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Fed with Childhood Intelligence / Lowmoneymusiclove from his crib, Paul Tellimerg, also known as Dj Immortal, made his debuts in Berlin at the famous Club der Visionare with always surprising live performances drifting from electro and breakbeat to techno and deep house…

He then released his first music experiments on System Error with a 4 track EP “Alpha Synthesis”, which received great attention.

Back in Paris, Paul became an active member of the Claclaclac gang known for throwing some of the best raves of the capital.

Time Bandits is the affirmation of his style, a voyage through time, dimensions, genres, where he extracts pieces of music to create unique compositions, as well as a tribute to the Monty Pythons délirant movie featuring time traveling dwarfs looters and Sean Connery.

Out on May 3rd, "Anniversary" is the new studio album from critically acclaimed artist Adeem the Artist. The album was produced by Butch Walker who has produced hits for artists including Weezer, Fall Out Boy, Pink, Katy Perry, Panic! At the Disco, Dashboard Confessional, Avril Lavigne and many others. This record is the continuation of a project that they began four years ago, directing their attention both inwards & outwards simultaneously and to exact correlating values so that they might be able to unbind the inner workings of themself while imagining new tools for stitching the fabric of society together again. It mostly just made some gay people like country music again.

It's hard to believe it's been four years since the debut release of The Goalie's Anxiety at the Penalty's kick excellent debut "Ways of Hearing." But growth takes time and rather than rush a follow-up album to market to capitalize on their newfound success, the group opted to take their time and focus their efforts at their own pace. It paid off.On their much anticipated sophomore album, ambition is key. The name of the album itself "The Iliad and the Odyssey and the Goalie's Anxiety at the Penalty Kick" spans a glorious 71 characters and is bound to swallow the screen of whatever device that attempts to display the text. The essence of the album is built upon delicate, pleading vocals that sit atop stirring dynamic movements that seem to move between small and vulnerable to full-on symphonies that are bursting with emotion. "The Iliad and the Odyssey and the Goalie's Anxiety at the Penalty Kick" will be released by veteran indie label Count Your Lucky Stars on April 25th, 2024 (an homage to their first released single of the album) during the dead time when the cold end of winter is transitioning to a hopeful and promising spring- an apt metaphor that seems to encompass the heart of the album.

For the second release of the Back to Back series of Stolen Goods goes for two stables of the scene: label manager and old school pillar of the Italian scene Lele Sacchi and Italo Spanish beat master Bawrut.
After B2B1 saw the funky deep sound of Rogue D feat Joe Le Groove and the raw house grooves of Ruff Stuff got played by Laurent Garnier on his show and by peeps like Jamie Jones and Oliver Dollar in their sets and chosen by Beatport in most of their weekend picks here we are ready for two bangers for clubbing prime time! Bawrut's fame goes a long way back to in the best of Europe's crossover of electronic dancefloor music and indie and urban flavours. An album on Ransome Note, hits for Life & Death, Correspondant and tracks supported by Dixon, Jennifer Cardini, Ricardo Villalobos Sven Bath and playing B2B with Kink and Skream in festival and clubs like Sonar, Nuits Sonores, Fabric, Sub Club, Nitsa, etc. and now this massive hands in the hair, goosebumps in the back monster of retro future rave piece of music!
Lele Sacchi is known to have an ear for bangers having been behind the decks all over the world for nearly 30 years, so whenever and with various aliases he turns into producer is quite normal to find his music out on labels like Snatch, Soul Clap, Nervous, Internasjonal, Crosstown Rebels, Pokerflat, Rebirth and more and more classic underground dance stables. This time he keeps his know funkier deep groove but adds a kille stab in the breakdown to represent a vein of peaktime monster attitude.
Again a message 'From Clubbers to Clubbers' as we love to say here at Stolen Goods records.

MaidaVale paint with a larger, bolder and brighter color palette on their third album Sun Dog. Without losing sight of their characteristic kraut rock influences, the band have more than ever immersed themselves into their unique take on neo-psychedelia

MaidaVale paint with a larger, bolder and brighter color palette on their third album Sun Dog. Without losing sight of their characteristic kraut rock influences, the band have more than ever immersed themselves into their unique take on neo-psychedelia

Turning his attention to dance for his latest album, Fearless Movement out this May on Young, Kamasi Washington resumes his ongoing study of music as a means of connection. His 2015 album The Epic, as well as 2018’s Heaven and Earth were received by critics and audiences as a reimagination of modern jazz showcasing Washington’s larger-than-lift compositions full of celestial grandeur and his distinct blend of jazz, Latin, funk, classical, hip-hop and soul. Fearless Movement, however, offers something different: terrestrial rhythms and collaborations from rappers, musical icons and even Washington’s own daughter. Features include: Thundercat, Taj Austin, Ras Austin, Patrice Quinn, DJ Battlecat, Brandon Coleman, D-Smoke, George Clinton, Bj the Chicago Kid, and Andre 3000.

