Suche:black moon

Wiederveröffentlichung des zweiten Milkshakes-Albums als schwarze Vinyl-Stereo-LP! ,Vom eröffnenden Raspeln von ,SEVEN DAYS" bis zu den ausklingenden Tönen von ,WO' NOW" geht der rasende Beat weiter. Sogar die ruhigeren Tracks sind mit dem unverwechselbaren MILKSHAKES-Branding versehen, was darauf hindeutet, dass THE MILKSHAKES die unbestreitbaren Anführer des World Beat sind!", heißt es hier. Nach dem imaginären internationalen Erfolg ihres Debütalbums ,Talking Bout...", und der 45er Single "It's You" c/w ,Please Don't Tell My Baby" beschlossen die Milkshakes, das wenige Geld, das sie noch hatten, für einen weiteren Longplayer zu verschwenden. Das Ergebnis war das clever betitelte, wenn auch etwas prahlerisch klingende ,Fourteen Rhythm & Beat Greats". In der Tat, wenn man die Augen schließt und den Plattenspieler ausschaltet, könnten alle 14 - zähle sie (wenn du das nächste Mal deine Augen öffnest) - fein gearbeiteten Stücke auf dieser LP fast als ,großartig" bezeichnet werden, je nachdem, wo du musikalisch stehst. Mit Live-Favoriten wie ,Black Sails In The Moonlight" und ,Red Monkey" war der allgemeine Konsens, dass dies das bisher beste Werk von THE MILKSHAKES sei (fragt sie selbst). Das muss zum Teil stimmen, denn das renommierte Londoner Label Big Beat Records fand das Album gut genug, um es auf seinem eigenen renommierten Label Big Beat wiederzuveröffentlichen - und das gleich zweimal. Aber das war vor über 40 Jahren, also versucht bitte, eure Begeisterung zu zügeln und bildet eine geordnete Schlange... obwohl, je schneller sie ausverkauft ist, desto eher kann sie - wieder einmal - nachgepresst werden. Bassist Russ Wilkins erinnert sich an die Aufnahme der LP: ,Die Aufnahmen fanden in Herne Bay in Oakwoods zweitem Studio statt. Ich glaube, ich war gerade mit den Prisoners dort gewesen und hatte "Taste of Pink" aufgenommen. Ich benutzte meinen Framus Star Bass und fing gerade an, einen Fender-Bassverstärker zu benutzen, der mich im Studio im Stich ließ, also musste ich einen AC30 Top verwenden, der ziemlich verzerrt und nicht das war, was ich wollte, aber wir mussten damit arbeiten. Man kann es bei "No-one Else" hören, das bei den Proben großartig klang. "Can You Tell Me" war der Beginn des Strippings, bei dem wir versuchten, so minimal wie möglich zu sein, und ich schaffte es später, es auf nur zwei Noten zu reduzieren. Es gab natürlich auch die Wall City Version der Platte, die von Hansi Steinmetz in Berlin herausgebracht wurde - mit einem andersfarbigen Logo auf der Vorderseite. Da sind auch viel mehr Backing Vocals drauf. Ich denke, dafür muss ich etwas Verantwortung übernehmen. Es wurde eher wie die vorherigen Pop Rivets-Alben aufgenommen, indem wir uns alle zusammen in einem Raum aufstellten und live spielten, mit sehr wenigen Overdubs, abgesehen von dem einen oder anderen Solo. Wir haben noch ein weiteres in dieser Art gemacht und dann die Richtung geändert, als wir die sieben Alben an einem Tag oder was auch immer veröffentlichten." RUSS WIILKINS, MAI 2025

Sly & The Family Stone were true pioneers on so many levels: black/white, male/female, rock/soul, the act shattered all preconceptions of what popular music could be, and would go on to become one of the most groundbreaking and influential artists the world has ever witnessed. The First Family: Live at Winchester Cathedral 1967 is an unprecedented live performance by the original Family Stone line-up, recorded just prior to their signing to Epic Records, and a full year before their chart breakthrough with 'Dance To The Music.' This fascinating recording explicates Sly Stone’s genius on a tremendously exciting and atmospheric set of vintage soul covers, peppered with the arrangements, motifs and intoxicating energy that would soon become familiar during the group’s ascent. Interest in Sly is high with the forthcoming documentary directed by Questlove, but to experience the full impact of the Family Stone’s legendary abilities from the start, this historic document is required listening.

