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John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

After touring the globe showcasing their A/V moshpit-inducing live show, they are revealing their new musical creations to an unsuspecting public. Never Sleep are proud to present a landmark moment in the Japanese hardcore new rave scene. The blinding lights of DEATH RAVE point to an untraveled journey, a sci-fi fusion of black metal, gabber, cyberpunk, performance art and techno. It’s their first for the Berlin label (founded by Gabber Eleganza) following 2021’s EP Principle of Light Speed Variance. Full description VMO aka Violent Magic Orchestra break through the darkness and herald a spectacular mould-melting sound on their forthcoming album DEATH RAVE. After touring the globe showcasing their A/V moshpit-inducing live show, they are revealing their new musical creations to an unsuspecting public. Never Sleep are proud to present a landmark moment in the Japanese hardcore new rave scene. The blinding lights of DEATH RAVE point to an untraveled journey, a sci-fi fusion of black metal, gabber, cyberpunk, performance art and techno. It’s their first for the Berlin label (founded by Gabber Eleganza) following 2021’s EP Principle of Light Speed Variance. Ahead of the release VMO have brought their digital harcore to festivals around the globe, including Roadburn Festival, BANG FACE Weekender, Brutal Assault extreme music festival, Le Guess Who?, CTM Berlin and Dark Mofo. Their performance is the ultimate extreme visual music project in which techno, black metal, and industrial unite to create a ritual from the near future, 2099. All visual art and stage setting is provided by non-touring member, artist and programmer Kezzardrix (who has been visual director for millennium parade and BABYMETAL previously).The power consumption of a VMO show is equivalent to 56 guitar amplifiers, 5000W, a mind-expanding supreme noise and light experience. The band members all go by the names of classic black metal bands rendered in the Japanese katakana script; “ダークスローン”; “メイヘム”, and “エンペラー”. Their new LP is the first to feature lead vocalist ザスター. The record features guest vocals from extreme metal icon Attila Csihar, known for singing with Mayhem and Sunn O))). Other featured artists include Dylan Walker, singer of Full of Hell, punk-techno artist Infinity Division (aka Ash Luk), Icelandic darkwavers Kælan Mikla and Ican Harem of Gabber Modus Operandi. The result is a leap forward from their 2016 debut, where they have found a singularity where death metal meets Kraftwerk, or Rephlex goes black. Dressed in corpse paint and other hell-raising looks, onstage they are like “Shinigami (death gods) from the Death Note manga”. Singles Venom, Supergaze and Martello Mosh Pit featuring Gabber Eleganza have been released in the lead up to the record and have been shocking techno dance floors too with their hi-NRG-symphonic doom-gaze. They have shared their video for Planet Helvetech (here), created by Berlin-based Patrick Defasten. Helvetech combines the Norwegian word for hell (hevlete) with techno and is a reference to the infamous black metal shop founded by Mayhem’s Euronymous. It’s a song that imagines time travel from 2099 on the planet Helvetech (where VMO comes from) to 1990s Oslo. In 2023, they performed at the CTM festival in Berlin, as well as at Berghain, receiving rave reviews. At Sydney’s leading multi-sensory SOFT CENTER festival they drove the crowd into a frenzy on the 17 metre X 30 metre jumbo screen. They have also collaborated with artists, performing at the two day installation by the trailblazing Tianzhuo Chen - The Shepherd - at the Kyoto International Performing Arts Festival in 2021 here. At Sónar 2023, VMO provided the music for Taiwanese visual artist Yuen Hsieh’s work about virtual life after death DIGITAL AFTERLIFE AGENCY here. VMO will tour the world again for the new record, with appearances at ROSKILDE and media art and music fest Sónar 2024 announced so far and the DEATH RAVE experience getting bigger and bigger.

Bruce Springsteens Album BORN IN THE U.S.A. wird anlässlich seines 40-jährigen Jubiläums auf farbigem Vinyl (transparent rot) wiederaufgelegt. Weitere besondere Features dieser Edition: Gatefold-Cover und ein exklusives Booklet mit Archivmaterial aus der Entstehungszeit des Albums, neuen Liner Notes von Erik Flannigan und einer vierfarbigen Lithografie.

