Suche:angry

LP black vinyl repress with download card included. CD is available and in stock now (FIRECD289). Ahead of its time, ‘And Don’t The Kids Just Love It’ was Television Personalities’ influential debut album released in 1981 and features ‘I Know Where Syd Barrett Lives’. The legendary lo-fi release sees them produce British inspired 60s pop and post-punk that captured the period and ‘sounds remarkably prescient’ (Pitchfork’s Best 100 albums of the 1980s). With the formidable Daniel Treacy at its core, Television Personalities remain one of new wave’s longest serving and seminal artists with a career spanning over three decades. The indie visionaries directly influenced virtually every major pop uprising of the period including artists as diverse as The Jesus and Mary Chain, Pavement and Creation’s Alan McGee. “They provided the inspiration and motivation for me to start the label.” Alan McGee, Creation Records. “A remarkably influential album that holds up extremely well.” Allmusic. Track Listing 1 This Angry Silence 2 The Glittering Prizes 3 World Of Pauline Lewis 4 A Family Affair 5 Silly Girl 6 Diary Of A Young Man 7 Geoffrey Ingram 8 I Know Where Syd Barrett Lives 9 Jackanory Stories 10 Parties In Chelsea 11 La Grande Illusion 12 A Picture Of Dorian Gray 13 The Crying Room 14 Look Back In Anger

Brass Against are back with their 2nd long player. Finally. Brass Against covers classics of Rage Against the Machine along with other protest songs from the whole musical spectre. There are songs from bands like Tool, Black Sabbath, Audioslave and Led Zeppelin. Their videos are guaranteed viral hits. On the microphone you will find singer extraordinary, Sophia Urista. The band says: ”In this politically challenging era, it’s time to stand up against the machine. We want the music we perform to sound inspiring and resonate with people’s emotions, encouraging them to act. We combine rock and edgy hip-hop to play music that's powerful and empowering. Brass Against is exceptional music with a political edge. We are angry, we are inspired, we are ready for change—and we hope our music amplifies this energy in everyone who listens.“ The band got quite a name through several viral hits on Youtube. Brass Against‘s version of ‘Wake Up’ got more than 19 million views in the meantime.

Track listing: Lateralus; No Shelter; War Pigs; Show Me How To Live; The Pot; Know Your Enemy; Gasoline; Mountain Song

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

"Megatone" ist das dritte Studioalbum des Side-Projekts von Klaus Schulze, Richard Wahnfried, das 1984 veröffentlicht wurde. Auf diesem Album arbeitet Schulze mit Michael Garvens, Axel-Glenn Müller, Ulli Schober, Michael Shrieve und Harald Katzsch zusammen. Im Gegensatz zu den Projekten, die unter dem "Klaus Schulze" Namen laufen, wird bei Richard Wahnfried eifrig kollaboriert und improvisiert. Handgespielte Instrumente, wie elektrische und akustische Gitarre, Saxofon, E-Piano oder auch simple Perkussion bekommen hier großen Raum zur Entfaltung. In "Angry Young Boys" wird sogar auf sehr rockige Weise gesungen. "Megatone" ist ein durchaus hörenswertes und abwechslungsreiches Album. Keine Spur von Verlorenheit in wabernden Synthesizerwänden, sondern sehr erdig und lebendig.

Coming up... a BIG FAT dancefloor weapon :)

Enjoy !

Finnish Death Doom spearhead Kuolemanlaakso, starring vocalist Mikko Kotamäki, are about to release their first album in eight years. The new album Kuusumu was produced by V. Santura, who also took responsibility for producing the band’s previous records. In addition to his studio works, Santura is known as the guitarist of Triptykon and Dark Fortress. Kuusumu is the band’s fourth full-length album, and it will be out in 2022 via Svart Records. “The recording pause got unnecessarily long, but there’s no rush in doom. It was great to get back to work with the folks and catch up with some good friends as well. Kuusumu’s keyboards were played by Aleksi Munter (Swallow the Sun, Insomnium, Ghost Brigade) and Lotta Ruutiainen (Luna Kills) performed female vocals on the album. In my opinion we took many steps forward on Kuusumu”, guitarist-songwriter Laakso says. Kuusumu's texts are loosely based on the sudden global cooling that began in 535, leading to a 10-year winter, loss of crops, mass deaths of cattle and other animals, and famine. Climate change was most likely caused by massive volcanic eruptions, the fog of which darkened the sun for one and a half years, causing intolerable cold. Moreover, the plague pandemic that began in the Byzantine Empire in 541 swept across Europe, killing tens of millions of people during the climate crisis. “Our previous releases are autumn albums, so this time we decided to make a winter album. I came across the literature about those catastrophic events by chance, and got thoroughly inspired - especially by contemporary stories. It wasn’t long until the album material was there already. It’s spine-chilling to think that deadly climate change and a pandemic also raged 1,500 years ago when medicine, information flow and living conditions were in their infancy. There was no knowledge about electricity, for example. People imagined that the gods are angry and the darkness is eternal. One way or another, the power of nature should still not be underestimated,” says the band's artistic director Laakso. On Kuusumu, Kuolemanlaakso stretch their artistic boundaries even further. The album contains the familiar slow heaviness, but also more epic, faster and more polished material. The first single Katkeruuden malja, featuring Lotta Ruutiainen, represents the catchier and lighter side of the album. “Katkeruuden malja draws its inspiration from grief and misery. Musically it trips almost in the landscapes of Tribulation, but with longing, Kalevala-infused and, in my opinion, very Finnish melodies. Regarding singing, Kotamäki introduces new winds, and Lotta's parts really top it all off. The music video is like a visual extension of the cover art and the album’s lyrical themes, ” Laakso comments. The previous Kuolemanlaakso record Tulijoutsen (2014), reached the 10th place on Finland's official album list and was selected as one of the best records of the year on Soundi, Rumba, Kaaoszine and Imperiumi, among others.

