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Soulful rocking blues making waves all over.

Decades Of Devil Worship
HIGHLIGHTING OVER 25 YEARS SINCE THE BIRTH OF THE UK EXTREME METAL GREATS, WITH A STORMING LIVE SATANIC ASSAULT OF CLASSICS FROM AKERCOCKE'S EARLY REPERTOIRE

Throughout the years, Akercocke has become known for its savage & prodigious
live work. And now, with a stunningly produced & meticulously delivered torrent of
high-octane blackened death metal captured live in at the Underworld in London
in 2007, Akercocke blast through a collection of tracks lifted from the classic
debut, 'Rape Of The Bastard Nazarene' & follow-up album 'The Goat Of Mendes'
for a night of pure satanic magic with 'Decades Of Devil Worship', a hellish &
eclectic journey through the ritualistic & the profane.
Towering above most nefarious contemporary noisemakers, London's Akercocke
erupted across the consciousness of the UK metal scene in the late '90's,
wielding a fiendishly inventive blend of death, black & progressive metal. Their
distinctive, smartly-dressed demeanour & eloquent preoccupation with all things
dark & Satanic marked them out both as ferociously individual artists &
enlightened students of the pitch-black sonic code. Immediately embraced by the
British faithful upon the release of debut album 'Rape Of The Bastard Nazarene',
Akercocke spent the following decade leading the creative charge for their entire
native scene.
Akercocke received widespread acclaim for follow- up album 'The Goat Of
Mendes' (Peaceville, 2001) & despite enjoying furious momentum over the
following years, the release of fifth album 'Antichrist' in 2007 signalled the end of
the first chapter of the Akercocke story, when the band retreated into the
shadows & remained dormant for the best part of a decade until a triumphant
return was marked with the stellar Peaceville return, 'Renaissance In Extremis',
released in 2017.

The result of blood, sweat, tears, and introspection that have allowed for Stalley
to become a fully realized artist. At one point on "Bear Trap," Stalley evokes a car
ride bumping the Gorillaz and the Bobby Womack, and his latest feels like a
perfect hip-hop middle ground between the two. Pressed on Six Spoke Blue and
White color vinyl.

"When the call came from WDR Rockpalast, we were thrilled - And the joy
grew from day to day," says Peter Bursch, head of the German Krautrock
legend Broselmaschine, founded in 1968 by "Germany's most famous
guitar teacher".Back in 1968, the Heinrich-Robert coalmine in Hamm was
still in its full bloom
Coal had been mined there since 1901, the year in which the Heinrich and Robert
shafts - as they are called in miners' jargon - were "abgeteuft", followed by the
Franz shaft in 1923. On November 10, 1997, the colliery closed its doors forever.
In the colliery's former wage hall, where the miners used to receive their
envelopes with their weekly wages, Broselmaschine rolled out carpets, plugged in
cables and set up their instruments on April 20, 2021. The high-ceilinged rooms
not only provided a matchless scenery, but also the basis for a unique ambient
sound. The perfect setting for Broselmaschine. But Corona had almost
completely paralyzed public life at this point; the pandemic was taking its toll on
the entire cultural scene. Spectators were not allowed to the events. The artists
and bands gave concerts anyway, sometimes from their flats, rehearsal rooms or
in small, empty clubs, and then came to the fans' homes via live stream. This also
applied for the WDR's Rockpalast with its "Offstage" series. The makers of
Rockpalast organized concerts with performances by artists in special places
that were deserted during the lockdown. That had its own charm and was
something very special.
This was also the case with Broselmaschine. The band played almost exclusively
songs from their latest studio album "Elegy" from 2019, as well as the title track
of the previous album "Indian Camel" and as a finale the Marc Bolan cover of
"Children Of The Revolution". Broselmaschine put on a great performance, no one
missed the audience that was not physically present. But it was there, this
audience. And it was in the hearts of the musicians. You can feel this with every
note this outstanding band was playing. Never were Broselmaschine more
musically valuable than on that special occasion.But judge for yourself.
Unique Rockpalast concert OFFSTAGE from the Corona era, recorded on April 20,
2021 at Heinrich-Robert colliery in Hamm, Germany - also available on vinyl

Keep the driveway sticky with this hot on-demand delivery by Snad. Three dubby, techy and playful tracks, that sound great under the needle and any car stereo.

On 'Love Hallucination' Jessy Lanza is in control as a songwriter and producer, flexing her skills in the studio and rebuilding her sound, taking chances with production and energy in all directions, from club-ready, to downbeat and sultry, with the theme of trusting yourself in the moment and using intuition as a compass driving the record forward. ‘Love Hallucination’ is the sound of an artist in bloom, an album of big emotions and big songs, with direct, personal lyrics, such as the upbeat but panicked opener 'Don't Leave Me Now' and the 2-step drama of 'Midnight Ontario', or 'Limbo', an ear worm disco stomper about produced with Marco 'Tensnake' Niermeski. Also featured as co-producers are David Kennedy (Pearson Sound), adding slick arrangements for the club, long-time collaborator Jeremy Greenspan (Junior Boys), and Paul White. ‘Love Hallucination’ is a bold and immediate record from Jessy Lanza, her most clear, authentic and best to date.

Lori McKenna titled her album 1988 after the year she married her husband, Gene, yet the 10 songs within also serve as a love letter to lifelong friendships, people she’s lost, and her family. Recorded with producer Dave Cobb in Savannah, Georgia, 1988 naturally has its nostalgic moments, even if not every ending is a happy one. With more of an electric edge than her past projects, 1988 feels in step with classic ‘90s albums by Sheryl Crow or Gin Blossoms, where the lyrics pulled you in as much as the melody or production. Playing together on acoustic guitars while facing one another in the studio, McKenna and Cobb tracked the album live, giving it a feeling of immediacy and authenticity.

If you ever thought Debris was Oklahoma's only entry into the bloodstream of feral, batshit rock, guess again. Mag Amplitude's, Wizards Of Today appeared in a miniscule, self released edition of 100 in 1983 & was the brainchild of a blind, guitarist-vocalist by the name of Matt Muncil. On Wizards Of Today, Muncil-considered by the psychedelic mafia to be the 'Higney of Heavy Rock'—& drummer Scott Roher proceed to lay down over 7 tracks an incredible wall of wildly fuzzed & primitive bash that is a singular testament to loner, outsider brilliance. Heavy on double tracked guitar riffs & growling, incomprehensible vocals concerning outer space, rocket ships & rock, Mag Amplitude's Wizards Of Today is a half hour slab of muzzed disorder of the highest possible recommendation. This Zaius Tapes reissue is in a one time pressing of 292 copies. Our first foray into (re) introducing fans & collectors into the cimmerian forest of American real people/outsider psych rock."—Johan Klepp, for Zaius Tapes

The Side Eyes are back with the follow up to their 2017 self-titled debut album and are asking the question What’s Your Problem? Anyone suspecting that the Southern California band may have mellowed out in the five years between albums will have those suspicions shattered within the first twenty seconds of the opening track “Get Me Out.” If anything, the band is now harder, faster and angrier than they were the first time around. Vocalist Astrid McDonald is in fiery fine form calling out everything from phonies to shit-talkers to people that simply aren’t nice. Brothers Kevin and Chris Devine on guitar and bass and drummer Sam Mankinen thunder through the twelve tracks here at a breakneck speed that is positively pummeling. While The Side Eyes sound like a throwback to early Southern California hardcore punk rock like Circle Jerks and the Adolescents, the band also sites more recent bands like Ceremony, Glue and Babes In Toyland as influences. Produced by Steve McDonald (Redd Kross / Melvins) and clocking in at under twenty minutes (while spinning at 45 RPM), What’s Your Problem is a modern punk rock gem that blows past the sonic barriers of their past inspirations. This is great stuff!

‘Mellifluous’... is a word you won’t hear much when conversation turns to early Pooh Sticks records. But ‘noise pollution’, sure: that comes up. I’ve even used it myself. So look away now if you must: ‘Straight Up: Noise Pollution C88-90’ is a selection of some of the most loved/despised/ignored tracks released by The Pooh Sticks on however many records it was before it all went wilfully ‘American’ sometime around dotted-lining for BMG mega-corp in 1991.
The record has highlights and lowlights. You and me, we’d probably agree on most of them. We chose a reasonable cross-section, I think (although there could’ve been more tambourine), including:
- “On Tape” - zeitgeist-nailin’ strum and strangle.
- “I Know Someone Who Knows Someone Who Knows Alan McGee Quite Well” - long title
- “Teenage High” - breathy sweetness sneaked onto the depraved Sympathy For The Record Industry label.
- “Dying For It” - the Vaselines cover which beat Nirvana by a full two years (though theirs sold better).
... and more! It’s like Christmas (no, blocking up the chimney won’t help: we’ve cut spare keys). And all of this in a nice gatefold sleeve, and on Steve McQueen’s- eyes blue vinyl. And there’s even a repro poster for the March ’89 Pastels/Pooh Sticks/Vaselines gig up London way (“I swear I was there”, people say).
On behalf of the group, I hope you enjoy it. No, really. It was all a long time ago but I remember we had fun. Maybe you were even there having fun with us.

LP Red /Black Corona Vinyl Reprint limited to 2.000 units
Incl. former Bonustracks: Pray For Forgiveness (Rough mix un-mastered), Dismal Dream (Instrumental version)

Rare Detroit Jazz-Funk Fusion Album from 1988.

Wendell delivers a unique and different sound compared to his earlier body of work.

First ever vinyl reissue. Mastered on 45 RPM for an optimal audiophile experience.

Featuring an all-star line-up including Tribe alumni Marcus Belgrave & Duke Billingslea.