White Vinyl

Loved is the third album by the British band Cranes, released in 1994. Elements of alternative rock, shoegaze, dream-pop and darkwave are mixed in their attractive music. Their gothic elements made a return, while they retained the feeling of their previous album Forever. It was another artistic experience, with nicely orchestrated and constructed songs. Loved gives the title all the credits, as it is an album which shows most of their feelings and emotions.

Siblings Alison and Jim Shaw formed the band Cranes back in 1989. They recorded several successful albums, including 1991s Wings of Joy and 1994s Loved.

Available as a limited pressing of 1000 individually numbered copies on blue marbled (transparent blue & gold mixed) coloured vinyl and the package includes an insert.

Ineinander verwobene Hammondorgel-Riffs, schwere E-Gitarren und melodische Basslinien machen Nucleus zu einem besonderen Erlebnis - die ungewöhnlichen Taktarten machen es zu einer akustischen Lobotomie! Gepresst auf weißem Vinyl! Die Ursprünge von Nucleus liegen in der Torontoer Combo The Lords Of London aus den späten 60er Jahren. Sie waren eine beliebte Live-Attraktion und traten bei der Canadian National Exhibition neben The Guess Who und Kensington Market sowie US-Bands wie Moby Grape auf. Obwohl sie kleinere kanadische Hits hatten, gelang ihnen der Durchbruch in den USA nicht, und im September 1968 entwickelten sie sich zu einer anderen Art von Band. Sie änderten ihren Namen in Nucleus und nahmen in tagelangen Proben einen jazzigeren, improvisierteren Ansatz auf, um ihre einzige LP mit ausschließlich eigenen Songs aufzunehmen. Ihr Sound reicht vom verrückten "Jenny Wakes Up" bis zum intensiven "Communication". Das Album wurde im April 1969 veröffentlicht (die Veröffentlichung wurde kurzzeitig durch eine "technische Komplikation" verzögert, wie Billboard es nannte) und erregte beträchtliches Kultinteresse, wobei die Single-Version von "Communication" im Untergrund viel gespielt wurde.

Legendary Swiss punk band from the late 70s - "You can't dispute Liliput's status as pioneers of feminist art-punk - Along with fellow travelers like the Slits and the Raincoats, this (mostly) female Swiss group took advantage of punk's anything-goes attitude and created jittery, spirited pop that was both in step with the times and completely singular. The early material is a riot of exuberant energy, taking stylistic cues from peers like Gang of Four and Wire-- propulsive bass, skittering pop rhythms, slashing guitars-- and adding distinctive overlapping vocal patterns, which are sung, shrieked, and hiccupped in three languages and made- up dadaistic slang. More than 20 years on, it still sounds fresh." - Lisa Gidley

An album of originally unreleased Sun Ra, over 50 years after it was recorded, back in print on lightning yellow vinyl! Sun Ra is still trying to get our attention 50 years after dispatching this transmission. Humanity's path since then makes his message even more urgent today. Years after Herman Poole "LeSony'r Ra" Blount "left the planet" he's still trying to reach us, to wake us up and to change our destiny. Sun Ra and the Arkestra weren't a traditional studio band, and every star in the vast galaxy of their discography reflects this. The origins of these records can be hard to pinpoint at times, but when it comes to Thunder Of The Gods, it's a bit easier. "Calling Planet Earth - We'll Wait For You" was discovered on tapes from Ra's, Universe In Blue, believed to be recorded in '71. The raucous title track and "Moonshots Across the Sky" are unearthed from the '66 Strange Strings sessions. Modern Harmonic has once again paired Ra's sonic art with the visual art of "The Father of Modern Space Art," Chesley Bonestell, whose 1952 work "Formation of the Earth's Continents" spralls across the front and back covers

Cate Brooks is back with her seventh release for Clay Pipe Music. Never one to stand still, ‘Easel Studies’ finds her pushing the boundaries of sound synthesis and experimentation on the Buchla Music Easel while still sounding beautifully beguiling and hypnotically melodic.