Black Josh continues to carve out his own lane with YSL Bootleg, a project that encapsulates his unique presence in underground rap while setting its sights far beyond any imposed labels. This is a release built on the foundations of collaboration and a genuine community of music makers—his years spent with Levelz, the legendary Manchester-based collective that blurred the lines between rap, grime, and rave culture, shaping a generation of artists, and Cult of The Damned, a crew of rappers who raised him, cultivating an audience that has seen him regularly pack venues and tour the UK, AUS and NZ.

The project captures Josh’s signature blend of sharp wit, undeniable Mancunian cadence, and layered references that land harder for those from the North West. It’s the next step for an independent artist who has never signed a record deal yet has amassed millions of streams across tracks like Paul Scholes, Own Ting (featuring Eliza and Jesse James Solomon), and the Skepta-produced, Cigaweed.

This is the first full-length project Josh has released since supporting Danny Brown on tour, an opportunity that saw him sharpen his already unruly stage presence under the mentorship of one of rap’s most unpredictable voices. Their pairing made perfect sense—two outspoken, off-kilter artists with a mutual disregard for convention. That energy is embedded in YSL Bootleg.

The project includes Council Pop featuring Sly Moon, a track that has been doing the rounds since its release last year. A lead single, Aw, Here it Goes, drops Friday February 28th ahead of the full release.

Garfield (track 8), incorporates a genuine jazz breakdown—an unexpected but fitting evolution from the days of sweaty, beer-stained basement shows that were a rite of passage for a young Black Josh. The production across the tape reflects Josh’s versatility, with tracks produced by Blah mastermind Lee Scott and longtime collaborator Sumgii.

With YSL Bootleg, Black Josh once again proves that his music is on his own terms—crafted with his peers, rooted in Manchester but designed to travel far beyond.

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

Macht euch bereit für das lang erwartete, brandneue Album "Psychotic Mutilation" von DEMENTED ARE GO! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist klassisch schwarzes Vinyl!

Macht euch bereit für das lang erwartete, brandneue Album "Psychotic Mutilation" von DEMENTED ARE GO! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist klassisch schwarzes Vinyl!

Macht euch bereit für das lang erwartete, brandneue Album "Psychotic Mutilation" von DEMENTED ARE GO! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist klassisch schwarzes Vinyl!

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Solid red vinyl, limited to 350 copies. Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Far above the skylark sings And beats the air with joyful wings Till all the sky with music rings At high noon of the day With 2022's critically acclaimed album Ghosts, enigmatic Shropshire group HARESS markedout their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals - not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance The Gallows Pole, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centrepiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself - a primal, joyful gut punch to the system. "This blissed-out psychedelia is not quite pastoral – there’s nothing twee about these unwinding grooves – yet evokes water and wood, light and shadow, a place of forgotten labour and the absent human form with a beguiling grace" - Luke Turner on Ghosts, The Quietus Albums Of The Year 2022 "That timelessness of the old sounds but with an added tripped out modernity and dissonance hooked into the past by the power of drone is magical and exhilarating stuff – they are truly spellbinding – ancient and modern like British ragas or a damp searching for the soul of England take on the desert blues of a Tinariwen" - Jon Robb reviews Krankenhaus Festival 2023, Louder Than War

First single from the Smith Brothers’ upcoming second full-length album, Street Light Moon, released on Ubiquity. Recorded in Austin, Texas, and produced by Adrian Quesada (Black Pumas) at his Electric Deluxe studio.

Pat Boone or Elvis Presley? That was the burning question on
the lips of Fifties teen America. Certainly, the two were the most
successful solo artists of rock’s breakthrough years. But while
Presley was the good-looking ‘white kid who sang black’, Boone
was married, God-fearing and covered hits by African-American
artists to chart-topping if unthreatening effect. Elvis, of course, is
no longer with us though his image and influence will never fade.
Pat Boone is still alive and there’s no doubting he was
responsible for some of the best-remembered classic pop of the
era.

Black Vinyl 2025 Repress

A tangle of word and melody, old and new, NIGHTJAR evokes journeys along ghostly paths, country lanes and starlit shorelines, alive with shimmering patterns of a flowing tide. Stories of childhood, of loves and rivalries, fair maidens, cruel sisters and winged sorcerers are interwoven with glimpses of the natural world. NIGHTJAR is Liz Overs' debut solo release, having previously been signed to Atlantic in the late '90s as part of indie-dance crossover band Pocket Size, and she was also lead singer and songwriter for the Sussex-based folk band Chalk Horse Music.
Liz's haunting, unaccompanied version of The Birds in the Spring was featured in Dylan Howitt's award-winning documentary The Nettle Dress, and she performed live at several key screenings of the film in the UK.

