Search:2 black 4 u

Beyond the Flesh (Re-issue) Almost ten years since its initial release Century Media re-releases "BEYOND THE FLESH" on CD and vinyl with remastered sound! After a phenomenal demo tape, SKELETAL REMAINS from California (USA) released their first full length album in 2012 which offers classic Death Metal from the rotten crypt and awakes the spirit of late 80s/ early 90s Morrisound stuff. If you like the early hymns of Gorguts, Pestilence, Death or Morgoth surely, you'll freak out with Skeletal Remains! "BEYOND THE FLESH" will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 Bonus tracks from “Desolate Isolation” Demo) and Gatefold LP (180g vinyl). Condemned to Misery (Re-issue) Half a decade since its initial release Century Media re-releases “CONDEMNED TO MISERY” on CD and vinyl with remastered sound! Three years after having released their studio debut album SKELETAL REMAINS dropped their second kick-ass Death Metal album. This is a Must-Have for fans of well-groomed Oldschool Death Metal. “CONDEMNED TO MISERY” will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 “live in Tokyo 2016”-tracks) and Gatefold LP (180g vinyl). Desolate Isolation – 10th Anniversary Edition Founded in 2011 Califonian Death Metal force SKELETAL REMAINS quickly evolved into one of the new driving forces within the hard-contested Death Metal landscape after releasing four powerful studio records. To celebrate the bands 10th anniversary Century Media releases something special and reissues the 2011 “Desolate Isolation” demo tape on 180g vinyl including various bonus content (4 “live in Tokyo 2016”-tracks, 3 bonus tracks) compiled from one decade of SKELETAL REMAINS band history. Featuring a brand-new artwork by Mark Riddick this release is the definitive SKELETAL REMAINS collectors’ item for every die-hard fan out there. “Desolate Isolation – 10th Anniversary Edition” will be re-released on May 21st and will be available as black LP and on all digital platforms.

Beyond the Flesh (Re-issue) Almost ten years since its initial release Century Media re-releases "BEYOND THE FLESH" on CD and vinyl with remastered sound! After a phenomenal demo tape, SKELETAL REMAINS from California (USA) released their first full length album in 2012 which offers classic Death Metal from the rotten crypt and awakes the spirit of late 80s/ early 90s Morrisound stuff. If you like the early hymns of Gorguts, Pestilence, Death or Morgoth surely, you'll freak out with Skeletal Remains! "BEYOND THE FLESH" will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 Bonus tracks from “Desolate Isolation” Demo) and Gatefold LP (180g vinyl). Condemned to Misery (Re-issue) Half a decade since its initial release Century Media re-releases “CONDEMNED TO MISERY” on CD and vinyl with remastered sound! Three years after having released their studio debut album SKELETAL REMAINS dropped their second kick-ass Death Metal album. This is a Must-Have for fans of well-groomed Oldschool Death Metal. “CONDEMNED TO MISERY” will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 “live in Tokyo 2016”-tracks) and Gatefold LP (180g vinyl). Desolate Isolation – 10th Anniversary Edition Founded in 2011 Califonian Death Metal force SKELETAL REMAINS quickly evolved into one of the new driving forces within the hard-contested Death Metal landscape after releasing four powerful studio records. To celebrate the bands 10th anniversary Century Media releases something special and reissues the 2011 “Desolate Isolation” demo tape on 180g vinyl including various bonus content (4 “live in Tokyo 2016”-tracks, 3 bonus tracks) compiled from one decade of SKELETAL REMAINS band history. Featuring a brand-new artwork by Mark Riddick this release is the definitive SKELETAL REMAINS collectors’ item for every die-hard fan out there. “Desolate Isolation – 10th Anniversary Edition” will be re-released on May 21st and will be available as black LP and on all digital platforms.

Beyond the Flesh (Re-issue) Almost ten years since its initial release Century Media re-releases "BEYOND THE FLESH" on CD and vinyl with remastered sound! After a phenomenal demo tape, SKELETAL REMAINS from California (USA) released their first full length album in 2012 which offers classic Death Metal from the rotten crypt and awakes the spirit of late 80s/ early 90s Morrisound stuff. If you like the early hymns of Gorguts, Pestilence, Death or Morgoth surely, you'll freak out with Skeletal Remains! "BEYOND THE FLESH" will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 Bonus tracks from “Desolate Isolation” Demo) and Gatefold LP (180g vinyl). Condemned to Misery (Re-issue) Half a decade since its initial release Century Media re-releases “CONDEMNED TO MISERY” on CD and vinyl with remastered sound! Three years after having released their studio debut album SKELETAL REMAINS dropped their second kick-ass Death Metal album. This is a Must-Have for fans of well-groomed Oldschool Death Metal. “CONDEMNED TO MISERY” will be re-released on May 21st and will be available as Ltd. CD Edition (+ 4 “live in Tokyo 2016”-tracks) and Gatefold LP (180g vinyl). Desolate Isolation – 10th Anniversary Edition Founded in 2011 Califonian Death Metal force SKELETAL REMAINS quickly evolved into one of the new driving forces within the hard-contested Death Metal landscape after releasing four powerful studio records. To celebrate the bands 10th anniversary Century Media releases something special and reissues the 2011 “Desolate Isolation” demo tape on 180g vinyl including various bonus content (4 “live in Tokyo 2016”-tracks, 3 bonus tracks) compiled from one decade of SKELETAL REMAINS band history. Featuring a brand-new artwork by Mark Riddick this release is the definitive SKELETAL REMAINS collectors’ item for every die-hard fan out there. “Desolate Isolation – 10th Anniversary Edition” will be re-released on May 21st and will be available as black LP and on all digital platforms.