"On this day in 2015, at exactly Midday, I took delivery of a wildly exotic musical instrument. To call it a synthesizer would be a misrepresentation; it’s really more of a tactile, living, breathing entity than anything else. It had originally supposed to have been delivered on the day before, but had somehow been mislaid in the labyrinths of the Royal Mail sorting office at Elephant and Castle.

I sat patiently and quietly all morning, waiting for its imminent arrival. I had already read through the ‘manual’, which is more of a concept / design for living, written by synthesis legend Allen Strange.

With Noon approaching, I became a little anxious- my local postie, Barrie, was usually here by about 10:30am and there was no sign of him.

At 11:58, Barrie walked past, completely ignoring my house. Obviously concerned, I stood at the door and waited for him to walk back toward his van. As he came back, he smiled and I called out, quizzically “Barrie?”. His reply was “Yes I have!” and walked back to his van, collecting a large box and bringing it to my door. I remember the weather was muggy and my neighbour was attending to her rose bushes, as the cheery and helpful postie deftly navigated around her busy secateurs.

I took the box inside, opened the top and just looked at the inner box for a while. I took a photo of it, which I still have. It felt like quite a momentous occasion, because I felt that this instrument would take me to different sonic spaces than I was used to. It wasn’t my first experience with Don Buchla’s instruments by any means, as I’d learned to use his 200e system. But this was quite a different beast.

My cat Brillo came to inspect the box and I set the Music Easel up on the floor and plugged it in. The result of that very first experiment became “Pendula”.

In the following days and weeks of that summer, I created many more experiments on the Easel, quite often with Brillo either sat on me as I played, or trying to climb up on the instrument itself, attempting to move the faders and switches himself.

By the end of August, I had amassed some thirty-something pieces, which I put aside for future reference. I had learned a lot about this instrument, its idiosyncrasies, subtleties and ways of working.

Sadly, Brillo died in September of 2015. I like to think that his last summer with me was a comforting experience, curling up and listening to the sonic experiments taking place, as he regularly did for the sixteen years he was with me. The first track on the album, “Con Brillo” is my little tribute to him.

Fast forward to 2021 and I rediscovered all of these experiments. Some were almost unlistenable, but some had a beguiling charm about them- perhaps the sound of someone not really knowing what they’re getting into. They needed mixing and balancing, so I set to work. I also wrote a new piece, with exactly the same recording chain, in the same way, in the same room. This became the suitably titled final track “Hindsight”.

The Music Easel has remained a constant source of sonic worlds for me to explore. It because the main instrument on the album Agri Montana, for example and has cropped up on many other records I’ve made since.

I would especially like to thank David at Postmodular for selling the Music Easel to me, after phoning him and disturbing his Sunday afternoon outing to Hyde Park (sorry about that David). I always promised I would send him a copy of something I had produced on it, so hopefully he will enjoy Easel Studies."

As I finish writing this, I notice that it is, once more, exactly Midday.

I hope you enjoy Easel Studies too.

Cate Brooks (21st of May, 2023).

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

Nina Simone’s big break consisted of the recording made during her September 12, 1959 concert at New York’s Town Hall. The 1960 LP Nina Simone at Newport (recorded live at the Newport Jazz Festival on June 30, 1960, and included here in its entirety) was an attempt to repeat the success of that live album. It presents strong performances by Nina of “Trouble in Mind” and “You’d Be So Nice to Come Home To,” among others. Simone is accompanied by her regular rhythm section, consisting of Al Schackman on guitar, Chris White on bass, and Rob Hamilton on drums.

METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.


Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Bone White opaque + Black Galaxy effect vinyl in dub style jacket (jacket sleeve with centre hole cut out so label shows throug
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all.

Woven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth" orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.

If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Olsdchool feeling here.
Sweet pumpin minimal tunes, groovy !

Warehouse Find! Test Pressing!

It's Toby Tobias time folks! Ahead of his brilliant LP which will be dropping here on DOG in September we give you a little reminder of why he's one of the heroes of the underground UK house scene. Toby has been honing his skills as a producer, DJ, promoter and all round nice guy for years now and we're very happy to be offering up fresh new club business from the man himself in the form of The Rising EP. Never one to go for the obvious, he always puts his neck on the line and pushes his productions in an interesting and often unexpected direction, making full use of his fully analogue studio to get those 'happy accidents' into his tracks which gives him the edge over so many others on the scene today.

Even with a straight up club banger like The Rising, Toby makes sure things stay edgy, raw and just a little bit mental. At the end of the day this is a Chi-town influenced filter disco banger but with fresh spin that'll make sure it creates the perfect vibe when you drop it in the clubs.

