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DINTE presents a cassette-only two-part Japanese post-punk, goth & new wave mixtape, the first in a tranche of regionally-focused mixes produced in partnership with Philadelphia's punk archivists World Gone Mad.

Das von der Kritik hochgelobte Debüt-Studioalbum der amerikanischen Rockband The Strokes. Aufbauend auf ihrer 2001 erschienenen EP "The Modern Age" formten die Bandmitglieder ihre Kompositionen hauptsächlich durch Live-Takes während der Aufnahmesessions, während Songwriter und Leadsänger Julian Casablancas weiterhin das Leben und die Beziehungen der urbanen Jugend detailliert beschrieb. Aus dem Album wurden drei Singles veröffentlicht: "Hard to Explain"/"New York City Cops", "Last Nite" und "Someday". Jetzt auf rotem Vinyl erhältlich.

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

Sweetheart is the first Cassie Ramone album in ten years, a crowning glory for a singular artist who has forged a unique path through the underground. Breaking out in the late 00s with the revered Vivian Girls, to her current status as a traveler on the
heartworn highway, Cassie Ramone has survived and thrived. Sweetheart is Ramone's greatest recorded statement to date:
focused songwriting shot through with American tragedies, distorted guitars and tear-stained fretboards. Recorded with
collaborator Dylan White in Richmond, VA in the latter's Valley Structures barn studio between December 2023 and March
2024, Sweetheart is Ramone's songwriting rendered direct but with a sweeping cinematic quality. Smeared with reverb and
scintillating like stars in the pitch black night, these songs fulfill the promise of Ramone's songwriting prowess.
Ranging from heart-stealers like I'm Going Home or Joy to the World to the riotous guitar scree of the titular Sweetheart,
Ramone's songwriting here is raw and direct, bolstered by White's perfectly balanced instrumentation. White's work on
Sweetheart blows up Ramone's songs to epic proportions, with waves of shoegazed guitars crashing and cresting with
emotion. As a result, Sweetheart fits effortlessly in with the best of Ramone's work with Vivian Girls and The Babies. With the
emotional vulnerability at its core, Sweetheart is Cassie Ramone emerging as one of the most honest and vital songwriters of
the underground.
Sweetheart, released on White and Ramone's new CD-R Records, builds on Cassie Ramone's legacy as a DIY pioneer. With Vivian Girls, Ramone and her bandmates forged a distinctive sound from 80s Punk, Shoegaze and 60s Girl Groups, delivering it with a dedication to world-building and Do It Yourself pragmatism. CD-Records and this first release are a continuation of Ramone's mission to maintain creative and aesthetic control over her art, communicating directly and honestly. Sweetheart may
also be the best record of her career.
Released on Cassie Ramone and Dylan White's label CD-R Records

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

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

Vaudou Game is back with a Funky Afro Cumbia 7 inch release !
First single of their 5th album, the french afro funk band's influences have spread beyond the city and country limits, crossing the Atlantic to reach Colombia and the afro latin world.
« Afro Cumbia » is one of the new musical direction took by the band.On the track «Râler» helped by the brilliant voice of the Spanish-english singer Clara Serra López, you'll hear the funky fusion between high-life guitars and typical cumbia guiro and bass. An original soulful duo sharing Spanish and Mina lyrics.
Koliko is a tribute of the west African street food and specially the sweety donuts , you can find in the morning in Lomé or Cotonou. "Nana Benz du Togo" band are invited to sing the chorus on this funky highlife dj friendly anthem .
Recorded on analog equipment at Otodi Studio in Lomé (Togo)
From the album "Fintou" (out January 15 th 2025)

**AVAILABLE ON VERY LIMITED CLEAR PURPLE VINYL / 100 COPIES ONLY** - This is the 1995 remix version of the album - Never before released on vinyl - Remastered and cut to lacquer - Same front cover as the original though the back has been altered - The inner sleeve contains liner notes explaining the genesis of the remix - FFO: MC5, The Stooges, The Saints Living Eyes was recorded at Rockfield Studios in Wales during a break in the band’s 1978 tour of Britain and Europe. Relations between members were falling apart and Sire had dropped the band prior to the start of recording. Their breakup soon followed. Initial releases of the album were cut from a tape dub of trial mixes as the band never received an official master. In 1994 the original tapes were retrieved from Rockfield and remixed in Australia for a CD only release. This is the first time the remix version has been released on vinyl. It has been remaster and cut to lacquer.

