Cerca:blue ep

Blue vinyl, limited to 350 copies. Repress of Child's self-titled debut album. Combine the heavy emotion of the blues, the tone and raw power of hard rock, the finesse of soul and a twist of 60's psychedelia. It will give you a visceral musical experience that plays directly to your being. That is CHILD. Living for their art, the pubs, the booze, the endless highways and the blues is what makes this band who they are. Child are a must see for those who are worshippers at "the electric church". The freedom and power of a live performance is important to CHILD in their approach to music, endeavouring to never perform the same way twice. They look forward to once again bringing this to the world on their continued search for sonic paradise. Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive national/international touring. The band released the follow-up 'Blueside' in December 2016, which builds on this foundation to deliver a disc of pure sonic expression whilst following in the long tradition of the blues. 2018 saw the release of Child's first EP, simply titled 'I'. Recorded live to tape, 'I' is a glimpse into the boundless directions that could be taken on upcoming releases.

Surface Noise, a brand new LP of well-turned guitar pop, complete with roaring chords and propulsive rhythms behind Dunlap's clever and cultured lyrics. Austin, Texas quartet Gentlemen Rogues celebrate aggressive guitar pop anthems _ bearing the influences of The Replacements, Superdrag, Jawbreaker, and similar visionaries _ and have been gaining momentum and increased attention. Since their debut in 2011, the band _ Danny Dunlap (guitar/vocals), Josh Power (drums), John Christoffel (guitar), and Dave Hawkins (bass, vocals) _ have honed their hooks over numerous singles, EPs, and the 2022 full-length collection, A History of Fatalism. Gentlemen Rogues have supported diverse acts like the Lemonheads, Smoking Popes, the Dandy Warhols, Mrs Magician, and Riverboat Gamblers on stages across the U.S. and the UK. In 2021 Gentlemen Rogues opened for both indie-punk icons Superchunk and Bob Mould, who personally selected the band to provide sole support on the Texas leg of his Distortion and Blue Hearts tour. Little Steve Van Zandt, Springsteen's steady side-kick, has been strong supporter, Pressed on Transparent Electric Blue vinyl! Includes hand-numbered obi-strip and download card.

Tara Nome Doyle's latest EP »Agape« marks her return to the music scene after a two-year hiatus following the success of her acclaimed sophomore album »Værmin« (Modern Recordings, BMG, 2022).

»Agape« is a profoundly intimate collection of songs documenting TND's emotional journey through grief, commemorating the passing of a loved one. Each track explores different facets of this emotional landscape, showcasing TND's otherworldly performances and unique approach to songwriting.

This self-produced EP represents an artistic leap for the Norwegian-Irish songwriter. Skill-fully capturing the arresting beauty of her compositions, TNDs minimalistic arrangements feature the haunting melodies of Norwegian-Scottish cellist Sunniva Shaw of Tordarroch (known for her work with Fay Wildhagen, Liv Jakobsen and Juni Habel). The ethereal atmosphere they create together evokes a distinctly Scandinavian eeriness while TND's dedication to crafting poetic lyrics and vivid storytelling pays tribute to her Irish singer-songwriter roots.

The EP's title »Agape« translates to unconditional, selfless love - a sentiment that permeates each of the six tracks. This timeless collection of songs aims to be a comforting and cathartic companion for anyone caught in the throes of grief. 1

Repress of Child's self-titled debut album. Combine the heavy emotion of the blues, the tone and raw power of hard rock, the finesse of soul and a twist of 60's psychedelia. It will give you a visceral musical experience that plays directly to your being. That is CHILD. Living for their art, the pubs, the booze, the endless highways and the blues is what makes this band who they are. Child are a must see for those who are worshippers at "the electric church". The freedom and power of a live performance is important to CHILD in their approach to music, endeavouring to never perform the same way twice. They look forward to once again bringing this to the world on their continued search for sonic paradise. Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive national/international touring. The band released the follow-up 'Blueside' in December 2016, which builds on this foundation to deliver a disc of pure sonic expression whilst following in the long tradition of the blues. 2018 saw the release of Child's first EP, simply titled 'I'. Recorded live to tape, 'I' is a glimpse into the boundless directions that could be taken on upcoming releases.

