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Dr. Mateo, Blixx and LaRoxx continue to surprise and to release new hit singles. 6 years after the first LP, we finally managed to compile material for the second album. Chasing Ghosts, as this is its title, is also the title of the penultimate single that became a huge hit on streaming platforms. The album also includes such gems as VIVA LA VICTORIA, AT THE DISCO and STOCKHOLM IS CALLING.

Ltd. Edition Silver Vinyl
Direkt nachdem "The Reality Of Miracles" im Jahr 2020 in den Regalen stand, machten sich LIONHEART an die Aufnahmen für das nächste Album. Dabei beschloss man schon früh, dass es diesmal ein Konzeptalbum werden soll. Im Mittelpunkt des Albums steht der Zweite Weltkrieg, aber die Band wollte unbedingt ein Anti-Kriegs-Album machen, während sie gleichzeitig derer gedenken wollte, die für unsere Freiheit gekämpft haben.

DOG BEACH is Merryn Jeann’s first full length album, produced by Rob Ellis, comparing her directely with his previous collaborators.

Rob Ellis is a record producer, composer, arranger and musician who has been acting for about 40 years and during which he's had the honor to work with such notable artists as PJ Harvey, Marianne Faithfull, Scott Walker, Nick Cave, Warren Ellis, Brian Eno, Thom Yorke, Anna Calvi, ...

About working with Merryn : "In every instrumental phrase that she arrived at and each line of her vocal delivery Merryn's enthusiasm and very individual creativity comes across brilliantly I think... whilst still managing to retain an expression of deeply felt heart and soul... a rare combination in my experience, and a match for any of my aforementionel, much admired collaborators."

"The days in the studio were endlessly creative and playful... and subsequently very exhilarating... by the end it felt like we had really gone through something extremely special, and I believe the resulting LP strongly reflects that." Rob Ellis

Album was recorded over 5 weeks in England, including musicians such as Jim Barr (Portishead), Ben Christophers (Bat For Lashes) or Patrick J. Pearson (Daughter, LYR) but also Christelle Canot aka Confuse, half of IN CASE OF FIRE recently signed to Steve Budd’s prestigious record producer agency.

Merryn Jeann is a Naarm/Melbourne and Bundjalung Country/Byron Bay Shire based singer-songwriter and multi-instrumentalist. She has crafted a genre-bending, dreamy world of soundscapes that bear an enticing musical wisdom.

Sitting somewhere between Caroline Polachek, Cat Power, Weyes Blood, Feist, and Kelsey Lu, Merryn Jeann’s sound is fueled by authenticity. Her raw and honest self packaged into intricate and reflective morsels, many of which are yet to be revealed.

She played Glastonburry at the beginning of her career with the band TORA.

UK and international promo by Whiteboard PR.

A second LP will be recorded in 2025 again with Rob Ellis at the production.

Side projects : OSOO with Kyson & Chris Hill, IN CASE OF FIRE

Das neunte Album der Prog-Metal-Band aus Deutschland, die sich bei den anspruchsvollen Fans des Genres großen Respekt verschafft hat,
unterstreicht das hohe künstlerische Niveau der Kreativität, die sie schon so lange aufrechterhalten. Musikalisch bietet Vanden Plas erneut eine
perfekte Kombination aus hart und melodisch, wobei die orchestralen Arrangements im Vergleich zum letzten Album eher im Hintergrund stehen. Es
finden sich mehr progressive Elemente in den Songs, ähnlich wie man es von früheren Veröffentlichungen kennt. Die sechs, meist langen, Stücke
erzielen eine beeindruckende und faszinierende Wirkung durch ein sehr bandorientiertes Arrangement, so dass die klare und intensive Dringlichkeit
der Songs natürlich und unprätentiös durchscheint und den Hörer von Anfang an in den Bann zieht.

Girl With No Face: Das vierte Album von Allie X, Girl With No Face, ist eine gewagte Ausgrabung ihrer Identität. Eine wahnsinnige Reise in den Kopf
einer Künstlerin, die gerade drei Jahre in der Isolation verbracht hat und jeden Input verweigert hat, während sie zum ersten Mal in ihrer Karriere die
alleinige Produzentin, Autorin und kreative Stimme wurde. Inspiriert von der Technologie und dem Hedonismus der New-Wave-Szene der frühen
80er Jahre, sind die analog angehauchten Songs des Albums eine Reihe von krassen Widersprüchen - retro im Gefühl, aber ultramodern in der
Thematik, pointiert, unvorhersehbar und doch tanzbar, zugänglich und doch herrlich bedrohlich. Kurz gesagt, Girl with No Face ist völlig untypisch fü
die hypergetunten, automatisierten Formen, die den heutigen Alt-Pop dominieren.
Durchdrungen vom britischen Experimentalismus der frühen 80er Jahre, mit Anklängen an The Human League und New Order, ist das Album ein
deutlicher Schritt weg vom 2020er introspektivem und sparsamen "Cape God" - so viel schneller und bedrohlicher.

