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The third album by Canterbury's own Caravan, originally released in 1971. This was the last album to feature the original Caravan line-up, before David Sinclair left to form Matching Mole with Robert Wyatt (Soft Machine) later that year. In The Land of Grey and Pink is of the defining albums of the era, deemed one of the Greatest Prog Rock Albums of All Time (Rolling Stone) and Best Cosmic Rock Albums (Q and MOJO). This reissue set features a pink and grey marble 2LP, which features live BBC live sessions tracks made available for the first time on vinyl.

The Colombian band Frente Cumbiero from Bogota has been successfully mixing traditional cumbia rhythms with more contemporary music trends for a number of years, creating an unusual end product. At the Javeriana Universidad of Bogota, in 2010, there was a productive meeting between the four-piece band and some local musicians with Mad Professor. After three work-intensive days, the recordings were in the can.

Out on a limited sold out double Lp, and a sold out 7” inches box set, we're so honored to repress 2 songs from this masterpiece on a single 45 vinyl.


Made with Love and cut it loud for your ear pleasure.

Edition of 600 copies, coming in a black paper sleeve with sticker.

Pressed on high quality Black and Yellow vinyl wax (40 gr.).

Best Of Kollektion der legendären australischen Gruppe THE EASYBEATS. Enthält ihren Top-20-US-Hot-100-Hit von 1966, "Friday On My Mind". George Young und Harry Vanda von THE EASYBEATS bildeten ein erfolgreiches Produktionsteam, das sechs Alben für AC/DC und viele andere produzierte.

Unnion takes off with its first EP featuring a compilation of four spanish artists with different styles and a unique common thread, living up to the platform's name.
The album kicks off with Tadeo's offering, titled "The Second Part", where we can immediately hear the artist's personal touch: a lot of funk, solid sounds, and attention-grabbing elements that go straight to the dance floor.
The second track comes from Unkle Fon, titled "Eltzegor." It's a soaring journey towards a climax filled with synthetic sounds and hypnotic developments that create a unique sense of motion.
Moving on to the third track, we have the contribution of Not A Headliner, titled "Cricket Circus." It features an atonal sensation accompanied by a groovy rhythm in which the interplay of sounds transcends the norm.
Closing the album is Irazu's proposal, titled "Quietly," which presents itself as a singular, monolithic, and raw option, overwhelming like a locomotive and ready to crush any obstacle that dares to stand in its way."

This third release from Rubi Records sees Ashley Tindall—aka Skeptical—stepping out of his usual drum and bass territory and slowing things down with three seriously deep dub-infused bass tracks in the 140-150bpm realm. While not the first time Skeptical has dipped his toes in such waters, these are easily among the finest, most musically mature examples to date. For those drum & bass fans out there unsure about Skeptical branching out into other genres, this EP shows that an open mind and listening without prejudice will reward your ears.

First up is the utterly dub-soaked 75/150bpm track 'Tell Me'. This solid stoner groove takes clear elements of Skeptical's more dub-orientated D&B and adds mesmeric pads and soulful vocal hooks, making it one of the deepest head-nodders in his overall catalogue. This is more a refined track for the 'listener' than for the dance floor, and while you can still easily throw some shapes to it, it's great to just immerse yourself in as a purely audio experience.

Next is the 140bpm 'Tapestry', which is somewhat the darker twin of 'Tell Me'. Again, we have a slow dub-infused head-nodder, but this time more menacing in tone thanks to the finely-judged use of some moody sound modules that Skeptical has tweaked and twisted in his inimitable fashion. This one's the audio equivalent of a restless mind in the depth of night.

The final offering is another 140bpm track – the unsettling beast 'Atomic v1'. It begins with a slow-burn build up of an off-kilter metronomic beat, subtly growling bass and haunting strings. This, in turn, gives way to a distorted rendering of Oppenheimer's famous use of 'Now I am become death, the destroyer of worlds' from the Bhagavad Gita, before becoming a sinister slow-motion dubstep rumbler. With its dragging beat and the purposefully off-point main sonic hook running over the top, this is a disorientating and unsettling weapon for the discerning DJ.

