Suche:7 beers

Backstreet Girls are 40! This Fall it’s 40 years since legendary Norwegian rockers Backstreet Girls played their first gig! Part of the Birthday celebration is this 4LP vinyl box set, titled 40 Years 40 Billion Beers. The three first records contain the best known tracks from all their 16 studio albums, plus some gems and rarities. The final record focuses on live recordings, made in the period 1988-2022. The box set will be printed in 1000 copies, on "beer coloured" vinyl.

Shitney Beers starten die Expedition zu ihrem dritten Album "Amity Island", das auf Grand Hotel van Cleef und Zeitstrafe erscheint. Das Album der Hamburger Band bietet 12 neue Perlen, die am 2022er Hit-Album "This is Pop" anknüpfen und Shitney Beers noch breiter aufgestellt: Mehr Instrumentierung (Banjo, Streicher) und chremige Chöre, mit "Done" featuring Brockhoff ist außerdem das neue "Don"t let the sun go down on my" dabei. Ein Traum und auch inhaltlich (hier sei besonders "N4N" genannt) trotz der Neunzigerjahre College-Rock Anleihen hochgradig zeitgemäß und ein wichtiges Album für die FLINTA* Szene.

MEKONS - OUT OF DESPERATION (LUXURY CHICKEN SONG): ,Ein Luxus-Huhn ist was ganz Besonderes und Einzigartiges und hat einen hohen Wert. Es gibt auch ein handbemaltes Mekons-T-Shirt mit einem Huhn drauf, das eine Zigarette raucht. Hagar the Womb sind auch ganz besonders und einzigartig und haben einen hohen Wert, und ich bin froh, dass sie sich an dem Abend im Hawley Arms nicht wirklich getrennt haben, obwohl sie unseren Rider geklaut haben." - JON LANGFORD (Gründungsmitglied von Mekons, Three Johns und Waco Brothers), 2025 // HAGAR THE WOMB - FARE DODGING WITH THE MEKON'S RIDER (3 BEERS & A LEMON): Geschrieben von Ruth Elias & Chris Knowles. Aufgenommen bei Church Road Recording Company, Hove, von Paul Pascoe 2025. Hags: Ruth, Karen, Paul, Lorna, Mitch, Chris. Coverdesign & Illustration von Lorna Tiefholz. Text von Ruth. Der Labelaufdruck zeigt Chris, wie er eines der drei Biere im Zug trinkt. Dieser Song entstand kurz nachdem das dritte Bier getrunken war. ,Fare Dodging with the Mekon's Rider" entstand, nachdem wir vor ein paar Jahren in Brighton unsere Lieblingsband The Mekons supportet hatten. Im Gegensatz zu den Hags hatten sie einen reichhaltigen Rider, darunter eine Obstschale mit einer prächtigen Zitrone. Als wir uns auf den Weg zum Zug zurück nach London machten, steckte Ruth heimlich drei Bier aus dem Rider der Mekons in ihre Tasche und konnte sich dann nicht von der Zitrone trennen! Von Gesetzlosigkeit erfüllt, sind wir aus dem Zug ausgestiegen, nachdem uns gesagt wurde, dass wir nicht einsteigen könnten, weil wir die falschen Fahrkarten hatten. Wir haben die Biere getrunken, bevor der Zug den Bahnhof verließ, aber, liebe Leser, die Zitrone wurde nie verzehrt. Ein trauriges Ende für die Zitrusfrucht, aber in diesem Song, der unsere Errungenschaften des Abends feiert, wird sie nie vergessen werden.