**AVAILABLE ON VERY LIMITED CLEAR PURPLE VINYL / 100 COPIES ONLY** - This is the 1995 remix version of the album - Never before released on vinyl - Remastered and cut to lacquer - Same front cover as the original though the back has been altered - The inner sleeve contains liner notes explaining the genesis of the remix - FFO: MC5, The Stooges, The Saints Living Eyes was recorded at Rockfield Studios in Wales during a break in the band’s 1978 tour of Britain and Europe. Relations between members were falling apart and Sire had dropped the band prior to the start of recording. Their breakup soon followed. Initial releases of the album were cut from a tape dub of trial mixes as the band never received an official master. In 1994 the original tapes were retrieved from Rockfield and remixed in Australia for a CD only release. This is the first time the remix version has been released on vinyl. It has been remaster and cut to lacquer.

Formed in 2020 in Silkeborg, Denmark, NECKBREAKKER, consists of Christoffer Kofoed (Vocals), Sebastian Knoblauch (Bass), Anton ’Hajn’ Bregendorf (Drums), Joakim Kaspersen (Guitar) and Johan Lundvig (Guitar). Despite not having released a single song up until this point, NECKBREAKKER have found themselves at the forefront of the underground metal scene, thanks to their growing reputation of delivering blistering live shows. The young death metal band have already found themselves touring alongside the likes of Crypta, BAEST and Left To Die, as well as claiming slots on festivals such as Hellfest, Resurrection Fest, Bloodstock Open Air, Summer Breeze, Copenhell, Mystic Festival, Dynamo Metal Fest, Roskilde, Sweden Rock Festival, Tuska Festival and Inferno festival, as they rip and tear their way across the continent. Now, having caught the eye of metal titan Nuclear Blast Records, NECKBREAKKER are gearing up to release their hotly anticipated debut album, Within The Viscera, on December 6th. On the release of their debut album and their signing to Nuclear Blast Records, the band comments: “As we were creating Within The Viscera it is fair to say we felt a certain amount of pressure. A pressure to deliver an album that could live up to the hype this band has been building since we started playing shows, a pressure to not lessen the raw impact of the songs by finally putting them in a studio setting, and most importantly to make a debut album we could be proud of. We had the vision set, and we know we wanted to do it right. And we believe we have. Produced by Andreas Linnemann and mixed/mastered by Josh Middleton, Within The Viscera is our strongest material, and we hope the joy we had creating it shines through.

Trapped Animal records is proud to announce the release of Despite Yourself Deluxe from 90’s legends Headswim, which has never been available on vinyl before.

For the first time, Headswim’s iconic second album is available on double gatefold vinyl, featuring 7 bonus tracks, including an unreleased version of their hit 'Tourniquet'! Lovingly released on double vinyl in a gatefold sleeve, this deluxe re-issue features seven bonus tracks including previously un-released tracks, including a previously unheard version of their biggest hit, Tourniquet featuring a string orchestra recorded at Abbey Road Studios!

The bonus material was collated by scouring through Sony's DAT tape archives, in this process the band and label found some wonderful lost recordings. The record will be available on either limited edition blue or back 180 gram vinyl. Despite Yourself, featuring the singles "Tourniquet" and "Better Made”, was Headswim’s sophomore album and documents the development of the band maturing as songwriters. “We were aiming for longevity and believed we had written a collection of songs honestly expressing who we were, where we’d been and where we wanted to go. The album was a declaration of intent, an expression of our lived experience, a light in the dark.” Originally released on 2nd September 1997 Despite Yourself reached 24 in the UK charts and would see the band tour the USA and Europe, make “several TV appearances (including Top of The Pops), film a couple of glossy music videos and get some mainstream media attention. We’d been given a chance and we’d grasped it with both hands.