TLM034 will be our 45th release since 1996 and 25th since reforrning the label in 2019. It seemed inevitable that this release would be one of our Best Of Various EPs featuring new and established artists as we have done previously. Starting off this milestone release we have the ever growing Cumulative Collective with AskaFara.

An Epic 10 minute track pushing all the right buttons for listening and the dancefloor alike. Featuring Cormac Fulton, Stefano De Santis, Takashi Nakazato, Ayumi Suzuki and Mitsuru Tanaka, musicians from England, Italy and Japan respectively. All brought together by head of the label Steve Conry who also produced and mixed the track with Stefano De Santis. Track 2 on the A side is by a new name to most, Takahiro Fuchigami with Strange Acquaintance. A beautiful broken beat track with a distinctively Japanese sound.

Onto side AA and that kicks off with Melchior Sultana and The Playground. Melchior has previously released on TLM in 2022 and 2023. For 2024 he delivers a superb jazzy deep house track in his own particular Mediterranean style. Next up is Brazilian multi instrumentalist Fabio Santanna with Melô Da Cuíca, a fantastic Brazilian Boogie track. Fabio came to our attention from his release Chega Mais Lincoln on Joutro Mundo’s superb Brazilian label Onda Boa. Finally rounding off the AA side is The Robinson from Italy with Song 1. A brilliant blues tinged broken beat track that gets better every time you hear it.

Released back in 1988, Godflesh’s self-titled EP is still one of the most powerful and dark recordings the duo ever caught on tape. The slow, pummeling grind of ‘Avalanche Master Song’ is as iconic as the record’s immediately recognisable monochrome cover, laying down the blueprint for their seminal ‘Streetcleaner’ album, whilst tracks like the driving ‘Veins’ prove that guitarist/vocalist Justin Broadrick’s unique melodic sensibility was in full effect right from day one.

- Iconic UK indie band Flowered Up, seen as London's answer to Happy Mondays and The Stone Roses, reissue their debut album 'A Life With Brian' remastered and ehnhanced via London Records.
- 2 x Vinyl edition also includes the 1992 cult epic 13 minute 'Weekender' song and the much sought after Andrew Weatherall remix, both for the first time added to the LP !
- The reissue follows a BFI documentary on the video of 'Weekender' and it's legendary status in UK club culture of the time
- The album remastering was overseen by Flowered Up keyboard player Tim Dorney.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

Reissue of early Japanese house outing by Junichi Soma, Shuji Wada and Katsuya Sayo. Comes with insert with liner notes.

All musical movements require a spark to set them alight; in the case of Japanese house music, that spark was provided by the forward-thinking resident DJs of The Bank in Roppongi, Tokyo. In 1989, to celebrate the ground-breaking club’s first birthday, the venue released a 12” EP featuring first-time productions from three of its DJs, Junichi Soma, Shuji Wada and Strong Katsuya AKS Katsuya Sayo.

Widely considered to be one of the first ever EP of house music produced in Japan, 1st Unit was never officially released. Instead, 500 of the 1000 copies pressed were given away at The Bank’s first birthday party, with the rest initially being sold not in local record stores, but rather the venue’s own in-house shop. Three decades on, the 12” is finally set to get its first worldwide release via Rush Hour’s Store JPN Series.

The record has its roots in The Bank’s willingness to give its ever-changing roster of DJs a free hand to play what they liked – at the time a rarity in Tokyo nightclubs, whose musical offerings usually revolved around strictly defined playlists. At The Bank in 1989, it was not only common to hear European body music and the kind of post-disco New York productions associated with Larry Levan’s sets at the Paradise Garage, but also acid house – something not offered at the time by other clubs in the city.

This cutting-edge blend of sounds, combined with the venue’s unique decor (it was modeled on the inside of a London bank, complete with a cashier’s window to take entrance fees), made The Bank a go-to spot for young party-goers, celebrities and forward-thinking Japanese musicians (Ryuichi Sakamoto was reportedly a weekly visitor).

When it came to celebrating the club’s birthday by cutting a unique record, it made sense for The Bank’s owners to turn to three of their most exciting resident DJs, who were assisted by Heigo Tani and Jun Ebi. The collective name, 1st Unit, was chosen to reflect the fact that all three resident DJs were debutants with no previous studio experience.

