quête:battle break

The Bass Junkie sound spans the old school beats and vibes of the Electro genre’s origins, to the borderline industrial. Phil is a battle hardened Bass Bot from the future armed with his trusty MPC.

The obsession with all things sci-fi continues with this 'Cruising The Bass Nebula' EP. Out this February on my Asking for Trouble label, this is testament to his non-stop love of the genre and keeps on evolving with this funky 10".

Phil Klein aka Bass Junkie has been part of the Bass furniture for decades. I first came across him at my local roller disco somewhere in the 80s where he would flex his early DJ skills. Phil was cutting and scratching on the decks way before anyone I knew.

His history is quite something. In the early 90s he contacted Dave Noller from Dynamix II in Florida and after sending demos (pre-Internet of course). He ended up going there to make some tunes under the name of Cybernet Systems.

Phil has had many monikers and worked with lots of people over the years. Model Citizens with Matt Whitehead, IBM, Gods of Technology and Kronos Device with Si Brown (Dexorcist) and myself both as The Brink and part of The Resonance Committee to name a few. 2021 saw the release of the album Sub Sonic Survivor on Bass Agenda. He's had releases on lots of labels over the years including Control Tower, Firewire, SMB, Ed DMX's Breakin records, Andrea Parker's Touchin Bass label, Billy Nasty's Electrix and his own Battle Trax label.

Throbullating throughout the galaxy since 1986!

Atlanta native Tha God Fahim has emerged as a leading figure in hip-hop’s thriving modern underground, captivating listeners with masterful street soliloquies and timeless production. Uninterested in the flashy trappings of the modern rap game, Fahim has channelled his energy into building a phenomenal catalog, blending soulful aesthetics with hard-edged rhymes. Now, the talented emcee is taking a break from his dizzying mixtape schedule to unveil the new studio album "Iron Bull".

Highlighting the power of relentless determination, the collection finds Tha God Fahim stronger than ever, elevating beyond adversity while remaining true to self. "Iron Bull" includes guest appearances by Mach-Hommy, Your Old Droog, and Jay NiCE, along with hypnotic production by Nicholas Craven, SadhuGold, Camoflauge Monk, and Fahim himself.

Pyramid Of Knowledge fires up the jets again for the Seoul-based producer's second interstellar adventure on Dream Ticket. Almost 30 years on from the precise, angular breaks and acid of UR's Electronic Warfare and the components of those potent battle weapons remain in full service, here honed by POK's controlled studio hand and ready to dash full-pelt against the enemy. Whose side are you on?

Freestyle puts out another reissue 12" in their drive to unearth rare and classic UK funk, soul & boogie records - this time a much needed pressing of the late Candy McKenzie's heavy boogie-funk cover of Patrice Rushen's classic Remind Me. Produced by Candy's late cousin, and seasoned session bass player, John McKenzie (and licensed from the family estate) this was originally released in 1983 - and comes with an excellent dubbed-out 'Different Style' instrumental version on the flip.

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Candy McKenzie (1953-2003) was a North West London-based vocalist from a Guyanese family heavily steeped in musicianship . She began learning the piano at a young age, picking up vocal harmony from her father, a jazz bass player. Her brothers Bunny & Binky, were also celebrated bassists. Candy would marry young in 1970 at the age of 17, though just one year later her brother Binky (who played with the likes of Cream, Alexis Korner & John Mclaughlin in the late 60s) tragically killed her mother and father, along with Candy's husband in an attack at the family home to which Candy was present. Candy was also injured but escaped with her life.

In the years that followed the tragedy Candy, regularly accompanied by her brother Bunny, would find reggae vocal session work - often at the Chalk Farm Studios frequented by many key producers & acts. She found her way onto Aswad's first album and Keith Hudson's legendary Flesh Of My Skin Blood Of My Blood LP - and a little while later on a couple of sessions with Bob Marley for Island, under the supervision of Lee Perry.