This EP continues the fresh direction of Rubi Records, showcasing exceptional, forward-thinking music without borders.

Support: Ben UFO, Joy Orbison, Gilles Pererson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Randall, Lens.

Radio Support: BBC Radio 6 Music, Rinse FM, Kool FM

Tyresta's Small Hours album (a direct follow-up to 2020's All We Have) comes on beautiful 180-gram splatter green vinyl via Past Inside The Present and is another majestically subtle and intimate ambient work that explores "impermanence, grief, loss, healing, and growth". It's an album that reveals more with each listen as the carefully layered-up synths and melodies intertwine harmoniously to make for a perfect late-night soundtrack. There's plenty of soul searching to be done while lost in the midst of this album, but it will be a rewarding task as you cannot fail to find "solace, rejuvenation, and a rekindling of the unfettered spirit," as the label puts it.

In the year 1900 a musical genius was born in New Orleans. This man
who has been aptly described as 'The man who revolutionised Jazz' is of course the King of the trumpet Louis Armstrong. Perhaps another Jazz great Duke Ellington sums it all up best when he said “Louis Armstrong is, of course, the man who, when heard playing trumpet, inspired thousands to play like him. Hundreds of thousands more were simply inspired to play the same instrument he played and who knows how many millions just loved to listen to him? Louis Armstrong is what I call an American standard, an American Original.”

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

What we love about this compilation is that it’s not one of these boring best off type of stuff, but a gathering of all songs that were published on rare vinyl releases that Hooded Menace put out during the last 15 years. So, in case you had no chance to buy any or all of these 7”s or splits (that go for high prices these days) this compilation is a chance for you to hear some more splendid stuff from these masters of horror. All songs are presented in chronological order, so... The feast begins with two songs which also ended up on the debut album of Hooded Menace “Fulfill the Curse”, but recorded in different versions the year before the album was recorded. We all love how Hooded Menace combines heavy, Doomy riffage with that gloomy, horror atmosphere and some melody. And of course their Doom is strongly infected with old school Death Metal, so this is also why the music of Hooded Menace speaks to many of you so well. Later there’s some stuff from the split with Anima Morte, splits with Coffins, Asphyx and Ilsa. All in all, we have to say that “Gloom Immemorial” is a fantastic compilation of rare stuff from one of the best Doom/Death Metal bands ever. We would love to have them all as originals, as playing such music in vinyl format is simply pure magic and it always give you a special feeling, but if you cannot have what you want, you will be very happy with this substitute. The band and the label took it all seriously and came up with a fantastic booklet, which shows you each original release in details - with lyrics, original artwork and band photographs from that era. It cannot be done better, so this is just a near-perfection type of release with 75 minutes of horror soundtrack on a killer 2-LP.

From Northern Ireland and the South of England hail Jetplane Landing - which, for the last two decades has been variously composed of: Jamie Burchell (Bass/Vocals), Raife Burchell (Drums), Andrew Ferris (Vocals/Guitars), Cahir O’Doherty (Guitars/Vocals) and Craig McKean (Drums). Big Scary Monsters are releasing their debut album Zero For Conduct on vinyl this January as well as putting their entire back catalogue back on streaming services. Their debut album ‘Zero For Conduct’, was recorded on an 8-track tape machine in Jamie's parents' garage in Bognor Regis and mixed during engineer Sean Doherty’s downtime in a London studio owned by a diamond mining company. Hailed a 'masterpiece’ (5Ks - Kerrang!) upon its release in 2001 - it contains fan favourites ‘This Is Not Revolution Rock’ and ‘Summer Ends’ and perfectly encapsulates the vitality of the 00's post-hardcore DIY scene that inspired its creation. Deriving their name from the moment a blissed-out Burchell/Ferris witnessed At The Drive-In perform ‘One Armed Scissor’ on their debut British TV performance - “Fuck me Ferris, they sound like a jet plane landing!” - ZFC channels that riotous energy across its heart-felt eleven cuts. Delicate acoustic confessionals sit alongside full-throated math-rock experimentation; this is an album as varied as it is ambitious. Jamie: “We initially set out to track the record during a two-week period Andrew had off from work. At the end of those two weeks, we didn’t even have all the drums recorded let alone the overdubs. So the idea emerged that Ferris and I would drive down every weekend from London to my parents’ house and we would make the album that way. Cut to… one year later…” Andrew: “When I listen back now, I can physically feel the conversations we had on those long drives, all those micro-decisions - getting the songs to be… right. It was a long process, but truthfully I’d have been happy to let it go longer. Jamie gave me so much confidence and pushed me to places I didn’t know I had or even needed to be. It was a really special time.”. Jamie continues, “There was this weird fusion between us musically which seemed to just work.” Fans of Elliot Smith, Nick Drake, J Mascis, and Stephen Malkmus will feel right at home with this lovingly crafted set. Spoiler alert: heavier sounds and bigger rooms were to come for Jetplane but on Zero For Conduct their musical universe feels at once expansive and deeply personal.