180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.

In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBErecord label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.

In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHArecord label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).

In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison’s recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.

It is on REBIRTH that Harrison released the opus: THE CARNIVOROUS LADY (1988), which we are proudly presenting you today.

‘The Carnivorous Lady’ is a monster of an album featuring an all-star line-up that includes Marcus Belgrave (Ray Charles, Houston Person, Charlie Mingus) on guitar, Duke Billingslea (Martha Reeves) & Pamela Wise (Tribe) on keyboards, Larry Fratangelo (Fred Wesley, Dennis Coffey) on percussion and Shirley Hayden (Parliament/Funkadelic) on vocals.

On this fantastic sounding album (produced by the maestro himself) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency on saxophone, flute and clarinet. Although you can hear the 80ies creeping in with a smoother fusion sound, infectious boogie synths, R&B vocals and a lot of mind-blowing Jazz-Funk percussions…this album remains a very spiritual (and soulful) hard bop jazz record. From the first to the last note you get an irresistible blend of so

Reissue des dritten Albums der revolutionären DIY-Indierocker Ffa Coffi Pawb mit den jungen Gruff Rhys und Rhodri Puw, zu denen später Gruffs Super Furry Animals-Kollegen Dafydd Ieuan und Dewi Emlyn dazu kamen. Hei Vidal! destilliert die Besessenheit der Band mit Früh-1970er Power-Pop (Bowie, Bolan, Big Star) sowie Neu! und My Bloody Valentine zu einem Sound, der Oasis' verzogene Rückkehr zum Glamour einige Jahre später vorweg nahm. Motorische Grooves über sattem Shoegaze-Fuzz verbinden sich mit impressionistischen Studiomanipulationen, Orchester-Synth-Arrangements und brutalen, aber dennoch surrealen Bildern und Wortspielen in walisischer Sprache. Hei Vidal! erschien 1992 in kleinen MC-/CD-Auflagen, das (Clear) Vinyl wird erstmals erhältlich.

Von dunklen Kellern mit viel Exzess, aber wenig Publikum, den Träumen vom Berühmt werden, unerschütterlicher Hoffnung und den Liedern darüber -zu einer der erfolgreichsten und einflussreichsten deutschen Bands der 90er. Zu Chart-Platzierungen in den USA, mehr als 4 Millionen verkauften Tonträgern, zahlreichen Auszeichnungen, ausverkauften Tourneen und mit dem Erfolg von "NOW", dem ersten Studioalbum nach 13 Jahren, auch dem klaren Beweis, dass sie noch immer zu den größten Bands des Landes gehören -haben sie doch auch nie vergessen, wie alles anfing. Weil sich eben alles und doch so wenig ändert, die schweren Zeiten immer wiederkommen, die Hoffnung auf bessere sich aber schon so oft bewahrheitet hat. Um sich auch in den aktuellen Zeiten diesen Optimismus zu bewahren, haben sie ihn die Form gebracht, die sie am besten beherrschen, und treffen wieder mal genau den richtigen Nerv mit ihrem neuen Album "HOPE", welches am 28.07.2023 erscheint.Wenn die Welt sagt: "Gib auf", flüstert die Hoffnung: "Versuche es noch einmal. "Genau das ist es, was Fury In The Slaughterhouse bei ihrem neuen Album angetrieben hat Songs zu schreiben, die nicht bloß systemrelevant sind, sondern Dinge entscheidend verändern. Denn wie kann etwas nicht relevant sein, was so viel Kraft und Trost spendet, Menschen verbindet, sie an gute Zeiten erinnert und sie auf weitere mindestens ebenso gute einstimmt? "Es heißt, wer singt, hat keine Angst, und wer keine Angst hat, glaubt an das Gute und hofft auf eine bessere Welt -und deswegen möchten wir mit 'HOPE' daran erinnern und Hoffnung bringen", fasst Christof zusammen und muss etwas schmunzeln, denn natürlich mutet der Titel etwas klischeehaft an. Aber wer jemals die Energie eines Konzerts gespürt hat, diese bedingungslose Liebe und die Zuversicht, der weiß: Wenn etwas die Welt verändern kann, dann Musik!HOPE, das sind 11 neue Songs von Fury In The Slaughterhouse in unterschiedlichen Konfigurationen. HOPE ist als limitierte Fan Box, schwarze Vinyl, sowie CD im Digisleeve erhältlich

High Roller Records, 2nd pressing, black vinyl, ltd 500, 3 bonus tracks, 425gsm heavy cardboard cover, 4 page insert, double sided poster, 2 x A5 photo card, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, 2nd pressing, yellow vinyl, ltd 500, 3 bonus tracks, 425gsm heavy cardboard cover, 4 page insert, double sided poster, 2 x A5 photo card, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

From the opening strains of the politico title-track to the countrified pedal steel guitar on "Man With A Mission," from the anti-establishment anthem "American Jesus," to the heart rending ballad "Struck A Nerve," Bad Religion"s Recipe For Hate is by far their most eclectic album, and one that never ceases to stir up controversy among fans. Graffin, a seething combination of perfect pitch and skeptical emotion, reaffirms his place as one of the best punk rock vocalists on this record. Guest appearances abound, from Eddie Vedder (of Pearl Jam fame) harmonizing on "American Jesus" and "Watch it Die," to Concrete Blonde"s Johnette Napolitano"s stunning vocals on "Struck A Nerve," to Claw Hammer"s John Wahl and Chris Bagarozzi"s searing guitar leads on "Kerosene." As the songwriting team of Graffin/Gurewitz pull back from their more introspective writing that appeared on some of the previous albums, they focus ever more keenly on the events of the day. Recipe For Hate is a scathing commentary on the state of the nation, a social criticism addressing alcoholism, abortion and homelessness. Reissued on limited edition Red w/ black smoke vinyl to celebrate the album"s 30th anniversary!

Combat Beachs zweites Album effortlessly cool kombiniert lässig aus dem Ärmel geschüttelten Power Pop mit viel Selbstreflektion
Denn so effortlessly, also spielend leicht von der Hand, geht die Coolness dann doch nicht. Das Album ist eine Sammlung an Momentaufnahmen und Erfahrungen aus dem Leben junger Menschen, deren roter Faden die Erkenntnis ist, dass man ein bisschen besser rauskommt als man hineingegangen ist. Insofern ist der Titel vielleicht etwas ironisch, die Message aber bleibt die Gleiche: Man wächst an den Herausforderungen, die Coolness kommt von selbst.

Matasism 008 the VA catalog is an amazing techno vibe perfect for the dance floor.

Side A is a pure energy vibe with Unconformist with his raw obscure waves ready to blow your mind while Side B Danilo and Giacomo delivered pure hard groove old school tracks.

Mighty Baby evolved out of the Action, club favourites who released a number of poor-selling singles. Dropped by Parlophone, musical chairs saw Ian Whiteman (keyboards/flute) and Martin Stone (guitar) join and the music now blended progressive psychedelia with longer pieces dominated by instrumental prowess rather than Reggie King’s soulful vocals. King departed and guitarist Alan King and Whiteman began to share vocal duties on newly penned material like ‘Egyptian Tomb’ and ‘House Without Windows’ that, in retrospect, can be seen as reflecting light from the dark star of the Grateful Dead.

“Mighty Baby” was first released on the Head label on 7th November 1969 in a superb gatefold sleeve with artist Martin Sharp serving up the arresting front cover that looked like a lion being showered in blood. The album received positive reviews, with International Times stating “The music has a hundred characters… Eastern, Oriental, country, folk, rock, blues, pop etc. etc… At this moment in time Mighty Baby’s record is simply THE best thing in its class.”

The album is now seen as a progressive rock classic; cohesive, with no low spots, the inventiveness and musical prowess on a par with the equally revered, albeit jazzier, prog rock band Cressida. This latest edition from Ace, not only replicates the gatefold sleeve of the original but also contains an inner sleeve replete with memorabilia from the collection of Richard Morton Jack

“Mighty Baby” is a must-have purchase not only for fans of the band but those who want to discover this classic progressive rock album for the first time.

Von ihrer selbstbetitelten Debüt-EP im Jahr 2019 bis zu ihrem ersten Album 'Moonlit Cross' zwei Jahre später ging der Aufstieg von THE NIGHT ETERNAL rasant. Die Ästhetik des deutschen Quintetts stand von Anfang an fest – melodischer, aber dennoch stimmungsvoller Heavy Metal mit mehr als einem Hauch der teuflischen Vergangenheit des Hard Rock – aber selbst der Übergang von der EP zum Album bewies, dass ihre Vision immer noch die dunkleren Nuancen des Heavy Metals auslotete. „Beugen, aber nicht brechen“, lautet die Devise, und THE NIGHT ETERNAL kehren weitere zwei Jahre später mit einem Album zurück, das mehr Dunkelheit denn je erforscht.

Das zweite Album von THE NIGHT ETERNAL mit dem Titel 'Fatale' strahlt sofort eine berauschende Aura aus: härter, schwerer und definitiv DUNKLER, und doch auch irgendwie sanfter und geheimnisvoller. Dynamik spielt hier eine Schlüsselrolle: Während die Deutschen immer noch hart rocken, färbt ein feines Gespür für Nuancen diese neun Hymnen, die eine fast violette Samtatmosphäre haben. Passend dazu strotzt ihre ohnehin schon überragende Melodik vor hymnischer Energie, selbst wenn sie entscheiden, düsterere Schritte ins Jenseits unternehmen. Das Ergebnis ist unwiderruflich ein verblüffend einzigartig und eigenständiger Sound und Stil.