Lunatic Harness, µ-Ziq's rare and sought-after fourth album, was originally released in July 1997 on Virgin's Hut Recordings label. It is generally considered to be Mike Paradinas's best work of the nineties. An Apple Music review describes Lunatic Harness as "the prettiest album to come out of the mid-'90s "drill'n'bass movement", noting that Paradinas eschewed the abrasiveness of similar works by Squarepusher and Aphex Twin in favour of "atmospheres of ethereal color and shimmering melody", bringing the album "closer to pop music than anything Paradinas had previously attempted". Planet Mu has compiled a special 256th anniversary edition 4xLP boxset bringing together the My Little Beautiful EP, the Lunatic Harness album and May 1998's Brace Yourself EP (released by USA's Astralwerks label) with the addition of four rare tracks. Discs one and two of the vinyl are the original Lunatic Harness album, disc three compiles the My Little Beautiful b-sides with three unreleased cuts from the period and a remix of Mr.Angry from 1997's Mealtime compilation, while disc four is the 8-track Brace Yourself EP which hasn't been re-issued since 1998. This all comes in individual printed sleeves housed in a rigid box with an insert collage of some of the press Mike received at the time. There is also a 2xCD edition with the same tracklisting.

The Konduko 7" series ends with the 4th and possibly best single with Noel Williams aka King Sporty's cover version of Bob Marley's Them Belly Full, here released as Dance To The Music.

First released on the Natty Dread album of 1974, it was Marley's first album working away from Peter Tosh and Bunny Wailer and was a spiritually charged political and social statement, also featuring classics No Women, No Cry, Lively Up Yourself and Rebel Music.

As an associate and friend from their Studio One days, William's version makes sense, in the tradition of covers throughout reggae's history. Appearing a year late, the 1975 single came in Jamaican and US pressings, a nod to Konduko's roots, having started in Kingston before the move to Miami in the earlier part of the decade.

A warning against allowing the poor to go hungry, with the prophetic "a hungry mob is an angry mob", the cover includes a lot of the Miami feel Sporty was incorporating. With instrumentation again from the Ocean Liners KC And Sunshine backing band), the horns and guitar raise the soul, with counter keys, Part 1 is a straight vocal, while Part 2 is close to a Version but more than an instrumental and in its title, shows its funk and soul background too. A perfect end to the series, the uplifting tracking belies the powerful message, bringing the Miami swing to the JA groove once more.

Lunatic Harness, µ-Ziq's rare and sought-after fourth album, was originally released in July 1997 on Virgin's Hut Recordings label. It is generally considered to be Mike Paradinas's best work of the nineties. An Apple Music review describes Lunatic Harness as "the prettiest album to come out of the mid-'90s "drill'n'bass movement", noting that Paradinas eschewed the abrasiveness of similar works by Squarepusher and Aphex Twin in favour of "atmospheres of ethereal color and shimmering melody", bringing the album "closer to pop music than anything Paradinas had previously attempted". Planet Mu has compiled a special 256th anniversary edition 4xLP boxset bringing together the My Little Beautiful EP, the Lunatic Harness album and May 1998's Brace Yourself EP (released by USA's Astralwerks label) with the addition of four rare tracks. Discs one and two of the vinyl are the original Lunatic Harness album, disc three compiles the My Little Beautiful b-sides with three unreleased cuts from the period and a remix of Mr.Angry from 1997's Mealtime compilation, while disc four is the 8-track Brace Yourself EP which hasn't been re-issued since 1998. This all comes in individual printed sleeves housed in a rigid box with an insert collage of some of the press Mike received at the time. There is also a 2xCD edition with the same tracklisting.