It may have been 13 years since the last record, but Crime In Stereo are back with the announcement of its forthcoming album House & Trance, set for release on 27th October 2023 on Pure Noise Records. Lead single Hypernormalisation analyses the apathy of people in the face of their imminent demise,"The wildfires gathered themselves together, advancing enough petition signatures to force a vote on rerouting subterranean magma ducts directly into any east/west commuter corridors. Cities of water rushed in from the sea only to circle the neighbourhood for hours, stymied by alternate side parking." House & Trance feels like the natural next step for Crime In Stereo. It was entirely self-produced by the band (outside of it, both Romnes and Cioni are acclaimed and accomplished producers), and flows on so well from their past that it’s almost like the intervening decade and a bit hasn’t happened.

Breaking Teeth (3rd Single / Will have a music video & Reddit AMA) Breaking Teeth is the 3rd of 4 singles from their new album The Fear Of Letting Go. Tyler Tate (vox) describes this track as the heaviest song on the record and sounds simply - "pissed off". "When I wrote the lyrics I was so fed up with the world & my life in general. Set back after set back, problems around every corner. Living should be simpler but the society we live in prevents that. We should all be pissed about it.” Band will do Reddit AMA & MV Visualizer We're All Left Suffereing (2nd Single / With Album announce) 'We're All Left Suffering' is the second of four singles from Michigan based metalcore band Hollow Front's upcoming album 'The Fear Of Letting Go'. The release follows their 2022 album ‘The Price Of Dreaming’ (#9 Current Hard Music Albums, #35 Current Digital Albums, #42 Independent, # 48 Current Rock Albums) which received praise from New Noise “a blistering and bruising experience, evoking myriad emotions and conveying a heady and moving blend of euphoria and despair.” and RockNLoad “Hollow Front has dropped nothing short of a phenomenal album with The Price of Dreaming. While the release doesn’t do anything new, it takes an already established formula and polishes it into a perfect shine. If you’re a fan of any of the modern Metalcore titans, you’ll love this release, hopefully as much as I do. Utterly brilliant.” 'We're All Left Suffering' is the first song the band has released since the announce of Dakota Alvarez's departure (former guitarist/singer) and marks the next chapter in the bands journey. The song will be accompanied by a music video and lined up with the announce of their forthcoming record "The Fear Of Letting Go" (Out October 27th). Lead vocalist states “This track is an anthem for the broken spirited. We live in a world riddled with heartache and constant struggle. Whether mentally, physically, or financially; we area collective of human beings doing our best to survive. I think with everything that’s happened in the world over these last three years, things might seem hopeless. It feels like the whole world has gone mad, and we’re all just here suffering along for the ride. It can be incredibly discouraging being a human in today’s social and economic climate. So I think this song is for those people who are sick of dealing with the bullshit life is throwing at them, and just want to truly breathe for once.”