„Unser Versuch für Fatale war es, THE NIGHT ETERNAL noch mehr nach uns selbst klingen zu lassen. Wir haben versucht, gleichzeitig die Melodien und Riffs eingängiger zu machen und dem Gesamtsound eine härtere, düsterere und zeitlosere Note zu verleihen.“

'Fatale' bietet eine kraftvolle, kristallklare Produktion von Marco Brinkmann, abgerundet durch Arthur Rizks Mastering. Der zweite Longplayer von THE NIGHT ETERNAL ist groß und geräumig, bewahrt aber auf magische Weise Intimität und Geheimnisvolles. Es klingt und fühlt sich stadiontauglich an, ganz wie ihre Gründungshelden Judas Priest, Iron Maiden und die Scorpions. Aber auch hier kann nicht genug betont werden, wie 'Fatale' die Band nachhaltig zu einer einzigartigen Einheit macht.

"Fatale" strahlt sofort eine berauschende Aura aus, die Fans von TRIBULATION, THE DEVILS BLOOD, IN SOLITUDE und UNTO OTHERS sofort in ihre Bann ziehen wird!

“All in the Golden Afternoon We Glide” (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate.

Preceded by several collaborative undertakings, LATHE 00’s debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, “All in the Golden Afternoon We Glide” meditates on individuality, technology, and new forms of (post-)human existence.

The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. Upon closer inspection, these tracks feel less like standalone pieces of music and more like outtakes of a single but continuously mutating continuum.

LATHE 00’s first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own.

The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalisations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one’s all-too-embodied presence in this world.

Despite being a concept album grounded in a profound theoretical substrate, “All in the Golden Afternoon We Glide” surprisingly relies on wordless communication only. As such, in it, song titles become key vectors of information. Appealing primarily to the listener’s sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital (“Loading of Image Aborted!”), nature (the title track), and ritual (Pouring Blood into the Lake).

The album will be released in digital format alongside a limited-edition printed publication conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga.

Ein charmanter Dieb und eine Gruppe ungleicher Abenteurer unternehmen einen epischen Raubüberfall, um ein verlorenes Relikt zu bergen.

Mit ”Dungeons & Dragons: Honour Among Thieves” kommt die vielschichtige Welt des legendären Rollenspiels in einem unterhaltsamen und actiongeladenen Abenteuer auf die große Leinwand. Chris Pine, Michelle Rodriguez, Regé-Jean Page, Justice Smith, Sophia Lillis, Chloe Coleman, Daisy Head und Hugh Grant spielen die Hauptrollen in diesem epischen Fantasyfilm, der auf dem kultigen Hasbro-Tischspiel Dungeons & Dragons basiert.

Der Soundtrack stammt aus der Feder des Grammy und Emmy Gewinners Lorne Balfe, der auch die Musik von Blockbustern wie Mission Impossible Fallout oder preisgekrönten Serien wie The Crown geschrieben hat. Mit rasanten Orchesterarrangements und starken Melodien erweckt der schottische Komponist diesen Film zum Leben.

Über die Musik selbst sagt Balfe: ”Ich bin so glücklich, der Komponist für ’Dungeons & Dragons: Honour Among Thieves’ zu sein. Ich habe mit diesem Spiel begonnen, als ich 7 Jahre alt war, und ich bin begeistert, dass eine neue Generation das Spiel entdeckt, mit dem ich aufgewachsen bin. Die Musik ist voll von zarten, mystischen, keltischen Reisen, gemischt mit einem großen, üppigen Kino Orchester. Mit diesem Werk konnte ich meine schottischen Wurzeln richtig ausleben!”

Ein charmanter Dieb und eine Gruppe ungleicher Abenteurer unternehmen einen epischen Raubüberfall, um ein verlorenes Relikt zu bergen.

Mit ”Dungeons & Dragons: Honour Among Thieves” kommt die vielschichtige Welt des legendären Rollenspiels in einem unterhaltsamen und actiongeladenen Abenteuer auf die große Leinwand. Chris Pine, Michelle Rodriguez, Regé-Jean Page, Justice Smith, Sophia Lillis, Chloe Coleman, Daisy Head und Hugh Grant spielen die Hauptrollen in diesem epischen Fantasyfilm, der auf dem kultigen Hasbro-Tischspiel Dungeons & Dragons basiert.

Der Soundtrack stammt aus der Feder des Grammy und Emmy Gewinners Lorne Balfe, der auch die Musik von Blockbustern wie Mission Impossible Fallout oder preisgekrönten Serien wie The Crown geschrieben hat. Mit rasanten Orchesterarrangements und starken Melodien erweckt der schottische Komponist diesen Film zum Leben.

Über die Musik selbst sagt Balfe: ”Ich bin so glücklich, der Komponist für ’Dungeons & Dragons: Honour Among Thieves’ zu sein. Ich habe mit diesem Spiel begonnen, als ich 7 Jahre alt war, und ich bin begeistert, dass eine neue Generation das Spiel entdeckt, mit dem ich aufgewachsen bin. Die Musik ist voll von zarten, mystischen, keltischen Reisen, gemischt mit einem großen, üppigen Kino Orchester. Mit diesem Werk konnte ich meine schottischen Wurzeln richtig ausleben!”

* Debut LP from NYC Garage Rockers * Produced by Nick Zinner from Yeah Yeah Yeahs! Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene. Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show. One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world.

Ced Gee & Kool Keith, both members of the legendary Ultramagnetic MC's, regroup for a new Ultramagnetic MC's record. The resurgence of classic Hip hop moves strong into 2022 with new release from Ultramagnetic MC's "Kool Keith x Ced Gee." Arising from the Boogie Down Bronx in the mid-'80s as a far-flung hip hop trio with a heap of new ideas to try out, Ultramagnetics Kool Keith, Ced Gee, and DJ Moe Love occupy something of a singular place in the old-school pantheon. Combining funk-heavy tracks with jeep-rocking beats and obscure lyrical references, Ultramagnetic MCs have a list of firsts to their credit: the first rap group to employ a sampler as an instrument, the first to feature extensive use of live instrumentation, the first to feature a former psychiatric patient (Kool Keith) on the mic. Early singles like "Something Else" and "Space Groove" were block-party staples and created waves in the underground, eventually landing the group on the disco-dominated Next Plateau label, where they released their underappreciated debut. The following years found the group shuffling from label to label, releasing albums on Mercury and Wild Pitch before splitting to pursue various projects. This special event will feature Kool Keith and Ced Gee performing classic Ultramagnetic MCs songs and sharing stories and history about the making of their iconoclastic catalogue.

Amazingly, but not unsurprisingly, these records still blow the roof off, reissues of the first two White Stripes singles, originally released in another millennium: This is a reissue of their second 7" release, two tracks, the b-side is Sugar Never Tasted So Good, an essential 45!!

Borrowed Tongue is the debut solo album by Korean singer-songwriter Minhwi Lee. It’s a mysterious, strangely compelling thing, an album of rare poetry, and remarkably self-assured. Originally released in November 2016, the album made waves, winning best folk album of 2016 at the 14th Korean Music Awards. Its eight songs, written and predominantly arranged by Lee, don’t reveal their secrets easily, or at first blush; rather, they take their time slowly to unfurl in her listeners’ worlds. There are hints of other music here, from time to time: the intimacy of Stina Nordenstam, perhaps; the gauzy haze of Hope Sandoval, on the blissed-out pop of “Broken Mirror”; there are touches of acid-folk, and ECM jazz, and a slyly filmic approach to songwriting and arrangement that makes every song fit perfectly into the album’s arc.

Lee arrived at her solo music through a complex, circuitous route. After studying musicology in Seoul, she learned her trade, film scoring, in New York and Paris. She also studied classical music, blowing off steam in a wild punk duo, Mukimukimanmansu, who released one album, 2012, on Korean indie label Beatball. Subsequently, Lee has been refining her music, focusing both on her solo songs, and on writing for television series and films; she’s written scores for films by such directors as Sangmoon Lee, Jeongwon Kam, and Wanmin Lee. She also plays in the jazz outfit Cubed, and recently joined doom metal group Gawthrop on bass.

Since its release in 2016, Borrowed Tongue has slowly bewitched listeners with its idiosyncratic arrangements and evocative songwriting. It’s an album that hints at plenty, but refuses to make grand statements, something Lee seems intent to pursue: in correspondence, she’s very clear that she wants these songs to enact a kind of transmutation, to be adopted into the listeners’ lives and exist within their own imaginings. She does, however, offer a few hints to what propels these mercurial songs, explaining, “this album is about a person who again opens their mouth, which was once shut. The album deals with what it means to speak: things that are known but not said, things that should be said but are not, things that cannot be said but nonetheless are.”

This may well explain the curious mood of Borrowed Tongue, the multiple ‘voices’ that inhabit the album; Lee’s singing voice is pliable and mutable, approaching each song as its own diorama and ensuring the song is sung with just the right tone. The arrangements Lee conjures for her songs are all in service to narrative and melody; they appear to her alongside the composition, which is surely why everything here fits together so beautifully. From there, Lee approaches her songs carefully, in deference to their ‘need to be sung’ a certain way. There isn’t a moment wasted: everything on Borrowed Tongue is as it needs to be, whether a melancholy folk song taking to the air, or a psychedelic reverie dreamed into being. It’s a beautiful, poised and confident debut.