As this reissue proves, the music remains timeless, magical, and authentic to the sound of American house productions of the period – albeit with occasional twists,. Katsuya Sano’s EP opener, ‘I Need Love’, sounds like a twist on Larry Heard productions of the period – all jacking TR-909 drums, undulating analogue bass, dreamy JUNO synthesizer chords and evocative vocal samples.

The influence of Chicago acid house is also evident on Junichi Souma’s ‘Ubnormal Life’, whose unusual title contains what he says was an intentional misspelling. Driven forwards by restless drum machine handclaps, sweet chords and rising and falling melodic motifs, the track is an energetic and uplifting treat.

Perhaps the most influential of the three tracks at the time – within Japan at least – was Shuji Wada’s similarly misspelled ‘Endless Load’. Deeper and more melodic with a more expansive arrangement, the track’s combination of marimba-style lead lines, tribal drum patterns, dreamy chords and jazz-funk influenced bass offered a loose blueprint for the more successful and better-known Japanese deep house tracks that followed.

Nach der Veröffentlichung ihres kathartischen, dunklen Psych-Blues-Epos Outside The Dream setzte die Pandemie die Band außer Gefecht. Die Band blieb am Leben, indem sie weiter schrieb und komponierte. Der Weg war genauso wichtig wie das Ziel, und so wurden es zwei Alben in einem: die Songs, die getrennt voneinander geschrieben wurden, sind in Chrononaut Cocktailbar zusammengefasst. Nachdem sie wieder zusammen kamen, bündelten sie ihre ganze Live-Power in einem massiven Biest von einem Song namens Flight Of The Sloths. Die zwei Seiten des Albums zeigen perfekt die zwei Seiten, die in der Band stecken: der eine Wolf schreibt gerne Songs mit solider Struktur und Melodie, während der andere Wolf gerne völlig durchdreht, wenn es um progressive Kreativität geht. Das war schon immer so, aber noch nie war der Kontrast so krass, das Dunkle und das Helle, die Sanftheit und die Aggressivität. Psychedelische Klänge, die an die Zeiten von The Doors und Pink Floyd erinnern, ringen mit düsterem Post-Punk in den Gassen von The Gun Club und Nick Cave & The Bad Seeds um Aufmerksamkeit. Mal tanzbar, mal introvertiert, immer spannend und ein wenig schräg. Schließen Sie die Augen und lassen Sie sich ins No Man's Valley führen...

REISSUE OF THEE HEADCOATS' FINAL ALBUM IN THEIR ORIGINAL INCARNATION! Originally released by Friends Of The Buff Medway Fanciers Association Records in 2000! The final studio release by Thee Headcoats (until last year's Irregularis: The Great Hiatus) gets a long-awaited vinyl reissue! Includes eleven Billy Childish originals plus a cover of Bo Diddley's 'Great Grandfather'! Recorded at May Road & Red Studios. Engineered by Graham Semark. "Thee Headcoats, who put out their first album in 1989, have recorded raw, primordial romps that seem inspired by American Delta blues musicians like Sonny Boy Williamson or the Southern swamp rock of Hasil Adkins, while maintaining a decidedly English sound. They've recorded under a slew of monikers, and issued an amazing discography of full-lengths, EPs, 7"s, and what-have-you for virtually every cool indie label since they formed (including US-based labels like Sub Pop, Get Hip, Sympathy for the Record Industry, and K, among others). Whether he's covering songs with a Bo Diddley beat, garage rock chug, or playing one of his angry young man/dysfunctional family rantings ('The Day I Beat My Father Up', for example), Billy Childish has built up a solid and somewhat rabid fanbase by releasing songs that you wouldn't normally think would attract a huge audience to begin with. However, I Am the Object of Your Desire has the distinction of being the last album by this band, as their prolific leader Billy Childish moved on to a new band; they're called the Buff Medways, which is apparently an ancient and now extinct breed of chicken which had feathered legs. It's also the name of the UK imprint this record was released on. This collection kicks right off with the album-titled track reveling in pure Headcoats fashion: that warm, fuzzy vibrato guitar with Childish's fuzzy, electronically distorted voice (an effect repeated throughout the album); Johnny Johnson's soft, flowing bassline; and Bruce Brand's primeval drums. The group keeps this sort of mid-tempo riffage going for the next couple of tracks. Johnson plays a mean harp on 'Hurt Me (Slight Return)', but things don't really take off until 'In a Dead Man's Suit' and the swaggering, Texas blues 'Chatham Town Welcomes Desperate Men'. The band's punk roots show up in songs like 'An Image of You' and 'Your Crying Means Nothing to Me' while 'Come into My Mind' has a definite Kinks influence. All in all, an excellent album from this soon to be sadly missed band." - Review from 2000 by Bryan Thomas (All Music Guide)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