Introducing Atoll: Unleashing the Unrelenting Power of extreme Metal... Prepare for an auditory assault like never before as extreme metal band Atoll is set to unleash their bone-shattering new double Album "Human Extract/Inhuman Implants." With brutal grooves, guttural vocals, and a relentless onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. "Human Extract/Inhuman Implants" is a merciless dive into the darkest depths of the human psyche. Drawing inspiration from the macabre and the unknown, Atoll's latest offering takes listeners on a spine- chilling journey. With hauntingly atmospheric lyrics, the band delves deep into the horrors of this otherworldly experience, creating a musical narrative that will leave fans on the edge of their seats. True to their signature style, Atoll unleashes a sonic tempest upon the listener, combining relentless blast beats, blistering guitars, and soul-crushing basslines. The guttural vocals pierce through the dense wall of sound, delivering a sinister intensity that adds a chilling layer of malevolence to the composition. "Human Extract" showcases the band's exceptional musicianship and their unwavering commitment to pushing the boundaries of extreme metal. Atoll has amassed a loyal following through their relentless live performances and uncompromising dedication to their craft. Their ability to conjure an electrifying atmosphere that grips audiences, coupled with their unmatched stage presence, has earned them a reputation as one of the most formidable forces in the metal scene. With "Human Extract," Atoll proves once again why they are at the forefront of the Extreme metal movement. "We wanted to create a sonic experience that would engulf listeners in an eerie atmosphere, where the boundaries between reality and the unknown blur," says Wade Taylor the band's vocalist. "With 'Human Extract,/Inhuman Implants' we aimed to capture the essence of fear and vulnerability, delivering a musical journey that mirrors the horrors of alien abduction and the horrors of earth and man. It's an intense, cathartic exploration of the human condition." -Atollbone-shattering new Album "Human Extract." With brutal grooves, guttural vocals, and a relentless
onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. Beautiful
bloodwork petri dish colored vinyl in gatefold sleeve.

One half experimenting with new styles not tried before, and the other half proving that when it came to progressive rock, they had few equals. It perfectly represents the versatility, sense of humour and compositional genius of this most singular of bands. Including the same personnel that had recorded the previous years In'terview - Derek Shulman, Ray Shulman, Kerry Minnear, Gary Green and John 'Pugwash' Weathers, and yet it felt different. Marking a change in direction following their successful In'terview tour, the album received mixed reviews upon its initial release, but has since grown in stature, praised for its forward-thinking sound and experimental nature. We are now pleased to present this record in its full glory and the best it's ever sounded.

Continuing his association with Gentle Giant, award winning producer and musician Steven Wilson has remixed The Missing Piece.His tonal range and painstaking attention to sound quality gives the album a fresh and exhilarating sonic lift.

The Missing Piece by Gentle Giant, released 23 February 2024, includes the following tracks: "Betcha Thought We Couldn't Do It", "Mountain Time", "Memories Of Old Days", "For Nobody" and more.

This version of The Missing Piece comes as a 1xLP.

New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 1988. Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling At The Speed Of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. It also contains a 4 page booklet with interviews, rare photos and liner notes written by Angus Batey, the author of Rhyming and Stealing: A History Of The Beastie Boys and a writer for Hip Hop Connection and Mojo magazine.

Division of Laura Lee emerged in the late '90s and quickly gained recognition for their unique sound, blending elements of post-punk and alternative indie rock. In a landmark celebration of their musical history, Division of Laura Lee proudly announces the 25th-anniversary re-release of their seminal 1999 album, "At the Royal Club." This re-issue features a compilation of tracks from the their first two years, allowing both long-time fans and a new generation of listeners to experience the album's intensity and the band's pioneering spirit. Previously released only on CD, the re-issue of "At the Royal Club" has been meticulously remastered for vinyl to bring a new life to the original recording.