For 14 years Throat have been the sonic equivalent of forcing a square peg into a round hole; often abrasive, causing utmost irritation at times and on a rare occasion a feverishly pleasant dose of brooding darkness in one's otherwise dull existence. The peg now fits. We Must Leave You sees Throat dropping pegs of all shape and size through the same hole. The last confines of musical genres are behind them, resulting in an album which can be regarded as the easiest listening Throat has ever presented or simultaneously their most difficult and puzzling work to date. Thematically what we have here is a breakup album. Never ones for thinking small, Throat breaks up with the world. Enough is enough. Bring back lockdown. No need for petty social commentary on how the world is burning. Let it burn. Throat is already walking away and it remains to be seen where they end up next. If anywhere. Breakups always require dramatic music and We Must Leave You more than fits the purpose. Throat have already hinted at new directions and new sounds on their previous two albums, but here it all breaks loose. Rooted in the same heavy, dark rock sound as always, but a touch of gothic drama from the 80s has been injected to the band's sonic palette which obviously means a few deeper shades of black. The noise and dissonance remains, but this time it all has been dipped in honey and black grease paint. We Must Leave You was written over a few years time and finally recorded in 2023 at Tonehaven Recording Studio with Tom Brooke and the band's own Amplified Human Audio. Once again, Andrew Schneider mixed the album at Acre Audio and Carl Saff handled mastering duties at Saff Mastering. Photography by Dorota Brzezicka and design by Stefan Alt of Ant-Zen.

British rock legend GRAHAM PARKER returns with his first album of new material since 2018. LAST CHANCE TO LEARN THE TWIST finds the veteran singer-songwriter in top form, offering up thirteen new compositions with exquisitely tasteful backing by The Goldtops (bassist Simon Edwards, drummer Jim Russell, guitarist Martin Belmont and keyboard player Geraint Watkins) and frequent contributions from the Easy Access Orchestra horns and backing vocal duo The Lady Bugs. It's a dazzlingly diverse album: sweet classic soul grooves and roots rock sounds dominate, framing lyrics dripping with Parker's vintage "Wicked Wit" (as one song title has it) and his inimitable, impassioned vocal delivery. Two early singles have hinted at the record's depth: the devastatingly stark "We Did Nothing" with its heartbreaking examination of the cost of inaction on both the personal and global stages, and the delightfully playful reggae-tinged "Them Bugs." The beautifully bittersweet ballad "It Mattered To Me" is set to follow, while the folk-informed meditation on mortality "Last Stretch Of The Road" has proven an instant fan favorite at recent solo performances. But there's much more waiting to be discovered on the full album, which is at once one of Parker's most relaxed and boldest statements to date.

The sixth full-length release for the Scottish indie pop band was produced by Bright Eyes' Mike Mogis. Since the band started in 1987, the Trash Can Sinatras have always been reliable. Every record has delivered exactly what people needed from them: lovely guitar pop songs done with a light touch, deep emotional feelings, and melodies as rich and warm as a late-autumn heat wave. Since their original run ended in the '90s, they've come back regularly to remind people that they are just about the best guitar pop band still going, with a new album roughly every five years or so. Wild Pendulum finds the band in fine form, expectedly. It also finds them doing a bit of sonic experimentation, unexpectedly. With former Adventures in Stereo mastermind Simon Dine on board providing the kind of ""sonic scenery"" he added to many recent Paul Weller albums and producer Mike Mogis capturing fuller arrangements than usually heard on TCS albums, it's the most sonically interesting album of their long career.

«YENTL: Deluxe 40th Anniversary Edition» feiert den 40. Jahrestag der Veröffentlichung des Films und des Soundtracks Yentl. Disc 1 enthält den Original-Soundtrack zu Yentl, und Disc
2 enthält 15 Tracks, die Barbra als Demos in ihrem Wohnzimmer auf einem Stereo-Kassettendeck aufnahm, um den Film zu drehen, wobei Barbra jeden Track kommentiert. Bei den
Aufnahmen wird Barbra nur von Michel Legrand am Klavier begleitet

Indeed, it happened again. My vision is completely blurred and all I am able to see are vague moving shapes. Although, it seems I can hear perfectly fine. The manifestations I am seeing are moving, curiously synchronized with the sound I can hear. I wonder if those shapes are pulsating because they are hallucinations of my brain or real things dancing to the rhythm I hear. I am myself vibrating too and I cannot remember when it started. It is curiously pleasing to feel connected to these fluctuations, but suddenly the music stops and I start to feel dizzy. I can’t see anything anymore! In fact, I do not even feel my body. Did I ever have one ?