Toronto-based punk rockers Billy Talent released their fifth studio album Afraid of Heights in 2016. Preceded by the strong singles “Afraid of Heights”, “Louder than the DJ” and “Ghost Ship of Cannibal Rats”, the album became both a critical and a commercial success. It hit number 1 on the album charts in several countries including their native Canada. It is the first album with drummer Jordan Hastings (of Alexisonfire fame), after drummer Aaron Solowoniuk announced he would not be able to play drums for the foreseeable future due to a multiple sclerosis relapse. However, Solowoniuk very much remained part of the band and was involved in the recording of the album. It was a new chapter for Billy Talent, but the trusted high-energy punk rock that they are known for remains more than solid. Just listen to the thumping “The Crutch” or the introspective epic “Rabbit Down The Hole”.

The album is released as a limited edition of 3000 individually numbered copies on bloody mary (transparent red & solid white & black mixed) coloured vinyl. It is housed in a UV matte finished gatefold sleeve, which also contains a 4-page booklet and an exclusive art print by Igor Hofbauer.

BLK JKS are a seminal force in the South African underground.
After an extended hiatus the Johannesburg foursome, championed by The Mars
Volta and TV On The Radio (amongst many others), return with a groundbreaking
new album.
Monster grooves meet guitar and brass driven afro-rock. Echoes of spiritual jazz, postapocalyptic funk, renegade dub and kwaito.
Features Malian guitarist Vieux Farka Tour and Beastie Boys accomplice Money Mark
on the track “Maiga.”
”This South African art-rock band traffics in complexity, cross-hatching not only rhythms
and textures but also the signifiers of genre”- The New York Times
“A prequel to 2009’s amazing After Robots … What occurs when you listen to Abantu is
that it is an Old Testament support to After Robots – where that album prophesied Afropunk, this album suggests the roots to that moment, an engrossing journey of Afrobeat,
fuzzy yet hugely suggestive drone and psych textures, and a bristling sense of both pride
and critique that sings through.” The Wire
“A dark and brooding number that simmers and smoulders as it goes, fueled by a driving
rhythm section and mournful horns.” - Brooklyn Vegan about single “Human Hearts”
“BLK JKS, an awe-inspiring exemplar of modern Africa’s indigenous sound, make a victorious return after an extended hiatus … They create something unique on this album.”
***** Morning Star

After getting a handful a couple of weeks back, we now have a good supply of this wonderful album coming in: in for 14th May release date.
With her ambidextrous and pedidextrous, multi-instrumental
techniques of her own making and influences ranging from video
games to West African griots subverting the predominantly
white male canon of fingerstyle guitar, Yasmin Williams is truly
a guitarist for the new century. So too is her stunning sophomore
release, Urban Driftwood, an album for and of these times.
Though the record is instrumental, its songs follow a narrative
arc of 2020, illustrating both a personal journey and a national
reckoning, through Williams’ evocative, lyrical compositions.
Williams, 24, began playing electric guitar in eighth grade,
after she beat the video game Guitar Hero 2 on expert level.
Initially inspired by Jimi Hendrix and other shredders she
was familiar with through the game, she quickly moved on to
acoustic guitar, finding that it allowed her to combine fingerstyle
techniques with the lap-tapping she had developed, as well as
perform as a solo artist. Deriving no lineage from “American
primitive” and rejecting the problematic connotations of the
term, Williams’ influences include the smooth jazz and R&B
she listened to growing up, Hendrix and Nirvana, go-go and
hip-hop. On Urban Driftwood, Williams references the music
of West African griots through the inclusion of kora and hand
drumming of 150th generation djeli Amadou Kouyate, on the
title track.
Yasmin Williams is virtuosic in her mastery of the guitar and
in the techniques of her own invention, but her playing never
sacrifices lyricism, melody, and rhythm for pure demonstration
of skill. Storytelling through sound is important to her too. As
detailed in the liner notes, the songs on Urban Driftwood were
completed during the COVID-19 pandemic and subsequent
lockdown, in the midst of a national uprising of Black Lives
Matter protests in response to the killings of George Floyd and
Breonna Taylor. But while Urban Driftwood illustrates current
struggle, can’t help but open-heartedly offer a timeless solace.

