Suche:burning

The Four Owls debut album ’Nature’s Greatest Mystery’ returns on 2x12” Black and Yellow Galaxy Repress across 500 copies (never to be repressed in this colourway).

Celebrating FIFTEEN YEARS since the original release (and with rumours of a new album in the works) ’Nature’s Greatest Mystery’ Black and Yellow Galaxy Repress is a critically acclaimed UKHH classic!

The Four Owls are Big Owl (Fliptrix), Rusty Take-Off (BVA), Bird T (Verb T) and Deformed Wing (Leaf Dog) who also handles all of the production.

’Nature’s Greatest Mystery' features guest appearances from Q-Unique (Arsonists), Dirty Dike and Jam Baxter. A critically acclaimed modern day UKHH classic!

Limited edition pressing of 500 copies.

Black and yellow galaxy vinyl, full colour 350gsm reverse board gatefold sleeve. 14-track album. Shrink wrapped.

Experience the raw electricity and boundary‑pushing creativity of Jimi Hendrix with this definitive 1‑LP black vinyl edition of BBC Sessions — a release showcasing some of the most dynamic and intimate performances ever captured by the BBC. Recorded between 1967 and 1969, these sessions highlight Hendrix at his most spontaneous and inventive, delivering explosive renditions of his classics, unexpected covers, and rare arrangements unique to these broadcasts.

Ransom and V Don connect on their highly anticipated collaborative album, "Chaos Is My Ladder", and just as expected, Jersey City's emcee technical bars perfectly fit V Don's cinematic soundscape. Alongside guest appearances by Lloyd Banks, 38 Spesh, Eto, J. Arrr, Mad Squablz and Crystal Caines, the two have crafted a perfect record for their already incredible catalogues, with Ransom coming on the heels of "This Life Made Me" and his "No Rest For The Wicked", and V Don’s most recent collaboration "Deutsche Marks 3" with Willie The Kid.

A collection of fourteen digital reggae, deep roots and dub rarities from the Nigerian underground, spotlighting a time when Jamaican reggae entwined with Nigerian styles, politics and consciousness, creating a bridge between Lagos and Kingston. Fight the Fire is a companion piece to Soundway"s seminal "Doing it in Lagos" and "Nigeria Special" compilations, celebrating the innovation and musical experimentation of Nigeria in the 80s. Features rare tracks from key figures of the time including Oby Onyioha (with a crucial Burning Spear cover) and Orits Williki.

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

Bruno Silva, operating here under his restless Serpente alias, returns with Visita do Fogo — a sharp, stripped-back and incendiary counterpoint to the drifting, dream-jazz abstractions of Dias da Aranha. If that record floated like smoke, this one crackles and snaps like dry wood.

Visita do Fogo finds Silva stepping back into the heat of his beat-driven origins, embracing a raw, forward-leaning approach that feels closer to his live detonation than a studio construction. The record is built on stark materials — drum fragments, percussive jolts, scorched-earth loops — all manipulated with his unmistakable “screw” instincts: micro-cuts, sudden pivots, rhythmic false floors and the sense that the track might turn itself inside-out at any moment.
Rather than smoothing edges or leaning into atmospherics, Serpente doubles down on urgency. Each piece moves through the record with a chop-and-go physicality, a kind of ritual propulsion that never settles into comfort. Silva’s rhythmic language remains entirely his own: crooked but precise, feral yet meticulous, rooted in dance structures but constantly mutating away from them.

Visita do Fogo is less a sequel to Dias da Aranha than a flare shot into the same night sky — brighter, hotter, and designed to leave afterimages. It captures an artist burning forward, shedding everything unnecessary, trusting the flame.

DYING VICTIMS PRODUCTIONS is proud to present ZERRE’s highly anticipated second album, Rotting on a Golden Throne, on CD and vinyl LP formats. From the cellars of Würzburg, Germany, ZERRE have been keeping the torch of old-school thrash metal burning while carving their own vicious path. Their sound draws on the razor-sharp aggression of classic Metallica and Exodus and the stomping groove of early Faith No More: no frills, no mercy. Their third full-length, 2024’s Scorched Souls, tore through the scene and earned critical acclaim for its searing riffs and unflinching energy. Now, ZERRE take a decisive step forward with Rotting on a Golden Throne. Darker, more overtly political, and more aggressive than its predecessor, this fourth full-length dives headfirst into the rot of power, corruption, and human decay – a brutal soundtrack for a world teetering on the edge. Onstage, ZERRE embody the chaos of their music: riff-driven assaults, breakneck tempos, and a raw intensity that leaves no room to breathe. On record, while those influences still remain, but the DNA has been splintered into something more unique and definitely more powerful: thrashing, yes, but within a crossover framework that feels titanic. The production is razor-sharp, but with ominous atmosphere to spare; the execution is even sharper, as the drumming especially pulses like a dread locomotive; and vocals spit forth venom, raging against a machine fatted by suffering. As the throne collapses, ZERRE deliver the anthem of its fall. Keep on Rotting on a Golden Throne!