Pablo Volt and J.G.G. make dub-folktronica the unpolished way: guitar, horns, drums and synths, recorded loose, drenched in echoes and tape saturation. They met in Barcelona over a shared love of experimental beers and even more experimental sessions, determined to see how far their musical chemistry could take them. "Mordida", their 2023 tape, spent months on repeat at the Pingipung office. Now comes the debut LP: Aqui me quedo. It's a record built on the gap between two childhoods. Pablo Volt (aka Pope, as producer) grew up in Mendoza, Argentina; Jordi Gege aka J.G.G. in a suburb of Barcelona. What they share is a language and a curiosity about each other's memories and musical roots - the studio is where they embrace their different origins in improvisations. A ditch from Pablo's childhood becomes "Zanjon". A mountain Jordi used to roam becomes "Emisora". An ice cream shop, a Sunday market, a football club: small doors into a past the other never lived, but somehow recognises. Aqui me quedo, "I'm staying here", is also the name of the Barcelona bar where they toast after a good session. Two friends, tracing their way back through the past, decide the present is where they'd rather be. Handmade, melodic, unashamed of a smile as they greet from the LP sleeve: this is the spirit in which Pingipung was founded 24 years ago and these two guys, muy simpatico, are living proof of it.

"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!

"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!

Daybreakers reaches a milestone with DBR010, and it felt right to mark the occasion with something truly special.

Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential records on Lazy Days and beyond, the Montreal based producer has quietly become one of the most respected names in deep house. A producer's producer, a DJ's DJ, and someone whose records seem to reveal a little more with every listen.

The story behind this release starts in Hackney. A few beers at the BBE Store, a conversation about old DAT tapes and eventually enough persuasion to get Fred digging through his archives. What came back was pure gold: three previously unheard tracks recorded between 1998 and 2004, sitting untouched for over twenty years.

There's something special about hearing these recordings now. Made during a period that saw Fred establish himself as one of deep house's leading voices, they capture that unmistakable blend of musicality, groove and craftsmanship that made his records stand out in the first place. This isn't nostalgia or a history lesson. These tracks still sound fresh, still sound relevant, and most importantly, still sound like they belong on a dancefloor.

Three lost gems, finally seeing the light of day.

Deeper than deep house.

Buy or cry.

As promised, Playfool was always meant to be about inviting other artists to join the fun.

For this first collaboration, Occibel teams up with Light Blue File, a friend he met recently in Paris.

After sharing some beers, ideas started flowing and the vibe instantly clicked — no choice but to turn it into something real for you guys.

These tracks mark the beginning of a new series of collabs under Playfool Records, where creativity meets spontaneity under the summer sun.

Enjoy and play it loud!

Six years after Nazamba’s first offering, he delivers his final gift: A Message From Zion.

The journey begins with George ’Nazamba’ and Rico ‘O.B.F’, two kindred spirits connected by sound. Countless cross-ocean visits between Kingston and the French Alps, from enjoying hot beers on the beach to reasonings in snowy mountains. Moments that forged a pure brotherhood.

Out of this friendship grew his first album, the self-titled Nazamba in 2019. Now comes his second, a collaboration between Thompson Sound and Dubquake Records. Together, they unite two generations of reggae powerhouses. Produced by Rico O.B.F, the record reimagines classic Thompson Sound gems. Nazamba’s musical storytelling is accompanied by the Roots Radics, with guest appearances from Linval Thompson & Barrington Levy.

Then came silence. In 2022, Nazamba passed on to Zion. The album project was unfinished, yet full of life. What remains is raw, unpolished and painfully beautiful.

A Message From Zion, a celebration of Nazamba’s universe. His voice, wisdom, poetry, heart and spirit. Forward we ah go. Ah true.

10 years ago in 2015, The Golden Lion in Todmorden opened its doors under the guidance of Gig & Waka, Cloudwater brewed their first ever beers, the dance floors of Manchester got introduced to the world of Supernature Disco and from his spare room at home in Bolton Chris Massey started Sprechen.

What followed over the next decade has been a wild ride of amazing people, memorable (though fuzzy!) parties, creativity, art, expression, performance and at the centre of it all of course, the music.
Sprechen has never been one style or sound. A reflection of varied musical tastes without any limitations of style or genres, just a passion to share good music.
Over the last decade, Sprechen has been lucky enough to both work with and meet many like-minded cosmic creatives that share this mindset and that have all played a major role in the story.

Ein Null is a collection of original tracks from some of Sprechen's nearest & dearest who, for the last 10 years, have helped shaped the label via releases, remixes or performing at events.
It's wonky & weird, banging & beautiful, cosmic & consciousness-expanding and it continues to connect the invisible dots of club music and more abstract listening experiences.

