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Die Detroiter Post-Punk-Band Protomartyr kündigt heute ihr neues Album "Formal Growth In The Desert" für den 2. Juni bei Domino an und präsentiert die erste Single 'Make Way'.

Protomartyr, bestehend aus dem Sänger Joe Casey, dem Gitarristen Greg Ahee, dem Schlagzeuger Alex Leonard und dem Bassisten Scott Davidson, sind zu einem Synonym für bissige, impressionistische Assemblagen aus Politik und Poesie, Wahrem und Schrägem geworden. Casey beschreibt das zugrundeliegende Thema von "Formal Growth In The Desert" als ein 12-Song-Testament über das "Weitermachen mit dem Leben", selbst wenn es sich unmöglich hart anfühlt. Die stimmungsvolle Lead-Single/Video "Make Way" ist gleichzeitig der Eröffnungstrack von "Formal Growth In The Desert", in dem sich Casey zu Beginn des Albums direkt mit der Tragödie auseinandersetzt: “Welcome to the haunted earth // The living after life // Where we chose to forget // the years of the Hungry Knife.” Das begleitende Video, bei dem Trevor Naud Regie führte, ist eine beeindruckende filmische Meisterleistung. Über das Video sagt Naud: "Es gibt eine bewusste Verbindungslinie zwischen den Videos zu "Make Way" und 2020's "Worm In Heaven". Die beiden Songs fühlen sich zusammengehörig an. Deshalb wollte ich, dass die Videos sich so anfühlen, als würden sie in der gleichen Welt existieren. Es gibt verschiedene Ebenen von Experimenten, die alle in einer geschlossenen Umgebung stattfinden. Wir wissen nicht, was mit der Welt da draußen passiert ist, aber es gibt einen Unterton, dass irgendwas nicht stimmt."

Over the past five years, Mark has forged a unique identity in underground drum’n’bass, alloying traditional junglist motifs and electroacoustic ambience through a series of singles on A Colourful Storm and Unterton. A Colourful Storm now presents the culmination of his work and debut album, a shapeshifting expression of luminescence and rhythmic complexity.

Mark’s ambitions with Integrier Dich Du Yuppie (2017) and The Least Likely Event Will Occur In The Long Run (2018) reflected upon the relationships between - and division of - people, place and power. Now he responds with two pieces featuring his signature skittering drums, seismic sub-bass and atmospheric passages recalling Roland Kayn, Luigi Nono and Bernard Parmegiani. Moonlight shines, choral voices appear from above. Arresting, unnerving tranquility.

Recommended for fans of Eli Keszler, Hiro Kone, Torsten Pröfrock and Kali Malone.

The 1st album released in August 2021 attracted attention in the overseas scene, and labels from various countries such as Italy, Argentina, US and Poland. More release realized. Only half a year after that, they completed the remarkable 2nd album. Based on the royal road doom sound and the music with the blues feeling derived from 70's, the band ensemble with more euphoric feeling gets a lot of attention. A full lineup of songs such as "Devastator", which freely grooves from a side-beating beat to double bass, and "Agua De Vida", which enhances smoke and trip feeling under the direction of Mr. Okazaki. In the mellow "Underneath the Sky" and "Running In my Vein", the taste that has withered moderately is impressive. With the help of an effectively crafted album composition, it can be argued that they have reached the next level in this work. Don't miss the further leap of "Tokyo samurai doom" !!

First time reissue of mega rare 1972 psych-folk album from Venezuela.
180g LP.
One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album.

A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients —such as the use of sitar sounds— recorded by the collective of artists “Una Luz”, and “El Zigui” who was once described as the local Bob Dylan.

The late ‘60s was a short period of time, long enough to turn the world upside down.

Music, paying attention to the ancient Greeks who said that changes in society are also reflected in it, also undergoes violent transformations in its structure. The turbulent joy of rock and roll and twist gives way to the meditative sounds of the waves of the sea contained in surf to finally welcome music of soft and delicate harmonies with songs full of references in their lyrics to the state of society and their relationships with the environment.

On the other hand, in Venezuela, although the expansive wave of May 68 had not reached it, a certain degree of dissatisfaction began to be perceived, especially through the music of a singer-songwriter from the countryside of Venezuela known as Ali Primera, El Cantor del Pueblo. Thanks to a scholarship from the German government, he studied for a few years in that country, and it was there that he recorded his first album, with songs whose lyrics reflect the essence of authors such as Bob Dylan and Atahualpa Yupanqui. And Ali Primera becomes one of the greatest influences of our artist: El Zigui.