At the Royal Club by Division Of Laura Lee includes the following tracks: "44", "Royal Club", "Chart Music", "Stop! Go!" and more.

“I’ve been wanting to make a record like this for a long time. The band, Franny and I produced it ourselves in my living room with no adults present. It’s all acoustic, not an electric lick on the album…banjos and mandos and string basses and stripped-down drums. I put a ton of work into the tunes and I’m pretty proud of this batch. Had a little help from my old co-writing pal Jaida Dreyer on a couple, also wrote a good one with my screenwriter buddy, Brian Koppelman. Lots of gambling songs and lots of minor keys. And my band guys absolutely killed it too, they’re all badasses. I’m dedicating the record to my old compadre, Ian Tyson, who passed away a few months back. I’ve named the album for him as well. ‘El Viejo’, or ‘the old one’ is what our mutual friend Tom Russell took to calling him in later years. The title track is a pretty special one for us. We had a blast making this thing, and we hope you enjoy it too.” - Corb Lund

Acoustic Sounds and Contemporary Records present this new reissue of Art Pepper’s 1960 album “Smack Up”. Recorded by legendary engineer Roy DuNann the album also features Jack Sheldon (trumpet), Pete Jolly (piano), Jimmy Bond (bass), and Frank Butler (drums). This new edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou shares a more spiritual kinship with '90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively, both in the studio and onstage). The band's aesthetic and political impulses reflect the obscure '90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. From 2004 through 2016, the band has released four full-length albums, six EPs (some bordering on full lengths), two collaboration records with The Body, and enough material spread out over splits to make up another four or five LPs.

Sacred Bones Records is proud to present the new album, Magus, Thou's first full-length since 2014's Heathen. In the months leading into the new album, Thou will be releasing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound—noisy drone, quiet acoustic, and melodic grunge—all of which is incorporated into the new LP, subsumed in the band's more standard doom metal.

While sonically, Magus may be a continuation of Heathen, thematically it stands as a stark rebuttal, a journey beyond the principles of pleasure and pain. It is more the culmination of these distinct EPs, which all orbit some internal black hole. FFO alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease.

In the early aughts, The Children"s Hour produced a genial, naive-adjacent, front-porch take on Josephine Foster"s celebrated solo music with the album SOS JFK, then disappeared from the face of the earth. The belated issue of their second album from 2003 furthers their arc delightfully. David Pajo"s Aerial-M-esque drums and bass elevates Josephine and Andy Bar"s shared vibe of love, pure and simple, to an apex of local band barroom bliss.

- Betty's classic third album, originally released by Island Records in 1975 - New vinly pressing on Metallic Gold colored wax - Featuring Betty's band Funk House - Booklet includes liner notes by John Ballon interviewing Betty plus full lyrics - Newly remastered from the original analog tapes by Kevin Gray at Cohearent Audio // In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said 'funk you' to the music industry and social norms. In 1975, Betty Davis's star was on the rise. With the backing of Island Records and a new band, Funk House, Betty's third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House's manic funk-rock and lays claim to the "bad girl" anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty's groundbreaking work as a performer, writer, and producer.

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Out February 23rd on translucent orange vinyl for the album's 15th anniversary: Fucked Up’s now classic album 'The Chemistry Of Common Life' synthesizes numerous diverse impulses into an expansive epic about the mysteries of birth, death, and the origins of life (and re-living).

Merging elements of hardcore songwriting with up to 70 tracks of guitars, organs, winds and vocals, (including 18 guitars on the first single, the fatalistic “No Epiphany”), the music remains iconoclastic and startling, with Pink Eyes’ vocals front and center. Guest musicians, of course, abound, notably gorgeous voices such as Brooklyn’s Vivian Girls and Toronto’s Katie Stelmanis.

After 2021’s critically acclaimed album “Afraid To Leave”, Berlin based post-punkers Bleib Modern invited artist friends to take an outside perspective on their tracks, resulting in the “2 Afraid 2 Leave” compilation, featuring remixes and reworks from several esteemed names within the darkwave, post-punk and EBM music scenes.

From club bangers like IV Horsemen’s version of “Bitter Smile” and M!R!M’s dreamy lo-fi bedroom synthpop sound on “Into The Night” to Danish deviant pop artist Dune Messiah’s crooner “Loony Voices”. The album also boasts contributions from luminaries like The KVB, The Underground Youth, Blind Delon, Shad Shadows and various Bleib Modern band member side projects.