The latter two parties took a keen interest in Candy, with Island wisking her away to Jamaica in 1977 to record an album at the legendary Black Ark. Her vocals found their way onto The Congos seminal Heart of the Congos LP, but the album she recorded with Perry was shelved - with just the Black Art holy grail 12" Disco Fits / Breakfast in Bed finding it's way to release at the time.

Back in London, Candy spent the early to mid 80s recording various lovers and funk/soul 12"s, including this fantastic cover of Patrice Rushen's Remind Me, produced by her cousin John. She went on to record singles for labels like Elite & Cooltempo throughout the '80s and early '90s, and appeared as backing vocalist with the likes of Leonard Cohen, Whitney Houston, Elton John and Diana Ross. She passed away in 2003, with her one and only album recorded at the Black Ark finally seeing release on Trojan in 2011.

Candy's cousin John McKenzie got his starts in the music industry in the mid 70s as part of prog group Man and communal festival rockers Global Village Trucking Co., as well as playing with the likes of Annette Peacock and Steve Hillage. His father Mike McKenzie was also a key Carribbean jazz figure in the UK throughout the early 1950s, through to the '60s and '70s. John would become a heavily in-demand session musician - playing with everyone from the Eurhythmics to Bob Dylan - while also finding time to produce this record, alongside a couple of excellent 12"s with Mel Gaynor as Finesse, between 1982 and '83. He would regularly tour the world as a live musician for a huge array of headline acts, appearing on multiple chart hits, and in his later years was a member of the excellent group Ibibio Sound Machine. He lost his battle with cancer in 2020.

This reissue is dedicated to the memory of both John & Candy McKenzie.

Ukrainian blackened death/doom metal offensive 1914 continue to reflect the gruesome tales of World War I, its soldiers’ fate, their death, fear and feats to be never forgotten, and unleash their new opus, Where Fear and Weapons Meet, on October 22nd, via Napalm Records. Its eleven tracks of pure historic harshness follow up to the band’s sophomore full-length, The Blind Leading the Blilnd (2018), and debut, Eschatology of War (2014), both highly acclaimed amongst critics, and create a sophisticated variety of massively brutal blackened death metal accented by dramatic and realistic audio soundscapes and disquieting melodies spiced with the approach of sludge and doom! Blurb IG#1: "After their highly acclaimed previous records, blackened death/doom metal unit 1914 again faces the cruelty of World War I on its third opus Where Fear and Weapons Meet . The first single “...And a Cross Now Marks His Place” already marks an absolute highlight, as this massive outburst features none other than Paradise Lost icon Nick Holmes, whose pervasive delivery matches with 1914 ’s mastermind Hptm. Ditmar Kumarberg’s (9. Westpreußisches Infanterie-Regiment Nr. 176) vocal harshness." Blurb IG#2: Blackened death/doom metal frontrunners 1914 return with their third inexorable opus, the new studio album Where Fear and Weapons Meet. On this masterpiece of pure harshness, 1914 again reflects the gruesome tales of World War I without making any compromises. Second single “Pillars of fire”, that deals with The Battle of Messines in 1917, starts with an atmospheric introduction that draws the listener deep into the album theme and erupts into a massive blackened death/doom outburst shortly after. Blurb IG#3:Since 2014, Ukrainian blackened death/doom metal visionaries 1914 have told the gruesome tales of World War I and are now ready to face the fiery depths again on their third attack, Where Fear and Weapons Meet. Third single “FN .380 ACP#19074” breaks in with heavy guitar lines and thunderous black metal drumming like a blaze of gunfire and reflects the assassination of Austrian Archduke Franz Ferdinand and his wife 1914 in Sarejevo, an event that caused the outbreak of World War I.