Taking things in a deeper direction we have Jitterbug on the remix, keeping the pace and drive but dipping the original in a vat of thick, syrupy treacle which gives us an altogether more heady, spaced out vibe for those moments when only the trippiest shit will suffice.

Flip over for Toby's own dub version of The Rising which strips it all back and warps it out for a loopey, Soundstream influenced take on the original. Full of attitude but keeping the bags of fun times feel with more punch than Frank Bruno (in his heyday!)

Warehouse Find!

It always gives us an extra little buzz to bring you a debut release from a new artist, especially when you know it’s going to be the launch pad for someone that is going to grow to become a heavyweight player. Parisian Larry Quest has been slowly but surely paying his dues, promoting, DJing and generally immersing himself in the underground House Music scenes of Paris and then London after moving to Hackney eight years ago. Growing up playing in punk bands, then studying Jazz at music college has given him the attitude as well as the skillset to create music which is both intensely raw and rugged whilst still being musical and deep. For his debut EP he delivers four drumheavy cuts which bring together elements of Detroit techno and house to form a forward-looking sound which will make an impact wherever you play them.

Opener Conun Drums packs a serious punch with simple synth line sitting on top of a lo-slung bumpy groove. Perfectly timed synth stabs bring a touch of light to the thumping bass and metallic percussion and already we get a sense that we’re in safe hands with Larry Quest at the controls.

Red C Mellow D follows, treading similar water with live drums laying the foundation and touches of colour coming from echoing synth lines and an acidic bassline.

Flip over for the curiously titled A Frog Rovin’, which is about as quirky and off-kilter as the name suggests. The major tonality brings an optimistic vibe which sits in contrast to the thundering saturated 909 drums and speakerwobbling low-end.

Closing out this brilliant release we have Solar Assailer which plays with our sense of time as drums and filtering stabs dance around the beat completely throwing us off the scent of where the one is. Finally the elements fall into place and lock into the groove which is underpinned by the pulsing throb of the bassline. Larry’s jazz background rears it’s head now and then, coming out in the little flourishes of fusion-era chord sequences and moogy lead lines. What a debut, we hope you agree!

Recorded across three sessions over the last three years, ‘Behold’ is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks.
Paris Richens lets the bass playfully roam. Carolyn Hawkins tumbles feeling into the drum rumble. Stella Rennex’s guitar soars alongside her saxophone work, whilst a sprightly keyboard is tenderly attended by Rebecca Liston. Everyone sings amidst this lush canopy.
Patience, environmental cues and internal signals are integral for a garden to flourish. The same can be said of the conditions necessary for ‘Behold’ to emerge. It is an album gleeful in reassessment, changed priorities and anticipation. The roots are deeply anchored to mystery, drinking up a hidden wonderment that lies within. ‘Monument’ is a twist of melody and mania, “For what am I? But a channel of light” they attest amongst the whoops and hollers. ‘The Babble’ sounds like Ray Davies playing Wordle for enlightenment. In fact most of these songs are pointing the way towards growth and understanding. ‘Turn to Love’ is mesmeric and timeless, thoroughly serene and perfectly judged. Parsnip write songs as a form of communion with the intangible in our increasingly delusory world, but there is always a gentle reminder; don’t take anything too seriously! “My head is gonna split in two, fix it with flour and glue” they demand on ultimate bop ‘Papier-Mâché’, this juxtaposition of mature resolve with childlike astonishment packs a more powerful punch.
On ‘Behold’, Parsnip explore both the inner and outer realms of consciousness with quick wits and some seriously quality jangle and jolt. ‘The Light’ is a whip smart workout, sprouting naturally from the propulsive nature of their debut album ‘When the Tree Bears Fruit’ (2019). ‘Placeholder’ is also devastatingly honest and channels The Field Mice as it buries itself like an arrow into your heart.
Anti Fade Records and Upset The Rhythm proudly present Parsnip’s first album in five years, ‘Behold’. Available in all good record stores April 26th.

To live again has never been so good. So sexy. So groovy. Reelow's reeturning to the game with 'Reeborn' - his highly-anticipated second album on his own Reecords label. This one's not just about the music: Reeborn is the resume of adventures, friendships, missed flights, collaborations, and hundreds of hours in his Barcelona studio: a magnet that attracts artists, buddies, and music enthusiasts, becoming a meeting point and exchanging fulcrum. The Hungarian groove master and Solid Grooves resident delivers four irresistible cuts in perfect Reelow's fashion, diving between skipping drums, shuffling grooves, and jackin' bass tones, taking listeners on a road trip deep into his trademark rough and funky sound. Reeborn, now.