Every Dunbarrow album has a hauntingly classic sound of, in the band’s own
words, “an eerie rawness.” But their third album feels like you’ve discovered a
mysterious half-century old recording tucked away in a decrepit abandoned
mansion. Perhaps there’s a note attached, begging its courier to beware. Alas,
whoever possessed the tape apparently never survived. ...that is to say, it feels like there’s a solemn
story to this album, not just in the
lyrics, but in the sound itself. Much like
the eponymous debut of Black Sabbath,
the band uses subtle sound effects to
dramatically set the scene for its mostly
clean tones and masterful use of open
space for which the band has become
known. But unlike their first two albums,
this one does see the band branching
out just a bit into heavier, more distorted
guitars. The result is a much more
in-your-face sound, while retaining the
Haugesund, Norway quintet’s masterful
proto-metal sound.
The album opens with the sound of falling
rain as Lønning and Eirik Øvregård’s
guitars seep into the speakers like
funereal bells and haunted drones on
“Death That Never Dies.” Drummer Pål
Gunnar Dale slams down three snare
beats as bassist Sondre Berge Engedal
slinks in harmony over it all. Andersen’s
crisp vocals paint a bleak picture of
dark perdition until the band slips into
a swaggering piano-led coda reminiscent
of “Sabbra Cadabra.” The 7-minute
psychedelic folk masterpiece “Turn In
Your Grave” is the album centerpiece,
replete with mournfully shimmering
Mellotron and bleak folkloric lyrics. Its
hypnotically spinning guitar notes and
old European parlando-rubato singing
hearken to dark early Steeleye Span with
a sinister edge. “In My Heart” perfectly
showcases the band’s penchant for folk
based, yet head-banging riffs that break
with tradition that has stilted modern
heavy music.
“I think with this record, we have managed
to create our own unique sound
with its own Dunbarrow tag,” says the
band. With that sound comes the perfect
artwork: A cover illustration from the
early 1900’s by artist Harry Clarke from
his work for Edgar Allen Poe’s Tales of
Mystery and Imagination.

„Music To Be Murdered By: Side B (Deluxe)“ ist ab sofort als 4-Piece Vinyl Album erhältlich! Die Deluxe
Version seines 11. Studioalbums umfasst neben den ursprünglichen 20 Songs 16 komplett neue Tracks.
Die Liste der weiteren Features beinhaltet u.a. Dr. Dre, Ty Dolla $ign, Ed Sheeran, Juice WRLD, Don
Toliver, DJ Premier und viele mehr. Als Executive Produzent fungierte Dr. Dre, doch auch Eminem selbst
war maßgeblich an der Produktion des Albums beteiligt.

Black Vinyl Repress

Repress

repress black Vinyl!

Ampoule, doing things their own way since 1998. After repressing two classic Pub records, they now shine a light on the Lucky & Easy archives.

Lucky & Easy's take on IDM and deep techno took in influences from The Black Dog, Torsten Profock and Detroit. Rather than operating out of London, Manchester or Berlin, this stuff was coming from East Kilbride, a new town next to Glasgow thats probably best known for its roundabouts and being the home of Jesus & Mary Chain and Rubadub's very own Mother Mark. Back then it sounded like nothing else and today it still sounds just as vital.

'Cheeky' Speaker' compiles long out of print rarities taken from early Ampoule 12's and their Talent Hoover sub-label and previously unheard mixes.

All remastered and cut by D&M

Some info on the tracks from Lucky & Easy

A1. Bully Swimmer
A2. Kiss It Better
A3. Night Rainbows
B1. Wigged
These are from AMP01EP - Ampoule Records first release, only 480 copies were made never been repressed since. And that master cut was pretty terrible to be fair.

B2. Don't Play With Tractors
Taken from 'Electro Lix Sick' a limited edition 50 x 3"cd on Talent Hoover Discs.

B3. Puddle Pup
Is an exclusive mix of the original 'Puddled Up' which was released on the cd compilation on Ampoule 'Hookahs'

C1. Pimp Soul Sisters
Is an exclusive mix of 'Pimp Sole Blisters' Taken from 'Electro Lix Sick' a limited edition 50 x 3"cd on Talent Hoover Discs.

C2. Kitefinger
Remastered from the original release on the cd compilation on Ampoule's 'Hookahs'

C3. In 3 Minds
Is an exclusive mix of 'In Three Minds' Taken from 'Triple Warmer ep' on Earplug.

D1. Titswing
Titswing was recorded at Rubadub's infamous 69 party in Paisley, Scotland

D2. Pericardium Eight
Pericardium 8* Is an exclusive mix of 'Pericardium Eight' Taken from 'Triple Warmer ep' on Earplug.