Repress.

EYE is back. Metamujer marks the third installment on the Knekelhuis label and we’re extremely happy to release this document of another chapter in Laurène Exposito’s life. Recorded on various locations ranging from the Swiss mountains to the chalky coasts of Brittany, Metamujer is an 8-track ode to salty love and closeness to nature, a tribute to a modest lifestyle à la Henry David Thoreau. Far from being praise for self-sufficiency, this new LP is deeply influenced by Laurène’s environment. We can hear Korg MS-10 created synthetic waves (Sanatorium) and birds (Luscinia), but one can also catch her singing in Italian, one of 3 languages spoken in Switzerland. Still minimalist and yet more aesthetically diverse, her new sounds are on the edge of EBM and synth pop, between classic minimal wave tunes and rustic ballads on acid.

EVERGREENS feiert Streisands 60-jähriges Jubiläum als Künstlerin bei Columbia Records. Das Album enthält 22 Songs - 1 Song von jedem Studioalbum, das sie veröffentlicht hat. Die Songs wurden von Barbra als einige ihrer Lieblingssongs während ihrer Karriere ausgewählt. Keiner dieser Titel ist auf früheren Streisand-Compilation-Alben erschienen. Die für EVERGREENS ausgewählten Lieder haben nichts mit Verkaufszahlen oder Auszeichnungen zu tun. Sie wurden von Barbra ausgewählt, um ihre emotionale Verbindung zu diesen Melodien und Texten zu veranschaulichen, da jeder von ihnen einen besonderen Platz in ihrem Herzen und in ihrer Erinnerung einnimmt.

YELKA, die sich tatsächlich erst während der Corona-Pandemie als Band gefunden haben, bleiben jedenfalls ihrem "10 Alben in 3 Jahren"-Masterplan wider aller Umstände treu. Klar, das tun Volkswagen und die EZB auch: Wachstum forever!

Aber bei YELKA reden wir erstmal nur von limitierten 300er Vinyl-Auflagen. Und wie schon bei den Vorgängeralben „Nowhere Jive“ & “1976“ wurde wieder im Berliner Popschutz-Album aufgenommen und die Musik von Norman Nietzsche fertig gemischt und gemastert.
Die Cover-Zeichnung von Chriegl Farner ist mit Sicherheit das auffälligste Motiv der bisher erschienenen YELKA-Alben.

Überhaupt hat man das Gefühl, dieses Trio hat sich jetzt richtig eingespielt. „Can I use your name!? Can I use your dream?!“, fragen YELKA im Album-Opener und erinnern mit dem stoischen Beat, der Dub-Remix kompatiblen Bassline und seinen No-Wave-Gitarren
an die Au Pairs oder SLITS. Durch diverse Interlude-Wurmlöcher hindurch landen wir plötzlich in einer postkrautigen Coverversion von "Tausendmal Du" - im Original von Münchener Freiheit! Ein Song, der sich aber erstaunlich gut ins bisherige YELKA-Repertoire einfügt zwischen Chicago-Postrock, Ruhrpott-Kraut und Berliner Elektronik-Schule.