The album follows her two previous collections released by French-Canadian shadow ambient imprint Cyclic Law. Betti's output has been strongly shaped by the juxtapositional nature of the island she calls home. A beautiful Mediterranean island that is also home to a petroleum refinery's and its significantly haunting presence. There is conflict in that ideal, and Betti's music has always displayed a sense of beauty, yet with ominous undertones.
With Before the Last Light is Blown, Betti focused on the transience of life as a means of inspira- tion. It is human nature to move forward, consume, and always reach the next goal and to never give much thought to the briefness of our time here. The impermanence of life may seem like a dark topic, but to the contrary, pausing to think of such brevity could allow us to see the beauty we are missing in our endless need to fulfill and consume.
Betti takes us to a dark place only to show us the beauty within, a vital constant in her output as shedir.

Sound Metaphors gives they keys of the label's catalogue vaults to Aggelos Baltas aka Anatolian Weapons and this is the result. 5 tracks previously released on our labels now submitted to the studio prowess of the Greek machine. Dubbed out, tripped out, slowed down, sped up, mind blown. Aggelos brings his distinctive flavor to the table and re-constructs some of our dacefloor oriented favorites from the early 90's. From California's Exist Dance label to Italian underground tracks and even a Disciples' number, Aggelos cherry picks his weapons for the most spaced out of dance floors, sounding big and effective, can't go wrong.

Wenn es ein einziges Wort gibt, um Saint Agnes zu beschreiben, dann ist es " Hingabe". Die vierköpfige Band aus dem Vereinigten Königreich steht für ehrliche Texte, raue Gesangsdarbietungen (von Frontfrau Kitty A. Austen) und wutentbrannte Musik, die denjenigen eine Stimme geben soll, die eher am Rande als in der Mitte stehen. Mehr Gang als Band, wollen Saint Agnes (römische Märtyrerin, Schutzpatronin für eine Reihe von Dingen, darunter auch Mädchen) diejenigen ermutigen, die geschlagen und verletzt wurden, sich aber weigern, sich niederzulegen, und das ist ein roter Faden, der sich durch "Bloodsuckers" zieht - das zweite Studioalbum von SA und ihr erstes für Spinefarm. Anfangend mit dem Titeltrack, ist dies ein genreübergreifendes Werk, das Elemente aus Metal, Punk, Industrial und Grunge aufnimmt, ohne an einen bestimmten Stil gebunden zu sein; die 11 Tracks kommen direkt von der Quelle, größtenteils selbst produziert und abgemischt (NIN-Kollaborateur Sean Bevan leiht seine Mixing-Fähigkeiten der zukünftigen Single / Video, 'Follow You'), und dieser in sich geschlossene Ansatz sorgt für ein zusätzliches emotionales Gewicht, mit Kerrang!-Coverstar Mimi Barks, die das Chaos auf dem kurzen, scharfen Schock, der 'Body Bag' ist, weiter anheizt.

Wenn es ein einziges Wort gibt, um Saint Agnes zu beschreiben, dann ist es " Hingabe". Die vierköpfige Band aus dem Vereinigten Königreich steht für ehrliche Texte, raue Gesangsdarbietungen (von Frontfrau Kitty A. Austen) und wutentbrannte Musik, die denjenigen eine Stimme geben soll, die eher am Rande als in der Mitte stehen. Mehr Gang als Band, wollen Saint Agnes (römische Märtyrerin, Schutzpatronin für eine Reihe von Dingen, darunter auch Mädchen) diejenigen ermutigen, die geschlagen und verletzt wurden, sich aber weigern, sich niederzulegen, und das ist ein roter Faden, der sich durch "Bloodsuckers" zieht - das zweite Studioalbum von SA und ihr erstes für Spinefarm. Anfangend mit dem Titeltrack, ist dies ein genreübergreifendes Werk, das Elemente aus Metal, Punk, Industrial und Grunge aufnimmt, ohne an einen bestimmten Stil gebunden zu sein; die 11 Tracks kommen direkt von der Quelle, größtenteils selbst produziert und abgemischt (NIN-Kollaborateur Sean Bevan leiht seine Mixing-Fähigkeiten der zukünftigen Single / Video, 'Follow You'), und dieser in sich geschlossene Ansatz sorgt für ein zusätzliches emotionales Gewicht, mit Kerrang!-Coverstar Mimi Barks, die das Chaos auf dem kurzen, scharfen Schock, der 'Body Bag' ist, weiter anheizt.

Formed in 2015, The Cold Blooded Hearts are fronted by
QPR’s former player and current manager Gareth
Ainsworth (formerly of Wimbledon and Wycombe
Wanderers) along with guitarist and songwriter Lee-Van
Sergeant, drummer Luke ‘Chalky’ Sergeant and bass
guitarist Ron Campbell.
Gareth Ainsworth has been into music since he was a boy
and recently released a storming cover of Dion’s hit
classic ‘The Wanderer’. The single was dedicated to the
success of Wycombe Wanderers and became an unofficial
anthem for the club.
Lee and Gareth have been in bands together for twenty
years. They formed Dog Chewed The Handle back in
2004, after which Luke then joined as the drummer. Now
known as The Cold Blooded Hearts, they have released
their first ever album, summarising their many years of
writing together.
This vinyl edition of ‘The Cold Light Of Day’ features 9
cuts of pure rock and was produced by Yes
keyboardist, Geoff Downes – now that’s rock ‘n’ roll
football.

Laughter ist das dritte Studioalbum von Ian Dury and The Blockheads; es wurde 1980 veröffentlicht und war das letzte Studioalbum, das Dury für Stiff Records machte, und das letzte Studioalbum mit den Blockheads bis zum 1998 erschienenen "Mr. Love Pants", obwohl 1991 ein Livealbum "Warts 'n' Audience" produziert wurde.

Am 21. Juli 2023 wird "Laughter" zum ersten Mal auf transparentem, sonnengelbem Vinyl mit überarbeitetem Artwork wiederveröffentlicht.

3 Inches Of Blood aus Kanada legten bereits 1999 los und konnten 2002 ihr Debüt, noch bei einem kleinen Label, vorlegen. Die führte zu einem Deal mit Roadrunner Records, für die man zwei Alben aufnahm, gefolgt von einer Zusammenarbeit mit dem ebenso renommierten Label Century Media, bei dem 2009 das sensationelle „Here Waits Thy
Doom“ veröffentlicht wurde.

Das Album stieg nicht nur in die US-Charts ein, sondern wies mit „Preacher´s Daughter“ sogar einen waschechten Szenehit auf. Das bewusst leicht verpixelte Coverartwork wirkt auch heute noch etwas bizarr und führt vielleicht auf eine falsche Fährte – ebenso wie der Name der Band, der durchaus auch mit einem wesentlich moderneren Stil assoziiert werden könnte. Als ungewöhnlich könnte man auch die Wahl des Produzenten bezeichnen, denn Jack Endino war in den
Neunzigern das Aushängeschild der Grungeszene in und um
Seattle. Aber auch hier gibt es Entwarnung, denn der trockene,
druckvolle Sound schreit nur zwei Worte: Heavy Metal!

2009 war das Medium Vinyl eher ein Fall für die Sammler und so wurde die gesamte Spieldauer des Albums einfach auf eine LP gepresst, was klanglich alles andere als optimal war.

Dieses große Manko konnte Golden Core jetzt endlich aus der Welt schaffen! „Here Waits Thy Doom“ erscheint nicht nur als Doppel-LP im Gatefold, sondern weist auch noch zwei Bonustracks auf. Das Audiomaterial wurde extra für das Medium Vinyl angefertigt und geht klanglich mehr in die Tiefe als die CD.

Als sich The Damned 1989 erstmalig trennten, gründete Leadsänger David Vanian die Phantom Chords. Ihre erste Single, ein Cover der John Leyton-Nummer 'Johnny Remember Me' erschien 1990 und ihre Version von 'Town Without Pity' folgte 1992. Erst 1995 wurde schließlich von Big Beat ein Phantom Chords-Album veröffentlicht, das gekonnt die Genres Rockabilly und Gothic Rock miteinander verschmolz. Zu den Tracks gehörten u.a. mit 'Voodoo Doll', 'Big Town', 'Fever In My Blood', 'Jezebel', 'Chase The Wild Wind' und 'Swamp Thing' eine Mischung aus Covern und Originalmaterial, die aufgrund zu geringer Verkaufserwartung der LP eine reine CD-Veröffentlichung war. Jetzt, fast drei Jahrzehnte später, wird dieser Fehler korrigiert und 'David Vanian And The Phantom Chords' endlich auf Vinyl als 2LP-Set (Black Vinyl) veröffentlicht - natürlich auf Ace Records!

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GORGUTS, BOLT THROWER, AMON AMARTH, BLOODBATH

Penguin Cafe kündigen heute ihr fünftes Studioalbum Rain Before Seven... an, das am 7.Juli 2023 bei Erased Tapes erscheinen wird.

Eine zuversichtliche Grundstimmung durchzieht das fünfte Studioalbum von Penguin Cafe, Rain Before Seven…, wobei es sich keinesfalls um jenen extrem selbstbewussten, fast schon prahlerischen Optimismus handelt, sondern eher um so eine auf bescheidene Art hoffnungsvolle Grundhaltung, die man den Menschen auf der Insel ja häufiger nachsagt. Auch wenn alle Anzeichen das Gegenteil behaupten, spürt man hier sofort diese Gewissheit, dass sich alles doch noch irgendwie zum Guten wenden wird. Vermutlich zumindest.