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

A reissue of the 2016 demo tape by New Orleans band
Special Interest, who combine elements of no wave,
glam and industrial music. First time vinyl pressing with
bonus track, new sleeve designed by Studio Tape Echo
and 8 page risographed zine insert.
Four of the tracks here are raw early versions of songs
that would appear in slightly more refined form on their
debut album, 2018’s ‘Spiralling’. The other four pieces
are unique to this release, including a cover version of
Italian new wave band Chrisma, raging opener
‘Disease’, the over-saturated shoegaze-punk of ‘ATC’
and comedown lament ‘I’ll Never Do Ketamine Again’.
The band’s second album ‘The Passion Of’ (2020) was
widely acclaimed and appeared in many album of the
year lists. It was recently followed by a companion
album of remixes on Boy Harsher’s Nude Club label,
with all profits going to NOLA charity House Of Tulip.
“A blistering vision of punk as possibility.” - Pitchfork
“Members Alli Logout (vocals), Ruth Mascelli (synth and
drum machine), Maria Elena (guitar), and Nathan
Cassiani (bass), together manage to make their
instruments and vocals sound like a fight for our
existence.” - The Quietus
Recorded and mastered by Jasper Denhartigh at Bird
Island Recording March-May 2016. Originally selfreleased on cassette in 2016. Cut by Beau Thomas at
Ten Eight Seven. All songs by Special Interest except
‘Black Silk Stalking’ written by Chrisma.
Black vinyl in 3mm spine reverse board sleeve with 8-
page risographed zine, digital download card and
sticker.

Pioneers of the British music scene, ‘Blackest Blue’ will be the band's 10th studio album in a discography that spans three decades. 2020 saw Morcheeba unable to tour or perform live, which gave Skye Edwards & Ross Godfrey “time to write songs and really get to hone them,” as Godfrey puts it. “There weren’t so many pressures so we could really take our time getting the songs right,” adds Edwards.

The result of this time is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop & soul - into one cohesive record that dives deep into the soul of the band’s genre-mashing musical heritage. As usual, the band didn’t approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba.

Edwards’ lyrics are primarily focused on positivity and overcoming personal adversity that lies within. ‘Sounds Of Blue’, is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop.

The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). “

Morcheeba’s global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name. The past year has been one of introspection for the duo, as they take stock of their renewed global fan base and look forward to being able to play the new album live in the not too distant future. “This was the first time since I was a teenager that I’d spent a year off the road and I enjoyed the tranquility, although I missed playing my guitar in far off lands,” says Godfrey.

color/ltd

Columbia, South Carolina’s Chaz Bundick (aka Toro y Moi) rose to the fore of the music blogosphere in summer 2009 when he and a few peers made their hazy bedroom recordings the most talked-about sound of the season. Critics across the board took notice of the range of his compositions, and his debut album, Causers of This, showcased his ability to make elements of Brian Wilson’s pop, 80s R&B, and Stone’s Throw hip hop coalesce into a distinct sound that’s as suitable for a dancefloor as it is a pair of headphones.

When Chaz first signed to Carpark Records, the plan was to release two records in 2010 — one electronic and one with live instrumentation — and although it didn’t quite fit into the same calendar year as his debut, Underneath the Pine is that latter offering. This release sees him following the same creative urges to completely different ends. Having spent the year listening to film composers like Ennio Morricone and François de Roubaix, Bundick returned to his home in Columbia, the birthplace of many Toro tracks of yore, to bring his new ideas to fruition. The result of these sessions is an album evocative of R. Stevie Moore’s homespun ruminations, David Axelrod’s sonic scope, Steve Reich-ian piano phrasing, and the pervasive funk of his first record. Underneath the Pine announces a new phase for an artist whose talent defies classification.

You Can See Your Own Way Out is the first collaborative record between Ilyas Ahmed (Geographic North, Immune, Mie Music) and Jefre Cantu-Ledesma (Shelter Press, Mexican Summer, Type). Long-time friends and satellites orbiting the same communities and scenes, You Can See's inception was never really a question of if, but when. Combining Ahmed's explorative guitar/synth-work and Cantu-Ledesma's field recording, sound processing and electronics, the result presents as a book of short stories or vignettes highlighting their individual strengths. At times evoking pastoral landscapes, others frayed edges of disintegrating photographs, there's always the suggestion of a forked path or a promised destination. Jonathan Sielaff guests on bass clarinet.

In his tenth year with Acid Jazz, the ever-prolific Matt Berry
has crafted a psych masterpiece. Once again proving that
his artistic progression and ambition knows no bounds.
Following the acclaim of last year’s Top 30 album
‘Phantom Birds’ (★★★★ The Times), Acid Jazz release
‘Blue Elephant’, Matt Berry’s sixth studio album with the
ground breaking label.
Recorded during the summer of 2020, ‘Blue Elephant’ is
testament to Matt’s exceptional musicianship, production
skills and songwriting prowess with every instrument
played by Matt - including guitars, bass, a variety of
keyboards and synthesizers (piano, Wurlitzer, mellotron,
Moog, Hammond, Vox and Farfisa organs) - with the
exception of drums (supplied by Craig Blundell), on
arguably his best album to date.
This music soundtracks an album that explores themes
surrounding today’s close scrutiny in all its bewildering,
objectifying and unnerving experiences. Very much a
conceptual and, therefore, continuous long-player, the
album’s infectious grooves come to the fore on standout
tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’
and the three-part ‘Blues Inside Me’, which encompasses
a psych journey through a late ‘60s and early glam filter,
mixed with the propulsive ‘Like Stone’.
‘Blue Elephant’ is available on digipack CD, blue vinyl,
black vinyl and audio cassette.