Transparent green vinyl, limited to 300 copies. Comprised of individuals deeply rooted in the underground music scene, False Reality are a London-based hardcore band that formed in 2023. Renowned for their thrash infused, hardcore crossover sound and fiercely energetic performances they draw influences from bands such as Trapped Under Ice, Broken Teeth and Backtrack as well as early era Sepultura and even Deftones. Having recorded the debut EP 'Path of Self Destruct' with producer Steve Sears Jr (Gallows, TRC, Prowler, Conjurer), False Reality set out to prove why they stand apart, delivering a release that is in equal parts blistering as it is poetically cathartic. Lyrically delving into the complexities of life, exploring themes of betrayal, societal values, and tragedy. The first single released, 'Opposites React', is a groove-driven empowering track that features vocals from Jem of Aussie hardcore band SPEED, which has received support from Daniel P Carter and Alyx Holcombe on BBC Radio 1. Having initially been released digitally in April 2024, this is the first vinyl pressing of the EP, coming via Hassle Records. Limited to just 300 copies, this vinyl release marks a significant milestone for the band, as their reputation grows rapidly within the scene.

JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
"Aqualung Redux" präsentiert neue Versionen aller elf Titel des 1971 erschienenen Bestseller-Albums, von dem JETHRO TULL mittlerweile weltweit mehr als 7 Millionen Exemplare verkaufen konnten. Mit "Aqualung" feierten die Briten ihren Durchbruch als Rockband sowohl in Radio und TV als auch auf weltweiten Tourneen. "Aqualung" handelt in erster Linie vom Glauben und von Religion, beschäftigt sich aber auch mit anderen Themen wie der Obdachlosigkeit. Laut Ian Anderson handelt es sich bei "Aqualung" keineswegs um ein Konzeptalbum, für das es dennoch oft gehalten wird. Während die Band wie auf früheren Werken nach wie vor auf Blues, Hard Rock und der Psychedelia setzte, fügte sie auf "Aqualung " vermehrt akustische Folk-Momente hinzu. Bei der Singleauskopplung 'Locomotive Breath' handelt es sich um den vermutlich bekanntesten und am meisten gecoverten JETHRO TULL Song.
Zusammen mit "Aqualung Redux" präsentieren wir auch das Begleitalbum "Best of Jethro Tull Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der britischen Rocklegende enthält.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Angeschnallt und zugestiegen bei Magnetic Eyes achter Expedition ins Redux-Abenteuer, mit dem wir den einzigartigen britischen Rock-Erneuern JETHRO TULL die gebührende Ehre erweisen!

JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
"Aqualung Redux" präsentiert neue Versionen aller elf Titel des 1971 erschienenen Bestseller-Albums, von dem JETHRO TULL mittlerweile weltweit mehr als 7 Millionen Exemplare verkaufen konnten. Mit "Aqualung" feierten die Briten ihren Durchbruch als Rockband sowohl in Radio und TV als auch auf weltweiten Tourneen. "Aqualung" handelt in erster Linie vom Glauben und von Religion, beschäftigt sich aber auch mit anderen Themen wie der Obdachlosigkeit. Laut Ian Anderson handelt es sich bei "Aqualung" keineswegs um ein Konzeptalbum, für das es dennoch oft gehalten wird. Während die Band wie auf früheren Werken nach wie vor auf Blues, Hard Rock und der Psychedelia setzte, fügte sie auf "Aqualung " vermehrt akustische Folk-Momente hinzu. Bei der Singleauskopplung 'Locomotive Breath' handelt es sich um den vermutlich bekanntesten und am meisten gecoverten JETHRO TULL Song.
Zusammen mit "Aqualung Redux" präsentieren wir auch das Begleitalbum "Best of Jethro Tull Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der britischen Rocklegende enthält.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Angeschnallt und zugestiegen bei Magnetic Eyes achter Expedition ins Redux-Abenteuer, mit dem wir den einzigartigen britischen Rock-Erneuern JETHRO TULL die gebührende Ehre erweisen!

British Funk Renegades - Baker Brothers: A Legacy of Groove and Innovation

Since 2001, British funk luminaries the Baker Brothers have been at the forefront of the UK funk scene, consistently redefining the genre while staying true to its roots. Their groove, deeply embedded in soulful nostalgia, draws inspiration from legendary acts such as Steely Dan, Sly and the Family Stone, The Doobie Brothers, D'Angelo, The Roots, The Meters, and Prince.

Renowned for their electrifying live performances, the Baker Brothers deliver an "in-your-face" experience that takes audiences on a journey through their extensive back catalogue, spanning eight studio albums and four live albums. These albums feature collaborations with notable artists, including Hamish Stuart of the Average White Band, Snowboy, and soul divas Vanessa Freeman, Hannah Williams, Acantha Lang, and Katie Holmes.