Nach seinem Release am 4. Juni 1984 brach BORN IN THE U.S.A. alle Rekorde. Nicht nur, dass es gleich sieben Titel der Tracklist in die Top Ten der Charts schafften, was bis dahin keinem Künstler gelungen war.

Auch die Verkaufszahlen waren mit (bis heute) 17 Millionen verkauften Einheiten ebenfalls spektakulär.

Hailing from Toronto, the dynamic indie rock quintet, Good Kid, comprises lead vocalist Nick Frosst, drummer Jon Kereliuk, bassist Michael Kozakov, and guitarists David Wood and Jacob Tsafatinos, who thrives as a vibrant community fueled by the boundless enthusiasm of its listeners. Their eclectic blend of J-rock, indie-rock and pop-punk resonates with high-energy riffs, catchy melodies and clever lyricism.

Bergen, Norway- Blood Command have announced their new studio album, "World Domination"(Produced by Yngve Andersen) to be released on the 29th September 2023 through Hassle and Loyal Blood Records. Alongside the announcement is the third and title track single, another self-proclaimed "loser anthem, that tells the sad story of never being good enough for the person of your dreams"

Whilst early singles have cradled audiences with their ethereal death pop sound, make no mistake, the album "World Domination" is 20 rapid bursts of every side the band has to offer. Infectious grooves, blast beats, singer Nikki Brumen’s powerful screams and riot grrrl chanting, techno interludes and that delicate side which lulls you into a false sense of security before ripping into the listener once more.

The record dives into unrequited love, the hatred of the unjust, the power of faith and the darkness of the abyss and never giving up on trying to climb out of it.

"Like various underground religious groups throughout history, Blood Command’s ever growing following, The Awaketeam, is rising around the globe, and we are not stopping until World Domination. So keep your eyes peeled for purple shrouds, three stripes and black and white sneakers."

This is Blood Command at its most interesting. Come and be a part of the movement.

SCAR is an artist who also runs record shop, book shop and radio station KINDRED. She brings us AIRD tapes as an amalgamation of the art and sound world she exists in - this mixtape a journey of ambient terrain.

At the frayed bottom-edge of Indiana - just a moderate bike ride north of Louisville, Kentucky - multi-instrumentalist, artist and songwriter Ryan Davis' Americana-noir soundwaves have been emanating for years in a myriad of forms. As driving force for the lauded State Champion, long-running member of Tropical Trash, administrator of the esoteric and excellent Cropped Out festival, and lone proprietor of the Sophomore Lounge label, Davis lays down his first proper 'solo' release with Dancing On The Edge, a rich, 2LP tapestry of tunes that absolutely glows over seven expansive cuts. It's a pure collage of modernity and heritage. Recorded in early 2023 with help both in-studio and remotely from peers like Joan Shelley, Catherine Irwin (Freakwater), Will Lawrence (Felice Brothers, Gun Outfit, John Early), Jenny Rose (Giving Up), Christopher May (Mail the Horse), Elisabeth Fuchsia (Footings, Bonnie "Prince" Billy), and Aaron Rosenblum (Son of Earth, Sapat), the results herein are melancholic, gentle, minimal yet colorful in mood: a lilting highway accompaniment of crisp instrumentation and a relaxed, amiable approach to vocals with rhapsodic wordsmithery. Fans of the aforementioned artists as well as those of Souled American, David Berman, Kurt Vile and 'Comes A Time'-era Neil should all easily find bounty. While bare-boned and uncluttered in presentation, many of these pieces track over 6 minutes allowing a fair amount of expansiveness. Dancing On The Edge stares down into the navel of the American Experience underbelly with a fair amount of outward reach. Besides the Kosmische-synth and violin stabs reaching into a European element, stately organ swells build a musical bridge between 1969 Southern California and Felt's latter era smooth moves, with layers of intelligent gesture taking this well beyond the realm of its archetypal indie troubadour/acoustic songwriter tag. Music and mint juleps never went down so well together." Originally released via Ryan's own label, Sophomore Lounge, in the US late 2023, it picked up some incredible reviews: best of 2023 in both Pitchfork and Rolling Stone, 9/10 lead review in Uncut, and a raft of other notable publications. "This is the sound of someone bearing a torch." - Bill Callahan (Smog) - RIYL Silver Jews, BPB, Lambchop, Cass McCoombs, Sparklehorse.