Following the force of their introductory singles 'Tabernacl' and 'St Agatha', the band return with an invitation to explore their landscape of violent poetry and gothic propulsion to the fullest extent yet. Prepare to be lulled under their spell once more with the slow-burn of forerunning single, 'Remoter Heaven'.

Produced by long-time collaborator Buzzard Buzzard Buzzard's Tom Rees. It begins in a dream state of hypnotic repetition that mounts in intensity, with vocalist Jack Shephard presiding over it all with his distinctive, poetic drawl. His protagonist is revisiting a memory of the pain inflicted by a thorn as a child; "I was awake with feeling", he confesses, before the song takes on the momentum that feels like a triumph over the numbness attendant to adulthood.

Of the track, Shephard shares: "I liked the idea of writing a very simple narrative to a big, epic song - something as modest as the story of a child playing in some flowers and then bursting into tears when a thorn pricks their leg. The words are an ode to that sensitivity we embrace when we are young. Then, when we become adults, we insist on subjugating all of that wonderful, absurd rage."

'Remoter Heaven' follows on from 'Tabernacl' and 'St Agatha' which earned Slate rave write-ups and support from publications including NME, CLASH, So Young, DIY, Buzz Magazine, The Most Radicalist and more, as well as early radio plays from the likes of Huw Stephens and Steve Lamacq on BBC 6Music, Matt Wilkinson on Apple Music 1, John Kennedy on Radio X and Jack Saunders on BBC Radio 1.

Ladi6 is a singer with soul. A singer with a hip-hop background and masses of pop-appeal. A singer who first gained attention through her features with the legendary New Zealand export-band Fat Freddy's Drop, but who has also performed alongside such diverse artists as Gil Scott-Heron, Mayer Hawthorne and Mos Def. In short: A singer whose eyes have seen much and whose style is not governed by rules. As if that wasn't enough, her enormous charisma enables her to win her audience over within minutes with full support of her band of Parks and Julien Dyne (BBE).
The 30-year old has always endeavored to use music to tear down barriers and dissolve purported genre-boundaries. With her previous album, "Time Is Not Much" (BBE) which was produced by Parks and Mu (Fat Freddy's Drop), Ladi6 has already taken a perfect shot at her goal, which, combined with the interplay between the many diverse elements of the music, has a highly impressive effect. "The Liberation Of…" has already top the New Zealand independent charts for consecutive weeks and her single "Like Water" is the #1 independent New Zealand song on radio.

An hommage to S1kronik...
May the Doom tears you...

respect

Brainwave Research Center returns with their 3rd Electronic music LP. Their DIY approach to creating music has forged a unique sound that is not experimental music, but music born out of experimentations with analog synthesizers. Feel Free is the third installment of their first four part series and captures the feelings and emotions of a summer season.

The A-side begins with a soundtrack to a daydream; imagining the life of a earthworm. Followed by a teeth-grinding drive through the grime of Brooklyn streets in Interceptor iii. Side A finishes out with that summer euphoria that comes from laying in the grass under the sun through dusk and watching the moon rise.

The B-side begins in a startling manner; an attempt to capture the feeling of falling in your dreams. The music continues down a darker path that reminds us of their second LP, Mosaic, with electronic experiments mixed with acoustic elements. The side concludes with two songs that capture the nostalgic feelings of summer.

Feel Free offers you a glimpse into the musings of everyday life for brainwave research center. Recommended if you like analog / digital synthesizers, sequencers, hand-played melodies, simplistic clock-like rhythms

Als eine der frühen Bastionen des US-Metals sind Attacker aus New Jersey zurück, um ihr 40-jähriges Jubiläum mit einem neuen Album zu feiern, einem triumphal, klassischem Metal-Album mit acht Songs! Bekannt wurde die Band durch ihr einflussreiches Debüt von 1985 und ihr zweites Album 'The Second Coming' drei Jahre später, sowie durch Alben nach der Reformation 2001. 'The God Particle' ist wieder die bewährte Dosis reinen, ungezügelten Heavy Metals mit reichlich Aggression und Melodie - beides dauerhafte Elemente des Attacker-Sounds, der auch von Marc Sassos (Dio, Halford, Marvel) packendem Cover-Artwork unterstrichen wird. Die Band würdigt mit dem neuen Album ihr geschichtsträchtiges Erbe und schafft neue, fesselnde Musik, um eine ihre Fangemeinde zufrieden zu stellen.

