Strut presents Nigeria 80, the next essential chapter in the legendary Nigeria 70 series, diving deep into the explosive sound world of 1980s Nigeria. Following the global impact of 2001’s Nigeria 70, which helped introduce rare Nigerian recordings to international audiences, Nigeria 80 continues the journey, unearthing a rich, restless, and wildly creative decade of music from Lagos to Enugu. Despite economic instability and restrictive political conditions in the ’80s, Nigeria’s music industry flourished, driven by a growing network of independent labels such as Tabansi and Phonodisk, which championed local artists and expanded creative freedom. The ’80s also marked a significant rise in visibility for female artists, with trailblazers like Onyeka Onwenu…
Category: *editions*
01. Joy Division – Transmission (Live The Factory Manchester 13th July 1979)
02. Buzzcocks – Hollow Inside
03. Blue Orchids – Dumb Magician
04. The Sound – Winning
05. Robyn Hitchcock – The Lizard
06. Echo & The Bunnymen – The Cutter
07. A Certain Ratio – Forced Laugh
08. Red Guitars – Good Technology
09. Josef K – Endless Soul
10. This Heat – Cenotaph
11. Scritti Politti – The ‘Sweetest Girl’
12. The Fall – Iceland
13. Crispy Ambulance – Bardo Plane
14. The Cleaners from Venus – Factory Boy
15. New Order – Ceremony
The Body‘s 2013 EP Master, We Perish arrived in between All the Waters of the Earth Turned to Blood and Christs, Redeemers, the two full-lengths in which they evolved from their doom/sludge metal beginnings and began making additional elements like choirs, samples, and electronics an integral part of their sound. Beginning with a blaring air raid siren, guitars so distorted they’ve been burnt to a crisp, and pummeling drums, opening track “The Ebb and Flow of Tides in a Sea of Ash” establishes a state of emergency, as Chip King caterwauls about structures collapsing and life falling into the void. “The Blessed Lay Down and Writhe in Agony” introduces haunting choral vocals and a tinny, barely audible voice of someone who’s trapped and can’t escape no…
…completely remastered by acclaimed audio engineer Leon Zervos at Studio 301 and features three early recordings that originally appeared on the band’s rare, self-titled Australian ”JBT’ EP.
Three opens with the distinctive fingerpicked, slide-driven guitar that becomes the canvas for the remainder of the record. Joined by Rory Quirk on bass and Jason McGann on drums, the trio delivers an emotionally charged romp through ten tracks of earthy, bluesy jam band intonations.
Paying homage to his Australian roots, the inclusion of the didgeridoo in the backdrop of several tracks plays nicely against his six-string grooves. The most accessible and shortest song on the record, “Pickapart,” shows off Butler’s picking prowess on an amplified 12-string…
Remastered by Atsushi Izumi.
Regis‘ early music will always loom large in techno. His searing records on Downwards, the label he started with Female, helped define what became known as the Birmingham Sound. As a member of Sandwell District, he’s partly responsible for the sleek and spacey style that prevailed in techno clubs in the ’00s.
Influential as those sounds were, though, his music from the last decade feels closer to his personal essence as an artist. Manbait, a collection of remixes from 2010 to 2015, teased out the lifelong love of post-punk and industrial that had always set him apart. Hidden in This Is the Light That You Missed carries on along the same path, delivering nine cuts of elegantly reduced…
…The album has been newly remastered and cut directly from the analog master tapes.
It starts with a crackle of feedback shooting from speaker to speaker and a voice intoning, “Mother Earth is pregnant for the third time, for y’all have knocked her up” and talking about rising “above it all or drown in my own sh*t.” This could only have been utterly bizarre back in 1971 and it’s no less so decades later; though the Mothership was well on its way already, Maggot Brain really helped it take off. The instrumental title track is the key reason to listen, specifically for Eddie Hazel’s lengthy, mind-melting solo. George Clinton famously told Hazel to play “like your momma had just died,” and the resulting evocation of melancholy and sorrow doesn’t merely rival…
…The second disc introduces 3 brand-new studio recordings from the band — their first newly minted studio material in over two decades — including a cover of Leonard Cohen’s “Bird on the Wire” and Melissa Etheridge’s “Stronger Than Me”. The bonus collection is rounded out by a selection of live performances dating from both their original 1970s touring era and recent 2025 concerts.
The reason that The Roaring Silence became Manfred Mann’s Earth Band’s best-selling album may have been because of both Bruce Springsteen-penned singles, but its instrumental makeup, by way of Mann’s keyboard manipulation coupled with Chris Thompson’s chiseled singing, had just as much of an affect. “Blinded By the Light” and “Spirit in the Night” gave the band hits…
…La-La Land’s latest CD expansion of scores from the long-running film series based on Ian Fleming’s British agent 007 comes not from the ’60s or ’70s, but the last decade. LLL has remastered their first Bond score from the Daniel Craig era in 2015’s Spectre, available as a 2CD edition featuring a generously expanded edition of Thomas Newman’s score for the picture along with some album edits and alternate material. For Craig’s fourth time in the tux, the series continued the surprisingly serial direction it had taken since 2006’s reboot Casino Royale. After the loss of M (Judi Dench) in 2012’s Skyfall, Bond once again confronts dark aspects of his past when he discovers that previous adversaries had all been agents of a larger organization of villainy, run by…
Mekong Shellac is an extremely rare collection of classical and popular styles of Khmer music from the 1930s to the 1950s. Restored from the few original remaining copies, this compilation reveals a remarkable world of early 20th-century Cambodian folk music previously lost in time through war, cultural shifts, and modernization. These recordings were selected for their distinctive musical qualities, the physical condition of the 78 rpm records from which they were sourced, and the circumstances of their survival.