Jeb Loy Nichols is at it again with a brand new 7” that pairs two sides of his soulful storytelling. On the A-side, the exclusive cut “Do The Get Together” makes its debut – a slow-burning southern soul dancer that gently calls people closer, both on the dancefloor and beyond it. With warmth, patience, and a steady groove, Nichols invites connection without force, offering a quiet reminder that togetherness can still feel natural and unpretentious.

Driven by Cold Diamond & Mink’s deep-pocket rhythm and understated analog textures, “Do The Get Together” unfolds with ease. The groove never rushes, allowing Jeb’s voice to guide the message with soft authority and lived-in wisdom. It’s a song that feels tailor-made for late-night spins, where movement and meaning find common ground.
On the flip, “First Night Away From Home” brings listeners back to the opening chapter of Nichols’ latest album This House is Empty Without You. Warm, melodic, and intimate, the track captures that mix of vulnerability and quiet resolve that defines Jeb’s songwriting. Together, these two sides form a perfect 7” pairing, pressed for those who value soul that speaks gently but stays with you

Both lyrically & musically, 'VOiD' reflects a disillusionment with a world increasingly defined by division, ideological rigidity & the loss of nuance. The album documents a conscious withdrawal from the noise - a retreat into a personal void. "Metal as well as Rock, from the head as well from the heart" - Classic Rock DE Much of 'VOiD' is driven by frustration with the binary nature of modern discourse, where context & intent are routinely discarded in favour of winning arguments. The record rejects that environment entirely, choosing introspection over confrontation & exploring Darran Charles' (lyricist & vocals) balancing of misanthropy with optimism & isolation with connection.

"Their blend of indie-rock & alternative metal has emotion & depth" - Buzz Magazine The writing process for 'VOiD' was exacting & often punishing, with songs repeatedly reworked in pursuit of emotional impact. Long- standing collaborators Tom Price & Gavin Bushell play a vital role throughout, while the introduction of new bassist Francis George - the band's first line-up change in twelve years - brings a subtle but important shift in the overall feel of the rhythm section.

Razor, a thrash metal legend! The most valuable Canadian export since the Toronto Maple Leafs. When Dave Carlo and his band took to the stage at the legendary Headbangers Open Air Festival a few years ago, the crowds went completely wild. This enthusiastic reaction suggests that Razor may have more fans today than they did in their heyday in the mid-1980s. So the re-release of “Shotgun Justice” on vinyl comes just at the right time. The album comprises 14 tracks and features immortal classics such as “United by Hatred,” “Stabbed in the Back,” and “Brass Knuckles.” Shotgun Justice was originally released in 1990 on CD only on Dave Carlos' own label, Fist Fight Records (distributed in North America by Fringe Records). It was the first Razor album with Bob Reid on vocals (who had replaced Stace McLaren, aka Sheepdog).

Ol' June & The Ashburns deliver timeless soul with a modern edge. Their new single "What's her Name?" is a slow-burning groove in 6/8, built on lush instrumentation, warm analog textures, and heartfelt storytelling.Inspired by the golden era of Soul, the track captures the mystery of a fleeting moment — the glance of a woman who lingers in memory long after the nightfades.A soulful, cinematic journey for fans of vintage grooves and contemporary soul alike new single release "What's her Name?"

"Can't Let Go" by Ol' June & The Ashburns is a modern soul ballad with a timeless 70s feel. Driven by a steady groove and heartfelt vocals, the song tells the story of a man torn between leaving and holding on to a love that's both beautiful and destructive. Nostalgic yet raw, it's soul music that lingers long after the last note

Ladyhawke is the debut studio album by New Zealand singer-songwriter Pip Brown, originally released in 2008. The album is rooted in synth-pop and new wave, drawing clear influence from 1980s electronic pop through its use of synthesizers, programmed drums, and guitar-driven arrangements.

This re-issue faithfully replicates the original 13 track UK version with its gatefold sleeve and lyric booklet, and is pressed on 180g vinyl

IARC108LP – black vinyl / IARC108LPI – indies exclusive grapefruit colour vinyl. All formats are extremely limited and orders may be subject to cutbacks.

IARC108LP – black vinyl / IARC108LPI – indies exclusive grapefruit colour vinyl. All formats are extremely limited and orders may be subject to cutbacks.

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.