From basements & beyond to sunsets & psychedelic socials...we are pleased to present this electronically charged selection of soundscapes courtesy of like-minded musical humans including; The Utopia Strong, A Certain Ratio, Lena C., Gina Breeze, Low Pulse, Psychederek, Lindstrøm, Supernature Disco, PBR Streetgang and of course Chris Massey.

Limited to a run of 300 vinyl with double-sided screen-printed sleeve.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Bob & Doug McKenzie’s comedic masterpieces are back and beautifully remastered with “The Great White North & Strange Brew 44 3/4 Anniversary,” loaded with features that any real hoser needs*. Including a karaoke version of “12 Days of Christmas” with a bonus lyric sheet, an “Are You A Hoser” poster, 12 page booklet of rare historical and archival photos and quotes from big names in music, film and sports and a blu-ray copy of the “Strange Brew” movie itself. The soundtrack won the duo their second Juno Award for Best Comedy Album. “The Great White North”, achieved multiplatinum status selling over ONE MILLION COPIES of the album! The song “Take Off” featuring Geddy Lee of RUSH and earned them the Juno Award for Comedy Album of the Year.

*baby mice, touques, and beers not included

SCHWERT AUS HOLZ“ klingt euphorisch, leicht und positiv. Bei aller Holz-Melancholie, erlauben es sich die DONOTS, sämtliche Songs neu zu denken mit anderem Vibe, neuen Rhythmen, alternativen Melodien und trotzdem immer mit genügend Grip und auch Drive - denn schnelle Songs wie der Live-Klassiker „Dead Man Walking“ oder der heimliche Sommerhit „Problem kein Problem" treten auch auf dem Akustikalbum durch den Holztisch. Frischen Wind pusten aber nicht nur die neuen Arrangements durch das DONOTS eigene Heavy Kranich Studio, in dem die Songs in diversen Sessions neu gedacht und recorded wurden. Die DONOTS haben sich alte Freund:innen und Wegbegleiter für diverse Gänsehautmomente eingeladen.

So ist aus dem DONOTS Hit „Stop The Clocks“ ein Duett mit Campino von Die Toten Hosen geworden, während Kuddel von Holst (ebenfalls Die Toten Hosen) ein wunderschönes Gitarrensolo zum ersten neuen englischsprachigen DONOTS Song in 13 Jahren eingespielt hat. Frank Turner darf in der Neuauflage von „So Long“ selbstredend nicht fehlen, Chuck Ragan von Hot Water Music und Matt Hensley von Flogging Molly empfehlen sich mit Reibeisenstimme und Akkordeon und Shitney Beers singt auf ihre wunderbare Shoegaze Art und Weise das Intro zu „Keiner kommt hier lebend raus“.

Die Vorab-Singles „Allein zu allein“ und „Problem kein Problem“ haben schon diverse Herzen eingesammelt und das „SCHWERT AUS HOLZ“ dürfte sämtliche restlichen Herzkammern fluten - auch auf der restlos ausverkauften Vorab-Akustik-Tour zum Albumrelease. It’s a love thing…