“2 Afraid 2 Leave” offers listeners a chance to experience Bleib Modern’s music from an altered vantage point, a welcome interlude as the band forges ahead with new creations.

Modern English’s new album, 1 2 3 4 – produced by Mario McNulty (David Bowie, Lou
Reed, Nine Inch Nails), mixed by Cenzo Townsend and mastered at Abbey Road – retains
the intrinsic spirit of the early, post-punk days and is also a sterling sonic example of what
Modern English have always done best. The album encompasses seething songs with punk
bite, keyboard-forward melodic rockers and simmering, darkwave-meets-post-punk gems.

Complete Album + 6 Bonus Tracks. Known as the "King of the Slide Guitar," Elmore James was the most influential slide guitarist of the postwar period. His music went far beyond his premature death in 1963 at the age of forty-five. He was credited with helping to invent blues rock and his style influenced a generation of blues-rock players like Eric Clapton, Peter Green, Duane Allman, and The Rolling Stones. Blues After Hourswas James' debut album, and one of the greatest blues albums of all-time. "Blues After Hours, originally released on LP by Crown in 1960, was Elmore James' first long- playing record. The crunchy garage sound of James' arrangements coupled with his passionate edgy vocals, quickly made him one of the most influential blues artists of his time." - AllMusic, 4.5 STARS

'And Also The Trees' compelling new album, 'Mother-of-Pearl Moon', was born from a series of extraordinary electric guitar improvisations created by guitarist Justin Jones in the pre- and postdawn hours during a month of solitude in 2020. Each piece then developed in its own way - the guitar, often left in its raw, unaltered form, is accompanied by the voice of his brother Simon, bringing imagery and narrative, Colin Ozanne's clarinet and piano adding poise, colour and harmony, Paul Hill's percussion creating depth_ on occasion an autoharp, a Moog_ all leading the listener from the depths of the English countryside far out in all directions of the compass. The music is often filmic, reminiscent of various film genres from the '50s to the '70s. This is most apparent in 'This path through the meadow', a song that explores the intertwining of human nature and nature in its animal and botanic form, and in its video where the band appear to be performing to an imaginary screening. Elsewhere, the album title track transports the listener across the oceans to the Far East...and to its exotic gardens, still waters and the 'Mother-of-pearl moon'. And Also The Trees (AATT) formed during the original post-punk era in rural Worcestershire, an environment that has provided a constant inspiration to a group whose music has often explored the dark underbelly as well as the beauty of the British countryside. They are renowned for their captivating live performances, a unique style of mandolin-like electric guitar, evocative lyrics and dark jazz rhythms - not to mention a creative independence fiercely preserved for over four decades. Founded by singer Simon Jones and his guitarist brother Justin, AATT have maintained a continuous presence on the post-punk, alternative rock and Gothic scenes worldwide. They have released fifteen studio albums.

Mit dem wachsenden Wunsch nach früheren Werken von ELOY, dem gemäß Musikpresse "deutschen Flaggschiff des Art-und Progressivrock" kommt nun am 23.02.2024 mit "Destination" ein Album aus dem Jahr 1992 erneut auf den Markt, welches schon seit langem nicht mehr verfügbar ist. Da zu jener Zeit der frühen Neunziger die Vinyl-Platte quasi komplett "out" war, erscheint "Destination" nun als physisches Produkt erstmals auch auf Vinyl. "Destination" ist ein Album, auf welchem wir viele unterschiedliche Inspirationen und stilistischen Elemente verarbeiteten und vermischten. Obwohl Bassist Klaus Peter Matziol während der laufenden Produktion erstmals wieder für die Band zum Bass griff, entstand das Material überwiegend in der Zusammenarbeit von Michael Gerlach und mir, und es kam eine Melange aus atmosphärischen, aber auch sehr rockigen Klängen dabei heraus, wobei ich mich noch im Satzgesang mit mir selbst herausforderte, und wir durch diverse Fremdinstrumente das noch immer nicht komplett neu besetzte Line Up auffüllten. Es herrschte nach dem Erfolg des Vorgängers RA, welches ELOY nach dreijähriger Pause sofort in die offiziellen deutschen Albencharts zurück katapultierte, rege Aufbruchsstimmung. Der Sound und die Melange der Musik gelangen so, wie geplant." (Frank Bornemann, 2023)