Erlend Øye & La Comitiva - 'La Comitiva': In einer kleinen Stadt wie Siracusa, Italien, findet das gesellige Beisammensein meist in den Häusern der Menschen statt und besteht aus: Zutaten für ein Essen kaufen, das Essen zubereiten und reden, das Essen essen und reden, die Instrumente holen und stundenlang am Tisch sitzen und spielen und singen. Erlend spielt eine Ukulele, Marco spielt Nylonsaitengitarre, Luigi spielt Cavaquinho, ein brasilianisches Samba-Instrument, und Stefano spielt Bass auf denselben Stahlsaitengitarren, die Erlend bei Kings of Convenience verwendet. Die Band wurde während einer Tournee 2018 durch Chile, Argentinien, Kolumbien und Mexiko professionalisiert. Während dieser Tour entstanden viele der ursprünglichen Songs der Band, wie Altiplano, dessen Arrangement in einer staubigen Grenzstation zwischen Chile und Peru stattfand. Nach vielen unfreiwilligen Pausen (Covid, Veröffentlichung des Kings of Convenience-Albums, Veröffentlichung des Marco Castello-Albums) wird die Full Length LP "La Comitiva" im Frühjahr 2024 endlich das Licht der Welt erblicken. 2016 wurde Erlend während des kollaborativen Festivals "People" in Berlin auf das freigeistige Klassik-Ensemble Stargaze aufmerksam und er begann, einige der Mitglieder in Studio-Aufnahme-Sessions und Live-Konzerte mit La Comitiva einzubinden.

Hauptsächlich mit dabei sind: Kobi Arditi (Posaune), Maaike van der Linde (Flöte), Romain Bly (Trompete, Horn und Percussions).

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.

Red Vinyl

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.

"All our dreamers lose to the light" - from "Angels Go Home" When the pandemic began, and the world shut down, so did the process of creating for Iron & Wine's Sam Beam. In its place was a domesticity that the singer hadn't felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes: "I feel blessed and grateful that I and most of my friends and family made it through the pandemic relatively unscathed compared to so many others, but it completely paralyzed the songwriter in me. The last thing I wanted to write about was COVID, and yet every moment I sat with my pen, it lingered around the edges and wouldn't leave. This lasted for over two years." The journey back began with a recording session in Memphis to record a handful of Lori McKenna tracks for the EP Lori with friend and producer Matt Ross-Spang. The cathartic experience reconnected Beam with his love for making music, and soon enough the paralysis had passed, and he was finishing lyrics and booking studio time for what would become Light Verse. Light Verse was recorded with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon (with an additional session at Silent Zoo Studio with a 24-piece orchestra), with a host of talented musicians joining Beam: Tyler Chester, Sebastian Steinberg, David Garza, Griffin Goldsmith, Beth Goodfellow, Kyle Crane, and Paul Cartwright. And, Fiona Apple joined Beam on vocals for the duet "All In Good Time." Beam lyrically once again takes focus on a series of both fictional and personal insights, filled with desperate characters and wide-eyed optimists, offering promise and a dose of heartache, tears and laughter, life and love. Taking stock in the album's title, he jokes, "Light verse is a form of poetry about playful themes that often uses nonsense and wordplay, and it's my first official Iron & Wine comedy album!_. Just kidding_." While true this may be Iron & Wine's most playful record, Beam says the title mostly reflects the way the songs were born with joy after the heaviness and anxiety of the pandemic. Where recent records like Beast Epic or Weed Garden gave air to the disquiet of middle-aged frailty and brokenness, these songs trade that for the focus acceptance can bring. Moment by moment, they delight in being pointed or silly (or both) and attempt beauty over prettiness. Light Verse arrives April 26th, and it's Iron & Wine's seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. Track by track, its equal parts elegy, kaleidoscope, truth, and dare.

2x7"
Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.

The fourth full-length record from Atlanta’s Microwave is a trip. It all begins with the misty synth strikes and cosmic transmission warbles of “Portals,” before hazy, dripping-wet guitar chords settle in. The song, an adaptation of the traditional Christian hymn “Softly and Tenderly,” is true to its new name, as liminal and fleeting as it is gripping and emotional. It’s an enormous, gentle, enveloping introduction to what will be explored: life and death, happiness and freedom, the real and unreal. This is Let’s Start Degeneracy, the long-awaited new album from Microwave, releasing on April 26 via Pure Noise. It's an emo record, but perhaps only categorically speaking. It contains multitudes: ambient, pop, R&B, punk, and experimental sounds float in and out of one another as the record moves through scenes, experiences, and feelings, all of them rippling with a purity of intention and translation that mark the best artistic works of “psychedelia.” Vocalist/guitarist/producer Nathan Hardy, bassist Tyler Hill, and drummer Timothy Pittard have created something that resembles a concept record, but it’s the sort of concept that’s impossible to contain in just one phrase or word or sound. The record’s title, taken from a conservative politician’s take on drugs in 1970, captures this liberated spirit. There are no rules, and there is nothing to be ashamed of. “It’s about letting go of attachments and behaviors that aren’t serving you, and trying to shake off your programming and not be motivated by fear and guilt and shame,” says Hardy.