Erstmalige Veröffentlichung des 2005 in Sao Paulo vor einem frenetischen Publikum aufgenommenen legendären Livealbums auf Vinyl.
Das 27 Songs umfassende Konzert bietet nicht nur sämtliche Klassiker sondern auch selten live gespielte Stücke und zählt bis heute zu den absoluten Sternstunden in der erfolgreichen Karriere der Band.
Einmalige limitierte Auflage eines 4 LP Box Sets mit Poster und von Chris Boltendahl handsigniertem Zertifikat.

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism. “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human. It really hits a nerve, and it utterly immerses me to a point where I can’t move.” The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it. Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by. “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.” Never more so than on the first single, ‘The Golden Age’, which is the album’s centrepiece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it. Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest. This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record. “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.” The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ hidden pictures in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.” He’s right, it perfectly sums up the conflict between Romanticism and 21st century life. “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.” With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.1.Ballerina 2.Metamorphosis 3.The Golden Age 4.Sunday Kid 5.So To Speak 6.The Lot

Emanating from a ‘prehistoric’ existence near the end of the last millennium, Andy Votel and his slightly older college mates were once best recognised in Mancunian clubs and bars as teenage vinyl nerds and bum-fluffed battle rappers under the collective name Violators Of The English Language (which in acronymic form explains Andy’s own exotic pen-name).

As steadfast supporters of the 1980s / 90s Brit-core rap scene coming out of London, the multicultural Violators’ Mancunian accents were perhaps a bridge-too-far to secure dream job contracts for humble labels like Kold Sweat and Music Of Life. An unlikely constructive meeting with Gang Starr’s DJ Premier (while Andy helped out at a radio station), plus playing warm up DJ sets for countless US rap heroes might have temporarily added inspirational fuel to the fire, but after an active period combining graffiti, rapping, scratching, obsessive record digging and beat making into their daily operations, adulthood eventually began to rear its unwelcome head.

A decade later, Andy Votel and his digging skills would begin to provide direct sample material for the likes of Madlib, Mos Def, Jay Z, Nas, Dr Dre, Ghostface Killa and Action Bronson, amongst others, and the Violators’ black book of breakbeats and catalogue numbers soon began to feed a same-butdifferent rap beast.

For a project that has taken thirty years, it would be totally inadequate to call the formation of Hypocritical Beatdown Records a lockdown-project. There’s a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

As well as Andy Votel taking care of both production and part of the microphone duties, some might recognise fellow MC and solo recording artist Figure Of Speech as a prominent voice here. The trio of Magnets (Rap Group) sees Andy also joined by local B-Girl legend Jeni Chan aka Penny Chew, and rapper and DJ Benjamin Hatton who has previously recorded with Kid Acne, The Mongrels and Sheffield’s Invisible Spies’ long-running squadron. Widely respected visual artist Rick Myers (now living in Massachusetts) also contributed scratches for many of these recordings via file sharing and custom dub-plates to keep the Violators’ authentic line-up intact, as well as galvanising the crew’s semi-reluctant art-school roots.

Extra production credits for the label also go to Sean Canty from Demdike Stare, and the late great Dan Dwayre aka Black Lodge (Mo Wax) who sadly passed away during the completion of these recordings. The members of Violators Of The English Language who you’ve not yet heard of will quickly make themselves known as the needle drops on this long-mooted debut vinyl release.

Sofia Nøt from the project IAmNøt is a DJ and a producer from Bratislava/Slovakia, who just released her debut album “Changes”.
The album stems from the sounds of electronic dance music of the 90s and describes Sofia’s battle with gender identity. The music video for the track “Changes” won a prize at an international festival in Košice and participated in a prestigious ‘London Music Video Festival. In this video, Sofia kills her “old self” with an axe.

Since 2019 IAmNøt has posted her singles online. Many are also accompanied by story-driven music videos from director Simon Seriš. The music style comprises many genres, including breakbeat, techno, and synth-wave.
In the past three years, Sofia played DJ’s sets filled with breakbeats and 4/4 rhythms across the Czech Republic and Slovakia. You could see her, for example, at the Brutal Assault festival this summer.
Sofia’s debut album “Changes” was released on 9th September and is now available on all major digital platforms and a 12” LP vinyl record.