Standard weight single black vinyl LP in picture sleeve

A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration. Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next. Time Apart is an album for the heart, head, and hips. The Prescriptions have been never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before. Tracklist: 1 April Blossoms 2 Long Past Tonight 3 Love is Red 4 I Get Lost 5 Compartmentalize 6 Fire Moon 7 On Satellite 8 Not The Issue 9 I Might Try 10 Baby Be Nice 11 Camp Hill

The double LP release features reworks of many of the most well-known songs from the band led by Roger Waters and David Gilmour.

DOUBLE-DISC EDITION OF DARKTHRONE'S 1993 PURE NORWEGIAN BLACK
METAL MASTERPIECE, INCLUDING THE 30TH ANNIVERSARY MASTER, PLUS
ADDITIONAL DISC WITH COMMENTARY FROM FENRIZ
Darkthrone began life in the late 80's as a thrash/ death metal act & progressed
through technical death/doom metal experimentation to become legends of the black
metal world & one of the original leading bands of the Norwegian scene, as well as
inspiring a whole generation of metal bands, as they continue as strong as ever to this
day.
'Under A Funeral Moon', Darkthrone's third album, was originally released by Peaceville
in 1993. The album is a bleak reflection of contemporary times, featuring harsh guitar
riffage & hateful vocals in what was the band's first 100% pure black metal opus; a
work completely stripped of the death metal traces of former releases & in its place, a
stark & primitive execution. This was aided by an intentionally lo- fi sound that is
powerfully cold & entirely unconcerned with any modern- day aesthetics. 'Under A
Funeral Moon' is the album that many Darkthrone fans hail as the ultimate manifesto
for Black Metal.
This edition of 'Under A Funeral Moon' is presented on double- disc CD format &
includes an audio master created for the album's 30th anniversary in line with the
original 1993 version, plus the 2013 commentary disc from Fenriz with his
recollections on the tracks & the time period.

Depressive black metallers GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, through long-time partner Nuclear Blast. Free from the Moonlover-Starmourner-Self Loather conceptual trilogy, sole proprietor Nameless (aka Dennis Mikula) explores the most intense and introspective GHOST BATH’s oeuvre, advancing with blackened blasts and melancholic movements while moving his only child forward into the unknown. Hoisted into the firmament by the shimmering ‘Vodka Butterfly’ and the dissonant bliss of ‘Well, I Tried Drowning’ on one end and lowered into Mikula’s personal abyss with ‘Dandelion Tea’ and the riveting title track on the other, Rose Thorn Necklace is absolute danger and
haunting beauty.

'Atmospheric death metal'. Three simple words to describe one's music, chosen by JADE mainman J. himself, although they don't seem to quite pay justice to the gigantic scope of their music. Because ever since the release of their debut demo back in 2018 they've proven again and again to be more. Much more. Historically speaking, the word 'jade' referred to a rare but valuable mineral in ancient times all over the world. From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized. JADE's music is described by J. as "a tribute to the timeless obscure metal language, from early death/doom manifestations to later atmospheric black acts, in a really heavy, intense and epic form which transcends ages, as the greenstone cult has endured." The sophomore album, and second full-length after last year split LP with SANCTUARIUM, Mysteries Of A Flowery Dream carries an ominous wave of darkness, redefining heaviness with new levels of musical production and arrangements, compared by J. to "a journey into the dialogue between conscious and subconscious dreaming states and the mysteries around." The album's lyrics are in direct line of those themes, echoing the celestial world and how it can help us overcoming ominous times ("The Stars' Shelter"), how dreams can be interpreted as omens ("Light's Blood") and how they allow us to travel the Mayan cosmovision and its various worlds for guidance, healing and messages ("Shores Of Otherness"), among others. You can even find on the cover artwork elements of the ancient Mesoamerican cosmovision, mainly the powerful moon goddess Ixchel, a creative yet destructive entity, portrayed here as the Spider and threading human fate like an umbilical cord, determined to give life but also to destroy it if needed. A frightening, fragile yet utterly fascinating balance perfectly illustrated by Mysteries Of A Flowery Dream.