Orange vinyl, 100 only

Cardiff-based, DIY-folk-pop collective, Quiet Marauder, are set to release their 5th album at the end of October 2023. This follows on from their madcap 111-song debut album, MEN (2013), as well as the more recent Tiny Men Parts (2020) and The Gift (2021), and continues their long-established relationship both with their label, Bubblewrap Collective, and Canadian collaborators, The Burning Hell.
Recorded in a Snowbird Studios pop-up in Lourinha, Portugal, Introducing Malcolm Del Monte continues the band’s fascination with high concepts and musical, album-length storytelling. At its core, it is an album about self-identity, isolation, and our innate fluctuations as human beings. Set during the pandemic, the album's a very loosely autobiographical (read: almost entirely false) account of band leader Simon M. Read's day-to-day life during Covid lockdowns with partner, Kadesha Drija, and imaginary friend, Malcolm Del Monte.
Choosing to largely avoid the topic of the pandemic altogether, Introducing Malcolm Del Monte instead charts the highs and lows of these living arrangements. These range from outrageous daytime drinking (high) to disagreements on the nature of perversion (low), with the first half of the album covering Malcolm’s emergence and ultimate expulsion from the house. With his absence being sorely felt, the second half sheds light on the alternative voices looking to fill that Malcolm-shaped space: a murderous green giant; a despondent Milk Tray Man; and a broken-necked, hypersexual Jet from Gladiators.
As with their previous story-based albums, the foreground narratives act to enable background allusions to other core concerns: the power of nostalgia; advertising and cultural consumption; well-being and isolation; balancing acts of the self. Ultimately, the album’s message is of striking a balance between self-questioning and improvement, and most of all, not being too hard on yourself when things don’t feel quite right.
Sonically and seamlessly ranging from alt-folk to industrial synth to melodic indie-pop, Introducing Malcolm Del Monte covers a lot of ground. Injected with the musicality of Quiet Marauder themselves, as well as Canadian kindred spirits, The Burning Hell, instrumentation includes flute, piano, chunky bass, acoustic and electric guitar, programmed beats, synthscapes, bamboo clarinet, bongos, and a heap load of vocals. Indeed, alongside the main lead voices of Simon M. Read, Kadesha Drija and Malcolm Del Monte (Rowan Liggett) there are guest performances from My Name Is Ian and The Burning Hell’s Mathias Kom.
The album will be preceded by lead single and video Momma Mia! I Made You Some Sangria! on 22nd September,

Released in 1983 at the height of the Satanic Panic, SHOUT AT THE DEVIL catapulted MÖTLEY CRÜE to superstardom. Delivering on the hype and promise of their PLATINUM debut, Too Fast For Love, MÖTLEY CRÜE second album hit the US Top 20 and was certified 4X PLATINUM. For many music fans, SHOUT AT THE DEVIL was the first time they witnessed an album with this imagery and lyrical content on mainstream retail shelves.

40 years later, THE CRÜE is still going strong, bigger than EVER and headlining STADIUMS around the World! So come now Children Of The Beast, be strong and SHOUT AT THE DEVIL...
Sold Over 1.3 Million Tickets in North America last year on THE STADIUM TOUR with Def Leppard
THE WORLD TOUR continues in 2022 having already rolled through Latin America, Brazil UK and Europe
Will perform for another 300,000 fans in the US in August before heading to Japan and Australia in October and November
3 tracks from Shout At The Devil remain in the band’s live set 40 years later, “Shout At The Devil,” “Too Young To Fall In Love” and “Looks That Kill”
Shout At The Devil has sold over 4 Million Copies in the US alone
Major ad campaign and Halloween week
Album newly remastered by Andy Pearce (Black Sabbath, Motorhead)
Shout At The Demos & Rarities LP contains 7 rare tracks and demos, including “Hotter Than Hell” which later become “Louder Than Hell” on 1985’s Theatre Of Pain

Contents:
• Original Album Remastered on Orange/Yellow Splatter LP
• Shout At The Demos & Rarities Red/White Splatter LP
• Shout At The Devil CD
• Shout At The Devil Red Cassette
• “Looks That Kill” White 7”
• “Too Young To Fall In Love” Orange 7”
• Devil Board w/Metal Planchette
• Metal Pentagram 7” Adapter
• Pentagram Felt Bag
• Devil Candle Holder (candle not included)
• Band Member Tarot Cards
• 12” x 12” Pentagram Séance Board
• Two 12” x 12” Shout At The Devil Blood Album Cover Litho Art Prints

The popularity of speed/thrash metal in the late 80's and early 90's is undeniable.