On the cover of 8 Tips for Full Catastrophe Living, the new album by Asher White, The Statue of Liberty is in pieces but not destroyed - in progress, being built, not yet complete. Her torch is on the ground, her head somewhere out of frame. Before she was a symbol, she was metal, and living, sweating people riveted her together. The spirit of de/construction characterizes 8 Tips, White's 16th LP overall and first since signing to Joyful Noise. Like White's previous albums, 8 Tips for Full Catastrophe Living darts boldly among varied musical styles. Doom metal splits open into bossa nova; psychedelic rock and power pop flip into industrial techno. Each song emerges from its composite parts in the studio: White doesn't draft or demo before recording, but builds out her pieces sculpturally, sound by sound. "It's forever collage, forever assemblage," she says of her music. "To me, it has more to do with J Dilla, L.A. beat, and musique concrète than pop songwriting." The record's quick turns and vivid contrasts reflect White's cultural voraciousness. A writer, painter, and sculptor as well as a musician, she gathers materials constantly, always digging for new ideas in every possible form. The films of Claire Denis, the novels of Clarice Lispector, and the memoirs of Eve Babitz all funnel into White's reflection of 21st century disaster capitalism. 8 Tips is also White's first album to have been mixed outside her Providence studio; after recording it herself, she brought tracks to Seth Manchester (Lightning Bolt, Battles, The Body) who gave the album its brawny, unruly charge. "I was interested in making something that serves dually as a self-help book and a chronicle of self-destruction," says White. Overlaying autobiography onto character vignettes, 8 Tips for Full Catastrophe Living wrenches open the idea of apocalypse - an abrupt disaster rained down on uncomplicated innocents - and peers inside at its bursting, devastated particulars. Apocalypse is slow and uneven. Nations falter as do individual people, clinging fast to their old, dilapidated self-preservation strategies. What saved you in the past might destroy you in the future. Flip it around, shake yourself loose, ruin the person you've known yourself to be, and you might get the chance to become something else. "There have been so many end times, many other apocalypses." White says. "People were writing self-help tips, and people were partying." We have survived catastrophe before. Out of the ruins, people made work - art, books, culture. "I was interested in making something that sounds like a self-help book, but it's actually about self-destruction," says White. "In full catastrophe living, you just have to do a bunch of whippets. This album is mostly about doing whippets. I'm not even kidding."

PUBLIC HOUSE is a project formed in 2024 by Wolfgang Buckley (Stiff Richards) and James McClurg. What started as bedroom demos morphed into a punk powerhouse that has been gradually sneaking their way onto stages in and around Melbourne and into the ears of eager listeners. Releasing their first track, Rich Cunt Party (recorded at home), in early 2024, fans were left eagerly awaiting for a year until their next singles, Death Van, Twist The Knife and Garbage Bag Balaclava were unleashed in quick succession - with more on the way. Before heading back to the studio to work on their debut album later this year, PUBLIC HOUSE make their way to Europe for the first time for a small run of high-octane shows, which are sure to blow the froth off any beers within a two-mile radius of any sound system they are legally allowed to plug into. BEWARE.

This is not the end of a dark alleyway in some US city, this is not the bottom of a platform heel in England, this is not the back corner of some dusty drawer at a record fair in Holland. These are not the places you’ll find rock and roll. This is Quebec: A different sensory perception of rock and roll. A heightened awareness of the highest highs and the lowest lows. This is Belgium with snowmobiles, Catholic Texas, Ugly France. All the crumbling highways, the coldest beers, and the loudest joints. Guitars do different things in Quebec. PUFFER shimmy across the invisible barricade between Montreal and the rest of the world not just as another crop of punks but as the great descendants and inheritors of modern greats like INEPSY’s “Rock and Roll Babylon” and ANNIHILATION TIME's “II.” Loud, brash, unrelenting. You’ll go deaf before you get bored of it.
Self produced, self recorded, and mixed by the band, this is the vanguard of punk that has lived long beyond it’s moments of origin. This pure blast of 1979 by way of the hellish weimar end-times of 2025 never made the necessity of punk rock feel so real.
FFO SLAUGHTER AND THE DOGS, the 222s, THE DISCORDS, MOTORHEAD, INEPSY, AA Restaurant, Montreal pool room, Katacombes, and the eternal flame of punk in La Belle Provence.

Reissue des Debütalbums der Emo-Punker Free Throw aus Nashville, "Those Days Are Gone" aus 2014, das bis heute das beliebteste Album bei den Fans ist. Neue Auflage auf Black Cherry Eco Mix Vinyl, bei dem jedes Exemplar ein Unikat ist.