In March 2023, @ turned heads with their debut album Mind Palace Music that utilized an array of acoustic instrumentation and densely layered harmonies, like the great outsider folk records of the 60s and 70s and placed it in a modern setting. If Mind Palace Music was @ playing on story mode, their new EP Are You There God? It’s Me, @ is the darker, stranger side quest.
Mind Palace Music was written in very specific circumstances. The band was formed while they were confined to their homes during quarantine — Victoria Rose in Philadelphia and Stone Filipczak in Baltimore — exchanging musical sketches over iMessage and email. Even though the world has opened back up and they’ve been able to play together live, this EP was again created remotely while in their respective cities. What did change, however, was the production.
Are You There God? It’s Me, @ is @’s foray into electronic music — consisting primarily of software instrumentation (with the occasional flute, guitar or bass part sprinkled in). The band’s experience producing in this style was minimal, but they found the new process to be a rewarding exercise allowing them to explore new textures and structures made possible by computer music. Where their previous acoustic recordings had a looser and more human feel, these new songs allowed them to experiment with autotune and quantized beats. Rose was able to resurrect her passion for classical choir by singing and recording a capella vocal arrangements to be incorporated into Filipczak’s instrumentals.
Across five songs, @ call upon a higher power, as the title suggests, in search of fulfillment. While they try to remain hopeful, daily suffering casts doubt on whether that high power even exists. On “Soul Hole,” overtop an autotuned vocal loop and hyper-pop-esque production, Rose repeats “I’m going to the soul hole and I’m never coming back,” hoping to leave behind the material world and the desires that comes with it. “Webcrawler,” named after the pioneering search engine, might be considered Are You There God?’s epic. @ sees their search for meaning in life akin to how search engines pull together data from all over the internet to find answers. The music itself is even reminiscent of dial-up internet connection, with droning keys and machine-like drum programming until overheating and erupting into chaos, in the form of heavy-metal shredding, only to cool down again back on a loading screen.
While the band confesses the departure from their usual sound may only be temporary, it’s an exciting listen full of twists and turns that surprised even themselves. “We’re both really dramatic in our musical sensibilities and don’t shy away from ridiculous choices,” Rose recalls, “which can really be exaggerated when working mostly with electronic sounds.” Full of soul searching and sonic experimentation, Are You There God? It’s Me, @ is an encapsulating spiritual saga for the digital age.

Over the course of a couple of years in the mid-1970s, several musicians from the St. Louis, Missouri area gave notice to club and festival crowds that they were there to rock the house down. Their cover and original songs were accentuated by a bedrock rhythm section, heavy guitar riffs and tasty solos, topped off with powerful vocals. Rockers that witnessed them agree—Back Jack created solid songs and high-energy performances. Beginning in 1971 as Trellis, the band members changed their name to Back Jack when they saw the bumper sticker that Kim McKinney’s dad, Jack McKinney, distributed during his election bid for the Mayor of Pacific, Missouri, home of the core three-piece band: Kim McKinney, Mike Collier, and Hans Myers (RIP). The 1974 version of Back Jack was active from very early 1974 to late-fall of 1974. The core three-piece band, Collier, McKinney, and Myers, recorded several tracks during their tenure and four of those tracks are included on this release. Temporary band members not on the recordings were Gary Reed (piano, RIP), Greg Witt (guitar, keyboards), Paul Cockrum (guitar), and Bill Niehoff (drums). The four-piece, 1975 version of Back Jack was a merging of members of Back Jack 1974 (Mike Collier and Kim McKinney) and another local band, Osage Lute (Jeff Ballew and Mike Lusher). They were active from late-fall of 1974 to late-summer of 1975. Four of the tracks on the Back Jack LP were recorded by these four musicians.

Torai at the helm of his third Lunar Orbiter Program's mission.