A Chaos Of Flowers is an album that builds on their ferocious 2023 album nature morte. BIG|BRAVE"s music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music"s frayed edges as much as its all-encompassing weight. The potency of the trio"s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For A Chaos Of Flowers guitarist/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. "I discovered that most poems from folk traditions or in the public domain seem to be by men - to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets," says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. BIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer/engineer Seth Manchester, the internal tumult of Wattie"s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. BIG|BRAVE have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like SUMAC, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. As they continue to ascend in their journey as pioneers in the contemporary metal scene, it"s safe to say that BIG|BRAVE are here to stay.

Time in the context of the cosmos is not merely a measure of change but a profound mystery permeating all aspects of existence. It is both present and elusive, like the light of a distant star we see but can no longer touch at its source. The cosmos poses a fundamental question: what is time? Is it the stream in which we exist or an illusion crafted by our perception? The grandeur of the Universe reveals the extraordinary malleability of time. Gravity can slow its flow, while velocity can stretch it to infinity. At the event horizon of a black hole, time can nearly halt, transforming a moment into an eternity. This teaches us that time is not a universal truth but a phenomenon dependent on conditions and perspective

Idas viertes Album wurde finanziert von Capitol, in 14 Studios aufgenommen, vom New Yorker Label Tiger Style veröffentlicht und ging im Jahr-2000-Trubel unter. Die 14 Songs von "Will You Find Me" sind ein unermüdliches Kompendium und Ode an Schlaf, Sex, nächtliche Gespräche und andere bettlägerige Aktivitäten. Diese erweiterte Deluxe Edition zum 25-jährigen Jubiläum kommt in der Vinylausgabe mit 34 Outtakes, alternativen Abmischungen, 4-Spur-Demos und Covers aus dem umfangreichen Fundus der Band, die sich thematisch über vier LPs verteilt. Das begleitende 24-seitige Booklet dokumentiert Ida's Major Label Album, das es nie gab, mit atemberaubenden Fotos und einem ausführlichen Essay von Douglas Wolk.

Transparent Cloudy Clear "This Water" Vinyl. Idas viertes Album wurde finanziert von Capitol, in 14 Studios aufgenommen, vom New Yorker Label Tiger Style veröffentlicht und ging im Jahr-2000-Trubel unter. Die 14 Songs von "Will You Find Me" sind ein unermüdliches Kompendium und Ode an Schlaf, Sex, nächtliche Gespräche und andere bettlägerige Aktivitäten. Diese erweiterte Deluxe Edition zum 25-jährigen Jubiläum kommt in der Vinylausgabe mit 34 Outtakes, alternativen Abmischungen, 4-Spur-Demos und Covers aus dem umfangreichen Fundus der Band, die sich thematisch über vier LPs verteilt. Das begleitende 24-seitige Booklet dokumentiert Ida's Major Label Album, das es nie gab, mit atemberaubenden Fotos und einem ausführlichen Essay von Douglas Wolk.