Recorded by Grammy-winning producer Chris Dugan (Green Day, Weezer), this LP is a triumphant return after 7 years for the Cincinnati-based quartet Introducing "80/20," the highly anticipated new album from the acclaimed punk rock band, The Dopamines. Recorded by Grammy-winning producer Chris Dugan (Green Day, Weezer), this album marks a triumphant return to the scene after 7 years for the Cincinnati-based quartet, renowned for their raw energy, blistering melodies, and unapologetically honest lyrics. "80/20" perfectly encapsulates the true sound and character of The Dopamines. Each track is a testament to The Dopamines' evolution, blending their signature breakneck tempos with refined songwriting and complex arrangements. Chris Dugan's masterful production highlights the band's musicianship, capturing every nuance of their performance with clarity and intensity. Lyrically, "80/20" delves deep into themes of alienation, addiction, and the search for meaning through the lens of a chaotic punk band. Each song is a vignette of personal struggle and societal critique, written with the brutal honesty and sharp wit that fans have come to expect from The Dopamines. Chris Dugan's involvement brings a polished edge to the album without sacrificing the raw energy that defines The Dopamines. His expertise in capturing live performances translates into a recording that feels immediate and authentic, immersing listeners in the band's world. "80/20" is more than just an album; it's a declaration of The Dopamines' place in the punk rock pantheon. With its potent mix of aggression, melody, and emotional depth, this record is set to become a staple in the collections of punk enthusiasts worldwide. Don't miss out on this landmark release from one of the most compelling bands in contemporary punk rock

This band, and this album, function as critical missing links that takes one from The Fall to Yard Act, from Television and The Minutemen to Parquet Courts and Sleaford Mods, from punk as a sound to punk purely as an ethos. While any Van Pelt album is a stand alone album, the unique approach they take begs one to enter their world and dig deep in.

RELATED TO: The Lapse, Native Nod, St Vincent, Blonde Redhead, Enon, Jets to Brazil, Vague Angels, Ted Leo and the Pharmacists, American Football, Texas is the Reason.

‘The lines between post-hardcore, indie rock, and emo blurred on the two mid-’90s full-lengths from the Van Pelt.’ Pitchfork

‘New York City’s The Van Pelt are an influential, but too often overlooked indie rock band -- cult favorites for many an emo-inclined crate digger.’ Consequence of Sound

‘...should be mentioned a lot more than they are when you talk about the history of emo.’
Washed Up Emo

Back in the day there was this thing called an A&R guy. They would hang out at small venues looking to throw money at the next big thing. In the early 90s, everyone was looking for the next Nirvana of course. NYC's The Van Pelt had just released an album of anthems called "Stealing From Our Favorite Thieves" that seemed to be just that. The only thing is, they didn't want to sign. Legend has it $2 million was turned down over pierogies and coffee one Monday morning because The Van Pelt didn't want to risk crashing and burning. Instead, they were gunning for a long and stable stride even if that meant they would largely remain out of the public's eye forever.

Lack of willingness to play the game didn't mean people weren't waiting with baited breath for their follow up album though. In 1997 The Van Pelt released "Sultans of Sentiment", an album nearly devoid of the anthems and licks people were expecting. In fact, it's a complete bummer of an album that subjects the listener to the point on life's curve where the hubris of youth gives way to a cresting crashing defeat no kid with heart could ever have seen coming. Seeing as humanity are sick fuckers who revel in the misery of both themselves and others, the popularity of Sultans grew and grew and continues to win new loyal fans even today. It's for this classic album The Van Pelt has never fallen off the radar.

That being said, their swan song "The Speeding Train" was recorded while they were working on their third album. In any other age, in any other way, this song would have been a hit. The Van Pelt broke up mid-recording, released Speeding Train as a single, and the rest of the songs from that session didn't see the light of day until they were released in 2014 as the "Imaginary Third" lp.

Why are we here talking about them today in 2023? Because in preparation for the release of "Imaginary Third" The Van Pelt started playing some reunion shows. Soundchecks revealed to them that this band has a voice that was prematurely muted by their inability to see clearly in the thick of it. Returning to explore just what that is 25 years later has led to this first collection of 9 songs, "Artisans & Merchants". This is not a reunion album. This is vindication for that decision made over pierogies and coffee decades ago. The Van Pelt is a band in it for the long haul, free from whatever trappings the mayflies of trends and markets may bring.