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

Originalmusik von den Chiptune-Rockern Anamanaguchi (Künstlerveröffentlichungen, Scott Pilgrim Videospiel, Capsule Silence XXIV) und Joseph Trapanese (Oblivion, Straight Outta Compton, No One Will Save You, The Greatest Showman, Skull Island, The Witcher, The Machine, Star Wars: Tales from the Galaxy's Edge, Stuber), mit Originalsongs von Anamanaguchi.

Scott Pilgrim Takes Off ist eine Anime-Streaming-Fernsehserie, die von Bryan Lee O'Malley und BenDavid Grabinski für Netflix entwickelt wurde. Die Serie basiert auf den Scott Pilgrim-Grafikromanen, die von O'Malley geschrieben und gezeichnet wurden, wobei die gesamte Hauptbesetzung aus der Verfilmung von 2010, Scott Pilgrim vs. the World, ihre Rollen für die englische Sprachbesetzung wieder aufnimmt, und dient sowohl als Fortsetzung als auch als Neuinterpretation des Grafikromans und des Films. Die Serie wurde am 17. November 2023 veröffentlicht und von der Öffentlichkeit
begeistert aufgenommen. Im Gegensatz zur Verfilmung, die weitgehend die gleiche Geschichte wie die Comics erzählte, weist "Takes Off" eine völlig eigenständige Handlung auf: Der titelgebende Scott Pilgrim verschwindet in der ersten Folge, und Ramona Flowers, sein Liebesinteresse, steht im Mittelpunkt, während sie versucht, herauszufinden, wer von den Darstellern für sein Verschwinden verantwortlich ist, während andere Figuren in der Geschichte an einer fiktiven Adaption von Scotts Leben arbeiten.

Words And Music" ist eine 3xLP-Box mit dem Werk der im Jahr 2021 verstorbenen Sängerin und Songwriterin MARGO GURYAN. Als Zeugin von Revolutionen in Jazz und Pop hat sich GURYAN ihren Platz im Pantheon der Songwriter verdient. Dass sie jahrzehntelang weitgehend unbekannt war, liegt nicht an zerstörten Träumen, sondern an ihren eigenen Entscheidungen und Prioritäten. Von den bescheidenen Anfängen über die Höhepunkte ihres barocken Pop-Meisterwerks "Take A Picture" von 1968 und die gesammelten Demos bis hin zur jüngsten viralen Verbreitung von "Why Do I Cry" - das Boxset "Words And Music" fängt die gesamte Karriere von GURYAN ein, einschließlich 16 bisher unveröffentlichter Aufnahmen und einem 32-seitigen Booklet, das ihre ganze Geschichte erzählt. Produziert wurde die Box von ihrem Stiefsohn Jonathan Rosner, ihrem Freund und Historiker Geoffrey Weiss und den Numero Group-Mitarbeitern Douglas Mcgowan, Rob Sevier und Ken Shipley. Alle Tracks wurden von Jessica Thompson neu gemastert. In ihrer Blütezeit veröffentlichte GURYAN nur ein einziges Album: "Take A Picture" von 1968. Da MARGO jedoch kein Interesse daran hatte, aufzutreten, zu touren und für ihr Werk zu werben, wurde das Album damals kaum beachtet. Dennoch wurde die Platte in den 1990er Jahren zu einem begehrten Kultobjekt. Eine neue Generation von Hörer*innen lernte ihre Arbeit kennen, als "Take A Picture" im Jahr 2000 neu aufgelegt wurde. Kurz darauf folgten die gesammelten Demos, eine unglaubliche Zusammenstellung von ausgegrabenen alternativen Aufnahmen und neu veröffentlichten Songs, die MARGO selbst betreut hat. GURYANs Leben war in den dazwischen liegenden Jahren weiterhin von Musik erfüllt; sie wurde Musiklehrerin, schrieb weiterhin Songs und pflegte Freundschaften mit einem wachsenden Kreis von Anhängern. Die Geschichte von MARGO GURYAN ist die einer Frau, die von klein auf in die Tiefe ging und nie Angst vor Veränderungen hatte. Ihr Gespür für Ton, Phrasierungen, Spannung, Präsenz und Texte, die treffen, machen ihren Namen heute zu einem Synonym für ausgefeiltes Songhandwerk und die unnachahmliche Coolness der 1960er Jahre. Ihr Einfallsreichtum und ihre Technik stellen sie in die Tradition von Kammer-Pop-Ikonen wie Brian Wilson und Burt Bacharach, während die bittersüße Offenheit in ihren Beschreibungen des Frauseins einen Mittelweg zwischen Carole Kings Pop-Fabrik und der Singer-Songwriter-Ära aufzeigt. Aber die unaufdringliche Strenge von MARGOs künstlerischer Stimme ist ganz ihre eigene.