With over ten tours in Japan and numerous European tours under their belt, the Baker Brothers have proven their enduring appeal. They continue to navigate the challenges of band life with unwavering creativity and passion, using music as their vehicle to overcome life's hurdles.

As they forge ahead with new creations, the Baker Brothers' signature sound—characterised by tight horns, a driving rhythm section, and irresistibly funky guitar riffs—remains as killer as ever. Their journey is a testament to their longevity and their unwavering commitment to pushing the boundaries of funk.

Bad Astronaut zeichnete sich durch experimentellere Klänge und eine aufwendige Produktion aus, und stand in vielerlei Hinsicht im Gegensatz zum Punk. Die Band war mehr als nur ein Nebenprojekt - sie spiegelte die kollektive musikalische Vision der Mitglieder wider, frei von den Zwängen ihrer Hauptbands. Auf "Untethered" präsentieren Cape und DeSantis neun bekannte Tracks der Band im neuen Gewand, reduziert auf Gesang, Klavier und Cello – schwerelos / ungebunden, wie der Albumtitel andeutet.

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

After an extensive tour of the UK at the end of 2022, the band decided to head into the studio to record their first long form offering. Following a passion for storytelling, they pulled together influences from Pulp Fiction to Fleabag, from Zadie Smith to Edward Hopper. They wrote relentlessly during 2022, diligently crafting what was to become this debut album. Released independently on their own Life and Times Recordings, Exit Strategy is a 13-track labour of love, recorded at Abbey Road Studios and Love Electric, enlisting the production smarts of Bernard Butler. The album is in two halves (divided literally by the two sides of the vinyl edition) entitled Galway and London and presents a multifaceted band, pushing themselves and exploring the limits of their philosophy.

Exit Strategy centres around a protagonist who moves from Galway to London in search of meaning, certain that, as the main character in the film of his own life, the solution lies in changing his surroundings and acting as someone he’s not. Both a mirror and a portal, the album promises encounters with manipulative bosses, evil ad agencies, a broken pact to flee to Australia, run-ins with the law, cheating boyfriends, drug fuelled youths, heartache, paranoia, social media anxiety and a drunk singer dressed as Jesus. Thematically the album races between emotions, between irony and sincerity, between soul searching and tongue-in-cheek finger pointing and ends where it all started, both musically and in terms of single rollout, with the nostalgic/euphoric first single Westway.

Explaining the album’s genesis and cinematic influence, James McGregor says: “We were always sure we wanted the album to be greater than the sum of its parts, so decided to create the world of a film, entitled Exit Strategy. We envisaged the record as a series of snapshots, telling the story of a group of characters trying to navigate through life.”

Hallmarked more by a philosophy than a sound, The Clockworks weave pop sensibilities with noisy, post-punk, rock-influenced stylings. The songs seem swaggering and dark yet often have an epic, nostalgic quality. They sit poetic introspection beside witty, kitchen sink drama to create something intense but playful.

With the release of Exit Strategy, The Clockworks have created a world to be explored, to be analysed and to be deciphered, but most importantly to be felt.

Die Slowcore-/Space-Rock-Band Duster aus San Jose kehrt mit ihrem Überraschungsalbum "In Dreams" zurück und setzt damit ihre Vorliebe fort, eine offene Frage klanglich zu fassen. Die dreizehn Tracks konzentrieren sich auf die für sie typischen dunklen, dröhnenden Gitarrentöne, die zurückgenommene Perkussion und den verführerischen, harten Gesang, während sie gleichzeitig Synthesizer-lastige und Drum-Machine-Alleen erforschen und erweitern. Auf dem Höhepunkt ihrer Lo-Fi-Power liefern Duster ein Album ab, das den charakteristischen atmosphärischen Sound der Band gekonnt einfängt und noch weiter ausbaut.

This band featured Justin Marler and Chris Hakius from Sleep, their first music venture after leaving the former. In between, Justin was an Orthodox monk for 7 years. Different musically as the band rocks hard and fast.