Der Titel des Albums geht auf eine alte Bauernregel zurück, wobei die gereimte Vorhersage – „… fine before eleven“: ab 11 Uhr also wieder alles klar – auf ein baldiges gutes Ende hindeutet, vollkommen unabhängig davon, was die Wissenschaft sagt: „Ich habe diesen Spruch in einem Buch entdeckt. Davor hatte ich ihn noch nie gehört“, erzählt Arthur Jeffes, der Kopf von Penguin Cafe. „Er hat so einen dezent optimistischen Beigeschmack, und das gefällt mir sehr. Man verwendet ihn heutzutage kaum noch, aber der Reim beschreibt tatsächlich Wetterphänomene in England, die vom Atlantik aus über die Insel ziehen.“

Angefangen beim leinwandgroßen und schwärmerischen Eröffnungstitel „Welcome to London“, der mit einem Augenzwinkern auf Morricone anspielt, bis hin zum „Goldfinch Yodel“, jenem „Maibaum-Banger“ (um es mit Arthurs Worten zu sagen), mit dem das neue Album ausklingt, zieht sich ein angenehmes Gefühl von Leichtigkeit und Lebensmut durch den Longplayer, unterfüttert mit der Ausgelassenheit exotischer Rhythmen. Alles wirkt spielerisch und verspielt, und selbst der Titel ist eine Anspielung – auf A Matter of Life… aus dem Jahr 2011, der letzten Veröffentlichung, deren Titel in eine Ellipse mündete Jenes Debütalbum von Penguin Cafe diente einst als Bindeglied und Brücke – zwischen dem legendären Penguin Cafe Orchestra, das einst Arthurs Vater Simon Jeffes leitete, und dem gefeierten Nachfolger, als dessen Mastermind seither Arthur verantwortlich zeichnet.

„Ich glaube, das wirklich Neue an seinem Ansatz bestand darin, spannende und schräge Ideen zu nehmen – und dann seltsame Dinge damit anzustellen“, meint Arthur, „dabei aber konstant im Blick zu haben, dass es hinterher auch schön klingt und emotional ansprechend bleibt.“ Dieses Ethos lebt weiter in der Musik von Penguin Cafe: „Dazu haben wir uns entschlossen, als ich daran anknüpfte, schließlich spielen wir die Sachen meines Vaters und machen dazu auch neue Musik, die im selben Klanguniversum angesiedelt ist. Das bedeutet, dass ich gewissermaßen moralisch dazu verpflichtet bin, den ursprünglichen roten Faden im Auge zu behalten – und dafür zu sorgen, dass wir nicht plötzlich in Richtung Thrash-Metal abbiegen.“

Dennoch waren die rhythmischen Elemente, die zum Teil sogar an elektronische Sounds erinnern, noch nie so präsent und tonangebend wie auf Rain Before Seven…, was durchaus auch dem Co-Produzenten Robert Raths geschuldet ist. „Find Your Feet“ etwa hat ein Beat-Fundament, das weit über einen bloßen Pulsschlag hinausgeht. Abgemischt von Tom Chichester-Clark, blitzt an Stellen wie diesen etwas auf, das Arthur selbst als „fast schon elektronischen Vibe“ bezeichnet, um dann ganz aufgeregt zu ergänzen: „Es geht vor allem auch einfach ums Spaßhaben, was auf den letzten drei Alben nicht so zu hören war.” Extrem ausgelassen klingt auch „In Re Budd“, das dem verstorbenen Ambient-Urgestein Harold Budd gewidmet ist. Arthur erfuhr von dessen Tod an jenem Tag, als er diesen feierlichen Ohrwurm komponierte, dessen Synkopen deutlich komplexer sind, als sie auf den ersten Blick wirken. Auf einem präparierten Klavier gespielt, wobei die Filzstücke dem Track zusätzlichen Bounce verleihen, setzt Jeffes hier auf einen Afro Cuban Cafe-Vibe – was wunderbar zum widerspenstigen Geist des verstorbenen Budd passt.

Und schließlich wäre da noch das bereits erwähnte „Welcome to London“, das seinen Titel erhielt, als sich die Welt gerade wieder zu öffnen begann und die Menschen auch wieder Fernreisen antreten durften. Jeffes, der somit nach langer Zeit endlich wieder einen Fuß auf britischen Boden setzen konnte, war sofort beeindruckt von filmischen Soundtrack-Qualitäten (à la John Barry) dieses Stücks, als er mit dem Taxi von Heathrow nach West-London fuhr und zur Musik die opulente, in Dämmerungslicht getauchte Metropolenkulisse auf sich wirken ließ. Hier kann man deutlich die eingangs erwähnte Zuversicht raushören – und dazu vielleicht auch einen Hauch von bissiger Ironie: „Robert Raths hat der Sache noch eine Nuance hinzugefügt, die ich interessant finde, weil doch so viele Londoner ursprünglich gar nicht aus London stammen. Man schlägt also in London als Zugezogener auf, man weiß noch nicht, zu welchem Lager man sich zugehörig fühlen soll, und dann wird man auf der Straße überfallen und ausgeraubt – und in dem Licht betrachtet, hat dieses ‘Welcome to London’ doch einen eher sarkastischen Beigeschmack.“

'Jump Into Love' is the new album from Half Japanese, true DIY noise-rock royalty, led by the ever-effervescent Jad Fair. It's a meeting of minds, a coming together from the world's favourite indie-alt-rock outsiders. Atypically out there and off-kilter, the album wears its heart on its sleeve through a cascade of new, dark and brooding songs from the band who would be king. Loved by Kurt Cobain, Daniel Johnston, Penn Jillette and outsiders everywhere, Half Japanese continue their quest for answers; creating a soundscape for a post-zombie land where bells chime and it's OK to say "Yes". It's another adventure; series 20 from an introspective parallel world where the super prolific Jad Fair cogitates on life, love, giants, the possessed and even bigger issues that simply swell the brain. Musing on the writing process, Jad explains "I feel a need to do music and do song writing. It's something I really miss when I'm not doing it. There's a certain amount of tranquillity that's obtained from the fact that you can be working on songs each day. I think you use that certain portion of your brain that is otherwise not used. I kind of kind of prefer using it than not using it." Half Japanese currently includes Jad with John Sluggett, Gilles-Vincent Rieder, Mick Hobbs and Jason Willett, a veritable who's who of DIY indie culture. 'Jump Into Love' was recorded at Tempo House, Baltimore, Russian Recording, Bloomington Indiana, Studio de la Trappe, Donneville France and la Casamurada, Tarragona Spain. The album was mixed by long time Half Japanese sparring partner Jason Willett at his home in Baltimore, Maryland. "Amid hard-riff jams, swinging ditties, lovelorn ballads and other catchy gems, Jad persistently breathes life into the Half Japanese" NPR "One of indie rock's most reliable sources of positivity" Pitchfork

"Nothing Compares To Metal" setzt VELVET VIPERs Konzept mit Texten über klassische, poetische und mythische Themen fort.
Wie schon auf den ersten drei Alben der neuen Ära der Band, haben Jutta und Holger alle Songs gemeinsam komponiert.
Für VELVET VIPER ist es sehr wichtig, Musik zu machen, die die Mentalität und die kreative Freiheit der Band widerspiegelt, denn die Welt braucht Originale, keine Kopien.
Zum allerersten Mal gibt es auf dem Album einen Song mit deutschem Text, der ein privates kleines Statement von Jutta ist und nur auf der CD und der digitalen Version des Albums zu hören ist. Alle Songs auf dem Album sind etwa 5, 6 oder 7 Minuten lang, weil die Band der Meinung war, dass die Songs genug Raum brauchen, um sich mit ihren verschiedenen Teilen und komplexen Strukturen zu entfalten und die Dramatik zu erzeugen, die VELVET VIPER mit ihrer Musik vermitteln wollen.
VELVET VIPER haben sich für einen natürlichen Old-School-Sound entschieden, mit nur ein paar kleinen Keyboard-Einlagen hier und da, und sie haben versucht, ihren Live-Sound, den sie so lieben, auch einzufangen.
VELVET VIPER touren und nehmen seit einigen Jahren in unveränderter Besetzung auf und haben ihren Musikstil mit druckvollen Beats und großartigen Melodien dieses Mal wirklich auf den Punkt gebracht.

"Nothing Compares To Metal" setzt VELVET VIPERs Konzept mit Texten über klassische, poetische und mythische Themen fort.
Wie schon auf den ersten drei Alben der neuen Ära der Band, haben Jutta und Holger alle Songs gemeinsam komponiert.
Für VELVET VIPER ist es sehr wichtig, Musik zu machen, die die Mentalität und die kreative Freiheit der Band widerspiegelt, denn die Welt braucht Originale, keine Kopien.
Zum allerersten Mal gibt es auf dem Album einen Song mit deutschem Text, der ein privates kleines Statement von Jutta ist und nur auf der CD und der digitalen Version des Albums zu hören ist. Alle Songs auf dem Album sind etwa 5, 6 oder 7 Minuten lang, weil die Band der Meinung war, dass die Songs genug Raum brauchen, um sich mit ihren verschiedenen Teilen und komplexen Strukturen zu entfalten und die Dramatik zu erzeugen, die VELVET VIPER mit ihrer Musik vermitteln wollen.
VELVET VIPER haben sich für einen natürlichen Old-School-Sound entschieden, mit nur ein paar kleinen Keyboard-Einlagen hier und da, und sie haben versucht, ihren Live-Sound, den sie so lieben, auch einzufangen.
VELVET VIPER touren und nehmen seit einigen Jahren in unveränderter Besetzung auf und haben ihren Musikstil mit druckvollen Beats und großartigen Melodien dieses Mal wirklich auf den Punkt gebracht.