In his tenth year with Acid Jazz, the ever-prolific Matt Berry
has crafted a psych masterpiece. Once again proving that
his artistic progression and ambition knows no bounds.
Following the acclaim of last year’s Top 30 album
‘Phantom Birds’ (★★★★ The Times), Acid Jazz release
‘Blue Elephant’, Matt Berry’s sixth studio album with the
ground breaking label.
Recorded during the summer of 2020, ‘Blue Elephant’ is
testament to Matt’s exceptional musicianship, production
skills and songwriting prowess with every instrument
played by Matt - including guitars, bass, a variety of
keyboards and synthesizers (piano, Wurlitzer, mellotron,
Moog, Hammond, Vox and Farfisa organs) - with the
exception of drums (supplied by Craig Blundell), on
arguably his best album to date.
This music soundtracks an album that explores themes
surrounding today’s close scrutiny in all its bewildering,
objectifying and unnerving experiences. Very much a
conceptual and, therefore, continuous long-player, the
album’s infectious grooves come to the fore on standout
tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’
and the three-part ‘Blues Inside Me’, which encompasses
a psych journey through a late ‘60s and early glam filter,
mixed with the propulsive ‘Like Stone’.
‘Blue Elephant’ is available on digipack CD, blue vinyl,
black vinyl and audio cassette.

Black heavyweight vinyl pressing The third album / first live album from the British rock band, Dr. Feelgood.
Originally released in 1976, it was the first live album to ever hit number 1 on the UK charts in its first week.
Stupidity captures the relentless, hard-driving energy of Dr. Feelgood at their peak. Comprised of recordings taken from 1975 tours, the music is presented raw and without overdubs, making it clear that the dynamic friction between guitarist Wilko Johnson and vocalist Lee Brilleaux could propel the band toward greatness

Our XXL Bonzai Mouse Pad is geared towards the gamer in you, and sizes in at 40x45cm to provide maximum coverage when the frenzy kicks in.Control your movements and stay in the fight with a smooth, soft cloth top, which features the classic Bonzai Records logo on a black background. The underlay is padded to reduce pressure so you can game, produce or casually browse for hours on end.

Clear / Orange Vinyl
Factory Benelux presents a remastered 2xLP coloured vinyl edition of Circuses and Bread, the seventh studio album by Manchester ensemble The Durutti Column. Originally released by Factory Benelux and Factory in 1986, the original 9 tracks have now been expanded with 6 bonus pieces.

The cover art retains the original design by 8vo. The remastered limited edition CLEAR+ORANGE vinyl set is housed in gatefold sleeve, with liner notes and rare band images. A CD version is also available (FBN 154 CD).

Self-produced by Vini Reilly at Strawberry and Revolution studios, the album saw Durutti playing as a quartet, with Reilly on guitar, vocals and keyboards, Bruce Mitchell in drums and percussion, John Metcalfe (viola) and Tim Kellett (trumpet).

‘The music ends up being very simple,’ Vini told NME. ‘People can dismiss it as being very simplistic, easy listening or whatever. It’s very honest, it’s very personal. People say it’s ambient, and it’s like Eno. I don’t like that, because the music’s made to be listened to, it’s not wallpaper.’

Of extended piece Blind Elevator Girl – Osaka, Vini adds: ‘The music really writes itself. For example, we’re in Osaka, in Japan, getting in this elevator. It’s very crowded with all these Japanese businessmen talking about distribution deals, and going on and on. On this lift was a beautiful Japanese girl, in an immaculate uniform. Each floor we arrived at, she’s starting talking Japanese, obviously saying what was on each floor. We went higher and higher, and finally we get to the top. And then, sort of walking out of the elevator, I suddenly realised she was blind... It got to me, this girl. It was incredible. So maybe a day later, I was thinking about that, and the whole tune came out. And every single piece of music is like that.’

Bonus tracks include Italian-only EP Greetings Three, scarce compilation track The Aftermath, and a previously unreleased working version of 1987 single Our Lady of the Angels produced by the late Stuart ‘Jammer’ James.