All tracks were written, produced & recorded by Sofia Nøt

except ‘Estrogen’: written by Sofia Nøt & Pkrek and

‘2020’ contains a guitar by Jakub Spiszak

Auf ihrem Sony Classical Doppel-Album Two Steps From Hell: Live - An Epic Music Experience definieren Two Steps From Hell - aka Thomas Bergersen und Nick Phoenix - die Schöpfer des "epischen Sounds", ihre fantastische Musik mit dem Odessa Opera Orchester, Chor und Rockband neu. Das Album enthält über zwei Stunden Musik und 28 der bekanntesten Titel der Gruppe, die im Rahmen ihrer erfolgreichen Europa-Konzerte im Sommer 2022 neu-arrangiert und aufgenommen wurden. Genre-Hits wie "Heart of Courage", "Victory", "Star Sky", "Protectors of the Earth" oder "Strength Of A Thousand Men" verbinden die in Kalifornien ansässigen Komponisten und Produzenten Thomas Bergersen und Nick Phoenix - die Masterminds hinter Two Steps From Hell - zu episch-akustischen Klangwelten zwischen Klassik, Filmmusik und Rock. Bei ihren Aufnahmen wurden die Multiinstrumentalisten von einer Reihe herausragender Solist*Innen begleitet wie Esther Abrami (Violine), Skye Emanuel (Gitarre), Elaine Correa (Keyboards), Saulius Petreikis (Windwoods) oder Greg Ellis (Drums) und den Sängerinnen Merethe Solvedt, Úyanga Bold und Kamila Nývltová. Two Steps From Hell sind eine der weltweit erfolgreichsten Produzenten für epische Musik und gehören zu den Vorreitern des "epischen Sounds". Seit ihrer Gründung im Jahr 2006 haben Thomas Bergersen und Nick Phoenix diverse Filmtrailer für Blockbuster (Avengers, X-Men, Star Trek, Harry Potter, Indiana Jones), Fernsehserien (Doctor Who, Breaking Bad, The Walking Dead) und Videospiele (Mass Effect, Resident Evil, League of Legends, Kill Zone) vertont. Ihr Song "Heart of Courage" leitete die Spiele der Fußball-EM 2012 und das Finale der Olympischen Spiele 2012 in London ein. Die Musik, die Thomas Bergersen und Nick Phoenix für Film, Fernsehen und Videospiele produzierten, löste euphorische Reaktionen bei den Zuhörern aus und sie begannen ganze Alben aufzunehmen und ihre Musik bei Musikportalen selbst zu veröffentlichen. Two Steps From Hell, ein Internet-Phänomen, war geboren und eine treue internationale Fan-Base sorgte für über fünf Milliarden Streams auf YouTube und anderen Plattformen, vier Platin-Alben, zwei Nummer 1 Alben in den Billboard Classical Charts ("Battlecry" und "Unleashed") und insgesamt 10 Platzierungen in den Top 10 der Billboard Classical Albums Charts.

- The complete score by Tom Holkonborg aka Junkie XL - 180g Double LP Multicolor Vinyl: Blue and Pink & Orange and Black - 12x12 Art Print - Heavyweight Gatefold Packaging with Matte Finish // Description: Waxwork Records is excited to present GODZILLA VS KONG Original Motion Picture Soundtrack by Tom Holkenborg aka Junkie XL (Army of the Dead, MAD MAX Fury Road)! Godzilla vs Kong marks the fourth in Legendary Pictures' titan universe. Godzilla & King Kong are back and they've led us to the center of our hollow Earth. In this movie, directed by Adam Wingard, tech mogul "Apex" and a band of conspiracy theorists, tech moguls, and scientists try to harness the power of the center of the earth to defeat a suddenly violent Godzilla and return King Kong to his original home. Junkie XL delivers a score that convinces you that this coalition of outcasts from across the world has to be correct. Huge orchestral arrangements perfectly match the intensity level of the multi-level coverup that hides the truth about the hollow earth theory. The composer complements awesome battles with sweet flashes of humanity from the two monsters, leaving hearts both racing and breaking for the creatures. Waxwork Records is thrilled to present the official double LP score with 180 gram "Godzilla" & "King Kong" colored vinyl, deluxe packaging, heavyweight gatefold jackets with matte coating, 12x12 art print, and more!