Legendary band SOFT, the driving force behind Kyoto's party scene and underground music culture, releases their new album "Passing Tone" from their home base "softribe" to commemorate their 30th anniversary!

This release marks the first time since the 2018 album "Tokinami" that Soft has released new music. It also comes on the heels of the 2021 vinyl reissue of their 2010 album "Tam (Message To The Sun)" on the labels 17853 Records (headed by CHEE CHIMIZU), TUFF VINYL, and Crosspoint (headed by J.A.K.A.M.).

Guest appearance by former member PRITTI. The album was created by the three founding members: guitarist SIMIZ, drummer PON2, double bassist UCON plus engineer and electronic musician KND, a mainstay of the Kyoto music scene.

Evoking the energy of a live performance, the music pulses with psychedelic soundscapes and dub influences. The 30th anniversary live shows in Osaka and Kyoto were met with resounding success, and the Asian tour followed suit.

Experience the enchanting sounds of music born from Japan.

text by Saito (Newtone Records)

Cher and Christina Aguilera, together? On the same soundtrack? Who cares that the Burlesque film garnered mixed reviews at best (though a lot of folks now regard the 2010 feature as a camp classic)? The soundtrack had no such difficulties; the album release went Top 20 on the charts, won a Grammy nomination, and Cher’s performance of “You Haven’t Seen the Last of Me” won a Golden Globe Award for Best Original Song. Aguilera’s star turn was something of a coming-out party, too; not only did she enjoy critical acclaim for her first leading role in a film, but her musical contributions—featuring a couple of Etta James songs and a cover of Marlene Dietrich’s “A Guy What Takes His Time’’—were sassy, jazzy, and brassy, not unlike her work on her #1 album from 2006, Back to Basics. In short, this one’s a must for fans of either artist, and for this pressing, we at Real Gone Music have created a bling-y metallic gold vinyl edition housed inside a gatefold cover boasting some sensational production stills!

Are you ready to hear the best live band of the early ‘70s? We at Real Gone Music have been privileged and proud to release Fanny’s four classic Reprise albums, each a tuneful testament as to why they were the first all- female band signed to a major label. But there has always been a piece missing from the Fanny fable; for while the band hooked up with big-time producers and engineers like Richard Perry, Todd Rundgren, and Geoff Emerick, their studio albums never really were able to capture the sheer excitement they could generate in concert. However, buried away in a vault thousands of miles away from their Los Angeles base there long lay a recording that could make the Fanny myth a reality, one that could provide the emphatic answer as to why these four ladies were the hottest ticket on the Sunset Strip during the early ‘70s. Now, over 50 years later, its time—and their time—has come. Live on Beat-Club ’71-’72 presents the two sets Fanny recorded for the German TV show, mastered by Mike Milchner of Sonic Vision from hi-res mono files taken from the original videotape. Aside from the incendiary and incredibly tight performances, what immediately becomes apparent is that all four of these women were powerhouses in her own right. June Millington’s stringbending Les Paul wizardry, her sister Jean’s driving, melodic bass lines and Janis Joplin-esque vocals, Nickey Barclay’s intricate yet somehow rocking keyboard work, and Alice de Buhr’s precise, piston-like drumming punctuated by ferocious fills—put together Fanny was an overwhelming display of talent, Yet somehow, as these shows reveal, live they were greater than the sum of their parts. That’s why getting these recordings released has long been a crusade for Alice, and why June tells the story in the accompanying liner notes (which feature contributions from June, Jean, and Alice) that the engineer who was assigned to do the transfers of all the Beat-Club material told her that their material was the best in the vault, better even than Hendrix. We are releasing this invaluable archival recording on juicy peach vinyl and on CD with a bonus track of the soundcheck to boot. Essential for a full understanding of ‘70s rock!