Medieval Steel wurden ursprünglich im Frühling 1982 in Memphis, Tennessee gegründet. Die Band trat in lokalen Clubs auf, bevor sie ihr eigenes Material zu schreiben begann (welches später mit Queensryche und Crimson Glory verglichen wurde).

"Sobald wir unsere Besetzung gefestigt hatten, intesivierten wir unsere Live-Aktivitäten", erklärt Sänger Bobby Franklin heute."Außerdem war uns klar, dass wir als nächsten Schritt unser eigenes Material komponieren mussten, um in diesem Geschäft Fuß fassen zu können."

Zwei weitere Jahre dauerte es, bis mit "Medieval Steel", "Warlods", "Battle Beyond The Stars" und "Echoes" die vier Songs für ihre heute legendäre Debüt-EP gefunden waren. "Als ich das Material geschrieben und aufgenommen hatte, konnte ich noch nicht ahnen, dass es einmal ein Eigenleben annehmen würde", meint Bobby Franklin. Und weiter: "Ich glaube, wir konnten unter zehn oder elf Stücken auswählen. Aus finanzielen Gründen nahmen wir kein vollständiges Album auf. Die Recordings an sich gingen schnell und problemlos über die Bühne. Wir haben zwei Wochen lang drei oder vier Stunden am Tag geübt, um bestmöglich vorbereitet zu sein. Zu jener Zeit waren wir alle noch junge Burschen und hatten reguläre Jobs. Wir waren uns sicher, dass unsere Musik das gewisse Etwas besaß."

Die besagte EP erschien 1984 über das in Memphis ansässige Label SUR Records, das auch ein eigenes Studio betrieb: "Sie hatten keine Metal-Bands unter Vertrag und haben überwiegend Country und Blues gemacht. Es war ein wirklicher Schock für sie, als wir angekommen sind. Aber es waren nette Leute, die uns gut behandelt haben. Jack Holder war der Tontechniker und Co-Produzent. Er spielte in einer Band namens Cobra und hat danach entschieden, Tontechniker zu werden, worin er sehr gut war. Ich glaube mich zu erinnern, dass 3.000 Vinyl-Exemplare sowie 1.000 Kassetten gefertigt wurden. Sofort nachdem man in Europa von der EP Wind bekommen hatte, war sie im Nu ausverkauft."

Medieval Steel arbeiten zurzeit an einem brandneuen Studioalbum!

Medieval Steel wurden ursprünglich im Frühling 1982 in Memphis, Tennessee gegründet. Die Band trat in lokalen Clubs auf, bevor sie ihr eigenes Material zu schreiben begann (welches später mit Queensryche und Crimson Glory verglichen wurde).

"Sobald wir unsere Besetzung gefestigt hatten, intesivierten wir unsere Live-Aktivitäten", erklärt Sänger Bobby Franklin heute."Außerdem war uns klar, dass wir als nächsten Schritt unser eigenes Material komponieren mussten, um in diesem Geschäft Fuß fassen zu können."

Zwei weitere Jahre dauerte es, bis mit "Medieval Steel", "Warlods", "Battle Beyond The Stars" und "Echoes" die vier Songs für ihre heute legendäre Debüt-EP gefunden waren. "Als ich das Material geschrieben und aufgenommen hatte, konnte ich noch nicht ahnen, dass es einmal ein Eigenleben annehmen würde", meint Bobby Franklin. Und weiter: "Ich glaube, wir konnten unter zehn oder elf Stücken auswählen. Aus finanzielen Gründen nahmen wir kein vollständiges Album auf. Die Recordings an sich gingen schnell und problemlos über die Bühne. Wir haben zwei Wochen lang drei oder vier Stunden am Tag geübt, um bestmöglich vorbereitet zu sein. Zu jener Zeit waren wir alle noch junge Burschen und hatten reguläre Jobs. Wir waren uns sicher, dass unsere Musik das gewisse Etwas besaß."