In the summer of 2000, school friends Mark Lawton, Jon Pearce and Jamie Lenman won a battle-of-the-bands competition and used the prize money to record the five tracks that would become their first professional release, entitled Pilot. Then called Angel, before the EP was released on local label Badmusic they changed their name to Reuben and were over the moon when the record received notices in Kerrang and even a spin from Steve Lamacq on Radio One. “We were just a school band, but we definitely had grand plans,” says Lenman, now a successful solo artist in his own right. “We changed our name because we knew we’d have to do it at some point, and we didn’t want the EP to get forgotten.” Despite selling out several modest runs on CD, Pilot was never issued on vinyl, and so to celebrate the 21st anniversary of its release, the five original tracks have been re-mastered and pressed onto wax. But more than this – after a chance discovery of five extra tracks on a DAT tape in a loft, Pilot has been bumped up to album status with the inclusion of a second side. “I always thought we’d only recorded those five tracks before Mark left – I’d completely forgotten about the recordings from the end of the same year,” says Lenman. “They were just demos of new material, they were never meant to be packaged together with the tracks from Pilot – in fact, you can already hear how the sound was starting to change in just six months. But they do make a nice set, and I guess if that original line up of the band had made a full album before Racecar, this is maybe what it might have sounded like.” The album inlay itself boasts a hoard of unseen photos from both recording sessions, unearthed after two decades, as well as the original EP inlay and the unused cover art credited to Angel instead of Reuben – hence Pilot Angel.

As three souls plunge down from the heavens, death and destruction can be felt hanging in the air like a foul stench. Red clouds swirl around a black sun that never sets and an erratic clock ticks off-tempo, moving faster and slower before rewinding and starting anew.

“Let me paint you a picture…” vocalist Mikey Arthur sings, welcoming listeners with a dramatic opening scene. It takes a skillful guide to navigate the darkest depths of hell. And, as The Gloom In The Corner depict in their second full-length album Trinity, death is merely the beginning of the series of chilling adventures

Purposefully aligning their song count with unlucky number thirteen – a reoccurring symbol in the ever-unfolding Gloom Cinematic Universe or GCU – it comes as little surprise to longtime fans that each of the Australian quartet’s enticing tracks intertwine to form an interlocking tale; this time centered around the appropriately labeled unholy trinity.

Comprised of previously deceased characters Rachel Barker, Ethan Hardy, and Clara Carne, the group’s bloody battle is woven throughout the album as the anti-heroes determinedly claw their way back to Earth from the Rabbit Hole dimension, slashing, shooting, and extinguishing anyone who dares to oppose their quest. Yet, for the Girl of Glass, Ronin, and Queen of Misanthropy, there is clearly more to the story than what can be contained within a single package.

Projecting a wide and complex web of lore, plot twists, and tongue and cheek humor, frontman Mikey Arthur, guitarist Matt Stevens, bassist Paul Musolino, and drummer Nic Haberle, have been producing highly detailed concept releases since their formation. And, consistently filling in more missing pieces of the puzzle with every body of work, the band equate each new record to a fresh season of The Umbrella Academy dropping on the streaming service of your choice. Because, just as a great TV series captivates viewers with its music and storytelling, the quartet’s work provides a complete experience designed to allow fans to check in with their favorite characters, all the while enjoying a cinematic new soundtrack.