For lovers of The Van Pelt, listening to "Artisans & Merchants" is like hearing the voice of a dear friend you haven't seen in years, a friend you used to share countless beers with over banter that went nowhere other than delivering a solid night. Your friend is older, they've changed. In some ways you're worried for them, looks like they might be teetering on the brink of something. In other ways it's the same old them, a nugget of a soul too unique to ever be altered. It's for those unfamiliar with The Van Pelt though for whom we should be truly jealous. This is a stand alone album, incredible vital song writing in and of itself regardless of the long history this band has. The climax of the single "Image of Health" perhaps describes the beautiful desperation best: "And you never felt more alive / Than when the priest came to read you your rites!"

Magenta coloured vinyl, limited to 350 copies. Brand new LIVE ALBUM for the Californian super band featuring Brant Bjork, Nick Oliveri and Ryan Güt. An incredible double vinyl gatefold album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon

Brand new LIVE ALBUM for the Californian super band featuring Brant Bjork, Nick Oliveri and Ryan Güt. An incredible double vinyl gatefold album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon

The sophomore effort from Gray/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision. To call this pair's brand of country-rock détournement "cosmic" would be too breezy: L. Gray and Rob Smith prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings. Formed in the outer-edges of Kings and Richmond counties circa 2020, Gray/Smith is something of an East-Coast involution. L. Gray (guitar and vocals) and Rob Smith (drums, guitar and vocals) are both trusty veterans of "band's bands" like Pigeons (Soft Abuse), No-Neck Blues Band (Revenant, Locust), Rhyton (Thrill Jockey), and The Suntanama (Drag City), freewheeling groups known for mining from polyglot sources: rough-hewn folk and the spiritual avant-garde, bargain-bin hard rock and and collector's-choice psychedelia alike. On their first, self-released LP Gray/Smith, serendipitously recorded at Gary's Electric at the top of 2021, the pair trained their assured chops onto the great American song-form, honing a murky but tight approach that variously cribs "urban cowboy" and finger-picked primitivism. A string of cryptic appearances soon followed, including a short-lived residency at a now-shuttered vodka dive; a micro-tour with Coloradan songstress Josephine Foster; and a series of backyard and barroom gigs sharing stages with compatriots like Stella Kola, Blues Ambush, Samara Lubelski, and Wednesday Knudsen. Heels in the Aisle is the slipshod, burnt-out, mid-'70s unter-prog comedown to their debut's backwoods, bushy-tailed, early-'70s, country-rock meanderings_expect more unrestrained riffs, artful studio wizardry, and worn-down introspection. Joining the ranks of bloodshot-eyed, blues-rock medleys à la Canned Heat's "Parthenogenesis" and Grand Funk's "Into The Sun," "The SDSPS" is the nearly side-length opening cut, an expanded song-cycle condensing and riffing on the themes of their debut. "Help Me" ventriloquizes Pomona College outlaw Kris Kristofferson's slow-roaring ballad of libidinal woe. On the flip side, "Verrazano Tile" and the title track pay heed to lower bays of Staten Island, while their arrangement of the traditional Zimbabwean tune "Guabi Guabi" is a bright Dead/Feat-like jaunt with blissed-out wah-wah pay-off. "Gaslight Boulevard" is lean, mean, and eight-beers-in space rock, and the closing track "Kekule's Ring" is a slack-jawed, wistful crash back down to earth. All this, packaged in a luxe, expertly-printed sleeve photographed by downtown artist Lary 7 and designed by Eric Wrenn (Sophie's Oil of Every Pearl's Un-Insides).