CONTEXT During the height of the pandemic, Melbourne, Australia experienced the longest lockdown in the world, keeping residents inside their homes for a total of 262 days. In the midst of this were the five members who would form AWOL, driven to create and write music almost out of necessity. Once the ban was lifted, the band hit the recording studio and released their debut EP, AWOL, in 2021 through Last Ride Records. The timing was perfect as the Australia hardcore scene was experiencing serious growth, and AWOL soon found themselves playing shows with Speed, Iron Mind, No Apologies, and on a country wide run supporting No Pressure in early 2022. The band’s persistent drive and heavy playing style caught the attention of Flatspot Records, who will release AWOL’s debut full length, Tear 'Em To Bits this Spring. It’s not hard to listen to Tear 'Em To Bits and feel like you’re going to get ripped apart. The nine tracks are monstrous, filled with gruff vocals, groove-driven riffs, and meaty breakdowns. AWOL draws from bands like Madball and Biohazard, but also fit right along modern day acts like King Nine and God’s Hate. The lyrics are punishing, covering everything from deception and failed relationships to addressing drug addiction and police brutality. And while the record packs a lot of aggression, AWOL is purely here to revel in hardcore and the community it’s built for them. On making Tear 'Em To Bits the band simply states: “The only goal was to make a good hardcore record that we were proud of and that our friends could get behind.” AWOL is Christian Schultz (vocals), Mike Williams (guitar/vocals), Otis T Bennie (guitar/vocals) Pat Shanahan (drums) and Pablo Barnes (bass) Produced and recorded by Mike Deslandis, with additional recording by Otis T Bennie, at Black Lodge Studios. Mixed by Jon Markson at The Animal Farm. Mastered by Brad Boatright at Audiosiege. MARKETING AND SELLING POINTS: * AWOL is one of the biggest hardcore bands in Australia at the moment * Can appeal to not only the Hardcore crowd but also Punk, Metal, and Rock demographics as well * Has toured w/ No Pressure, Regulate, The Story So Far, Speed * Will tour AUS, US, UK, EUROPE in 2024 * A perfect hardcore release that will stand the test of time! * Has played festivals such as L * Mixed by Jon Markson (Drug Church, Drain, Regulate, Koyo) * Music Videos for AWOL (single) + Tear Em’ To Bits (Single) * Alexa Gallo of Wordless PR will be working press * The Syndicate will be working Radio Campaign * Matt Hughes Good As Gold will be working UK press + radio * Released by Last Ride Records in AUS * First EP on Flatspot Records * Pressed on Colored Vinyl

Disco Segreta breathes new life into two of the most elusive and coveted italo disco tracks of all time!

Originating from the paradisiac island of Sardinia, Italy, Susy Pintus embarked on her musical journey alongside her brother at Radio Cagliari Centrale, one of Sardinia’s very first “free radios,” which opened its doors in 1977. Her singing career took flight in 1978, and by 1979, she attained national acclaim with her single “C’Est Magnifique,” a disco reinterpretation of the renowned Cole Porter track.

However, Susy’s most sought-after single undoubtedly remains her 1986 italo-disco 45 featuring the tracks “Fragile” and “Live for Your Love”. These compositions, expertly arranged by Italian jazz piano virtuoso Danilo Rea and superstar musician Aldo Tamborrelli, weave a captivating tapestry of sound using instruments like Yamaha DX7 and CP80, Roland Juno 60 and JX 8P, as well as the omnipresent Linn 9000. The result is a distinctive blend of italo-disco, synth-pop, and a touch of the “balearic” vibe.

Originally released in a limited run of 1500 copies on a 45, these tracks have become exceedingly rare over time, finding their way into the wishlists and collections of discerning italo-disco enthusiasts.

Now, Disco Segreta proudly reissues these two exceptional italo disco gems, granting them the expanded 12” treatment they rightfully deserve.

This deluxe edition includes the original tracks, meticulously remastered to meet contemporary standards without destroying the feel of the originals, along with two remixes of “Fragile” and “Live For Your Love” by Italian wonder Cosimo Mandorino aka Cosmo Dance.