For those just joining the GCU, as well as those looking for a quick refresh, 2016 debut album Fear Me introduced listeners to main protagonists Julian “Jay” Hardy, a Section 13 agent consumed by anger over his girlfriend Rachel’s death, and Jay’s gloom (later known as Sherlock Adaliah Bones), a demonic entity who at times takes over Jay’s body as a host vessel. 2017 EP Homecoming tells the tale of Jay’s brother Ethan, a war veteran suffering from PTSD, who upon discovering his brother’s struggle, kills himself as part of a Dante-style rescue mission to bring Rachel back to life. In 2019 EP Flesh and Bones, we’re introduced to Clara Carne, a past witness to one of Jay and Sherlock’s crimes, who instead of taking revenge, began a twisted love story with Sherlock, only to be murdered by his forced hand. And 2020’s Ultima Pluvia EP where we finally learn of Sherlock’s past as an ancient warlord under the tyrannical King Baphicho, and see Sherlock and Jay’s deaths ushered in by Section 13 opponent and New Order leader Elias DeGraver and his gloom Atticus Encey.

After 2016’s Fear Me, the band admit that their original intention was to jump straight into the events of Trinity before pivoting to create Homecoming, Flesh and Bones, and Ultima Pluvia. However, upon reflection, primary storywriter Mikey Arthur believes that pushing the timeline back actually provided greater opportunity for the group to properly flesh out the songs and plotlines for their sophomore studio record.

Indeed, while Trinity re-introduces the three central “heroes” of this new arc, it’s important to understand that while familiar, the characters are not carbon copies of who they were earlier in the story. And neither is the band who brought them to life.

Fully embracing the weird and whacky has never been a struggle for The Gloom In The Corner. Rather, it’s together with this attitude that the group come away with special moments such as the fascinating old and new dynamic between neighboring tracks “Red Clouds” – a song whose initial version predates the formation of The Gloom In The Corner as an official band – and “Gravity” in which a demo intended for future material was adjusted to fit the sonic drop.

Mirroring this evolution in the band’s musical approach, a sense of growth can also be seen projected in the characters and story that the quartet chronicle across the thirteen tracks.

Classifying their individual sound as an intricate form of “cinema or theater-core” due to the depth and breadth of their musical approach, features, samples, symphonic elements, and conceptual nature, The Gloom In The Corner continue to prove that they’re more than just a simple concept band.

In fact, similar to character theme music in movies and video games, the group seamlessly play off their diverse sonic story in a variety of ways. Continuing to breathe new life into older staples from their catalog, the quartet reworked their infamous “Oxymøron” breakdown from Fear Me into an impactful moment in Trinity’s “Nor Hell A Fury” and sprinkled audio easter eggs of this sort all throughout their new music for fans to discover.

Listeners are also brought further into the world of the GCU with the help of what The Gloom In The Corner call their “casting process.” Like picking actors for a musical, the band meticulously selected eleven different vocal features and several additional voice actors to bring the album and characters to life. Described as a 50/50 split between notable talents such as Ryo Kinoshita (Crystal Lake), Joe Badolato (Fit For An Autopsy), and Lauren Babic (Red Handed Denial), as well as talented friends and family like Elijah Witt (Cane Hill) and Mikey’s sister Amelia Duffield, each featured artist brought their own touch and realistic spark to the characters they portrayed.

For in the end, as much as Trinity and it’s cast live within the confines of their own supernatural worlds, themes such as falling out of love (Gatekeeper), battling depression (Obliteration Imminent), and standing behind women’s empowerment (Nor Hell A Fury), are ones that many can relate to or understand. And, while most individuals may avoid drowning their woes by way of transforming into full-on egotistical murderers like the Queen and King of Misanthropy and the gang, The Gloom In The Corner have illustrated that time and time again, life’s a little more fun when you can crack a smile. Taking a page from the trinity’s playbook: try to avoid the end of the world. But if you can’t…at least spend it with a killer soundtrack.