Last Summer, Daniel Foggin, guitarist, writer and chief architect of Smote, uprooted himself from his usual home in Newcastle to live and work in a farmhouse in Kelso, near the Scottish border. “Through the summer when I was working up there, myself and Rob (Smote drummer) would finish work and go sit by a small river and have a couple of beers in the sun, and it was the best thing ever” he relates “So I guess the philosophy is that to some people it looks like any other stream, but to us it was supreme happiness.” Hence came the title of the fourth Smote album proper, one largely recorded in this same farmhouse – A Grand Stream. It’s an album that’s the truest incarnation thus far of his vision for this band – a full-scale psychic voyage into the ether and a drone-and-repetition-fuelled series of incantations that takes simple, primal ingredients and utilises them for the purposes of aural sorcery, summoning spectres and revelations aplenty in its wake. Whilst the folk-tinged, ceremonial ambience that Smote have made their trademark is present and correct here, utilising Swedish classic psych heaviness and Swans textures as fuel for the ominous rhythms of ‘Coming Out Of A Hedge Backwards’ and the uplifting cadences of opener ‘Sitting Stone Part 1’, Foggin and his cohorts also waste little time exploring new more eerie and ethereal textures and dimensions. The meditative ‘Chantry’ in particular sees them gravitate towards a headspace akin to the drone-based epiphanies of Kali Malone’s ‘Does Spring Hide Its Joy’ filtered through the transcendent amplifier worship of ‘Earth 2’. A Grand Steam takes this band – one who’ve always eschewed the cliches and stumbling blocks of all contemporary psych rock in favour of their own unique and wyrd vision – into a realm in which they transcend through willpower and skill alike into something preternaturally thrilling, mapping out their own crepuscular new territory Question is; dare you step over the threshold?

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan Ersahin and some outstanding São Paulo musicians Guizado, Ze Nigro, Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends. These are players who will be familiar to those following the careers of Céu, Otto, Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the amount of time Ilhan has spent in São Paulo over the last decade due to putting on the Nublu Jazz Fest there every year. With all the contacts, connections and friendships formed over the course of making an annual music festival happen, musical cross-pollination (usually simply referred to as "jams") was inevitable but this time it was decided to do it in a studio with tape rolling rather than on stage, which is certainly a more productive approach than merely talking about it over beers at a local bar! Everything happened fairly spontaneously over three days in the studio, everybody brought songs, ideas and creative energy and before you know it an album was born

Gentle Ben and His Sensitive Side is now Gentle Ben and His Shimmering Hands: a new line-up means a new album! Here's the new line-up: Ben Corbett (aka Gentle Ben, vox in SixFtHick), Tony Giacca (bass in SixFtHick, guitars in GB&HSS), Dan Baebbler (guitars in SixFHick, bass in GB&HSS) and Jhindu-Pedro Lawrie (drums). "Brut" is how the album is titled and brut it is! The band creates create music of a rare and savage beauty. Soaring highs, crunching lows and in between only the sound of grown men crying into their beers and young lesbians gasping for air.

Reissue des Debütalbums der Emo-Punker Free Throw aus Nashville, "Those Days Are Gone" aus 2014, das bis heute das beliebteste Album bei den Fans ist. Neue Auflage auf Black Cherry Eco Mix Vinyl, bei dem jedes Exemplar ein Unikat ist.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer

Skatune Network follows up one of their most beloved releases with another unique set of emo and pop punk covers - ranging from 90s and 00s classics by Blink-182, Paramore, and Jimmy Eat World to modern day favorites by bands like PUP and Title Fight.

Those Days Are Gone is Nashville’s emo-punk band Free Throw’s debut, most popular, and fan-beloved album. Free Throw have been making music together for 10 years, and on Oct 13th, 2023, are releasing their fifth studio album to much fan and critical excitement. Those Days Are Gone was the last record that singer Cory Castro and drummer Zach Hall played on together before reuniting for the 2023 record. This 2023 release will surely drive fan excitement for Free Throw’s entire discography, particularly favorite Those Days Are Gone. Free Throw is embarking on a full 30-date US tour in fall 2023, co-headline with Prince Daddy & The Hyena. They are also supporting Hot Mulligan on a 6-date Australia tour in early 2024.