The selections span a range of Khmer musical forms, including Chapey, Romvong, Lakon Basak, Pleng Khmer, Ayai, and Ayai Reung, as well as classical and court-derived traditions such as Pinpeat and Mahori, alongside popular…
…10th anniversary deluxe remaster features the original 9 tracks (remastered) along with 5 previously unreleased bonus tracks.
Devil Is Fine serves as Manuel Gagneux’s debut release through this one-man project, as he smashes extreme music against African American spirituals alongside a lullaby-inducing electro triptych.
Black metal is perverted through Come On Down’s tremolo-picked fury and shrieking, but then it’s into gorgeous blues croons, classic metal riffing, and back to Satan squeezing Manuel’s knackersack. Whether the genres run in tandem or successively, the blend’s never jarring. Children’s Summon is basically In Flames at their melodeath best channelling Rotting Christ.
This is raw, unfiltered ceremonial gong ensemble music recorded on location by Laurent Jeanneau in Ratanakiri, Cambodia’s northeastern province, bordering Laos and Vietnam. Along with Mondolkiri to the south, it was once home to many of the country’s ethnic minority communities. During the colonial period, the French failed to establish full control over the region. After independence, the Khmer state also struggled to govern it, while Khmer Rouge rebels hid in its forests in the 1960s amid the wider conflict between communist Vietnam and the United States. The Khmer Rouge takeover in 1975 and the subsequent Vietnamese occupation, which lasted until 1991, could have devastated the traditions of northeastern Cambodia’s ethnic minorities.
Pop historian Jon Savage knows his way not only around compelling books, but also around coherent compilations of the most varied sonic contexts. Now he excavates, once again, the musical spirit of an era that produced legendary things: Savage illuminates San Francisco’s subculture of the late 1960s and early 1970s, beyond the clichés of flower power. The picture Savage draws sounds scruffier, grainier, above all more faceted and more branched than the polished historiography would suggest.
‘Alabama Bound’, originally a folk traditional, was interpreted around 1966 by The Charlatans – meaning the psychedelic rock band that also bore this name – in a rather dragging, almost trance-like manner. Even so, the song’s country…
Filmmaker, author, musician and Indian classical music industry academic Robert Millis presents a sequel to his 2018 book/2CD compilation Indian Talking Machine with this incredible double LP haul of instrumental Hindustani, Carnatic and folk 78rpm records from the subcontinent featuring over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, vina and more. Indian Talking Machine Part Two features Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered.
The Indian classical instrumental tradition is…
The 1970s was a truly glorious decade of reggae. While the likes of Bob Marley, Burning Spear and Culture powerfully highlighted political and social inequalities, and the message of Rasta, other artists, both in Jamaica and the UK, drew inspiration from the joys and pains of romantic love. The widespread popularity of love-themed reggae during this golden period is highlighted on this essential 2CD collection which brings together 46 of the most popular romantic reggae recordings ever to have seen issue.
Included are an array of major reggae hits, their number including ‘Silly Games’, ‘Tears On My Pillow’, ‘Three Times a Lady’, and ‘The Closer I Get to You’, performed by such celebrated exponents of the lovers style as Janet Kay,…
The name was an explicit signpost. Maryland’s Velocity Girl named themselves after the B-side of Primal Scream’s May 1986 second single “Crystal Crescent.” At this point, Bobby Gillespie and Co were still a Byrds-leaning, Sixties-inclined, polkadotted jangly pop outfit. There were no hints of what came later.
Velocity Girl formed in College Park, Maryland in 1989 but were embedded in the Washington, DC music scene – one which, for much of the outside world, was defined by hardcore punk and the various flavours springing from it represented by bands like Fugazi and Nation of Ulysses. Looking to any British indie archetype was atypical. As the liner notes for new compilation 1989-1992 put it, “Velocity Girl arose from a new…
…Across western Algeria, the gasba, a reed flute central to Bedouin folk traditions and ceremonial music, continues to appear in new forms. Once associated primarily with saint festivals and trance rituals, its distinctive hypnotic sound now sits alongside the drum machines, synths and electronic textures of contemporary raï.
The recordings collected here come from Oran, the port city of Western Algeria widely regarded as the birthplace of raï. Before raï became an international pop phenomenon, its foundations were rooted in older Bedouin musical traditions from the surrounding countryside: gasba flute melodies, guellal drum rhythms, improvised folk poetry and songs performed at weddings, zerdas and informal gatherings. Many of the musical…