Neue Vinylfarbe 2024, klare LP, im Klappcover mit bedruckter Innenhülle! 16 Jahre nach dem letzten Studioalbum kommt das neue Album von LOIKAEMIE mit Namen "Menschen"! "Anschnallen! Unglaublich, aber wahr! Verdammte Axt!" Die Worte von Sachsens größtem Punkfestival hätten keinen Funken kleiner sein dürfen. Mit ihrem Überraschungs-Headliner verkündete das Back To Future 2019: LOIKAMIE ist wieder da! Innerhalb von fünf Jahren ging so gleich zweimal ein Ruck durch die europäische Oi!- und (Street-)Punk-Szene: Schwer die Emotionen beim Abschied 2014, umso größer die Euphorie beim Live-Comeback! Und noch größer angesichts 12 neuer Songs! Seit 2019 ist LOIKAEMIE wieder eine feste Größe, weit oben in den Lineups der Festivals und den Clubs, und das weit über Deutschland hinaus. Thomas, Eddie, Paul und Bruno konnten live nicht nur nahtlos anknüpfen, sondern eine Stufe empor steigen, auf den Konzerten trifft sich jung und alt in seiner ganzen subkulturellen Vielfalt, LOIKAEMIE ist eine Band, auf die sich - im besten Sinne - alle einigen können. Auch die Kreativität ist wieder erwacht: 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellenen sich bisher "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des nun erscheinenden fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener "Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung "Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder des eigenen Kopfes. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits!

7A Records is proud to present Davy Jones "The Bell Records Story". A lavish reissue of Davy Jones' self-titled album remastered with 6 bonus tracks. The CD version comes with a big 36 page colour booklet, extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures. This reissue gives fans the opportunity to reassess an album that was unfairly neglected by record buyers at the time of its initial release in the fall of 1971.

Prior to entering the studio with producer Jackie Mills, Jones had recorded a batch of more somber and adult contemporary-sounding demos than the eventual Bell recordings of big band sunshine pop. While the latter played quite squarely into Jones’ established image; the former suggested another path that may (or may not) have launched Jones into a more fecund musical and commercial direction. Who can say? At the end of the day, we have these recordings and their manifold (and for too long overlooked) pleasures to enjoy, a worthy entry in the broad category of early seventies sunshine pop and in the specific canon of Davy Jones and Monkees-related recordings. Here is primetime Davy Jones, singing like an angel, and pointing to a love that leads to joy for all mankind. This release comes with a Booklet & Liner Notes & Photos

Das erste Live-Album von Van Halen - das Doppel-Platin-Album Live von 1993: Right Here, Right Now - feierte sein Vinyl-Debüt am Record Store Day als 4-LP-Set in limitierter Auflage. Aufgenommen im Mai 1992, als die Band ihre große Welttournee zur Unterstützung ihres klassischen, mit dreifachem Platin ausgezeichneten Albums For Unlawful Carnal Knowledge beendete, liefern Sänger Sammy Hagar, Gitarrist Eddie Van Halen, Schlagzeuger Alex Van Halen und Bassist Michael Anthony über zwei Stunden lang die typischen Van Halen-Hits.

Menschen wie mir verzeiht man die Welt oder hasst sie
180g Vinyl, Gatefold, goldenes Vinyl, Farbe ltd auf 1000 Exemplare

Alle Menschen müssen ihren Weg finden – aber wie, wenn man das Ziel gar nicht kennt? Die Post-Hardcore-Rap-Vorreiter SPERLING zeichnen auf ihrer zweiten Platte die zeitgeistige Reise einer kathartischen Sinnsuche nach. Im Dunkeln der Ungewissheit tastend schreibt das Hunsrücker Quartett auf MENSCHEN WIE MIR VERZEIHT MAN DIE WELT ODER HASST SIE tiefblickende Songs, die zwischen sensitiven Reverb-Gitarrenmeeren, beatlastigem Indie und frustrierter Klanggewalt ein emotionales Panorama innerer Orientierungslosigkeit schaffen. Ihre Kunst führt SPERLING dabei über die stilistisch vielfältigste und ausdifferenzierteste Musik, die sie je geschrieben haben. Den Weg zu sich selbst muss die Band trotzdem nicht allein beschreiten. Features von internationalen Szenegrößen wie BEING AS AN OCEAN und BLACKOUT PROBLEMS zeigen, dass hier eine der spannendsten Newcomer-Bands der letzten Jahre gekommen ist, um zu bleiben.