The American Negro is an unapologetic critique, detailing the systemic & malevolent psychology that afflicts people of color. It should be evident that any examination of black music is an examination of the relationship between black & white America. This relationship has shaped the cultural evolution of the world and its negative roots run deep into our psyche. With an elaborate orchestral and soulful display, The American Negro re-invents the black native tongue: a politically conscious LP with a prescription to eradicate hate in America. "The American Negro is the most important creative accomplishment of my life. This project dissects the chemistry behind blind racism, using music as the medium to restore dignity and self-worth to my people": Adrian Younge is a multi-instrumentalist, film composer and producer with an analog studio and record store in Los Angeles. He is a member of The Midnight Hour and has produced for entertainment greats ranging from Jay Z, Kendrick Lamar and Wu Tang Clan. He's composed for television shows such as Marvel's Luke Cage (with Ali Shaheed Muhammad), and films including Black Dynamite. He owns the boutique record label, Linear Labs, and is co-owner of Jazz Is Dead. When he's not working on scores for major studios or networks, he's making albums that speak to his own artistry. For The American Negro, Younge not only wrote, but played every instrument of the album's rhythm section; he also orchestrated a 30-piece orchestra and recorded them in his analog studio.

Tamiko Jones - born Barbara Tamiko Ferguson in 1945 in Kyle, West Virginia – debuted in 1967 on Atlantic with flautist and mentor Herbie Mann on the soul-jazz-bossa flavored ‘A Mann & A Woman’. Her solo career take off in 1968 with the rare groove inflected I'll Be Anything For You, released on A&M/CTI and produced by label owner Creed Taylor. Recorded and engineered by master Rudy Van Gelder at his own Studio in Englewood Cliffs, New Jersey, the album is such a lovely combination of soul-funk jams and r&b ballads with craft strings arrangements by Artie Butler and Don Sebesky. Featuring a who’s who line-up of classy session men – Bernard Purdie on drums and Eric Gale on guitar just to name a few - I'll Be Anything For You is namely one the best soul-pop crossover ever.

Now as standard black vinyl unlimited edition! - The 10-track longplayer with eight re-recorded favourite songs from the band’s catalogue and two new tracks, one called "Passive Restraints" with guest vocals by Randy Blythe from Lamb Of God!

Beginning in the summer of 2019 Weathermaker Music started to release digital only Clutch covers and re-recorded songs from their own vast catalog as a way to keep the band in the mix and in the media. The campaign is called "The Weathermaker Vault Series" and it has been successful so far with the digital release of eight singles. An album of 10 tracks on CD format was released Nov. 27, 2020 and the limited edition "Opaque White" white LP was out on January 29, 2021 entitled "The Weathermaker Vault Series Vol. I". The album contains two unreleased tracks: "Passive Restraints" with guest vocals by Randy Blythe from Lamb of God and a Spanish language cover version of "Algo Ha Cambiado", an old punk rock track by an Argentinian legend, Norberto Napolitano. As vinyl is such a thought after item these days and since the limited edition "Opaque White" LP version sold out so very quickly Weathermaker Music decided to add another LP format, this time on black vinyl.

This Mini-LP was originally released on Materiali Sonori in 1984 in Italy and is long out of print. Alexander Robotnick (aka Maurizio Dami) is an Italian electronic musician. He made his debut on the Italian music scene as the founding member of Avida, a dance-cabaret band featuring Daniele Trambusti and Stefano Fuoch. in 1983 he attained international popularity with his track “Problèmes d’amour”, published first by the Italian label Materiali Sonori and then by Sire-Wea. “Problèmes d’amour” went on to become a “cult track” of the disco scene. After 40 years Spittle Records in joint venture with Materiali Sonori re-issues the mini album and the 12” with its original artwork.

"Once I was in Chicago, it was around 2010, I was just finishing my set and went outside the club to light a cigarette. Suddenly a police car stops nearby. I thought the policeman was here to fine me (I was more than 20 meters outside the venue), but he just lifted a poster of mine and asked to sign it. Then I realized that "Problèmes d’Amour" has been for a longtime the opening theme for a popular radio broadcast well-known between the black community (hence the policeman was black)”. - Maurizio Dami

2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities.

Two years have passed since their previous Inflict LP and we don’t really know how what recently happened impacted on the band’s mastermind Michael but what’s sure is that Veil Of Light are now a fully grown-up band.

Landslide is their fifth full-length (and their third on Avant!) and it’s definitely their most elaborated album.

Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it’s still clear where the Swiss duo draws their influences from, right in between New Order’s moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever.

The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of.

This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there’s much to discover.

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble

Eurovision Song Contest: The Story of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star.

“Volcano Man” was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a “Song-A-Long”: producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little bit of The Black Eyed Peas. The cherries on top are vocal cameos from former Eurovision champions: Conchita Wurst, Netta, Jamala, Loreen, and Alexander Rybak. The album also features the cult hit “Jaja Ding Dong”, also performed by Ferrell and Sandén.

Dalhous end the 5-year silence with the long awaited follow up to 2016's House Number 44, presenting the second volume of The Composite Moods Collection. "Point Blank Range" reinterprets the established narrative with an inverse look at the proceedings. Taking the “point of view of the disease", the perspective is now turned inside out, revealing an alternate account from the eyes of the photographed subject of House Number 44. If Vol.1 was a documented presentation of another person's condition, Vol.2 takes the listener behind the facade.