In den letzten 24 Jahren war Tunde Adebimpe vor allem als Mitbegründer, Co-Sänger und Hauptkomponist von TV On The Radio bekannt. Die mehrheitlich schwarze Art-Rock-Band überstand zwei Jahrzehnte des unbeständigen kulturellen Wandels und wurde zu einer der beliebtesten, beständigsten und einflussreichsten Gruppen der New Yorker Rockszene der frühen 2000er Jahre. Obwohl Tundes poetisches Songwriting und seine überragende Stimme im Mittelpunkt von TV On The Radio stehen, wird die Band immer eine Zusammenarbeit zwischen einer Gruppe von Musikern sein. Tundes persönliche Geschichte verläuft parallel dazu, er ist eine Art kreativer Polymath. Er ist Musiker, aber auch Illustrator und Maler. Er ist ein ehemaliger Animator und Stop-Motion-Filmemacher (Celebrity Deathmatch). Er ist ein Fernseh- und Filmschauspieler, mit Rollen in Jump Tomorrow (2001), Rachel Getting Married (2008), Spider-Man: Homecoming (2017), Twisters (2024) und Star Wars: Skeleton Crew (2024). Und jetzt ist er auch ein Solokünstler, mit seinem allerersten Soloalbum, "Thee Black Boltz". Das Album wurde von Tunde Abebimpe & Wilder Zoby produziert, mit Zoby als ausführender Produzent, mit zusätzlicher Produktion und Beiträgen von Jaleel Bunton & Jahphet Landis (von TV On The Radio) und anderen. Tunde hatte die Idee zu diesem Album im Jahr 2019, als TV On The Radio eine Pause einlegten. Zwei Jahre später, als sich die Welt von der Covid-Pandemie erholte, begann er ein Notizbuch mit Worten, Illustrationen und Ideen zu erstellen, das er als "Mixtape der Emotionen, die die Musik hervorrufen könnte. Eine Art Gefühlskarte" bezeichnet. Auf diese Weise beginnt Tunde die meisten seiner Projekte, und 2021 begann er, diese Ideen mit Hilfe des Multiinstrumentalisten Wilder Zoby (Run The Jewels), mit dem er sich in Los Angeles ein Studio teilt, in Musik umzusetzen. "Thee Black Boltz" ist kein TV On The Radio-Album. Aber die Aufregung, etwas alleine zu machen, entfachte in Tunde einen ähnlichen Funken wie in den frühen TV On The Radio-Tagen. Der Songwriting-Prozess ist derselbe, aber ohne seine TVOTR-Bandkollegen hatte Tunde "nicht dieses Gerüst, an dem er sich festhalten konnte. Das war sowohl beängstigend als auch aufregend". Das Herzstück des Albums ist sein Titel, eine Anspielung auf Tundes Neigung, über den Zustand des Menschen zu schreiben und zu singen, in all seinen Formen, unter all seinen großen und kleinen Stressfaktoren. Es ist seine Antwort auf das makroökonomische Unbehagen einer Welt nach der Pandemie, die sich auf einen gewalttätigen Autoritarismus zubewegt, und auf die persönliche Trauer, die durch den Verlust der letzten Jahre entstanden ist, insbesondere durch den plötzlichen Tod seiner jüngeren Schwester während der Aufnahmen zu diesem Album. "Thee Black Boltz" ist Tunde's verzweifeltes Festhalten an kleinen Momenten der Freude inmitten der Dissonanz und Traurigkeit, auf jede erdenkliche Weise. "Es war meine Art, mir einen Felsen oder eine Plattform inmitten dieses verdammten Ozeans zu bauen." Tunde schreibt in sein Notizbuch: "Die Funken der Inspiration/Motivation/Hoffnung, die inmitten von (und manchmal als Ergebnis von) tiefem Kummer, Depression oder Verzweiflung aufblitzen. Wie Elektronen, die sich in Gewitterwolken ansammeln und zusammenstoßen, bis sie einen Blitz abfeuern und einen Ausweg erhellen, wenn auch nur für eine Sekunde." Er fügt hinzu: "Außerdem ist es ein guter Name für eine coole Metal-Band, und ich denke, dass die meisten Leute mich als eine sehr coole Metal-Band bezeichnen würden."

R&B duo THEY. — songwriter Drew Love and producer Dante Jones — have developed a smooth, future-facing sound for nearly a decade. In the early days, it was simple; two artists aligning on an appreciation for '90s R&B, new jack swing, and the height of soul-sampling hip-hop. Jones making beats and Love on the lines, a basic, balanced, and open-ended setup, free from major label expectations (which they'd feel on their 2017 breakout Nü Religion: Hyena) and high-profile collaborations (explored on 2018's Fireside, 2020's The Amanda Tape, and 2023's Nü Moon). They're proud of every stop along their story, while hindsight and a fresh perspective after signing to Secretly-affiliate label drink sum wtr have afforded them some distance to reflect on where THEY. goes next. The answer is LOVE.JONES. Here the duo exudes a whole new energy by reasserting their artistry in its most potent and pure form, just Love and Jones, making straight-fire, love-making music indebted to the golden neo-soul era that gave us the namesake 1997 film. “Forget the features, forget bringing in the big producers and writers. It's really just a return to our original dynamic," says Jones. Refined and reinvented, THEY. have arrived at their boldest work, a stacked, high-energy collection celebrating Black art, culture, and "the intense feelings of Black love."

Amber Run is a British indie rock band from Nottingham. The band have released three albums and four EPs. They played Reading and Leeds festivals, enjoyed national radio support and had a strong press reaction: "Their vast sound has Coldplay stadium ambitions" (Independent); "Epic tunes that sound destined for arenas" (Daily Star); and "Incredibly effective" (The Sun).

Amber Run recorded their debut album throughout January and February 2014 with Sam Winfield and Brit Award-winning record producer Mike Crossey, who previously produced albums for Arctic Monkeys, The 1975, Twenty One Pilots, Walk the Moon, Foals, Keane, Jake Bugg and Yungblud. With Noah’s Mumford & Sons-like vocal melodies and the wisps of Bastille’s fist-pumping pop on single “Just My Soul Responding”, Amber Run maintains a legitimising rockstar edge.