A unique longplayer by Germany's Funk champions The Mighty Mocambos: 'Scénarios' is a wild journey through iconic performances captured on 8-track tape, including celebrated versions of breakdance favourites like 'Axel F.' And 'Let The Music Play' as well as brand new original material composed especially for recordings in unusual settings.

Hamburg's deep funk chefs are known for their intuitive recordings that capture the energy of a live performance, and with this record they go all the way.

Just before the pandemic, the group recorded an in-store live session at legendary Hamburg record shop Groove City and taped an impromptu performance at JAM PDM! breakdance battle in Potsdam. Both were released on vinyl 45s, quickly sold out and became secret weapons for DJs. While most bands shifted their stage to the studio in 2020, producing an abundance of isolated lockdown-inspired material, the Mighty Mocambos – never shy of an antidote - took the mobile version of their recording studio on the road.

With no audience allowed at the Pitt Hopkins Music Session charity concert, the group used the occasion to compose meditative folk-soul instrumentals to be performed exclusively on stringed instruments. Sweaty funk does not work via video stream, but the format provided a welcome opportunity to create something entirely different. Even without electricity and drums, the cinematic "Four Two Three" and "Silent Heroes" are unmistakably recognizable as Mocambo themes.

When you follow Nina Simone's credo that an "artist's duty is to reflect the times", it became evident that once the world slowly started opening up again, further concerts would be captured on the group's portable Fostex R-8 tape machine. Luckily, restrictions fell on the very evening that the band hit the open air stage at the Import Export in Munich on September 11th 2021. The extended afrobeat-inspired jam on J.J. Cale's "Carry On" witnesses people celebrating and dancing together again for the first time after a year and the manic "Munich Psycholympics" unleashes all bottled-up energies that had being lying dormant.

The slightly kafka-esque "Ghost Walk" was taped during a soundcheck for a concert that was eventually called off for safety reasons, reflecting once more the uncertainty of the time. The last scénario sees the Mighty Mocambos returning to a packed indoor venue, playing "Let The Music Play" to a audience of b-boys and -girls – a testament to the sheer power of music. Featured as an encore here, an acoustic version of "Where Do We Go From Here?" (originally recorded with Lee Fields) closes the record and its restless voyage through unusual recording situations.

"Scénarios" differs drastically from other live albums as it does not seek to replicate existing material from studio albums. All songs were written or arranged especially for the live recordings in order to combine the group's DJ-friendly trademark sound with added vibes and momentum from the audience. Most of them were recorded while they were performed in public for the first time ever.

Comes in gatefold sleeve & includes download voucher.




d 04: Theme from Beverly Hills Cop (Axel F) Live

Combining powerful and heartfelt vocals with thundering guitar riffs, Essex-based Blues Rock band When Rivers Meet offers originality with both talent and winning personalities. Grace Bond leads with her incredible vocals, as well as bringing ranched-up mandolin and violin instrumentals. Her husband Aaron Bond commands attention with his imaginative guitar and cigar box playing and complements with compelling vocal harmonies… a winning formula. Since bursting on to the UK music scene with their debut The Uprising EP in April 2019 followed by their second EP Innocence of Youth in May 2020, husband and wife Grace and Aaron Bond have released two critically acclaimed studio albums We Fly Free (2020), followed by their sophomore album Saving Grace (2021). When Rivers Meet were the first band to win four awards at the UK Blues Awards 2021 and another three awards in 2022, including “Blues Band of the Year” on both occasions. Last year WRM were voted Best New Band at Planet Rock’s The Rocks Awards 2021, and in 2022 won the “Blues Power Award” and “Album of the Year” (Saving Grace), beating Iron Maiden who came second place. In 2021, the husband-and-wife duo show their chemistry on stage, performing 17 dates along with powerhouse bass and drums on their first UK Headline Tour to mostly sold-out crowds, receiving rave reviews for their captivating stage presence and blistering performances. Tour dates: 14-Oct / Cardiff Clwb Ifor Bach - 16-Oct / Gloucester Guildhall - 21-Oct / Huddersfield The Parish - 23-Oct / York The Crescent - 27-Oct / Southend-on-Sea Chinnerys - 29-Oct / Liverpool Arts Club - 30-Oct / Milton Keynes The Stables The E.P