“U Wasn’t There” the long-fabled collaborative project between superstar DJ/producer/Fool’s Gold founder A-Trak and New York trendsetter/lyricist/cultural icon Cam’ron—drops via Empire. Arriving nearly a decade after the elite duo dropped their first singles “Humphrey” and “Dipshits”, the album features masterful production by A-Trak, Just Blaze, DJ Khalil, !llmind, Thelonious Martin and more, as well as uniquely introspective verses from one of the most elusive rappers in hip-hop. “U Wasn’t There” recalls 2000’s-era Dipset sounds and sets the stage for Killa Cam to deliver his hard-hitting, sharply-penned wordplay exemplified on standout "What You Do" featuring Damon Dash. “All I Really Wanted”—a soulful Harlem anthem in which Cam effortlessly recounts his teenage years as a basketball player, growing up with fallen heroes Big L and Bloodshed, and hustling his way to legendary status—perked ears at Pitchfork, Rolling Stone, Complex, Vibe, Stereogum, and more. The cold-hearted “Ghetto Prophets” featuring Conway The Machine followed suit, earning nods from XXL, HipHopDX, Revolt, and Brooklyn Vegan. 1xLP + 24”x24” poster.

The next release of PTT is the long awaited Ravemithme. EP from Dave Simon.

For the 8th Proper Techno Tunes EP you can except 4 hard forcing Trax which blow up any dancefloor.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

SOMNURI hält sich nicht an der Oberfläche fest. Der Heavy Metal der Band stapft von Genre zu Genre mit der Inbrunst und dem Selbstvertrauen einer Band, die bereit ist, die Schwellen zu allem Wahrnehmbaren und Möglichen zu überschreiten. Die Band, bestehend aus Lead-Gitarrist und Sänger Justin Sherrell, Schlagzeuger Phil SanGiancomo und Bassist Mike G, hat sich die Aufmerksamkeit von Magazinen wie Revolver Magazine, BrooklynVegan, MetalSucks, MetalHammer und anderen verdient und ihr neuestes Werk ist ein wahrer Beweis für die unersättliche Arbeitsmoral der Band, die sie als einen der aufregendsten aufstrebenden Acts des Heavy Metal zementiert.

Aufgenommen in den Gojira Silver Cord Studios, abgemischt von Justin Mantooth in den Westend Studios und gemastert von Brad Boatright bei Audiosiege Mastering, bewegt sich die Band auf „Desiderium“ nahtlos durch eine Vielzahl von Tempi und Klängen und gibt einigen ausgetretenen Pfaden neue Wege vor. Songs wie „Paramnesia“ kommen wie eine schlammige Abrissbirne daher und erinnern in ihren stärksten Momenten an Eyehategod und Crowbar. Anstelle von Moshparts zieht sich die Band zurück und lässt Sherrell ein paar cleane Vocals einstreuen, bevor sie wieder voll angreift. Sherrells Stimme ist wahnsinnig vielseitig und kann sowohl gefühlvolle cleane Vocals als auch grimmige Schreie liefern. Sie ist der perfekte Kontrast zu den Instrumenten der Band, die ein Band zwischen Sludge, Grunge, Psych-Rock und mehr weben.

Chrome dishes up two servings of heavy Hip Hop instrumentals. The A side track ‘Don’t stop, get it’ kicks off with the familiar reggae sample from Stranger Cole’s ‘Crying every night’ (made famous by Reflection Eternal’s classic ‘Fortified live’), and proceeds to kick in with heavyweight drums and vocal cuts a plenty! The B side unearths a Funkadelic track from ‘Let’s take it to the stage’ and brings it to life with some disco lead drums from the Atmosphere classic ‘Dancing in outer space’ and links them up with the Funky ‘Sesame street’ drum break from Blowfly.

Both tracks are pounding dance floor bangers!

True to themselves and their art, as always, no matter the cost, Axe To Fall continues to push relentlessly forward, much like a shark that needs to always keep swimming to survive. Where No Heroes was a refinement and broadening of hostilities declared on previous assaults such as Jane Doe, Axe To Fall returns to the more AmRep-inspired noisecore abrasions of You Fail Me while also updating and making vital the thrash influences that defined earlier Converge efforts (Caring and Killing, Petitioning the Empty Sky) and retaining the hardcore hostilities and frantic pace so vital to their foundation.

Toxic Holocaust makes good on the threat to unleash the finest metal this side of the 21st century on their Relapse debut An Overdose of Death… An Overdose of Death… is an unstoppable juggernaut of infectious riffs, punk attitude and unforgettable anthems. If you call yourself a fan of metal, punk, or just kick ass rock, this record is nothing less your godsend.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

Seit ihrem mittlerweile legendären Debut »The Last Supper« von 1995, haben sich Hauptakteur Helmuth und seine Mitstreiter gnadenlos, mit technischem Können,
raffiniertem Songwriting und wahrhaft blasphemischen Texten, an die Spitze gearbeitet. Reprint in dunkelgrünem Vinyl.

"The Aggression Sessions" ist der Nachfolger von "The Depression Sessions" aus dem Jahr 2016 und folgt demselben 6-Song-Mini-Album, bei dem jede Band eine Originalsingle und einen Coversong anbietet. Für diese Session covern THY ART IS MURDER Cannibal Corpse und FIT FOR AN AUTOPSY At The Gates, während MALEVOLENCE einen Song der amerikanischen Sängerin Anastacia übernehmen.

THY ART IS MURDER, einer der australischen Exportschlager, feiert derzeit das 10-jährige Jubiläum ihres bahnbrechenden Albums "Hate". Morgen wird die Band den letzten Termin ihrer US-Tournee in Patchogue, NY, spielen. Die nächste Station ihrer "Decade Of Hate"-Welttournee ist Europa, wo sie die Bühne mit ihren Labelkollegen FIT FOR AN AUTOPSY teilen werden.

Die sechsköpfige Band FIT FOR AN AUTOPSY aus New Jersey hat im Januar 2022 ihr sechstes Album "Oh What The Future Holds" veröffentlicht.

Mit ihrem von der Kritik hochgelobten neuen Studioalbum "Malicious Intent" haben MALEVOLENCE ihren Platz als eines der Schwergewichte des zeitgenössischen Metals gefestigt. Die aufstrebenden britischen Stars sind nun auf dem Weg, die Welt zu erobern, und haben bereits das Publikum auf Festivals wie dem Download Festival, dem Bloodstock Festival, dem Knotfest Germany und dem Bring Me The Horizon Malta Weekender umgehauen, nicht zu vergessen eine riesige UK-Arena-Tour mit ARCHITECTS und SLEEP TOKEN sowie Termine auf dem EU-Festland mit LAMB OF GOD.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

William Penn Fyve aka William Penn & His Pals were a regular presence on the early Bay Area scene, opening for the likes of Jefferson Airplane, Paul Revere & the Raiders and Them. Their line–up included lead singer / organist Gregg Rolie, later of Santana / Journey. In 1966 they recorded their lone single, "Swami" / “Blow My Mind”, for the Thunderbird label.

The A-side (written by guitar player Mike Shapiro and famous for being included on “Pebbles-The Acid Gallery”) is early acid-punk with fuzzed-out raga guitars and hilarious lyrics about a guru. The flipside is an energetic garage-punk number with swirling Vox organ and a fuzz rave up á la Yardbirds.

Repress!

Repress!

Exceptional debut album of Military Space Music and / or Fluxus Techno rave drills from the inimitable, acronymic duo for Diagonal. RIYL Belgian Techno, SuperCollider, Powell, Lorenzo Senni,
the bleep test At long last N.M.O. execute their crazed debut album for Diagonal, distilling the playful calisthenics of their laptop and drum kit live show in a totally unique manner that somehow deconstructs and alliterates tracky acid techno with avant no-wave rock, computer music and the kind of snare-
driven tattoos coming out of Portugal's Príncipe label. Best just call it Military Space Music - Cleft as two corresponding but individual sides entitled Nordic Mediterranean Organisation
& Numerous Miscommunications Occur, it finds the Romantic Viking duo ratcheting the psychotomimetic intensity of their previous tape and trio of 12"s for Anòmia, The Death of Rave
and Where To Now according to their central mantra of As Strict As Possible, resulting in 5 alarming, powerful dancefloor raids intersected by infuriating locked grooves, or Neoliberal
Madness Offering #1-4, plus a series of barking trained Unit drills.
The razor sharp and raucous results don't sit comfortably in any pre-ordained category, preferring to scythe their own route thru the time-flattened field of contemporary music by employing
the fundamentals of physical pressure and precise psychoacoustic frequencies in a disciplined pursuit of new, syncretic sensations that toy with rave convention and serve to demystify notions of aerobic mysticism.
Nose to tail, they spell out their ideas with playfully pedantic attention to detail, whether physically making you get up to nudge the needle from its pervasive locked groove, putting you thru your
paces in their German Trained Unit challenges, or simply driving you to delirium in the album's full blown dance tracks.
Cut almost a side-a-piece for optimal intensity, those five dance cuts veer from the clashing sharp and wet, tight-but-distended dichotomies of RIYL Roma to the ploughing pneu-beta bass drum
and giddy top end tickle of New Bulgaria on the Nordic Mediterranean Organisation plate, to take
in the scuffling, compartmented swerve and teeth-chattering acid of Armchair Evader and what

Everybody Digs Bill Evans was Evans's second album, done two years after his first record as a leader. Though his producer (Orrin Keepnews) had wanted Evans to record a follow-up album to his debut sooner, the self-critical Evans felt he had "nothing new to say" before this album.

The recording captures Evans at a time when he frequently played extended musical ideas using block chords, a technique also favored by Milt Buckner, George Shearing, Oscar Peterson, and other jazz pianists. That combined with his use of pedals gave him a sound considered by critics to be innovative. Though Evans had quit the Miles Davis band a month before the album was recorded, Davis was enamored of Evans's piano sound as it was developing through 1958, and decided to use him as the pianist for four of the five tracks on the 1959 recording Kind of Blue.