Darius Rucker veröffentlicht sein mit Spannung erwartetes Studioalbum „Carolyn’s Boy“, welches sein erstes Solo-Album innerhalb der letzten 6 Jahre ist. Der mit zahlreichen Gold-, Platin- und Diamantauszeichnungen geehrte Country-Künstler gewann bereits 3 Grammy-Awards. Sein Album „Cracked Rear View“, gemeinsam mit seiner Band Hootie & the Blowfish platzierte sich in der Top 10 der bestverkauftesten Alben aller Zeiten. Mit der Veröffentlichung seiner erfolgreichen Single „Fires Don’t Start Themselves“ liefert Darius einen Vorgeschmack auf „Carolyn’s Boy“. Das Album ist für Darius eine Hommage and seine verstorbene Mutter sowie der Abschluss seiner Suche nach seinem Platz in der Country-Musik.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

On Garden Party, Rose City Band"s country psychedelic rock evokes the wide-open spaces of the American west and free spirits who call it home. Led by acclaimed guitarist and vocalist Ripley Johnson, Rose City Band are some of the best players in contemporary rock: pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg, bassist Dewey Mahood (aka Plankton Wat), drummer Dustin Dybvig, and features Sanae Yamada of Moon Duo on Synthesizer. Garden Party is both a celebration of summer and all it brings: friends gathering at backyard BBQs, cold beers on a hot porch, 12-foot sunflowers, and an exaltation of the value and respite of a moment of calm; the pleasures of time in the garden to appreciate the beauty of a contorted carrot, or a morning on a stoop watching a hummingbird. Freedom, contentment, and joy were the sources for the songs; they certainly bring the listener right there. From the soaring guitar solos to the driving rhythms, the elegant pedal steel lines to the organ grooves, Garden Party has a live band"s energy captured in exquisite detail. Garden Party is an invitation, a welcoming hand extended, and a joyous ride. Like all great music, the album taps into the listeners" emotional center and takes them to their happy place - their sunny spot. Recorded at Center for Sound, Light, and Color Therapy in Portland and mixed by John McEntire, the band"s sounds surround and embrace you. Garden Party"s last two tracks feature special guest Sanae Yamada (Moon Duo) who added some synth magic to the final two tracks. Ripley says it best "I always like when an album starts in one place and ends in another" What a beautiful journey it is!

On Garden Party, Rose City Band"s country psychedelic rock evokes the wide-open spaces of the American west and free spirits who call it home. Led by acclaimed guitarist and vocalist Ripley Johnson, Rose City Band are some of the best players in contemporary rock: pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg, bassist Dewey Mahood (aka Plankton Wat), drummer Dustin Dybvig, and features Sanae Yamada of Moon Duo on Synthesizer. Garden Party is both a celebration of summer and all it brings: friends gathering at backyard BBQs, cold beers on a hot porch, 12-foot sunflowers, and an exaltation of the value and respite of a moment of calm; the pleasures of time in the garden to appreciate the beauty of a contorted carrot, or a morning on a stoop watching a hummingbird. Freedom, contentment, and joy were the sources for the songs; they certainly bring the listener right there. From the soaring guitar solos to the driving rhythms, the elegant pedal steel lines to the organ grooves, Garden Party has a live band"s energy captured in exquisite detail. Garden Party is an invitation, a welcoming hand extended, and a joyous ride. Like all great music, the album taps into the listeners" emotional center and takes them to their happy place - their sunny spot. Recorded at Center for Sound, Light, and Color Therapy in Portland and mixed by John McEntire, the band"s sounds surround and embrace you. Garden Party"s last two tracks feature special guest Sanae Yamada (Moon Duo) who added some synth magic to the final two tracks. Ripley says it best "I always like when an album starts in one place and ends in another" What a beautiful journey it is!

For the first time in a white vinyl version + two posters (A2 format with photos, drawings and texts), here is the adaptation of the famous V.I.S.A. tape released in 1983 "Meilleurs extraits des deux concerts à Paris" (Best extracts from two concerts in Paris) which offers a cold and brutal dive into Bérurier Noir's first stage performances.

The title of this album refers to the self-managed factory on rue de Pali-Kao, in the 20th arrondissement, where Bérurier Noir played their first concert. It's easy to imagine the omnipresent smoke that slightly obscures the view, the heady smell of warm beers and the repetitive sound of capsules falling to the ground, the floor trembling under the incessant hammering of rangers, docs and creepers from the audience... This famous raïa, destructive and colourful, which encouraged the duo to continue their adventures whereas François and Loran had simply planned to bury the band after the concert!