Guillermo Sánchez Corao —known as El Zigui for some strange reason— was born in the Venezuelan city of Maracay, capital of the State of Aragua, on January 13, 1948. From a very young age he began to study guitar playing and, already in his teens, we can find him as part of the duo El Zigui & Franklin together with Franklin Laudelino Mejías, another young man with a great musical pedigree.

It is during his bohemian phase as a troubadour, in the surroundings of the Ateneo de Caracas, when his music caught the attention of producer Mario Tepedino, the most important youth music producer at the time. Mario takes him to his TV show “2001 Juvenil”. With the incorporation of other musicians such as Rubén "Micho" Correa —who would later become a great arranger and record producer— he created the group El Zigui y Una Luz, which would later be joined by musicians such as Carlos "Nene" Quintero and Alfredo Padilla, members of the amazing Grupo Pan. Later on, another outstanding singer would also join Una Luz: Guillermo Carrasco.

With this formation they made it into a recording studio in 1972 where they managed to record, in just 30 hours, a long-playing album of which only 60 copies were pressed and has therefore gained cult status among collectors. As expected, the strong content of the lyrics was not supported by the media, making the promotion of the album impossible to accomplish. However, it was with the help of Mario Tepedino that they made it to television, with appearances on “2001 Juvenil” and “Antesala Lunar”, a show that was especially produced for the broadcast of the arrival of man on the Moon.

That was probably one of the main reasons for El Zigui to move to Canada and then France until 1978 when he returns to Venezuela. He would then join bands like Xabañón, Fogón and De Vuelta al Futuro, a 12-member super group. The former members of Una Luz had become well known musicians in the country, especially Guillermo Carrasco who was one of the greatest ballad artists in the ‘80s and targeted by the biggest record companies at the time. El Zigui died in a traffic accident on June 22, 1999. If he had lived through these crazy times... where would he have gone?

DARKTHRONE'S LEGENDARY 1989 DEMO, INCLUDING ADDITIONAL
TRACKS FROM BOOTLEG TV 1989, PLUS ADDITIONAL RARE REHEARSAL
TRACKS FROM 1990 - PRESENTED ON BLACK VINYL.
Longstanding Norwegian band Darkthrone started in 1986, originally
under the name of 'Black Death', before their final infamous moniker was introduced Although becoming known the world over as a black metal band crucial to the legacy of the genre, Darkthrone began more as an extreme metal band utilising element of thrash, death & doom metal into their early compositions.

'Cromlech' was Darkthrone's final demo release before a deal was inked with Peaceville Records. The demo was recorded in 1989 with the line- up of Gylve Nagell (Drums), Ted Skjellum (Guitars/vocals), Ivar Enger (Guitars) & Dag Nilsen (Bass); a line-up which would remain in place for the revered 'Soulside Journey' & 'A Blaze
In The Northern Sky' albums.As well as the iconic 'Cromlech' demo itself containing tracks which would go on to form part of the 'Soulside Journey' debut - this release also contains additional tracks from the Bootleg TV Oslo recordings in 1989, including a cover of Celtic Frost's 'Visual Aggression'.

Finally, this edition of 'Cromlech' also includes a trio of instrumental tracks from a rehearsal tape originally made for Peaceville founder Paul "Hammy" Halmshaw, sent to him in 1990.
This edition of 'Cromlech' is presented on vinyl format with printed inner sleeve & includes the original 'Cromlech' art/logo

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.

The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.

Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro – the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.

Similarly, so do "Country Son" and "Black Comedy." In his original review for jazz authority Down-Beat, Larry Kart observes: "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Son' recalls a fragment from his 'Summertime' solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight-ahead solo here, the orderly pattern of the past is displaced and fragmented."


Flavoured with humuor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explode with creativity, purpose, and color.

