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In 1976, he self-released Sneakers, one of the very first American \"indie\" records, then relocated to Manhattan in 1977 to play and record with Alex Chilton. He formed The dB's in 1978, with Holsapple, then recorded well-received solo records for A\u0026amp;M and Warners, and toured with Anton Fier's Golden Palominos (with Michael Stipe [R.E.M.], Jack Bruce [Cream], and Bernie Worrell). As a producer, arranger, and mixer, he has worked with over a hundred artists, including Alejandro Escovedo, Kronos Quartet, Flat Duo Jets, Skylar Gudasz, Branford Marsalis, Ryan Adams, Tift Merritt, Le Tigre, Those Pretty Wrongs, The Salt Collective, and Yo La Tengo. From 2010-2018, Stamey was orchestrator and musical director for an international series of concert performances of Big Star's classic album Third, and continues to tour as part of the Big Star Quintet. A \"songwriting memoir,\" A Spy in the House of Loud (Univ. Of Texas Press), was published in 2018. His recent releases include Anything Is Possible (Label 51), with contributions from the Lemon Twigs and members of Brian Wilson's band, as well as The Great Escape, Lovesick Blues, Euphoria, and New Songs for the 20th Century. 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Captured in the spring of 2003, the Lyon-based collective condensed years of experimentation into an 11-track journey that redefines what live dub can be. A moment in their evolutionSince their formation in 1997, High Tone have stood at the crossroads of dub, electronic music, rock, and urban culture. With Jarring Effects as their home base, they built a reputation for transforming the stage into a laboratory - a place where basslines mutate, beats deconstruct, and every frequency breathes.High Tone Live draws from four key releases - Low Tone, Opus Incertum, Bass Température and ADN - Acid Dub Nucleik - revisiting them through the raw energy of the stage. Classics like \"Dehli Katmandou\" and \"Enter the Dragon\" are stretched, twisted, and reborn in extended, improvisational forms. Two unreleased tracks, \"112 Dub\" and \"Onew Dub,\" complete the set, adding a dose of fresh material to a disc that feels both retrospective and forward-looking. Why this live record mattersPlenty of live albums simply document a band's tour. High Tone Live goes further - it captures the group's alchemy in real time. You can feel the tension between precision and chaos, structure and freedom. The dub elements - delay, echo, reverb - act less as production tricks and more as instruments in their own right. Every layer, every drop, is alive.At a time when the French dub scene was carving it's own identity, High Tone offered something distinctly theirs: electronic, cinematic, and fiercely independent. The sound is heavier, more immediate than in the studio. It breathes, it sweats, it moves. Not flawless - and that's the pointAs with any live recording, there are rough edges: the mix shifts, some moments feel caught mid-explosion. But that's the beauty of High Tone Live. The imperfections add warmth, immediacy - a reminder that this music is made by humans pushing machines to their limits.For newcomers, it may feel like a cross-section rather than a continuous journey, since the set pulls from several albums. Yet for fans, it's a perfect snapshot of the group's artistic peak: raw, fearless, and sonically boundless.VerdictHigh Tone Live stands as one of the strongest documents of Europe's post-dub explosion. It's a record that bridges continents and genres - a sonic travelogue where analog grit meets digital hypnosis. More than a live set, it's a manifesto of independence and sound exploration, stamped with the unmistakable seal of Jarring Effects. \"Dub is about sound treatment - delay and reverb - but it's not our musical culture. We come more from rock,\" the band once said. 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Their sound? A merciless onslaught of classic heavy metal fused with the razor-sharp aggression of American power metal: galloping riffs that crush skulls, vocals that command obedience, and rhythms that thunder like the genre's golden gods reborn. Lyrics dripping with betrayal, revenge, social gut-punches, and the unbreakable triumph of metal itself - Blacklyst speaks straight to the diehards, no matter the era.Now, Lost Realm Records proudly resurrects the beast with Living On The Edge - The Demos: the first-ever official collection of Blacklyst's savage demos, spanning 1990 to 2004. This isn't polished nostalgia... It's a time capsule of pure underground fury that comprises: 1990 studio assaults from the band's chaotic, lineup-shifting dawn; mid-90s demos produced by Eric Wagner (from the legendary band TROUBLE), recorded during a dark period for traditional heavy metal, and early 2000s comeback recordings, with a new line-up.From the peak of their classic full-length album Liars, Killers And Master Thieves (1991) to every unreleased sonic riff in between, Living On The Edge - The Demos revives these forgotten Chicago metal heroes in all their unfiltered glory. If demo grit makes you flinch, then this release isn't for you. 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Originally released in 1989 by New Renaissance Records, this underground gem is making a powerful return, giving fans the opportunity to experience it's raw energy in both analog and digital formats.Formed in 1984 in Chicago, Illinois, Amulance quickly carved a name in the Midwest metal scene with their electrifying live shows and a sound that fused traditional heavy metal with the burgeoning US power metal style. Feel the Pain, their debut full-length album, is a high-octane blend of speed, melody, and intensity, showcasing blistering riffs, soaring vocals from frontman Rik Baez, and a relentless rhythm section anchored by drummer Eric Wedow and bassist Tom Braddish. The album perfectly captures the gritty spirit of the late '80s underground metal scene, standing tall alongside bands like METAL CHURCH, OMEN, and HELSTAR. 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