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

DC Salas’s label Higher Hopes returns for its sophomore chapter… ‘Male Tears’, a deliciously sleazy and wry take on the patriarchy from queer polymath, Kiosk Radio resident, visual artist, performer, producer and DJ Strapontin.

“I wanted it to be funny, sassy, with a drama touch,” he tells us. “The track ‘Angry’ is about a frustrated and lonely angry man. ‘Male Tears’ is a sleazy club hit mocking a straight white male friend of mine who is unable to question himself and his privileges. ‘Divorce’ is a joke on marriage and its rules and ‘Teaching Drama’ is, well, about drama queens…”

Drama, hard truths and witty observations: Strapontin’s agent provocateur status is galvanised by the oily basslines, off-grid drums and loose, swathing grooves that prowl out of the speakers and flip devilishly into moments of pure euphoria… And moments of total chaos.
Strap up, strap in… Strapontin is taking us higher. We couldn’t hope for more.

Repress coming in June of this sold out LP from last year. LP, 45 RPM, Limited Edition. Style: Post Rock, Downtempo, Shoegaze. The last widely available Hood album was 2005’s critically acclaimed Outside Closer on Domino Records but the Leeds post-rockers actually released a later collection of songs entitled “The Hood Tapes”. This was presented at the time as a tour-only CD available at their final burst of shows and later part of their highly sought after Recollected box set. Until now the standalone album has been impossible to find even on CD and has never been issued on vinyl. In the sleeve notes to the Recollected set, the band describe the album as ‘something made in a hurry in order to have something to sell on the road’ but “The Hood Tapes” is a lot more than that. It contains all new music that seems to straddle their career from scratchy experimental New Zealand weirdo lo-fi to the stuttery and staccato r&b influenced pop they sprinkled over that last Outside Closer missive. “The Hood Tapes” could also be seen as a series of sketches of potential future musical avenues open to the band who eventually instead chose to remain silent and although key band members still operate under such names as Bracken, The Declining Winter and A New Line (Related), there has never been any further work issued under the Hood umbrella. “The Hood Tapes” therefore is an overlooked key component to their storied history and this essential release brings it in line with their more well-known work.

TOXIC WASTE represents the hardest end of the CRASS milieu. While most anarcho-punk bands of the time sang about a war they’d only seen on TV TOXIC WASTE were being politically active in Belfast during the troubles. They played militant punk with melody and aggression. Borderline hardcore at times with a clear peace-punk message. Angry, intense and in your face. They were involved in the Warzone Collective and shared stages, experiences and activism with bands such as STALAG 17, CONFLICT , ASYLUM and ANTISECT. “Belfast” was originally released in 1987 on Vocalist Roy Wallace’s Belfast Records and has been out of print for 30 years. It was a compilation of previously released tracks and newly recorded versions of old tracks with Dino and Gary from D.I.R.T doing the female vocal parts and guitars. The 12 tracks on “Belfast” are nuggets of raging pissed off DIY anarcho punk with hard hitting lyrics and dual vocals. The recordings are raw and passionate and stand the test of time. The band released an iconic split 12” with STALAG 17 on Mortarhate (1985) - the tracks are included on “Belfast” and then the following year a split LP called We will be Free with STALAG 17 and ASYLUM before calling it a day and becoming a lost piece of the anarcho punk puzzle. This reissue comes with replica sleeve and fold-out lyric insert.

The Tribe co-founder’s debut, remixed from the original mutli-track master
tapes under the direction of its creator and lacquered by Bernie Grundman.
Now-Again presents the denitive Tribe Records reissues.
Deep, Spiritual Jazz of the highest order.
The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again
reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local
movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos.

DELUXE REMASTERED EDITION

Lil’ Beethoven is the 19th studio album by Sparks and was originally released in October 2002 in the UK and is now, for the first time ever, being released on vinyl!

The band themselves describe Lil’ Beethoven as a ‘career-defining opus’ with more classical-influences and was also critically applauded, leading to a renewed interest in the band. The album has been newly remastered and will be released on heavyweight vinyl.

This album will be launched alongside a comprehensive Marketing campaign, including brand new assets, as well as archival material from the time of the original launch. We have access to the Sparks socials, which we will utilise for boosted posts, ads and organic posts. The release will also be launched alongside a PR campaign, which should secure coverage across digital and print media.