Finland's DJ Lifegoals, Forehard and Larry Neverheard debut on Cold Blow with a braindance-flavoured split four-tracker, aptly titled Braindancing. Arguably one of the most interesting, yet humblest, labels out there, Cold Blow is at it again with a candidate for a release of the year!

The two tracks from Helsinki's clubland stalwart, DJ Lifegoals, take the baton from Braindance's golden era and make it his own while paying homage to the tradition. Distorted, yet emotional, catchy yet challenging. On the flipside Inceptum founder Forehard (aka Ruusuvuori) partners up with the enigmatic Larry Neverheard for a mystifying, intricate, but (brain)dancefloor-ready double bill. Use your brain, don't sleep!

Indonesian City Sound: Panbers’ Psychedelic Rock and Funk 1971-1974

The Pandjaitan Brothers or Panbers came from the North Sumatra minority Christian group, the Bataks, whose ancestry traces back to an island at the center of Lake Toba. As a minority group within Indonesia's Muslim-dominated society, this ethnic minority has produced top military generals, celebrity lawyers, and a legion of pop and rock superstars.

Suffice to say, some of the biggest names in the country's pop history were Bataks. Panbers fit the bill perfectly.

The band's strong Christianity belief looms heavily in the music they produce. The prominent use of the Hammond organ in their early materials is evocative of church music the band members have been around in their whole life. Bandleader Benny Pandjaitan's fills his characteristic wail with existential dread, with many utterances of the word "mengapa" (why).

Guilt is another central theme Pandjaitan repeatedly comes back to in his lyrics. But they balance it with joy, on songs such as "Come on You Dance" "Let's Dance Together" or "Haai" (a play on the word high), where references to recreational substances are plentiful.

Although they modeled themselves after the era's rock bands Beatles and fellow countrymen Koes Plus, Panbers had a unique aversion to the electric guitar. In "Jakarta City Sound," a fiery three-note guitar solo is laid so far down in the mix that they are barely audible. In "Haai" they modify the guitar to sound like a jungle instrument playing traditional North Sumatran music. In "Rock and the Sea," arguably their most well-known song globally, they decided to ditch electric guitar altogether and replace it with a sitar.

In the absence of an electric guitar, Panbers had to rely on Doan's inventive bass playing and Asido's drum works to do the heavy lifting - and boy, do they deliver (Their 1971 debut "Volume 1" saw plenty of drum breaks). In this compilation, listeners will hear recordings from Panbers' fertile four-year period - a time that produced in some of the grooviest and hardest-sounding psychedelic music in Indonesia's rock history.

For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.

When Transform-I was released in 2009, Bristol’s Dubkasm were unmistakably prominent on the reggae scene but it is this LP - their tenth release - that put them on the map and cemented their status as outernational roots innovators and one of the most creative outfits in reggae. By 2006, Jah Shaka had been rinsing their percussive vocoder smash ‘Zulu Dawn’ (track 15) at the end of every dance for close to three years. Dubplates from the LP became firm favourites on some of the greatest soundsystems in the world, including Aba Shanti-I, Iration Steppas, and Channel One.
DJ Stryda and producer Digistep’s reputation grew still further when the pair managed to get an extremely rare vocal from the legendary Dub Judah, who at the time had not voiced a tune for many years. The resulting 7”, ‘From the Foundation’ (track 2) was the first tune to be released from Transform-I, an album which took the music world by storm with its singular blend of a deep, conscious roots reggae sound with instrumentation that drew on Digistep’s Brazilian heritage.

As the great DJ and journalist Steve Barker said in his rave Wire magazine review of the initial release, ‘Like many innovations heard for the first time, you wonder why this has not been done before’. Indeed, the LP’s blend of percussion instruments like zabumba, cavaquinho, and cuica with an absolutely stellar cast of vocalists including Tenastelin, Christine Miller, and Ras B, with a pre-Reggae Reggae Sauce fame Levi Roots recording from his living room, became timeless the moment it was released. Barker praised the album for being ‘more orthodox than expected’, by which I think he meant that the album is a completely authentic roots record, rather than an attempt to mix musical flavours to conceal a lack of ideas. Instead, ideas flew back and forth across the Atlantic, as basic tracks were laid in the Dubkasm Studio (then in Brazil, now in England) and overdubs and vocals were recorded in London, Nottingham, Bristol and Norway, with the final mixes being done at the Daddy Roots studio in Bristol. The combination is seamless both because Digistep grew up with Brazilian music, courtesy of his father, and because Dubkasm have lived and breathed reggae since their formation in 1994 – just go and listen to early releases like ‘Chemical Reaction Dub’ (1996) or ‘Hornsman Trod’ (2003) and you’ll hear heavyweight productions with a Rasta ethos immersed in U.K. soundsystem culture.

Since the album’s release, Dubkasm have gone from strength to strength and collaborated with a dazzling array of artists. Transform-I was remixed by some of Bristol’s best electronica producers in 2010, and 2013’s 12” ‘Victory’ became a huge soundsystem hit around the world, before being voiced by two of the greatest singers of all time, Luciano and Turbulence, and being remixed the following year by one of the world’s finest dubstep producers, Mala (who in 2016 released his own project fusing Latin music with electronic bass – the excellent Mala in Cuba).
The first project of its kind, beautifully reissued in its original format by Dubquake (the outfit behind France’s incredible OBF Soundsystem), Transform-I is the LP that launched Dubkasm on their current trajectory and has truly lived up to its name.

In loving memory of Darrell - you will be missed. "On Wednesday the 15th of June we lost our best friend, our Bobby. Words can’t describe how shocked and heartbroken we are. The joy, or what he would call ‘hot sauce’, that he brought to our lives has left a massive hole in our hearts. This is a photo taken at our last show on Saturday night. After we finished our set, he said “that was fucken sick, I think that was the best show we have ever played.” Darrell, we will love you forever." Love always, Greg & Steph x Eora/Sydney 3-piece Display Homes are back with new music! The asymmetric guitars, bass grooves and dynamic drums we’ve come to love on their previous two EPs are all there brighter than ever on forthcoming debut album What If You’re Right & They’re Wrong?. It’s raw but sharp, minimalist and danceable. Their pop sensibilities make it accessible while their post-punk leanings make it exciting. We’re calling it now as one of our favourite albums of the year! When I put this on I listen all the way through. The other day two times in a row. Unbelievably catchy. I will love this even years and years from now, for sure. Can’t pick a favorite song. This sounds like it could have been released in any of the last 5-6 decades. Solid, tight songs that warm the soul. I’m picking up on a wide diversity of sounds, from The Pixies to Blondie. Really glad to have stumbled across these guys! Extremely catchy, every song is a bop.

Cyphon is proud to bring you brand new music from one of Europe’s pioneers of techno and IDM, Stefan Robbers aka Terrace and Florence. His early releases for Djax-Up-Beats and his own Eevo Lute Muzique in the early 90’s were hugely influential striking a sweet spot between stark minimalism, majestic analogue lushness and dance floor grooves. In more recent years his own reinterpretation of the Detroit sound can be found on the highly regarded Dutch label Delsin.

Here on his ‘Thermionic EP’ Terrace sings out with such intensity that minds are blown. Listen to the brutal, exhilarating sequences of ‘Territorial’ which leads the new EP, and you will receive that message loud and clear. While the music is as much about the consequence of soulful depth, it is also about edgy machines communicating intimately. Sweet chords fuse and then contrast with grainy acidic sonics, leaving the tempo poised at an irresistible pace like all our futures depended on it.

As you move next onto the more subtle electro pulse of ‘Thermon’, shimmering keys dance around a frame-by-frame remembrance of robotic disco in the 23rd century. The uplifting brilliance of ‘Woodward’ follows filling the void with an explosion of colour that is all about life-affirming instrumentation, hitting you fast and loose with a cascade of arpeggios, tough drums plus an incendiary surge of melodic distraction causing the airwaves to crackle with celebration.

Completing this stunning release from Terrace are the fierce, hotwired grooves forged by ‘Ritual’, conjuring up endless combinations of an analogue model rediscovered. The sheer dancefloor animation found within each of Terrace’s productions on this EP purposefully point to and enhance Cyphon Recordings own mission to explore, propelling the emphasis forever forwards.

DJ Support:

Sean Johnston, Kevin Reynolds, Vince Watson, Gareth Sommerville, Daniele Baldelli, Dj Rocca, Massimiliano Pagliara, Craig Smith, Jason Kendig, Rarish & Yoshi Horino

Don Glori, a.k.a multi-instrumentalist Gordon Li, returns with a remix EP that tears open five tunes from his groundbreaking debut, Welcome.

Taking an opportunity to sink into some of the ideas explored on the original album, the five remixes featured here sees some of Europe and Australia’s finest throw open the shutters and shine a light on Li’s inventive compositions and remarkable instrumentation.

Rosie from the Block, a.k.a Belgian multi-instrumentalist, producer and DJ Roselien, leans right into the percussion and drum kit playing that made Welcome so infectious, layering this with cheeky bubblegum-beat bass lines that lend the whole affair an incredibly smooth, street-soul styling.

Other key players include Swedish duo Mount Liberation Unlimited, lending their take on things an introspectively dark, brooding atmosphere that evolves into one of their trademark acid-house extended journeys; Australian radio DJ and producer Ennio Styles working alongside Liam de Bruin, hip-hop/soul duo Man Made Mountain, led by MC Cazeaux O.S.L.O, and an insanely infectious organic house take on hit single Dlareme by one of Melbourne’s finest, Teymori.