Albums don’t get much more intimate than the ones made by Stina Nordenstam. The Swedish singer layers her delicate voice over minimal, ambient soundscapes, and her lyrics are impressionistic, personal, and poetic. It’s like you’re swimming in her stream of consciousness, which is a pretty nice place to be, especially on this 2001 album, which presents Stina at her dreamiest and poppiest. Long desired by vinyl fans, This Is Stina Nordenstam is here in a clear pressing with a color inner sleeve featuring lyrics. Mitchell Froom co-produces; includes a couple of duets with Suede’s Brett Anderson (on “Trainsurfing” and Keen Yellow Planet”)!

You remember this 1994 album... it’s the one with the hit song “Need You Around,” which was “around” pretty much everywhere back then, including in the movie Clueless (for that matter, “Lucky Day” from this album was in Tommy Boy, “Mrs. You & Me” was in Angus, and “Gotta Know Right Now” in Boys). That led to the Popes opening for acts like Morrissey, whose voice lead singer and songwriter Josh Caterer— one of three Caterer brothers in the band—rather echoes (Moz himself proclaimed this album “extraordinary, the most lovable thing I’d heard in years”). If you like power pop hooks with heart, look no further...our release comes in pink & white “sunburn” vinyl to honor the front cover photo (put a shirt on, man!) inside a gatefold jacket.

It’s a tough call which is the bigger cult classic, the Tank Girl movie or its accompanying soundtrack, but on balance, we’d have to go for the soundtrack. Yeah, the film had a cast composed of some of the most colorful characters (Iggy Pop, Ann Magnuson) and character actors (Malcolm McDowell, Ice-T, and of course the almighty Lori Petty!) in show biz. And, its dystopic, resource-starved desert setting, intense action sequences, and lead female character mark it as a feminist (albeit funnier) precursor to Mad Max: Fury Road. But check out the soundtrack’s bona-fides: assembled by Courtney Love herself, it features a Who’s Who of ‘90s female rock including Hole, Björk, L7, Veruca Salt, and Belly among others. Plus, it even has tracks that were exclusive to its release, like a unique version of Devo’s “Girl U Want,” “Mockingbird Girl” by The Magnificent Bastards (a side project of the late Scott Weiland of Stone Temple Pilots), and a duet of “Let’s Do It, Let’s Fall in Love” between Joan Jett and The Replacements’ Paul Westerberg. In short, if there ever was a score that needs to be on wax, this would be it. We’ve done it right, too, with a gatefold jacket featuring the trademark comic book art and stills from the film, and a neon yellow vinyl pressing limited to 750 copies!

Experience the sonic journey that is The Black Dog's latest album, "Other, Like Me," as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, "Other, Like Me", draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, "Other, Like Me" offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

The three howler monkeys of NAG strike back with their new album “Boys Of Europe”. They debuted in 2016 as an exciting breath of basement-smelling air. Their moderately original alternative cement mix of the filthiest of punk, the truest of hardcore, and the evilest of metal was very well received. Then came gigs and tours around Europe before the second album was released in 2018, to raving reviews too, ofcourse. But then there was dead silence. For a long time. Now they’ve finally returned from obscurity with ten perfected and mighty NAG-tunes. Indeed, their hair has become greyer, and their backs hurt more, but there’s no way you can tell. They still sound like raging Norwegian teenagers. NAG has stayed true to their original ‘crust punk black metal’ formula, and the new album is as hard, fast and straightforward as anything they’ve done before.

he Album „hi“ is an invitation by Dani Scheffels to explore different emotions while listening to his instrumental music.

In his debut album, the Munich based multi-instrumentalist presents music, that is influenced by both his background as an accomplished drummer as well as his love for modern jazz and experimental electronic music.

There is no rule in his writing except one: no lyrics.