After the demise in the late 80's of cult speed metal band BLOODLUST, Sandy K and John Lisi embarked on a new project, remaining true to their roots in fierce and fast metal. With the addition of Jeff Mohr and A.J. Cavalier to the group, LAST RITES emerged, wanting to assert themselves as a "schizophrenic speed metal" band.

And that's exactly what we can expect from LAST RITES! In this vinyl release, where we put together the band's two cassette recordings ("Don't Be Denied" from 1990 and "Agony" from 1991), we can find a perfect example of the speed/thrash of the turn of that decade: fierce, intense and uncompromising, roaming on themes of personal despair and social criticism

color repress !

Monocturne returns with a new blend of flavours crafted by house engineers Adrien Calvet and Keymono aka House Master Flash, under the supervision of expert rescue vet Coupe Melba.

Rutilance doubles its efforts to celebrate his 10 years in the music industry with this new various artists double pack. All the Rutilance friends reunite to produce 8 house tracks where everyone can find what they're looking for. 3 digital bonus tracks will be available to complete this master piece....

Bei der Konzeption von 'Switched-On' orientierte sich Pachy García, alias Pachyman - Multi-Instrumentalist aus L.A. -, am Reggae der Lovers-Rock-Ära und dem legendären Studio One. Doch das Album ist auch eine Hommage an die Ära, in der Musiker begannen, Synthesizer für herrlich schräge Bleeps und Bloops zu manipulieren. Seine Entwicklung wird auf You Looked at Me deutlich, wo ein Krautrock-artiger Beat mit Synthies, die an Boards of Canada erinnern, verschmilzt. Pachys Sound erweitert sich auf Trago Coqueto, einem frechen Liebeslied, das durch das Prisma eines Cocktails gesungen wird und eine Ode an seine puertoricanischen Wurzeln ist.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Having been a frequent touring member of bands like Hand Habits and Fruit Bats, and often being called into the studio to lend her harmonies and multi-instrumental talents to records, Johansing’s phone no longer rang. Living in Los Angeles she feared her musical community was vanishing, as friends and collaborators continually announced they were leaving the city. It was in returning to her piano nightly that she found the greatest solace, feverishly writing the songs that would be collected on her next album. Resulting from this new sense of time and focus was a deepening of her songwriting. As Johansing recalls, “I felt like a metamorphosis happened during that time. There was a lot of personal growth and healing.”

Throughout Year Away Johansing traverses uncharted emotional landscapes brought upon by the changes occurring all around her. The forced self-reflection of the moment is aptly captured by “Old Friend”, featuring an aching melody and swooning production that recalls the best of Harry Nilsson. The epic piano and saxophone-driven “Smile with My Eyes” addresses the loss of community as friends became distant and political divides between family grew. On “Smile” Johansing pushes her vocals further than ever, expanding her range and using her peerless voice as the singular instrument it is. Facing the loss of a family home due to environmental destruction, “Shifting Sands” is marked by soaring Hlutes, Hield recordings and glassy synthesizers that nod to Japanese New Age.

“Daffodils”, the stunning album centerpiece, is built from a pastiche of looping samples, swirling Mellotron and dazzling vibraphone. “Keep your heart open wide, you never know your time / Keep your heart wild, true Hlower child”, Johansing sings as she says goodbye to an elder, while the band reaches a grief-stricken crescendo of woodwinds and chiming bells. On the title track, Johansing takes listeners on an eerily meditative journey of collective experiences. “I wanted to keep the progression simple and repetitive so that musically we could add new elements little by little, while the emotional tone of the lyrics becomes increasingly more strained and expressive”. The song grows to a fever pitch as Johansing sings higher than she thought possible; the tension of the repeating chords Hinally resolving into a hopeful coda as multiple soloists weave around each other.