FÜR FANS VON: HEAT, Eclipse, Nestor, Hardline, Brother Firetribe
Mit ihrem neuen Album „Code Red“ schlägt die deutsche Hard Rock Band DEVICIOUS aus Karlsruhe ein neues Kapitel auf. 2017 gegründet, veröffentlichen sie nun ihr 5. Album in fünf Jahren. Nach einigen Klangexperimenten auf dem Vorgängeralbum „Black Heart“ kehren sie nun zurück zu ihren Wurzeln, zu dem, was sie am besten können. Große Arena-Melodien kombiniert mit bombastischen Chorarrangements und einer großen Produktion.
Das Album wurde von Bandleader und Songwriter Alex Frey selbst produziert und in den Mastersound Entertainment Studios in
Steinheim, Deutschland von Alexander Krull gemischt und gemastert. Er ist der Hauptakteur hinter den Bands ATROCITY und LEAVE’S EYES sondern steht auch auf der Producer- und Mastering-Liste von Bands wie ATROCITY, LEAVE’S EYES, DORO, CREMATORY, VELVET VIPER oder ZAR. Das neue Kapitel von DEVICIOUS beinhaltet auch einen neuen Sänger. Antonio Calanna verließ die Band nach dem letzten Album auf freundschaftlicher Basis, um sich auf andere Projekte zu konzentrieren. Sein Nachfolger ist niemand geringerer als der ehemalige TNT-Sänger Baol Bardot Bulsara, der bereits
auf dem „Black Heart“-Album einige Backing-Vocals gesungen hat und bei einigen Black Heart-Headliner-Shows an Bord war. Mit Baol ist die Band flexibler, da er eine breitere Bandbreite hat und alles von melodischen Balladen bis hin zu Power Metal-Melodien singen kann.

Mit „Code Red“ liefern DEVICIOUS ihr bisher kraftvollstes und ausgereiftestes Werk ab. Ein melodisches Meisterwerk mit allen DEVICIOUS-Markenzeichen.

DIE LEGENDÄREN ALBEN DER INTERNATIONALEN POP-IKONE BRITNEY SPEARS AUF FARBIGEM VINYL ERHÄLTLICH! Zusammengenommen stellen diese Alben einen beeindruckenden Wandel in der Popmusik dar, vom Ende eines Jahrtausends zum Beginn eines neuen. Britneys avantgardistische Pop-Kollaborationen und ihr sich ständig weiterentwickelnder Musikstil haben sie zu einer kulturellen Ikone gemacht, die Generationen beeinflusst hat. Insgesamt erreichten alle ihre Alben die Top 5 der Billboard 200 - fünf davon den ersten Platz. Mit weltweit fast 150 Millionen verkauften Tonträgern ist Britney Spears eine der erfolgreichsten Künstlerinnen in der Geschichte der Popmusik und hat mehrere Platinauszeichnungen und Grammy Awards gewonnen

The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”

With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.

The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.

Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.

This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty.

Now in its 14th year, the unique and constantly evolving Fire! Orchestra is back with their largest line-up so far, counting an international cast of no less than 43 members that includes mainstay singer Mariam Wallentin as well as newcomers David Sandström and Joe McPhee, both on vocals, McPhee also on tenor sax. The popular and widely praised Arrival is a highlight in both our and the band's catalogue, but this epic triple album ups the ante. While following in the great tradition of ensembles led by the likes of Carla Bley, George Russell and Keith Tippett, Echoes is firmly placed in 2022 and takes in elements of rock, jazz, folk, electronic, classical and contemporary music. Starting out with the working title Big Bang, the near two-hour piece had its concert premiere at Stockholm Jazz Festival in October to rapturous applause from a full house, with major national newspaper Dagens Nyheter calling it a feast for eyes and ears in their ecstatic review. The core elements of Echoes are the seven self-titled parts, each mostly over 10 minutes in duration, interspersed with shorter pieces where we find a string quartet, an "African" stretch and generally music of an exploratory and experimental nature. Considering the size of the orchestra and the somewhat intimidating working title, this is a very open, breathing, organic, detailed and dynamic recording with a lot of space. As previously, a defining base element in the music is the repetitive and hypnotic grooves from the main rhythm section of bassist Johan Berthling and drummer Andreas Werliin. Needless to say, the hand-picked musicians are all on a very high level and on top of their game, conducted by Mats Gustafsson but given free reign when it's called for. And Jim O'Rourke was given free reign when it came to the selections and the mix and is a big part in how the final album turned out. The album closes with a vigorous tribute from Joe McPhee to one of the late, great masters, McPhee being a pretty decent finger wiggler himself, to say the least. Echoes was mostly written by Fire! founders Mats Gustafsson, Johan Berthling and Andreas Werliin and recorded at the legendary Atlantis studio in Stockholm in March last year.It was mixed by Jim O'Rourke in Japan in the course of two autumn months. The mastering and vinyl cut was done by loop-o mastering in Berlin, making for a fantastic sounding album, especially the vinyl edition is a real treat.

Octave One's deep and downtempo album “Never on Sunday” arrives in late April 2023. Before that, they release a special reworking of the album single “The Bearer”. Injected with the spine-tinglingly vocal performance from Karina Mia, the Burden Brothers revisit the track with a stripped sultry production ready for dance floors and playlists alike. Leading up to their new collection of deep rhythmic journeys and thoughtful atmospheric material, the ‘Brother’s Burden Pt1’ mix is a soulful mid-tempo groove that introduces you to Octave One’s “Never on Sunday” album in fine style.