From the outset, the album offers a narratively uncooperative stance, weaving together layers of anxiety and painful specificity that often overtly manifests the psychotic protagonist's stormy interior state. A clearly subjective assault, which is made evident right from opening track 'Transceivers' through to the imploding nature of 'Intramuscular Administration’, to the vulnerable, psychedelic mania of 'Open As A Glade Unfolding'. Continuing to work within the framework of a soundtrack-like structure, Dalhous ramps things up to provide the aural equivalent of sound and picture, manifesting an almost quasi-visual experience.

The entire record can be listened to as a continuous piece, each track seamlessly linked together as though part of an interconnecting nervous system. Where House Number 44 offered airy, widescreen soundscapes of detached detail, Point Blank Range presents an altogether different form. Creating airtight vacuums of agitated twitching feeling, tracks are pulled to the forefront of the stereo field, continually mutating their densely painted neurochemical hallucinations with a breadth of sound previously unheard on previous releases.

Listeners will be able to decipher nods to long standing soundtrack influences from composers such as Fabio Frizzi, with his use of strikingly bold and haunting melodies, to Tangerine Dream’s distinctively foggy atmospheres of The Keep. There are moments that evoke the nihilistic drones of Brian Gascoigne’s soundtrack to Phase IV, and the more horrific passages of metal clanging ambience from the likes of Chu Ishikawa with his scores for Shinya Tsukamoto.

After their former record label Blackest Ever Black disbanded, Dalhous found themselves out on a limb. It took 5 years to find a new home with Denovali. Given the unusually extended period between records, Dalhous had the time to dive deeper into the material, rendering a level of experimentation previously unavailable to them. Over 4 hours of material was created, a total of 1TB of data. Countless revisions to the track listing ensued with some of the unused material being reutilised in the making of the final chapter in the trilogy to form a direct companion piece.

Debut release from Kataan, the post death/black metal outfit featuring Nick Thornbury (Vattnet Viskar) and Brett Boland (Astronoid).

Distinctly Scandinavian; Horndal fuses the driving rhythms unique to the best of Swedish forward-thinking hardcore whilst preserving the venom of their punk scene alongside the heaviness of the country’s finest. Lake Drinker is the band's 2nd album, continuing the true horror story that inflicted the band's hometown.

In the mid-1980s Denmark’s Artillery established themselves as being at the cutting edge of the thrash movement, and nearly forty years later they continue to destroy. Returning with their tenth - and aptly titled - full length X they prove once again that they have not missed a step, delivering a record that’s ruthlessly heavy, catchy and pure molten metal.

Hugh Padgham-produced albums have sold well over 100 million copies worldwide, and gathered over 100 billion streams on digital platforms to date. Despite these stratospheric stats, the multi grammy award-winning producer has not been involved in any new material for well over a decade, and it would always take something ultra-special to pique Hugh's attention enough to get him back into the studio. This new album by Drummer/Composer Graham Costello, co-produced by Padgham and out May 7th on Gearbox Records, is most definitely that. Veering away from solid Jazz and into minimalism, electronics and post rock, Costello builds triumphantly on the foundation he laid down on 'Obelisk', his debut 2019 release which was nominated for the Scottish Album of the Year Award. It garnered much attention from the UK press and further, receiving 5-stars from The Scotsman and strong accolades from the likes of Clash Magazine, who called it ”startling, groundbreaking...it explodes definitions to seize fresh space”. 4 leading singles will drop to dsps in advance of the album street date of May 7th - each chosen to unpeal a little of the multiple layers to be discovered on the full set. 2nd single 'Circularity' (March 10th) hints at Blackstar-era Bowie while calming the soul with its sensuous hypnoticism, while 'Impetu' (April 9th) reveals a dense, lustrous sound bursting with colour, rich in energy, and 'Legion' (April 30th) explodes with muscular force and purpose.

Clear Vinyl

Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with his new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri's most eerily pertinent music to date.

One of Rafael Anton Irisarri's most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments' Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri's standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we're currently living in, a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, 'Karma Krama' and 'The Faithless', seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

'Rh Negative' marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri's own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on 'Sky Burial' aims to deal with Irisarri's very own mortality - something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he's already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