Die besagte EP erschien 1984 über das in Memphis ansässige Label SUR Records, das auch ein eigenes Studio betrieb: "Sie hatten keine Metal-Bands unter Vertrag und haben überwiegend Country und Blues gemacht. Es war ein wirklicher Schock für sie, als wir angekommen sind. Aber es waren nette Leute, die uns gut behandelt haben. Jack Holder war der Tontechniker und Co-Produzent. Er spielte in einer Band namens Cobra und hat danach entschieden, Tontechniker zu werden, worin er sehr gut war. Ich glaube mich zu erinnern, dass 3.000 Vinyl-Exemplare sowie 1.000 Kassetten gefertigt wurden. Sofort nachdem man in Europa von der EP Wind bekommen hatte, war sie im Nu ausverkauft."

Medieval Steel arbeiten zurzeit an einem brandneuen Studioalbum!

Medieval Steel wurden ursprünglich im Frühling 1982 in Memphis, Tennessee gegründet. Die Band trat in lokalen Clubs auf, bevor sie ihr eigenes Material zu schreiben begann (welches später mit Queensryche und Crimson Glory verglichen wurde).

"Sobald wir unsere Besetzung gefestigt hatten, intesivierten wir unsere Live-Aktivitäten", erklärt Sänger Bobby Franklin heute."Außerdem war uns klar, dass wir als nächsten Schritt unser eigenes Material komponieren mussten, um in diesem Geschäft Fuß fassen zu können."

Zwei weitere Jahre dauerte es, bis mit "Medieval Steel", "Warlods", "Battle Beyond The Stars" und "Echoes" die vier Songs für ihre heute legendäre Debüt-EP gefunden waren. "Als ich das Material geschrieben und aufgenommen hatte, konnte ich noch nicht ahnen, dass es einmal ein Eigenleben annehmen würde", meint Bobby Franklin. Und weiter: "Ich glaube, wir konnten unter zehn oder elf Stücken auswählen. Aus finanzielen Gründen nahmen wir kein vollständiges Album auf. Die Recordings an sich gingen schnell und problemlos über die Bühne. Wir haben zwei Wochen lang drei oder vier Stunden am Tag geübt, um bestmöglich vorbereitet zu sein. Zu jener Zeit waren wir alle noch junge Burschen und hatten reguläre Jobs. Wir waren uns sicher, dass unsere Musik das gewisse Etwas besaß."

Die besagte EP erschien 1984 über das in Memphis ansässige Label SUR Records, das auch ein eigenes Studio betrieb: "Sie hatten keine Metal-Bands unter Vertrag und haben überwiegend Country und Blues gemacht. Es war ein wirklicher Schock für sie, als wir angekommen sind. Aber es waren nette Leute, die uns gut behandelt haben. Jack Holder war der Tontechniker und Co-Produzent. Er spielte in einer Band namens Cobra und hat danach entschieden, Tontechniker zu werden, worin er sehr gut war. Ich glaube mich zu erinnern, dass 3.000 Vinyl-Exemplare sowie 1.000 Kassetten gefertigt wurden. Sofort nachdem man in Europa von der EP Wind bekommen hatte, war sie im Nu ausverkauft."

Medieval Steel arbeiten zurzeit an einem brandneuen Studioalbum!

Label mainstays Fouk just dropped the perfect dancefloor Bomb with ‘Mirage’ paired with a high-octane Elisa Bee remix

We all know Dutch duo Fouk from their soulful, bouncy take on house music. They’re also responsible for some of Heist’s biggest tracks like Kill Frenzy or their Lil Louis inspired 2021 release ‘Blue Steel’. On their new EP, the talented duo shows us a fresh side of their sound: the main-room hands-in-the-air-going-wild side. To top things off, Italian producer Elisa Bee made time in her busy schedule of DJ’ing and releasing for artists like Ben Sims on his Hardgroove imprint and Unknown to the Unknown to deliver a killer remix of the title track.

Fouk’s return to Heist after 3 years is a welcome one and with ‘Mirage’, they might just have given us their biggest house track in their decade spanning career. The track is built around a stuttering synth loop and a seductive female vocal chanting ‘What made you wanna…” The real star here is the bassline, which propels the track into a seriously infectious groove. Add some lush strings and moody changeovers and you’ve got yourself a full-blown dancefloor weapon. Mirage has been a staple in Dam Swindle’s sets for the past months and has been one of their set highlights ever since.