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

Mutant präsentiert den OST zur US-Horrorkomödie LISA FRANKENSTEIN (2024). Zelda Williams' Filmdebüt kitschig und bissig und zelebriert auf gewagte Weise eine Vintage-Attitüde, unterlegt mit einer einzigartigen Playlist aus Post-Punk-/Alternative-Highlights (Pixies, Galaxie 500), modernen Coverversionen von Klassikern ("I Can See Cleary Now", "Can't Fight That Feeling") und einem unglaublichen Score von Isabella Summers (Florence & The Machine), die mit inspirierten Synths, Streichern und Keyboards sowohl das Monströse als auch das Wunderbare feiert. Rotes Vinyl mit exklusiven Linernotes von Drehbuchautor und Oscar-Gewinner Diablo Cody.

Mutant präsentiert den OST zur Roadmovie-Komödie DRIVE-AWAY DOLLS (2024), Ethan Coens erstem "Solo"-Film (ohne seinen Bruder). Mit einem exzellenten Score des EMMY-preisgekrönten Komponisten Carter Burwell und Songs von Le Tigre über Linda Ronstadt bis Lizzie Mercier Descloux passt er sehr gut in das beeindruckende Erbe der jahrzehntelangen Zusammenarbeit Burwells mit den Coen-Brüdern. Es ist das perfekte Mixtape für diesen Roadtrip, ein bisschen Country, ein bisschen Rock'n'Roll, ein bisschen Disco und ein bisschen Queer. Carter Burwell ergänzt: "Wenn Sie die übliche lesbische Roadtrip-Krimi-Sex-Comedy-Musik erwarten, werden Sie nicht enttäuscht sein."

"In partnership with Rob Zombie and Lionsgate, Waxwork Records is thrilled to present The Words & Music of HOUSE OF 1000 CORPSES! From the mind of Rob Zombie, this unique double album features a first-of-its-kind movie soundtrack experience by presenting the complete audio to the iconic 2003 feature film, HOUSE OF 1000 CORPSES as an immersive deluxe double LP set.

Pushing the boundaries and exploring new and inventive ways of collaborating, Rob Zombie and Waxwork are excited to deliver the complete Words & Music of HOUSE OF 1000 CORPSES from the film's opening credits through its credits crawl as an interactive read-along experience for fans of horror, vinyl records, and comics! Featuring all new artwork by Pete Bregman, deluxe gatefold packaging, an 11""x11"" 28-page booklet, printed inner sleeves, and a heavyweight character cut-out sheet to create your very own House Of 1000 Corpses spookshow!

HOUSE OF 1000 CORPSES is a 2003 American horror film written, co-scored, and directed by Rob Zombie in his directorial debut. The film stars Sid Haig, Bill Moseley, Sheri Moon, and Karen Black as members of the murderous Firefly family. The film explores multiple genres including horror and exploitation, and it was initially shelved by the movie studio for its graphic amounts of blood and gore, as well as scenes involving torture and necrophilia."

"The Words & Music of House of 1000 Corpses" by Rob Zombie includes the following tracks: "From "These are all my Dolls."" and more.

This version comes as a 2xLP Set in a Printed Inner Sleeve packaging + Comic Book.

The vinyl is pressed as a swirl, orange & purple & green vinyl.

The Finnish-Swedish composer and pianist Iiris Viljanen, has through her honest and fine expression, achieved success with everything from her Grammy-winning album "Den lilla havsfrun" to a role, and composer, in the theatre production "Det vilda”. Recently, she was at everybody’s attention and gained success at the Peter LeMarc tribute concert in Tele2 Arena in front of a 16,000 mesmerised audience. Later this spring, she goes on a performance tour together with Stina Ekblad. A performance based on her new album "Själsligt upvakanden vid Slussen". An album that enchants with honest, dreamy but concrete songs performed by an almost groovy band. An album where the darkness is accompanied by hope. She has never really sounded like this before, not so directly, alive and embracing.

"This album is about influence, inspiration, perception & reality. Every song was written in an outside environment, so that I could observe the subjects that would become my subject matter. All too often in Hip Hop, reality is limited to that of the artists own, actual experiences. People Hear What They See is my attempt to liberate the MC from those constraints & allow reality to be penned other than my own. Listening to congressmen & lawyers converse on the steps of the supreme court inspired 'American Greed', Watching a couple argue over the phone in a bar inspired 'Maybes'. By having a visual representation of my subject matter, my hopes are that the listener will see them through the worlds & melodies of my songs."