Dixie Dregs' private press debut album / Original recordings of Dregs classics that would be re-recorded for their Capricorn and Arista albums / First-ever LP reissue / White Vinyl - STEVE MORSE - Guitars / ANDY WEST - Bass Guitar / ALLEN SLOAN - Violin / ROD MORGENSTEIN - Drums - The Great Spectacular is Dixie Dregs' original 1975 demo debut album, recorded at the University of Miami as a class project, pressed independently by the band, and distributed locally in limited quantities. Yet The Great Spectacular also functions as a greatest hits of sorts, debuting tracks which would later be re-recorded across Dixie Dregs' classic 1977-1980 Capricorn and Arista albums, as well as during guitarist/band leader Steve Morse's stint in Kansas. It includes the first recordings of key Dregs tracks including "What If," "Leprechaun Promenade," "Holiday," "Refried Funky Chicken," "Country House Shuffle," and more. Original copies of The Great Spectacular are rare collectors' items. For its first-ever LP reissue, the album has been pressed on white vinyl.

Available on vinyl for the first time since 2020. The 'Someday, Somewhere' EP comprises the single 'I'll Be Fine', written and recorded by the band remotely during lockdown, alongside a selection of unreleased tracks recorded during the 'Life After' album sessions including the EP's much-loved title track (previously a live set exclusive). Originally released back in 2020 the vinyl version includes the bonus track 'Trouble On The Water' as previously released on the band's 'Hoxa Sessions' acoustic EP. Bassist William Dorey left Palace after their first album and now records under the name Skinshape. Artwork by Wilm Danby. Vinyl Track Listing: A1. Someday, Somewhere A2. I'll Be Fine. B1. Flesh to the Fallen B2. Trouble on the Water.

„Vorbildliches Leiden: Die österreichische Band Wanda verbindet alt-wienerische Morbidität mit Punkrock“,
schrieb die Frankfurter Allgemeine im Januar 2015 in ihrem Artikel zum Album der Woche: Amore. 10
Jahre später ist das Debütalbum der Wiener Rockband als Jubiläumsedition mit 12‘‘ Picture Disc vom
Originalalbum zurück.
Mit im Gepäck: eine exklusive Heart shaped LP in Rot mit zwei Bonustracks! Amore markiert den
großartigen Anfang der Band und obwohl es das erste Album ist, hat es bereits Top Hits wie „Bologna“
und Live-Hymnen wie „Luzia“ oder „Auseinandergehen ist schwer“ inne.
Das Album schafft es aus dem Stand auf Platz 2 der österreichischen Albumcharts und kann mittlerweile 3-fach Platin in Österreich vorweisen.
Die Single „Bologna“ erreicht zehn Jahre nach ihrer Veröffentlichung sogar Gold Status in Deutschland.
Der Sound Wandas ist rau und ehrlich.
Ohne glatt und perfekt wirken zu wollen sing-schreit Marco Wanda die charmant-witzigen, teils skurrilen Texte zu simplem Gitarrenrock und passenden Keyboardeinlagen. Es geht um Euphorie, Sehnsucht,
den Tod und ganz viel Amore.
Ohne viel Affekt haben Songs wie „Bleib wo du warst“, „Jelinek“ oder natürlich „Bologna“ mit ihrem
eigenen eingänglichen Klang absolutes Ohrwurmpotential.
Fans von Wanda und ehrlichem Rock können sich ab dem 06.12.2024 über die Jubiläumsedition des Albums
freuen!

In 1967, in the midst of Franco's dictatorship, a group of seminarians created a rock band: Enarak. They played pop, rock and psychedelia, styles that were strange in the society of the time and, only in Basque. Faced with a society that found these rhythms strange, they had the courage to play blues, psychedelia and progressive rock in Basque. In 1969 they recorded and released three songs and, over the next four years, they gave hundreds of concerts all over the Basque Country. The last one, in Larraitz, in the shadow of Mount Txindoki, on 31 October 1971. On a cold, misty night lit by a full moon, they brought together some 5,000 young people with the intention of enjoying modern music. After that night, they disappeared forever. Their only traces are the three songs you will find on this album. With the aim of recovering and making the history of the group known, the Bira Produkzioak cooperative has produced a documentary entitled 'Enarak'. Using the power of cinema for social transformation, we are organizing a concert on 21 May 2023. Again in Larraitz, Amorante, Rüdiger and Liher covered the three songs of Enarak. This is not just an album or a concert in the usual way. It is an exorcism, a ritual for the resurrection of Enarak, a historical piece and, at the same time, an object of memory that encapsulates the soul of the late 60s Basque group. In 1969 they recorded the original EP consisting of three songs including a version of the popular song "Solferinoko istua" and "Ama" and "Bañan ez", band's own compositions. The B side songs of this release are performed live in 2023 by Amorante, Rüdiger and Liher.