A return to yourself. An exercise in feeling effortless.

KMRU is the moniker of Joseph Kamaru, a sound artist/producer from Nairobi, Kenya, now based in Berlin. He delivers an exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound that has been revered for it's ability to cross bordear with the sheer undertow of emotional content.

Jossy Mitsu returns to Astral Black with ‘Planet J 2’, follow up to her 2021 debut ‘Planet J’. Since then, the Rinse-FM resident’s star has continued to rise, having curated takeovers at Fabric, b2b’s with the likes of Joy Orbison, guest mixes for Benji B, delivering hand picked for the likes of Hessle Audio & Four tet and show stealing appearances at Dekmantel, Outlook & Dour Festivals to name a few.

With consistent support from the likes of Resident Advisor, DJ Mag, Mixmag and Crack Magazine. The level up in production values across ‘Planet J 2’ looks set to increase Jossy’s notoriety as not only of the UK’s most forward thinking DJs but also as a go to unique, bass heavy, club tools.

DJ support from Sherelle, Ben UFO, Floating Points and Jamz Supernova.

RED VINYL EDITION On the 15th anniversary of its original release, Mais Um revisit a lost classic fromthe catalogue of one of Brazil's most regarded and influential contemporarysongwriters, Lucas Santtana. Presented on vinyl and on streaming platforms forthe first time ever (remastered by German dub shaman, Stefan Betke/Pole) andfeaturing Tom Zé and manguebeat pioneer, Gilmar Bola 8, Lucas Santtana's 3Sessions In A Greenhouse fused psyched-out samba and baile funk with originalBlack Ark-style studio distortion and spiritual dub dread, laying the foundationsfor his seminal Sem Nostalgia LP five years later, and in the process,establishing Santtana as an elemental force of Brazil's current new wave.

Das aktuelle Album der US-Alternative Metal Band nun als Deluxe-Vinyl-Pressung erhältlich.

"Hotel Kalifornia" ist das achte Studioalbum des mit Platin ausgezeichneten Quintetts Hollywood Undead . Es stellt eine Gegenüberstellung zwischen Reichen und Armen dar, thematisiert die anhaltende Obdachlosenkrise und die hohen Lebenserhaltungskosten im Heimatstaat der Band, Kalifornien. Im Jahr 2021 nahmen die Jungs in Nashville und Los Angeles mit den Produzenten Erik Ron Panic! At The Disco, Motionless In White, Andrew Migliore [Sueco, Papa Roach] und Drew Fulk [Lil Wayne, Lil Peep] auf. Bei der Arbeit von Angesicht zu Angesicht ließ Hollywood Undead die ungezügelte
Intensität ihrer früheren Werke wieder aufleben, jedoch mit einer Verfeinerung, die nur durch jahrelange harte Arbeit möglich ist.

Deluxe-Format des Soundtracks des Capcom Sound Teams (Shusaku Uchiyama, Nao Sato), unterstützt von Marcin Przybylowicz, Brian D'Oliveira und der Folk-Künstlerin Aga Ujma, zum 8. Teil der berüchtigten Survival-Horror-Spielserie, "Resident Evil Village" (2021). 25 Tracks mit düsterem Horromärchencharakter, gemastered für audiophiles 180g Doppelvinyl im Gatefold.

Behind Closed Doors, das dritte Studioalbum der englischen Hardrockband Thunder, wurde 1994 veröffentlicht und erreichte bei seiner Veröffentlichung Platz 5 der britischen Albumcharts. Damit festigte die Band ihren Ruf als eine der besten Rockbands von den
britischen Inseln. Drei UK Top 40 Singles wurden daraus ausgekoppelt: Stand Up, River Of Pain und Castles In The Sand.

Produziert wurde das Album von Gitarrist Luke Morley und dem langjährigen Mixer Mike Fraser, wobei alle Bandmitglieder sowie der ehemalige Produzent und Duran Duran-Gitarrist Andy Taylor Beiträge lieferten. Das Album gilt unter Fans der Band und des Hard Rock
gleichermaßen als Klassiker. Diese neue, erweiterte Ausgabe enthält vier bisher unveröffentlichte Live-Versionen von klassischen Songs des Albums. Außerdem wird das Album zum ersten Mal seit seiner
Veröffentlichung im Jahr 1994 in limitierter Auflage auf zweifarbigem Vinyl neu aufgelegt.