punk, grunge and grooving noisy rock. Tracks like 'Sand Angel' and 'Anything At All' tread a more minimal, psychy groove while 'Stay In The Car' is undoubtably the most riotous, melodic slice of pop on here. Really great stuff.

TRACK LISTING

Side A
1. Back Of My Hand
2. Sand Angel
3. Stay In The Car
4. Went Out Without You
5. Spin Out

Side B
6. Anything At All
7. Moon
8. Sick Of Spiraling
9. Aurora
10. Doomin’ Sun

Killer Nu Groove / 90's NYC House style tracks on Tartelet

B FROM E (Frej Garcia Levin) represents a new generation of talented young artists making waves in Copenhagen. Of Mexican-Danish descent, and born and raised in the notorious tower blocks of the south-western suburbs of Copenhagen, the 27-year old is on the up-and- up. In high demand as the founder of boom bap rap group NATKAT, producer of pop outfit Ny Sensei (New Sensei) and head of tape-only label Buddahood, the multi-talent seems to have a hand in everything at the moment. His 2017 debut ‘Porno TR-XXX’ (C.U.P) saw some of the hottest names in the game spinning B FROM E at last year’s Dekmantel festival, resulting in offers from several well-known record labels.

His new record on Tartelet Records comes as four cuts exploring different paths of the garage house sound. The opener ‘Dark Energy’ is fueled by filthy breaks and a nostalgic theme that would not be out of place in an early Atari computer game. ‘The People (Dream Mix)’ is a trippy tour through subtle layered melodies, carried by a stripped-back groove.

On the B-side you will find ‘Positive Sister (2605 Tool)’: a chunky cut with a serious bassline. Saving the best for last, ‘You Will See’, rounds off the record in style. A feel-good tune that is sure to get plenty of spins this summer. HOT TIP!

TRACK LISTING

Dark Energy
The People (Dream Mix)
Positive Sister (2605 Tool)
You Will See

backinhumanform is Joe Clarke. He is from the west of Ireland, but lives and performs in London. He was lead singer in Manchester band, Adventures of Salvador, for 3½ years. His debut album was released recently to positive reviews and was featured as #29 in Traveller’s Tunes’ Top 30 of 2020 (Paul Weller was #1). Listeners have heard shades of John Grant, Midlake and Beck in his songs. He himself cites Mazzy Star’s production values and guitar style as an influence. Other favourite bands & singers include James, John Cale, Kate Bush, Cocteau Twins, Engineers, and Black Rebel Motorcycle Club. backinhumanform is his self-titled debut album, and Shadows is the first single taken from it.

TRACK LISTING

1. Old Man
2. Ships
3. On The Road
4. Half-Light
5. Shadows
6. Chained To The Wheel
7. Moments
8. Hundreds
9. Slippin' Away
10. Dreads
11. Auld Lang Xiety

Bad Astronaut from Santa Barbara, CA consist of Joey Cape (Lagwagon, Me First And The Gimmie Gimmies) on guitar and vocals, Marko 72 (Nerfherder, Swingin¹ Utters) on bass, and Derrick Plourde (Lagwagon) on drums. They've released a CDEP on Fat Wreck Chords and will soon be releasing their debut full length. Armchair Martian have released three full-length CDs. This release consists of each band covering three of the other bands' songs and a collaborative effort on the seventh. All songs are exclusive to this split EP.

From Santa Barbera, California, a 10 song mini album entitled "Acrophobe". This is cracking emo-core from Joey and Derrick from Lagwagon and Marko 72. A real departure from the Lagwagon sound, with the use of keyboards and a variety of stringed instruments. I think it's one of the best and most varied releases on the excellent Honest Don's label for ages.

Great title and great band featuring three members of Lagwagon and now expanded to a septet. Their unique sound of synthesized space / rock / pop punk has just got bigger. "Houston, We Have A Drinking Problem" is the band's first full length and is an assured and exciting mix of electronics like drum machines, computers, and sequencers, along with an equal showing of analog synths, piano, electric guitars, traditional percussion, real strings, and even a bit of harmonica.

'Building Babylon at the Bayou' showcases some of the earliest live performances from Bad Brains, even pre-dating the band’s 1982 self-titled debut. A snapshot of the band’s burgeoning beginnings, these recordings from 1980 and 1981 recorded at The Bayou in Washington DC, were captured between the band being unofficially “banned in DC” and relocating to NYC. This is the first non-jazz release by newly formed Time Traveler Recordings. Transferred from the original tapes and mastered by legendary producer Don Zientara, famous for his work with Minor Threat and Fugazi, amongst others. Featuring a booklet with liner notes by Washington Post critic Chris Richards and testimonials from Ian MacKaye, Henry Rollins, Jello Biafra, Vernon Reid, John Joseph as well as previously unseen photographs and ephemera.

TRACK LISTING

CD1 - July 14, 1980:
1. Supertouch / Shitfit
2. Attitude
3. 1-2-X-U (Wire Cover)
4. The Big Takeover
5. The Man Won't Annoy Ya
6. Right Brigade
7. Redbone In The City
8. Paranoid (Black Sabbath Cover)
9. Stay Close To Me
10. Pay To Cum
11. Suck Sess
12. Banned In DC
13. I Luv I Jah
14. I
15. At The Movies

CD2 - March 14, 1981:
1. I (Incomplete)
2. The Big Take Over
3. Many Changes In Life (Barrington Levy Cover)
4. Sailin' On
5. Right Brigade
6. Rally Round Jah Throne
7. Coptic Times
8. Drum Solo / Tuning
9. Riot Squad
10. Rock For Light

First album in 5 years from the legendary hardcore group.