There are comparisons with Coldplay on the single “I Found”, while the title track has London Grammar’s mellow trip-hop vibes.

To celebrate the 10th anniversary of 5 AM, Music On Vinyl in cooperation with Amber Run and Sony Music present a limited, individually numbered 10th anniversary edition on yellow & black marbled vinyl. The package includes an insert with lyrics.

Rising Swiss black metal malfeitors Malphas have been working their way through the underground for several years now and with their 4th full length studio album 'Extinct' they are raising the stakes even further

What you get is 9 tracks of astral black metal dissonance fred upon humanity as a cosmic storm!

Rising Swiss black metal malfeitors Malphas have been working their way through the underground for several years now and with their 4th full length studio album 'Extinct' they are raising the stakes even further

What you get is 9 tracks of astral black metal dissonance fred upon humanity as a cosmic storm!

13 was The Doors’ first compilation album, featuring tracks from the psychedelic rock legends’ first five albums.

The compilation starts with the epic Light My Fire, written by Doors guitarist Robby Krieger, and features other classics such as People Are Strange from Strange Days, Touch Me from The Soft Parade. It also contains the blues rock classic Roadhouse Blues from Morrison Hotel; which last year celebrated its 50th anniversary.

13 is now on vinyl for the first time in 37 years and includes newly remastered audio on 180gram black vinyl.

Of all the artists who recorded for the Black Jazz label, keyboardist and composer Doug Carn was the most prolific, releasing four albums for the imprint. 1972’s Spirit of the New Land was his second Black Jazz release, but the first one (of two) to co-feature his wife, vocalist Jean Carn. It’s the most collectible of the bunch, showcasing Carn’s innovative approach of adding lyrics to jazz standards like Miles Davis’ “Blue in Green” and Lee Morgan’s “Search for the New Land,” while originals like “Arise and Shine” and “My Spirit” soar with spiritual fervor on the wings of his wife’s five-octave range.

Along for the ride are a stellar cast of players, including trumpeter Charles Tolliver, co-founder of the Strata-East label; saxophonist George Harper, who played with Herbie Hancock and Jimmy Smith among others; trombonist Garnett Brown, who appears on albums by Roland Kirk, Albert Ayler, and Art Blakey among his hundreds of album credits; tuba player Earl McIntyre, whose discography spans from Carla Bley to the Band; and drummer Alphonse Mouzon, founding member of Weather Report. This beautiful, uplifting album also comes with liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that feature excerpts from a freewheeling interview conducted with Doug Carn himself. Pressed in blue with black swirl vinyl limited to 750 copies!

Formed in 2010, LORNA SHORE is quick to surpass expectations with 2012’s “Bone Kingdom” EP and it’s follow-up, 2013’s “Malificium” EP. Through each release, LORNA SHORE continues to prove themselves to be an increasingly formidable force and a ferocious live proposition. 2017’s sophomore LP, “Flesh Coffin” showed a band that had moved beyond mere “deathcore” trappings and had evolved into a modern metal band, as uncompromising and accomplished as any of their contemporaries or influences. “Flesh Coffin (Re-issue 2025)” comes with a vinyl master by Will Borza and is available as black 180g LP.

Chaotic Shimmer is a collection of songs that vary in texture and genesis. The A side has a stronger sense of familiarity with the more rocking numbers, while the B side stretches out in more exploration. Some of the same electronic elements of 2024's Black Holes Don't Choke can be found in songs like "Music For The People" and "Caught Waiting". There is also a subtle nod to Minor Threat in the lyrics of "Caught Waiting". The track "Path I'd Like to Follow" is dreamy and meditative - channeling JJ Cale or late sixties San Francisco fog. The opening track is a rocket ship waiting to escape the dull confines of this singular consciousness, and it creates a space for the title track to transcend at will. All of the songs were recorded by Charles Moothart at his studio in Los Angeles. He wrote, performed, recorded, and mixed everything heard on this album. Reserving the right to do as thou wilt is rock and roll 101. The world is chaos, and chaos is creativity. To accept and embrace this is to tap in to the Chaotic Shimmer - a transcendent energy. Music is for the people. Charles Moothart is a multi-instrumentalist based in Los Angeles. He plays guitar in bands like FUZZ and Primitive Ring, as well as drums in GØGGS and Moonhearts. He was the touring drummer for Ty Segall's Freedom Band, as well as the Ty Segall and White Fence collaborative tours. Moothart has also released solo work under his initials CFM.