After the exceptional first volume of ‘Rakka’, Vladislav Delay is taken by the wanderlust again for a ravishing 2nd album of elemental electronics inspired by the Finnish wilderness. RIYL Shackleton, Rian Treanor...
Where 2020’s ‘Rakka’ represented some of Sasu Ripatti aka Vladislav Delay’s most intensely noisy textures and rhythmic complexity, as inspired by walks in his native Finnish wilderness, his follow-up further draws on and refines that experience in a beautifully brutalist bouquet of brambling distortion and tempestuous pulses that speak to the chaotic power of nature’s ecological interdependence. In the process ‘Rakka II’ fulminates Delay’s reactive sound even closer to the styles of Shapednoise, but still distinguished by his signature,
freehanded style of percussive tumult that reaches beyond techno and club music into an ecstatic, holistic hybrid of power ambient, black metal, avant-dub, free jazz, and extreme dance musicks.
While still breathlessly busy and densely overgrown, ‘Rakka II’ is intended as the romantic answer to the more hostile first volume. Its seven parts balance a sense of febrile passion with hyper-disciplined logic in more explicitly emotive, optimistic gestures that emerge from its atonal murk and convulsive structures.
Boundaries of discord and harmony are smudged almost into the red, but rendered with the spatial definition that become a hallmark of Delay’s best work for over 20 years, but never heard quite so wild and lushly semi-conscious as on cuts such as the soaring and collapsing ‘Raato’, or the craggy might of ‘Raaha’, and the heart-in-mouth headiness of ‘Rapaa.

Divine Invasions is the sophomore release from Welsh electro post-rock duo Ritual Cloak. The album builds on the cinematic soundscape themes of their debut, with the addition of vocals scattered throughout the record.
Work on Divine Invasions began as soon as the first album had been finished back in September 2019. The first album saw sparing use of guitar, instead mainly writing around piano. When it came to writing the second, Sanders and Barnett didn’t want to fall into the same routine, choosing to embrace exploring new sounds, experiment with new effects, making guitars sound like synths and using vocals for the first time.
The title Divine Invasions is inspired by the Philip K Dick biography. Dick was plagued by nervous breakdowns and driven to near insanity by visions of God.
For Fans Of:Mogwai, Radiohead, Sigur Ros, Kiasmos

black vinyl in mirrorboard gatefold jacket with die-cut! Much like the New Orleans-born artist who created it, Second Line is an unapologetic genre bender that pushes boundaries, expands possibilities, and shatters expectations. It's more than just an album: Second Line is a cohesive sensory experience that questions traditional ideas of sound, production, and visual aesthetics as they relate to music. Its interlocking parts tell an epic story about the quest for artistic expression, with Dawn describing her project as "a movement to bring pioneering Black women in electronic music to the forefront." She elaborates: "You never see women appreciated as producers and artists alike _ especially Black women in the electronic space. The time is now for us to start recognizing their talent, not only in electronic music but in all genres. I wanna be the reason why a young Black girl from the South can be whoever she wants to be musically, visually, and artistically." Second Line cuts to the chase with its opening suite of dancefloor bangers, immediately displaying Dawn's mastery of layered production and melodic hooks. Second Line treats Louisiana Creole culture, New Orleans bounce, and Southern Swag as elemental, allowing Dawn to weave in and out of house, footwork, R&B, and more. As she says, "I am the genre." The story of Second Line centers on Dawn's persona King Creole, assassin of stereotypes, a Black girl from the South at a crossroads in her artistic career. To move forward, she decides to look back, but where previous album New Breed took influence from her father, Second Line is illuminated by Dawn's mother. Her proud repeated proclamation of "I'm a Creole Girl" introduces the ecstatic dancehall pop of "Jacuzzi," and later, on the cinematic album centerpiece "Mornin | Streetlights," she answers Dawn's question of how many times she has been in love. Intimate conversations like this between the two are interlaced throughout Second Line, giving credence to how the protagonist came to be, and direction to build a lane forward. It's no surprise that King Creole's story parallels Dawn Richard's. As a founding member of Danity Kane, and later with Diddy's Dirty Money, Dawn was able to explore the ins and outs of commercial pop music. As a solo artist, she opted to selfrelease her music. Over the span of five critically acclaimed full-length albums, Dawn has made the message clear that she will not bow down or bend to industry norms. All the while, she's built her resume with enough extracurriculars to make your head spin: Cheerleader for the New Orleans Hornets? Check. Animator for Adult Swim? Check. Owner-operator of a vegan pop-up food truck? Check. Martial arts expert? Check! Second Line embodies the heritage of soul music and the roots of New Orleans, all surrounded by the influences of electronic futurism. "The definition of a Second Line in New Orleans is a celebration of someone's homecoming," says Dawn. "In death and in life, we celebrate the impact of a person's legacy through dance and music. I'm celebrating the death of old views in the industry. The death of boxes and limits. I'm celebrating the homecoming of the Future. The homecoming to the new wave of artists. The emergence of all the King Creoles to come." Dawn Richard is bold, confident, purposeful, and a King throughout Second Line. Are you ready to dance?

Mandatory Descendents live show recorded right after the release of their classic second album ‘I Don’t Want To Grow Up’. The tour marked the end of a two-year hiatus for the band, during which singer Milo Aukerman had attended college and drummer Bill Stevenson had joined Black Flag. I Don't Want to Grow Up was the first of two albums the Descendents recorded with guitarist Ray Cooper.