"The Art Of Dying" is DEATH ANGEL's first album after a 14 years hiatus, but one thing is sure: time hasn't harmed the band's talent in any way! With a line-up that has remained largely unchanged since the 1980s (only Gus Pepa left the band and got replaced by Ted Aguilar), DEATH ANGEL deliver a tour-de-force of pure, uncut thrash Metal comprising of great and powerful thrashers like 'Thrown To The Wolves', 'Thicker Than Blood' and 'Prophecy', "The Art Of Dying", incredible mid-tempo smashers such as the catchy 'The Devil Incarnate' and even a haunting ballad with 'Words To The Wise'.

The Kings of Northern Hyperblast wear the crown once more with pride: “In The Arms Of Devastation” is a monster of an album that strongly reaffirms KATAKLYSM´s pole position in the world of extreme Metal. Produced by the man himself, KATAKLYSM guitarist J-F Dagenais, “In The Arms Of Devastation” received its accolade through the mixing of mastermind Tue Madsen at the Danish Antfarm Studios. Their 8th album shows the band at its best after a long journey of evolution through the folds of all things brutal, technical, extreme and, most of all, heavy! All the trademarks we love so much about KATAKLYSM bare their teeth in the indeed devastating nine tracks of “In The Arms Of Devastation”. “Like Angels Weeping The Dark” is a killer of an opener and guaranteed to tear the whole place to pieces, whilst the slow, grinding and almost doomy “Crippled And Broken” is the tank that will flatten the remains of the wreckage. “It Turns To Rust” is a first in the band’s history: the first time vocalist Maurizio Iacono has ever recorded a duet for KATAKLYSM. Together with KITTIE singer Morgan Lander he turns the track into a fierce duel loaded with screams and growls from hell. A lesson in violence – just like the whole album, so prepare for total devastation, prepare for the return of the mighty KATAKLYSM!

"Aguaturbia" (1970) is an essential album to understand the construction of what we know today as Chilean rock. This very influential album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. It comprises original compositions and electrifying renditions of songs brought to fame by the likes of Tommy James & The Shondells, The Beatles and, of course, Jefferson Airplane elevating these classics to new heights of intensity and rhythmic allure. We are thrilled to make this outstanding LP available again after many years out of stock. Aguaturbia's debut album was originally released in 1970 and showcases one of South America's most significant psychedelic bands from the late 60s and early 70s. Their influence in their native Chile -and beyond- was groundbreaking. It was played live in 1969 on 3 tracks, and it became an icon of transgression due to its unbridled musical aesthetics and cover art that - for the time of its irruption - meant a clear defiance of the conservative logics lived in Chile, which saw in the nudity of the cover a challenge to morality and good manners. The album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. Guitarist Carlos Corales shines and when he played solos at the gigs, the effect on the audience was silence and euphoria at the same time, they couldn't believe what they heard. Everything was done with a professional attitude. In fact, Carlos Corales (guitar) and Willy Cavada (drums) were both professional musicians who had made a previous career in rock and roll bands. The LP showcases breathtaking moments, like Willy Cavada's masterful drum solo in 'Ah Ah Ah Ay' captured flawlessly in a single take. Dive into the sensual psychedelic journey of 'Erotica,' where Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar. Plus, don't miss their thrilling renditions of 'Somebody to Love' and 'Crimson and Clover'-each track elevating classics to new heights of intensity and rhythmic allure. This album is more than music; it's an invitation to experience sheer auditory bliss! "Aguaturbia" is an essential album to understand the construction of what we know today as Chilean rock.

Obscure & outstanding free jazz album reissued for the first time since it’s original release in 1969. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period.

Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present.

Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time.

Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.

Na de comeback plaat van 2021 'Is er iets?', is Madou terug met de EP, 'Engel', net op het moment dat Vera Coomans 75 jaar wordt.
De afgelopen 3 jaar speelde Madou op vele mooie plekken en is de band ook uitgebreid: Mattijs Vanderleen (Marble Sounds, Tommigun) op drums en Marc De Maeseneer (Lady Linn etc...) maken nu ook deel uit van de band.
Hoogtepunten waren Dranouter in 2022 en de uitverkochte AB 'Rewind' show in september 2022 met de re-release na 40 jaar van de eerste Madou plaat op vinyl.