“Coffee” is one for the classic Fouk fans. It’s got lovely Rhodes, a joyous combination of whoo’s, snare-rolls and synth hits grooving on top of an infectious orchestral background loop. “Tapioca” is a hybrid latin-electronic groove that builds on punchy synths, live percussion and drunk keys to balance the energy of the track.

Elisa Bee’s remix of ‘Mirage’ is an intense percussive workout that builds on a breakbeat loop and a rave-bassline. The tempo is turned up a notch or 2 and that stutter synth and vocal of the original make this remix a wild warehouse affair.

Closing track of the EP is ‘Abalone’; A lovely bleep-house affair that still has a bit of that warehouse vibe. It’s got the perfect amount of distortion the drums while keeping things dreamy with some face-melting pads throughout the track.

As always, enjoy the music and play it loud!

Lars & Maarten

The Teskey Brothers share The Circle Session – a live 5-track EP, which features the band’s stunning rendition of the Ray Charles classic, ‘Drown In My Own Tears’, alongside live recordings of four other songs from their #1 ARIA-charting album, The Winding Way – winner of Best Blues and Roots album at the 2023 ARIA Awards. The limited-edition vinyl marks the band’s third live recording pressed on 12inch following their first #1 ARIA-charting album, 2020’s Live At The Forum and their equally stunning Live At Hamer with Orchestra Victoria (2021). Recorded while the band were in Germany in 2023, The Circle Session series has also featured performances over the years from the likes of Hozier, Lewis Capaldi, Freya Ridings and more.

Blue Bendy are kicking off 2024 with news of their highly anticipated debut album ‘So Medieval’ which is being released via state51 on 12 April. Alongside this big announcement the band are sharing the latest new track from the record, ‘Come On Baby, Dig!’, and dates for their UK tour including their largest headline show to date at The Garage in London on 9 May and a special Album Launch Show in the band’s hometown of Scunthorpe to celebrate the release.

‘So Medieval’ captures all the musical foibles, idiosyncrasies and departures from the norm which Blue Bendy have displayed across their previous releases. Expressing their sound over the course of a full record for the first time, ‘So Medieval’ is an explosive mix of genre, atmosphere and emotions. The end result is something rare for a new band: a debut album which is as experimental as it is confident and assured, as tender as it is visceral, as quiet as it is loud, as bloody as it is teary.

Released 25th January, new single ‘Come On Baby, Dig!’ follows on from previously released album tracks ‘Cloudy’ and ‘Mr. Bubblegum’. Simmering down the tempo and darkening the mood, the track stacks forlorn lyrics against an assortment of riffs, tones and textures. The music video, directed by Michael Julings, depicts an unnamed character locked in an existential battle with an immovable black fridge. Starring Laura Schuller, a performance artist recently cast in the Marina Abramović retrospective at the RA, the video also features the band coming together to conjure supernatural powers at the video's climax.

Singer and lyricist Arthur Nolan explains that “Dig is dedicated to an old flame and a city break. I was eat pray loving, digging around for some culture in the wake of breaking up. The wheels came off the trip quickly, and now I won’t go back to Bologna, I’m banned.”

Building on the momentum of their 2022 EP ‘Motorbike’ Blue Bendy are stretching out into vast new sonic terrain. Their following two singles ‘Mr Bubblegum’ - a joyously intricate piece of experimental guitar pop - and the frenetic, propulsive yet incredibly deft sprawl of ‘Cloudy’, saw the band reach new heights creatively. Of the former, The Guardian enthused: “indie is riddled with addled, verbose frontmen right now, but none so rapturous as Blue Bendy’s Arthur Nolan: here he dances all over splayed post-rock and micro-cataclysms.”

Having toured as main support for Squid and Cola as well as playing packed out tents at festivals like End Of The Road and Green Man, Blue Bendy have struck a balance between being obviously skilled musicians, writing complex, layered, overlapping and ambitious compositions, while also utilising space, breadth, and restraint. Their music is bursting with dynamism, exploring push-pull dynamics that results in something ceaselessly unpredictable.