A perfect companion to an album that broke open the Melbourne scene and laid out new parameters for the quality of jazz, samba and funk-inspired music emerging from that city, Welcome Remixes breathes fresh life into this incredible album and reminds us just how goddamn fun making, playing and performing music can be.

Cathalepsy ist ein Metal-Projekt aus Valparaiso, Chile, gegründet von Luigi Ansaldi, das 2006 sein Debütalbum "Fight in the sky" veröffentlichte, das in Ländern wie Brasilien und Japan großen Erfolg hatte. Leider war das Abenteuer nur von kurzer Dauer und die Band löste sich 2010 auf. Im Jahr 2019 beschloss Luigi, die Band wiederzubeleben, diesmal jedoch als Projekt, und begann, kraftvolle und energiegeladene Songs mit Texten mit starken Botschaften zu komponieren. Heavy Metal mit Herz und Wut, dies ist ein kraftvolles und wütendes Album, es ist für alle Metalheads, ohne Scheuklappen. Im Jahr 2019 schließt sich Fabián Valdés diesem Abenteuer an, ein prominenter chilenischer Gitarrist. Cathalepsy sind dabei, den Heavy Metal Fans die ganze Kraft ihrer Musik näher zu bringen! "Blood and Steel" ist der Inbegriff erstklassiger Metal-Musiker in nur einem Album mit Gästen, die von Sängern wie Tim "Ripper" Owens (KK Priest, ex-Judas Priest), Ralf Scheepers (Primal Fear), Harry Conklin (Jag Panzer, ex-Riot), Herbie Langhans (Avantasia, Firewind), Frank Beck (Gamma Ray), Giacomo Voli (Rhapsody of Fire), Ivan Giannini (Vision Divine), Thiago Bianchi (Shaman, Noturnall), David Readman (PinkCream 69, Voodoo Circle), Sologitarristen: Joel Hoekstra (Whitesnake), Roland Grapow (Masterplan, ex-Helloween), Ross The Boss (ex-Manowar), Glen Drover (ex-Megadeath, King Diamond, Testament), Pontus Norgren (Hammerfall), Thobbe Englund (ex-Sabaton), Jens Ludwig (Edguy), Danilo Bar (WhiteSkull), Sigurd Fylling (Legend Of Valley Doom), Keyboarder: Scott Warren (Dio, Heaven and Hell, Black Sabbath), Oliver Palotai (Kamelot). Das ist Heavy Fuckin Metal.

GRAMMY NOMINATED AFRO-FUSION SINGER, SONGWRITER, AND PERFORMING ARTISTE The Nigerian singer-songwriter, Burna Boy, was born Damini Ogulu on the 2nd of July, 1991 in Port Harcourt city, Nigeria to Bosede and Samuel Ogulu and he is the only son and eldest of three children.

He started producing music when he was ten years old. After graduating from college, Burna relocated to London to attend university. After two years, he dropped out and moved back to Nigeria to pursue his passion. Coming from a family where music was loved but where a greater premium was placed on education, he spent most of his summer holidays in the UK and in language immersion summer camps in France, Togo and Cote d'Ivoire, before finally moving to the UK where he picked up the Brixton Patois accents which have become a signature in his music.

Young Damini attended Montessori International primary school in Port Harcourt (1993-2002) and Corona Secondary School, Lagos (2002-2008). It has always been music for Burna Boy as observed by his mum when he was still a teenager. She recounts that he was always hanging around his Grandfather, listening to classical music; little wonder his role model later became the man his grandfather managed, Fela Anikulapo Kuti.

His quest for knowledge took him outside the shores of Nigeria to the United Kingdom to study Media Technology at the University of Sussex (2008–2009) and Oxford Brookes University (2009–2010) to study Media Communications and Culture.

Thereafter, he did a one-year internship with Rhythm 93.7 FM Port Harcourt before officially launching his professional music career when he was signed on to Aristocrat records - prompting a permanent relocation to Lagos.

Burna Boy has released a series of EPs, singles, mixtapes, and albums including 2018’s extraordinary “Outside”. The award-winning collection led to Burna’s U.S breakthrough, debuting at #3 on Billboard’s “Reggae Albums” chart, which was partly fueled by the blockbuster single/video, “Ye”. His most recent album, “African Giant”, released in July 2019 has garnered praise from both Nigerian and international media.

Furthermore, the “African Giant” album got nominated for the 62nd Annual Grammy Award in the Best World Album category. Burna is among the contemporary African music’s brightest stars and also the pioneer of an enigmatic genre he simply dubs “Afro-fusion”. The gifted singer-songwriter got featured on American songstress Beyonce's curated Lion King soundtrack, “The Gift”. He also recently took home the 2019 BET Best International Act Award and 2019 MTV Europe Music Award for “Best African Act”.

After the release of 2001's 'Fuck Art', The Dirty Nil jammed in their practice space for weeks, not overthinking anything or taking any external input. They didn’t sweat the small details or fret over transitions and arrangements. Less second guessing, more reckless abandon. It’s the same approach to rock they’ve taken since they were kids. “We had the best time pulling these songs together. It made me feel like a teenager in my parents’ basement again,” Bentham says. What came out was the appropriately titled Free Rein to Passions. Their youthful rock-worship approach is immediately apparent on the album’s opener “Celebration,” which cuts in via a chugging metal riff, a subtle ode to one of the Nil’s influences, Power Trip’s late frontman Riley Gale. From there, the band indulges their loudest, gnarliest inclinations, making casual nods to their more chaotic favorites, including everything from the Jesus Lizard to the Blood Brothers. And on the album’s catchiest single, “Nicer Guy,” the Nil reminds listeners that they also still wield the power to stitch a perfect, infectious pop hook into their rock fabric. Free Rein to Passions keeps things simple lyrically as well, and doesn’t get bogged down with overly complicated messaging. Nothing overwrought, nothing didactic. Just songs about working soul-sucking jobs, shredding on guitar, and striving to be a kinder person. “The only real central theme of the album is an acknowledgment of the crazy circumstances that we all occupy at this point in time, and being nice,” Bentham stresses. “It’s about being nice to everyone around you, and enjoying your silly little life and not getting too smashed down by prevailing negativity in the air.”

Single Blurb No 1: Single "THE UNKNOWN": With "The Unknown", British thrash masters EVILE not only present their album title track, but their most personal and haunting single-release to date! With milions of streams on Spotify, reams of video views and countless tours with acts such as Kreator, Machine Head, Vader, Overkill or festivals like Wacken and Bloodstock among many others, EVILE prove they are still leaders of the modern thrash metal movement!

Single Blurb No 1: Single "THE UNKNOWN": With "The Unknown", British thrash masters EVILE not only present their album title track, but their most personal and haunting single-release to date! With milions of streams on Spotify, reams of video views and countless tours with acts such as Kreator, Machine Head, Vader, Overkill or festivals like Wacken and Bloodstock among many others, EVILE prove they are still leaders of the modern thrash metal movement!

END REIGN makes their Relapse Records debut with their explosive album, The Way Of All Flesh Is Decay. Masterminded by underground music fixture Domenic Romeo (Integrity/Pulling Teeth/A389 Recordings) and featuring an all-star cast of musicians and contributors, END REIGN fuses apocalyptic hardcore with vicious metal in a deadly collision of the classic and the modern. Taking musical inspiration from ’80s linchpins Amebix, Bathory, Slayer and Cro-Mags, END REIGN features the talents of Mike Score of New York metalcore kings All Out War, Adam Jarvis of grind titans Pig Destroyer and Misery Index, the former Bloodlet bassist Arthur Legere and Exhumed/Noisem shredder Sebastian Phillips. Score’s lyrics explore the psychological torment of being trapped between opposing realities. “Most of the album, especially songs like ‘The Hunger’ and ‘Death Comes Crawling,’ deal with being caught between two worlds—the living and the dead, heaven and hell, what was and what is to come,” the vocalist explains. Recorded over a year at Landmine Studios with Len Carmichael at the helm, END REIGN’s full-length debut features vocal cameos from Romeo’s longtime collaborator and Integrity bandmate Dwid Hellion, Full Of Hell’s Dylan Walker and—incredibly—Ed Ka-Spel from avant-rock fabulons The Legendary Pink Dots. The result is one of 2023's most aggressive and enthralling albums. “This album is like riding a rollercoaster in a theme park based on all the extreme music I’ve enjoyed throughout my life,” Romeo says. “I hope that any fans of our musical family tree will enjoy the ride as much as we did.”

If "Forgiveness of Blood" | KR3.009 was marked by a modern vision of techno voiced by Tensal's sound, this remixes EP chronicles the tension that shapes the sound of the artists involved: SHED, Anthony Linell, Alessandro Adriani and Tensal himself. Static and hypnotic waves of strain recur, even though the 4 tracks represent 4 different major expressions of what techno explicitly and implicitly stands for.

Forgiveness of Blood Remixes - is a distillation of the modernist and nostalgic sound capable of impacting both on the dancefloor and mentally.
Four strongly evocative tracks that narrate not only the artists' but also the label's path.

Um das 10-jährige Jubiläum des Albums “Bad Blood X” von Bastille zu feiern, wurde eine brandneue 7”- Vinyl mit zwei unveröffentlichten Demos namens ”Racing Heart” und ”Poet”, produziert. Ein 16-seitiges
12×12 Buch mit neuem Artwork, Notizen von jedem Bandmitglied und unveröffentlichten Fotos liegen der 1LP + 7” – Box ebenfalls bei. Das Artwork enthält ausserdem handschriftliche Trackliste und Notizen von Dan.

Ab dem 14.07 als 1LP+7”- Box erhältlich.