The Covid Pandemic hit Germany in March 2020 and by the 15th of March all of the public life was shut down. It was the same day where my son Rio was born.
For me, this early stage of the pandemic had something very intimate and private, since I was forced to stay at home with my young family for weeks. In Mai 2020 I started to leave the house, for other occasions then just going to the shop or taking a walk and that was the time I started working on “Hotel Solaris”. It was an intense creative rush: in 8 weeks the album was written, performed and produced in one flow. I had two days every week, where I could go to the studio for 4 hours and that time the album was done. It had a corpus in a sense that I
knew I wanted a faster or a slower track at points, but the whole hotel idea came when I saw photos of the old Hotel Arkada on the Croatian island Hvar, that my extremely talented friend Marcella Zanki shot on her holidays.
They show a well preserved socialist-brutalist hotel architecture in the middle of the beautiful Adriatic and for me it was like looking at pictures from a timeless place, without knowing where and when it exactly was, totally surreal.
I liked that idea of a hote that stands as an escape symbol from the real world, which was something everyone needed when the pandemic was building stronger and stronger. I decided to call it Hotel Solaris, inspired by the novel from Stanislav Lem, where Solaris is a planet covered by an ocean which triggers our subconscious mind to
become reality. It all fit at the end and “Hotel Solaris” was done.

Repress!
R.A. The Rugged Man is one of the most fascinating figures in hip-hop history. His career spans decades, and defies simple narratives. The Rugged Man has been an up-and-coming star, an industry outcast banished and forgotten, an underground cult hero, an independent success story, and an influential master of the art form.

Now, R.A. The Rugged Man is back with ""All My Heroes Are Dead"", a brand new album that stands as his best work to date. “So many of the greats are gone, and the legends who made it out alive are cast aside,” R.A. explains. “Society left our heroes and their culture for dead. We have to dig that greatness out of its grave, and bring it back with an angry vengeance.” "All My Heroes Are Dead" features an all-star lineup of hip-hop heavyweights, including Atmosphere, Chuck D, Ghostface Killah, Immortal Technique, Vinnie Paz, Ice T, M.O.P., Kool G Rap, Brand Nubian, DJ Jazzy Jeff, Chris Rivers, Onyx, Inspectah Deck, A-F-R-O, Masta Killa, and more.

Brass Against are back with their 2nd longplayer. Finally. Brass Against covers classics of Rage Against the Maschine along with other protest songs from the whole musical spectre. There are songs from bands like Tool, Black Sabbath, Audioslave and Led Zeppelin. Their videos are guaranteed viral hits. On the microphone you will find singer extraordinary, Sophia Urista. The band says: ,In this politically challenging era, it's time to stand up against the machine. We want the music we perform to sound inspiring and resonate with people's emotions, encouraging them to act. We combine rock and edgy hip-hop to play music that's powerful and empowering. Brass Against is exceptional music with a political edge. We are angry, we are inspired, we are ready for change_and we hope our music amplifies this energy in everyone who listens." The band got quite a name through several viral hits on Youtube. Brass Against`s version of ,Wake up" got more than 19 million views in the meantime.

Ten years into his role as poster boy for pop soul and peak-hour R&B, Syl Johnson did an unlikely about-face and cut the most inspiring and powerful song he'd ever touch. Issued on 45 in September of 1969, "Is It Because I'm Black" struck an immediate chord within the black community, forcing the song up the charts by sheer volume of call-in requests. It would be Syl's biggest hit for Twinight, climbing as high as #11 on the Billboard R&B chart during its 14-week stay, marking the defining moment of what had become more than just an occupation. Syl had his hands on a career and worked tirelessly rehearsing his next opus, an album of songs reflective of the changing times. With "Is It Because I'm Black" still bolding the pages of Billboard, the coming LP's title appeared to Syl plain as day _ or, in this case, black as night. Issued in April 1970 _ a full 13 months before Marvin Gaye's What's Going On _ Is It Because I'm Black can rightly be called the first black concept album, a distinction few give it credit for. But that factoid, whatever its meaning then or now, failed to inspire music buyers: Johnson's record never got a whiff of the two million copies Gaye's did in its first year of availability. Syl lays the blame squarely on the record's lack of marketability to a white audience. The album's cover didn't exactly move units either. Photographer Jerry Griffith dragged Syl to a burned-out building on 43rd Street to shoot the back cover image, and he finger-painted the iconic title over a stock photo of an eroding brick wall. The title track, coupled with the politically charged "I'm Talking About Freedom" and ghetto conscious "Concrete Reservation" sealed the album's cool reception as the work of an "angry black man." Which is unfortunate, as "Together Forever," "Come Together," and "Black Balloons" are positively uplifting, forming their own pot of gold at the end of a grayscale rainbow. The album's closer burns the brightest. "Right On" devolves into a full-on party track, ending with Syl riffing on the line "I'm gonna keep on doing my thing," as if to answer his critics before their needles reached the run-out groove.