Zusammen mit Beray Habip (u.a. Fjort, Adam Angst) wurde das Album im Toolhouse Studio in Rotenburg an der Fulda, im Tonstudio Liebling in Duisburg und im eigenen Proberaum in Mannheim produziert und aufgenommen.
Artwork und Layout stammen wie immer von Lucas Mayer (Heisskalt, Blackout Problems)

Les Disques du Crepuscule presents a unique anthology by artful Brussels postpunk-funk band Marine, fondly remembered for their dazzling debut single ‘Life In Reverse’ in 1981, and now back with a clutch of brand new studio tracks.

The cover art is by LDDC art director Benoit Hennebert and based on the ‘Same Beat’ single sleeve from 1982. The vinyl edition s of TWI 143 is limited to 500 copies pressed on blue vinyl and includes a digital link. All tracks are newly remastered in 2023.

Formed in late 1980 around charismatic frontman Marc Desmare together with musicians from infamous punk band Mad Virgins, Marine made an early splash supporting Orange Juice and Josef K at the legendary Plan K venue, Postcard Records afterwards keeping tabs on the Sound of Young Brussels.
Snapped up instead by chic boutique label Les Disques du Crepuscule, Marine released their infectious debut single ‘Life In Reverse’ in April 1981, attracting rave reviews in the Belgian and UK press, reaching the giddy heights of #6 on the NME indie chart, and even being invited to record a radio session for John Peel - a world first for a Belgian band.

Soon favourable comparisons were being drawn with The Pop Group, A Certain Ratio, Defunkt, James White and Fire Engines, some pundits even sensing a new Haircut 100. ‘We’re not a fashion band,’ insisted Marc in UK rock weekly Sounds, ‘and it’s not really dance music. But all the same I’m glad people dance to it.’

Alas, artistic differences caused the fast-rising group to part ways in a London studio, when half the band quit to form pop-funk sophisticates Allez Allez. With new Marines on board, Marc and bassist Paul Delnoy went on to release two further singles (‘How to Keep Cool’ and ‘Same Beat’), gigged extensively around France and the Low Countries, and played a headline show at The Venue in London. ‘Fine, disciplined and gleeful rhythm workers,’ enthused Chris Bohn in NME. ‘A happy, contagiously clean aural equivalent to a Serge Clerc cartoon.’

Alas by the summer of 1982 Marine were all washed up, with Marc going on direct films and documentaries as Marco Laguna. Four decades later, finally heeding desperate pleas from Crepuscule that his sensational first band never cut an album, Marc has written and recorded another 6 remarkably authentic sounding Marine songs with help from like-minded friends in Brussels and Paris, once more drawing on a heady mix of supercool funkabilly, jazz and soundtrack influences.

‘It was an incredibly strange experience to revisit my past,’ says Marc, ‘but definitely fun. I’m glad, and I’m proud!’

Farbige Vinylpressung für den Indiehandel mit Bonus 7" mit den digitalen Singles "Tag" und "Lucky" auf der A-Seite und dem bisher unveröffentlichten Song "Thanks" auf der B-Seite. Wiederveröffentlichung des selbstbetitelten Debütalbums der texanischen Band, Teethe, die zwischen Dallas und Austin lebt. Ihr gleichnamiges Debütalbum entstand im Laufe des Jahres 2020 und ist eine Sammlung von Songs, die im Laufe der Zeit zusammengefügt wurden - eine Klangcollage aus fragmentierten Aufnahmen und halbfertigen Tracks, die inmitten der Isolation zu einem Ganzen wurden. Das Album wurde im November 2020 zunächst ohne viel Aufsehen im Eigenverlag veröffentlicht und verbreitete sich mit seiner warmen Lo-Fi Ästhetik und den langsamen, beruhigenden Songs durch Mundpropaganda. Etwa ein Jahr später, Anfang 2022, meldete sich die Band mit dem Song "Tag" zurück, einer neuen Single, die die Aufmerksamkeit der Slowcore-Fans auf sich zog und von unwahrscheinlichen Berühmtheiten gelobt wurde. Bald folgten Tourneen mit Charlie Martin von Hovvdy, Momma, Milly, Waveform und They Are Gutting A Body Of Water. Die Band veröffentlichte eine weitere Single, "Lucky", im Herbst 2022, und kürzlich erst im Oktober 2023 die neueste Single "Moon" bei Saddle Creek im Rahmen derer 7-Inch-Serie.