Al die concerten gaven goesting en Vera begon Wiet en Thomas naar nieuwe songs te vragen.
Die nieuwe melodieën leidden tot nieuwe verhalen die nieuwe liedjes werden. Een beetje zoals Randy Newman deed op 'Little Criminals'. Filmische verhalen, muzikale kortfilms, als je wil, een beetje zoals Randy Newman deed op 'Little Criminals'. Maar hier heeft elke song een verhaal met een vrouw als hoofdpersonage.

In november 2023 kreeg Vera telefoon van Gorik van Oudheusden, aka Zwangere Guy.
Hij was op zoek naar muziek voor de TV-serie, 'Putain' waaraan hij werkte, en hij vroeg ons of hij wat nieuw materiaal kon horen. Vera en Thomas speelden in de ICP studio in Brussel een akoestische versie van 'Engel' voor Zwangere Guy en Chuki Beats en die reageerden meteen enthousiast. 'Engel' staat ook op de soundtrack van 'Putain' in een prachtig strijkersarrangement van Wiet Van De Leest.

In mei 2024 trok Madou een paar dagen naar de Jet studio in Brussel en namen ze de EP 'Engel' op onder leiding van Peter Van Laerhoven.

De EP:

Engel:
Gaat over de onvermijdelijkheid van de dood. Vera Coomans:' Als je 75 bent, dan probeer je je in verloren uren wel eens 'de overkant' voor te stellen en wie je op een dag zal komen halen. Of je hem zal herkennen ook. En of het spannend wordt.

Waar het beter was:
Een vrouw wordt wakker uit een nachtmerrie in een nog bangelijkere realiteit.

Koude Voeten:
Waar maanziek zijn toe leiden kan, of hoe je verloren kunt lopen in je eigen hoofd.

Myanmar:
Hoe troostend en het kan zijn om verloren te lopen in je eigen hoofd.

Mooie Dag:
Een mooie dag maar met weerhaken.

Gebroken Glas:
Wat eerst 'Bovary' als titel had, werd uiteindelijk 'Gebroken Glas'.

Madou:
Vera Coomans: zang
Wiet Van De Leest: piano, viool, altviool
Thomas Devos: gitaar, bas, zang
Louis Van De Leest: keyboards, synths, beats
Mattijs Vanderleen: drums, percussie, beats
Marc De Maeseneer: saxofoon

Madou speelt ook live:

RSD 2024

First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.

When Sonny Rollins arrived to Los Angeles in early 1957, he discovered that Ray Brown was also in town with Oscar Peterson's trio and that Shelly Manne was on hand leading a band of his own. The result was a March 7, 1957 recording session, Way Out West, which marked Rollins' very first date in a trio setting and his first recording without the accompaniment of a piano or guitar. The saxophonist was at the height of his career during this period and in 1957 he was named the "New Star" tenor saxophonist in the Down Beat critics' poll. THE COMPLETE ALBUM + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE.

The Other Sound of Music is Edition Hawara’s first compilation of forgotten Austrian treasures from the 1980s. Plucked from dusty basements, flea markets and bespoke stores across the small Alpine country, it features eight quirky and charming pieces that afford a glimpse into largely unknown but surprisingly rich musical subcultures. The lovingly curated selection brings to light early soul, boogie and proto-house productions, as well as some of the most balearic tracks that have ever been made in a landlocked country. Finally giving this music the stage it deserves, The Other Sound of Music is the definitive guide to the outer limits of the Austrian underground.

To celebrate the fabulous Corrs returning to the live arena with their 2024 UK and Ireland Talk On Corners tour, the band are reissuing six of their classic studio albums on limited edition colour vinyl (Forgiven Not Forgotten was reissued on colour vinyl in 2023). This marks the first time that these special albums have been available on vinyl (apart from Jupiter Calling which has a limited black vinyl release in 2017), and the first time that any of them have been available in collectible colour vinyl/ The albums will be released in 3 batches to coincide with the tour