That way everyone can tie the emotional music to their own experiences best.
First not sure, if he wanted any features on this album, he decided to collaborate with his sister Amelie Scheffels on the track “this” and his longtime friend Ralph Heidel (known for his brilliant releases on the Kryptox-label, as well as through his work as musical director for artists such as Casper, Tarek K.I.Z, Drangsal, Bazzazian just to name a few..) on the track “finally”. “hi” is the second LP-release on the Munich based label tunnel.visions.

The fourth album by Love Battery, 'Straight Freak Ticket' (1994), now out for the first time on vinyl! Remastered by Jack Endino (Nirvana, Soundgarden, etc.) 'Straight Freak Ticket' is the 4th album by Seattle alternative rock band Love Battery. It was originally recorded in 1994 and released only in USA and on CD format - now it is being released on vinyl for the first time. The Seattle Post-Intelligencer called the album "a solid, well-produced album of guitar-based rock with catchy hooks and a strong dose of psychedelia." USA Today labeled the album "a psychedelic tour de force and dramatic leap forward," writing that "the antigrunge guitar riff-o-rama of Ron Nine and Kevin Whitworth propels the Seattle quartet's most adventurous and listenable tunes to date." The band, featuring members of Mother Love Bone, Green River, Skin Yard, The Presidents of the USA, is: Ron Nine - Vocals, Guitar Kevin Whitworth - Guitar Jason Finn - Drums Bruce Fairweather - Bass

Since 2014 the music of Killers Walk Among Us has slowly spread worldwide and has grown a cult following among indie music aficionados celebrating the grandiose post rock crescendos mixed with Stefan Holmbergs heartbreakingly emotional lyrics and vocals. The album was praised upon its release by critics and fans alike, and since then the vinyl release has been a well sought out gem among record collectors. Now, in 2024, the surviving members of Killers Walk Among Us have regrouped for the 10 year anniversary of their self-titled album, recording the previously unreleased track When the Caged Bird Sings to be include on the re-mastered version of their seminal debut. The music shall prevail.

Kiyoshi Yamaya's "Japanese melody by PCM recording" series second work. A crossover sound picture scroll created by the genius Kiyoshi Yamaya on the theme of Kyoto, featuring Toshiko Yonekawa (1st), who later became a Living National Treasure."

A1. Koto / B1. Kyo gion warabeuta

First time released on Vinyl. Unheard since 2007. Artwork by Maliq Griffin aka DJ Porno (Tame’s long-time collaborator and friend.)
An unreleased Stretch Armstrong HOT 97 freestyle ft. Redman and Rah Digga. Remastered production by Shape, Mishap, and others.
We’re honoured to reissue an album by a truly unique voice in hip hop and dearly missed friend, Tame One. The year is 2007, Fresh off collaborations with the likes of El-P, Cage, and The Weathermen, Tame One - one half of the Newark duo The Artifacts, was approached by a Montclair skateboard shop Division East, as he personified their East Coast new school culture of skating, graffiti, and MCing. This relationship gave way to Division East Records and their first full length release entitled "The Grudge." Despite its merits and the efforts of those involved, the album went largely unheard outside of NJ hip-hop circles. Call it a casualty of the post-CD/pre-streaming musical landscape of the early 00’s. Now, 17 years later and almost 2 years after his heartbreaking transition, issued for the time on purple vinyl, Tame One’s The Grudge

repressed !

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

Keeley's unique elemental voice again sits centrally within this world-building. Her cathartic reflections are exorcisms in song. We hear an artist making sense of her life, willing to expose vulnerability without ever appearing weak. Working again with producer Ross Downes, the LP features Matthew Bourne and Colin Stetson, Forsyth sought to expand both her voice and music. Taking aspects of sacred music, minimalist post-classical, dark ambient, film and theatre soundtracks, she layers her vocals into chamber choirs, applies pitch shifts and other digital processing, moves from clear articulate intention to mumbled numb utterances.

Composer Mihály Vig's score to Bela Tarr’s film 'The Turin Horse' is reimagined as a pressurised outpouring, recasting the everyday within a mythical light of survival and hope. On ‘A Shift’, Mal Finch's protest song ‘We Are Women, We Are Strong ‘, originally sung by wives and daughters in support of the '80s miner’s strikes, is recontextualised in solidarity for an experience of creative labour.

Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.