Am Ende einer anstrengenden Reise voller Aufruhr und Verlust sind Madder Mortem endlich mit ihrem achten Studioalbum fertig, fünf Jahre nach 'Marrow'. Textlich und musikalisch beschäftigt sich das neue Album der norwegischen Progressive Metal-Band mit Hoffnung, Enttäuschung und der Ambivalenz dazwischen. Es ist Musik mit tiefen Wurzeln und neuen Augen, die sich den unbegrenzten Möglichkeiten von 12 Noten öffnen, aber immer mit dem Wunsch, einen guten, ehrlichen Song zu schreiben. Aufgenommen und produziert vom Gitarristen BP M. Kirkevaag, zeigt es eine der interessantesten Bands Norwegens, die eine Vielzahl von musikalischen Richtungen abbildet, die von Post-Metal-Heaviness bis hin zu sanften Americana-Grooves und viel dazwischen reichen. Nach Alben auf Century Media und Peaceville ist die band mittlerweile bei Karisma Records unter Vertrag.
Für Fans von Neurosis, Cult Of Luna oder Meshuggah. Die LP-Version kommt limitiert und auf weißem Vinyl!

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

German Funk, Rare Groove and 1970s Disco music (e.g. the highly regarded Munich scene around Italian producer Giorgio Moroder) have been widely recognized and featured on numerous reissues and compilations. However, the Boogie-ish post-disco side of German music history until now has remained undiscovered. One of the reasons might be that a broader national scene in Germany (unlike the UK for example) never existed. Even though tracks by US bands such as Dazz or Midnight Star were popular in discotheks in Germany around that time, bigger labels showed little interest in promoting German groups playing this new style of Disco Funk, now primarily known as "Boogie", that brought in electronical instruments and often lacked the iconic "four-on-the-floor" beat. Additionally, the number of bands that continued to play funky and soulful music in the 1980s diminished as other styles like Synth Pop, Punk, New Wave and NDW (New German Wave) ascended in popularity. Still, though German Boogie may have never existed as a national movement, great things were happening rather locally and each group featured on our compilation brings with them a particularly unique style and story.

Now, finally, "Boogie on the Mainline" sheds some light on 11 little-known German Disco gems that were released on small or even private labels. The album contains tunes by Imagination, Squish, Upstairs, Bernie L., The Poptown Syndicate, Peter Patzer, Ca$h, Trust, Publicity as well as classic tracks by Ströer and John Davis. It was compiled by John Raincoatman aka DJ Scientist

"Our flame won't get any smaller" - das Kernkonzept von "RIOT" spricht Bände. Auf ihrem vierten Album betten BLACKOUT PROBLEMS einen explosiven Rock-Sound in eine Regenwolke aus düsteren Synthesizern. Mit wilden, ungewöhnlichen Songstrukturen und frei von Erwartungshaltungen klingen die Münchner gewohnt düster, aber tanzbar - traurig und euphorisch zugleich. Im Zentrum von "RIOT" liegt erneut das Niederschreiben von persönlichen Erfahrungen. Inspiriert von politischen Ereignissen wie dem Rechtsruck, Hetze der AFD, dem daraus resultierenden Hass im Internet sowie dem Mut von Menschen wie Sophie Scholl und Luisa Neubauer sind 11 Songs entstanden, die mitsamt den nachdenklich stimmenden Texten auf die harte Welt der Realität niederregnen. Let's start a beautiful RIOT!

"Our flame won't get any smaller" - das Kernkonzept von "RIOT" spricht Bände. Auf ihrem vierten Album betten BLACKOUT PROBLEMS einen explosiven Rock-Sound in eine Regenwolke aus düsteren Synthesizern. Mit wilden, ungewöhnlichen Songstrukturen und frei von Erwartungshaltungen klingen die Münchner gewohnt düster, aber tanzbar - traurig und euphorisch zugleich. Im Zentrum von "RIOT" liegt erneut das Niederschreiben von persönlichen Erfahrungen. Inspiriert von politischen Ereignissen wie dem Rechtsruck, Hetze der AFD, dem daraus resultierenden Hass im Internet sowie dem Mut von Menschen wie Sophie Scholl und Luisa Neubauer sind 11 Songs entstanden, die mitsamt den nachdenklich stimmenden Texten auf die harte Welt der Realität niederregnen. Let's start a beautiful RIOT!