To celebrate the fabulous Corrs returning to the live arena with their 2024 UK and Ireland Talk On Corners tour, the band are reissuing six of their classic studio albums on limited edition colour vinyl (Forgiven Not Forgotten was reissued on colour vinyl in 2023). This marks the first time that these special albums have been available on vinyl (apart from Jupiter Calling which has a limited black vinyl release in 2017), and the first time that any of them have been available in collectible colour vinyl/ The albums will be released in 3 batches to coincide with the tour

Die Songs auf der EP erscheinen in der Reihenfolge, in der sie geschrieben wurden. Sie wurden in dem kleinen Gästezimmer seiner Wohnung in West Philadelphia direkt auf vier Spuren aufgenommen. Es ist ein Bogen von vier Liedern, ein gespenstischer Durchgang, ein kurzes und fließendes Werk, das von der schwermütigen Eröffnung von „Mountain Dew Hell“ bis zu den hochgepitchten Vocals von „Pain Meds“, einem winzigen Lied, das in der Unermesslichkeit der Trauer schwankt, zusammenhängt. Die Erfahrung des Durchhörens ist wie das Aufwachen aus einem halb erinnerten Traum, ein Schatten in der Zimmerecke, eine seltsame Einsamkeit, ein zeitlicher New Yorker Herbst mit grauem Himmel und nackten Bäumen. Aber während die Veröffentlichung spärlich und spontan ist, ist sie taktil und verzehrend, ein Einblick in die schönen, einsamen Welten, die im Kern eines Greg Mendez Songs leben.



Jeder Aspekt von Mendez' Welt trägt etwas Handgemachtes in sich. Das Cover von „First Time / Alone“ ist eine Sammlung von Sternen aus dem Skizzenbuch eines Freundes, die Mendez mit Ölpastellkreiden ausgemalt hat - jeder Strich fühlt sich schwer an, drückt sich von der Seite ab und lebt von einer menschlichen Note. Das Gleiche könnte man über das Cover des selbstbetitelten Albums sagen, eine Farbstift-Illustration einer verzweifelten Mutter Maria, gezeichnet von Mendez und seiner Frau und Bandkollegin Veronica; in dem Porträt sind ihre massiven Augen nach oben gerichtet, die Hand ausgestreckt, Gnade entweder angeboten oder weggenommen.



Mendez ist ein intuitiver Songwriter, dessen Melodien durch den Äther gejagt werden, ein Geschichtenerzähler, der in seinem Katalog von Gewalt und Instabilität berichtet, aber auch von Liebesliedern, von Oden an die Freundschaft, an wahre Hingabe, an die Dinge, die einen durch das Schlimmste hindurch tragen können. Mendez hat die Angewohnheit, diese Dinge zu bemerken, das Licht zu finden und selbst aus den düstersten, beschissensten Situationen Poesie zu machen. In seinen Liedern gibt es eine angeborene Fähigkeit, Härte mit Sanftheit auszubalancieren, Grausamkeiten durch übernatürliche Süße umzuschreiben, ein Herz, das unaufhörlich, zuversichtlich, durch die Dunkelheit pocht.

Hitting Number 1 in 19 countries on release, Hackney Diamonds marked the return of The Rolling Stones as their first original studio album since 2005’s A Bigger Bang.

The album includes the GRAMMY nominated lead single Angry alongside Sweet Sounds of Heaven featuring vocals from Lady Gaga and keys & piano from Stevie Wonder.

Late drummer Charlie Watts features on two tracks, ‘Mess It Up’ and ‘Live By The Sword’ alongside Bill Wyman. The album also includes collaborations with Paul McCartney & Elton John.

This special limited edition 1 year anniversary 2LP version of Hackney Diamonds includes Live at Racket NYC featuring the 7 tracks the band performed at the intimate launch event in New York on 19th October 2023 with debut live performances of Angry, Bite My Head Off, Whole Wide World and Sweet Sounds of Heaven with Lady Gaga. The 24 page booklet includes photos from the performance by Kevin Mazur.

"Deep In The Blue" ist das siebte Studioalbum der US-Emo-Band Tiny Moving Parts aus Benson, Minnesota, bekannt für ihren eigenwilligen Stilmix aus Emo, Math, Alternative und Power-Pop. Gegründet 2008, standen TMP bislang bei Triple Crown Records und Hopeless Records unter Vertrag und veröffentlichen ihr neues Werk nun in Eigenregie via Many Hats. Direkt im Anschluss startet ihre US-Tour und für 2025 stehen Gigs u.a. in Europa an.