Track listing:
(The Uprising EP): Freeman; Like What You See; Tomorrow; Kill For Your Love

(Innocence Of Youth EP): Innocence Of Youth; A Dead Man Doesn’t Lie; My Babe Says That He Loves Me; Fire; Want Your Love We Fly Free: Track listing: Did I Break The Law; Bound For Nowhere; Walking On The Wire; I'd Have Fallen; Battleground; Kissing The Sky; Breaker of Chains; I Will Fight; Bury My Body; Take Me To The River; Friend of Mine; We Fly Free Saving Grace: Track listing: I Can't Fight This Feeling; Never Coming Home; He'll Drive You Crazy; Don't Tell Me Goodbye; Do You Remember My Name; Have No Doubt About It; Eye of The Hurricane

(Friend of Mine pt.2); Testify; Shoot The Breeze; Lost & Found; Talking in My Sleep; Make A Grown Man Cry Flying Free Tour Live: Track listing: Did I Break The Law; Walking On The Wire; My Babe Says That He Loves Me; Battleground; Don't Tell Me Goodbye; Free Man; Lost & Found; Innocence of Youth; Bury My Body; Tomorrow; Kissing The Sky; Want Your Love; Testify

Highly awaited new album from longtime British Blues/
Americanastalwart Todd Sharpville
"Medication Time" explores a period of hislife 16 years ago, where the stress of a
child contact battle duringa messy breakup resulted in a total breakdown and a 2
month stayin a mental hospital in West Wales. "I wasn't emotionally prepared
forthe sudden separation from my children that came with the divorce. Upuntil
then I was somewhat of a control freak, so the realisation thatcontrol is but an
illusion never really dawned on me until I found myself floored by
reactivedepression, suicidal, & sectioned within a state- run facility. Men rarely
discuss these kindof emotions with one another, so they can often surprise the
hell out of us and prove tobe too overwhelming to cope with. Being a musician, I
was lucky that I was able to fit thepracticalities of my working life around my
predicament. I also have some amazing friends.I managed to get back on my
feet. Many people don't have these luxuries. Many fall by thewayside and never
get back up again." "Medication Time" examines & expresses many of the
emotions that led to thebreakdown, the hospital stay, and the slow climb back to
figurative normality. 12 relevant tracks (9 originals & 3 quirky covers), recorded in
West Greenwich Rhode Island,produced by 2-time Grammy nominee & multi BMA
winner Duke Robillard. Featuringtwo duets: one with Detroit artist Larry McCray,
the other with Rhode Island's own SugarRay Norcia.

Animal Records – founded by Chris Stein of Blondie fame – only ever released one album in its brief early-80s history, but what an album that was. Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it’s not just a vital document, it’s also a damn good listen.

The line-up is a who’s who of those who stood out from hip-hop’s nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it’s rough at the edges, it’s occasionally amateurish, but it’s completely, utterly glorious.

The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny ‘Ferrari’ Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed.

Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip-hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That’s because the soundtrack perfectly encapsulated the essence of the film, the scene and hip-hop’s emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

Soul Music in Los Angeles was nearing its peak in 1966. The pre-eminent company was of course the giant Capitol Records and the uptempo songs that they released at the time still retain great power and attraction for many dancers today. But there were several small, private concerns making soul music, looking for that one big hit, and singers who were trying to find the break that would take their careers onto a new and higher plane. This album nods towards Capitol but concentrates on the varying styles of soul that the smaller, more agile labels released at the time. Many of these have been overlooked for far too long now, but here is the perfect opportunity to find out just how strong and varied the West Coast soul scene really was in the middle of the 1960s.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.