"Moon Healer" ist ein anschauliches Beispiel dafür, was passiert, wenn Kreativität, Ambition und Dynamik zum ersten Mal seit Jahren wieder aufeinandertreffen. Wie das von der Kritik gelobte, 2014 erschienene Album "Sun Eater" ist "Moon Healer" musikalisch facettenreich, unverschämt brutal und überzeugend konzeptionell. Mit einem aufgefrischten Line-up, bestehend aus Frontmann und Mitbegründer Jonny Davy, den Gitarristen Tony Sannicandro und Al Glassman, Bassist Nick Schendzielos und Schlagzeuger (seit 2020) Navene Koperweis, knüpft die Band nahtlos an die Erfolge von "Sun Eater" an.

Lee 'Scratch' Perrys posthumes Meisterwerk 'Destiny', das gemeinsam mit Bob Riddim entstand, ist eine transzendente Reise durch das Erbe und die Zukunft des Reggae. Mit Evie Pukupoos gefühlvollen Echos, Kabaka Pyramids revolutionärer Lyrik und Xana Romeos Neo-Roots-Infusion verbindet das Album ikonische Traditionen mit den modernen Sounds und Stimmen des Reggae. Weitere Highlights sind die kollaborative Präsentation der nächsten Reggae-Welle der kommenden Generation mit Blvk H3ro, Leno Banton und Wayne J ('Ring Pon My Finger') sowie eine Hommage an das Dub-Königtum mit Addis Pablos Melodica ('Infinity' (Dub)). 'Destiny' ist ein weiterer Beweis für Perrys unauslöschlichen Einfluss auf die jamaikanische und globale Musiklandschaft.

Dicks’ debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980’s “Dicks Hate The Police,” and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint. Originally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries— fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason. Dicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on “Anti Klan,” the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as “No Nazi’s Friend,” “Rich Daddy” and the title track, which remains one of the stone-cold classic punk anthems. Forty years on, Kill From The Heart continues to smolder—an arresting testament to the possibilities embodied in creative rage. It is no surprise that Dicks have been covered by Mudhoney, Jesus Lizard and more. Superior Viaduct is honored to present this truly essential reissue. Comes with original tracklist, insert and download card.

CHRISTL ist eine junge transmediale Künstler:in aus Wien, die sich nicht einrahmen lässt. Seien es audiovisuelle, bildnerische Werke oder Lyrik - CHRISTL verbindet all dies zu einem vollkommenen Ganzen. CHRISTL ist darin kompromisslos, kritisch & konfrontativ, im Fokus ihrer Kunst stehen Geschichten, Emotionen oder Ungerechtigkeit. Mit ihrem schriftstellerischen Debüt 'Ich glaub ich hasse mich' (19.09.23 via Haymon Verlag) stellte CHRISTL einmal mehr ihre künstlerische Vielseitigkeit unter Beweis. Ihr erstes Album 'Green Blue Violet / Grün Blau Violett' ist vor allem thematisch als musikalisches Pendant zu ihrem literarischen Debüt zu verstehen: CHRISTL widmet sich darin auf eindringliche Weise der Geschichte eines Aufwachsens, die einzigartig und gleichzeitig die von vielen ist. Musikalisch bewegt sich CHRISTL zwischen verschiedenen Genre-Welten und spielt mit Einflüssen aus Soul, Rock und Jazz, holt sich Inspiration von Artists wie Florence & the Machine, Fiona Apple, Brittany Howard, James Blake und Perfume Genius, während mancherorts auch Pop-"Klischees" in positivstem Sinne spielerisch ihren Platz finden.

Das nächste Kapitel von Danny Kiranos, a/k/a Amigo the Devil, wird mit Yours Until the War is Over fortgesetzt – seinem bislang entwaffnendsten und einzigartigsten Werk. Das 13-Track-Projekt verbindet Themen der nachvollziehbaren Selbstzerstörung und Traumabindung mit fesselnder Authentizität. Gespickt mit obskuren literarischen Anspielungen – ähnlich der wahnsinnigen Lesegewohnheit von Kiranos – beweist das Album, dass diese ganze Amigo the Devil-Sache keine True-Crime-Nische ist. Yours Until the War is Over ist eine Songwriter-Platte, die erfolgreich Tom Waits huldigt.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed neon violet vinyl, double platinum 2000 album Buzz includes the UK number one Stomp, plus the classic hits
It’s the Way You Make Me Feel, Summer of Love, Better the Devil You Know, Here and Now and You’ll Be Sorry.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.