"This album takes us back to self-produced record shines with Bad Brains' true sense of freedom and musical experimentation, with blends of soulful backgrounds meshed with blistering hardcore and metal riffs, with classic dub," says Darryl Jenifer of Bad Brains.

Considered to be the "holy grail" of punk rock, Bad Brains are one of the definitive American punk groups who garner the same respect as Sex Pistols, Black Flag, The Ramones and The Clash. It's a return to form for the band that helped define American Punk and Hardcore music.

TRACK LISTING

1. Into The Future
2. Popcorn
3. We Belong Together
4. Youth Of Today
5. Rub A Dub Love
6. Yes I
7. Suck Sess
8. Jah Love
9. Earnest Love
10. Come Down
11. Fun
12. Maybe A Joyful Noise
13. Mca Dub

Following on from 2022s ‘Human Capital’, which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism, ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”. 

TRACK LISTING

1. Temple Of Victory
2. Survival
3. Devotion
4. Liberty
5. Discipline
6. Retribution
7. Gilded Cage / Sanctuary
8. Vacant Paradise
9. Idolatry
10. Contempt

'Lighten Up' (Fat Wreck Chords) the SoCal punk group Bad Cop Bad Cop’s fourth full-length, paints a striking portrait of life’s hard-won victories and hard-fought losses. Recorded at the Compound in Long Beach, home to veteran producer Antoine Arvizu (Sublime, Ryan Bingham). The band loved recording the singles 'Shattered' and 'Safe and Legal' there in 2023 with Arvizu and Migs (Sublime, Slightly Stoopid, Long Beach Dub Allstars. Bad Cop Bad Cop stretched their signature hooky, melodic punk into unexpected places, like the jazzy 'Las Ventanas', the dub-inflected 'Note to Self', or 'Johnny Appleseed', a reimagining of the Joe Strummer and the Mescaleros classic. After tracking the instruments, the band spent 10 intense 12-hour days recording vocals with longtime collaborator John E. Carey Jr. (Old Man Markley, NOFX, Get Dead). “The singing was the most important part for us. We really tried things out,” Dee says, adding that Gallarza stepped up to sing third harmony for the first time. Lighten Up also benefits from Windsor, an expert guitarist who not only shreds (check out the end of 'I4NI') but whose music theory knowledge proved invaluable. “Alex's guitar playing is just so fantastic and has really elevated our songwriting, truly,” Dee says. Everything about 'Lighten Up' feels elevated and genuine. “This was the first time we didn’t give a fuck about what anyone else was doing or wanted us to do. 'Lighten Up' was for us” Dee says. “We had a complete and total ball making it and we love it so much.”

TRACK LISTING

1. All Together Now
2. Strugglinh
3. Straight Out Of Detox
4. Note To Self
5. Disbelief
6. See Me Now
7. Human Is Human
8. I4NI
9. Las Ventanas
10. Dead Friends
11. Johnny Appleseed

As you may already know, BAD WITH PHONES is a one-off. The self-proclaimed ‘extra guy’ is extra in unique ways, and his debut album CRASH holds a high-wire duality of instant recognisability and true individuality. Manny, as he’s known to his friends, is a guitarist and frontman, a future don of weirdo pop, R&B, rap and post-punk in a pink and blue wig and sunglasses. He’s here to transmit songs that are epic and iconic, low key hypnagogic and soaked in bliss and damage like Tyler The Creator, Grace Jones or Basquiat if they’d grown up in 1990s Deptford listening to Sade and David Bowie. This album is packed with intimate anthems and comedown soothers for the day after a mangled night.

The CRASH back sleeve cover features a snap of his hired jeep, destroyed, on a volcanic landscape. The south east Londoner had been due a break after the stresses of releasing Marinade and had just signed to Brixton label Don’t Sleep. He was maybe going to see family in Togo but instead flew to Lanzarote with a girlfriend. Once on the island, there was a massive car crash. Miraculously, they both emerged unharmed. CRASH is both therapy and a kind of sci-fi, with each song an episode that captures and channels the dazed aftermath of intense life experience.

And his name? It came from an experiment where he went phone-free for six months or just because he didn’t pay his bills, depending on what you want to believe. Either way, it suits the sense of blurry disconnection he infuses through this music, the background electricity of sky-high pylons powered through his guitars, the dissociated but super-gentle love-not-love songs – until the energy levels ramp up like they do on the indie disco anthem ‘Don’t Talk To Me’ with its all-comers blah blah blah chorus echoing through the streets and dancefloors of next summer and the summer after that. BAD WITH PHONES is coming for you.

TRACK LISTING

Side A
1. (call Me) Friday
2. DennisRodman
3. Devils
4. Don't Talk To Me
5. InAWeek (anything Can Happen)

Side B
1. Monica Too
2. Drive.
3. Emmanuelle
4. LVR
5. TICKET