Amidst heavier themes, Johansing still leaves room for her love of irresistible pop melodies and lush production. The driving “Last Drop” and mid-tempo “Valley Green” are two of her catchiest songs to date. On the former Johansing sings the anthemic chorus, “As if it were the last drop, and nothing ever lasts forever / As if it were the last stop, too far out to come back ever”, longing for a love that she’ll never take for granted, while also admitting that she doesn’t always know how good she has it. “Valley Green” features shimmering layers of 12- string guitars, stacked horns and an impeccable solo by co-producer and multi- instrumentalist Tim Ramsey (Vetiver, Fruit Bats), hinting at a love for bands like NRBQ.

Having been eager to capture the initial spark of songwriting, Johansing booked time at Highland Park’s 64 Sound Studio the week that it reopened. Over the course of three days, she and her band gathered basic tracks for 10 songs, before returning home to Hinish the record with Ramsey. Setting forth to make an album that paid homage to the music that kept them company during the months spent alone together, the duo pulled inspiration from a wide net including Burt Bacharach, John Carroll Kirby & Haruomi Hosono. Ramsey’s newfound love of early digital synthesizers dovetailed effortlessly with Johansing’s fondness for classic 70’s horn and string arrangements, creating a sound that is distinctly modern yet warm and familiar.

Once again Johansing called upon some of the Hinest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (HAIM, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (MGMT, Alvvays).

Though born of turbulent times, Year Away is ultimately interested in moving forward. The album ends with “Endless Sound,” where Johansing laments seismic global changes, (“The water is hotter, the mighty thaw / The current’s reversing, the last are lost”) but vows to keep going (“No storm can take me down / Endless light, endless sound”). It’s Year Away’s resilience that shines through despite the darkness. It’s a sound all her own and Johansing’s most cohesive set of songs yet.

Gusstaff Records and Ant-Zen are proud to announce the second solo album by Maciej Frett (Job Karma, Wrocław Industrial Festival), which is vocally supported by Anna Frett. After FRETT's 2020 debut "The World as A Hologram" was warmly received by fans and critics, it's time for the next installment of the FRETT project.The album "NOTTWO" revolves around the theme of dualism, which seems to be the raison d'être of the being of man and the world. Opposites define our way of perceiving the surrounding reality, or is it just an illusion? the artist seems to be asking…Musically, "NOTTWO" is a continuation of the first heavily rhythmic album, but this time FRETT gives many compositions an almost song-like structure. However, let's not be fooled by appearances - derived from the author's post-punk and industrial lineage, analog retro futuristic synth melodies and strong rhythms will work well both on a dark dance floor and can be a soundtrack to a non-existent movie.
Vinyl is ultra-heavy 200g black.

THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

LIMITED EDITION RED ON FOR THE DARKNESS VINYL. THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

The first Latin soul collection featuring a mix of chart-topping hits and deeper cuts from the crown jewel of the mambo era Tico Records, celebrating the iconic imprint’s 75th Anniversary. The 2-LP set includes 26 tracks from trailblazers Tito Puente, Ray Barretto, Joe Cuba, Celia Cruz, Eddie Palmieri, La Lupe, Willie Bobo and more. New liner notes by DJ Dean Rudland that tell the story of the New York City label that launched the careers of some of the most revered names in Latin music.

Doppel-LP erhältlich auf gelbem Vinyl - Definitive Sammlung von Nancys seltenen Singles, Demos und bisher unveröffentlichten Stücken - Enthält 3 bisher unveröffentlichte Tracks, plus 3 Tracks, die ihr Vinyl-Debüt feiern - Das ausführliche Booklet enthält neue Interviews mit Nancy und Don Randi (The Wrecking Crew) PLUS nie zuvor gezeigte Fotos aus dem persönlichen Archiv von Nancy Sinatra - Der Ton wurde von den analogen Originalbändern von dem GRAMMYr-nominierten Toningenieur John Baldwin neu gemastert - Doppel-LP im Gatefold-Jacket mit 24-seitigem Buch - CD mit 40-seitigem Booklet // Light in the Attic feiert weiterhin die einflussreiche Karriere der Sängerin, Schauspielerin, Aktivistin und Ikone Nancy Sinatra mit einer fesselnden neuen Sammlung, "Keep Walkin': Singles, Demos & Raritäten 1965-1978", die vom GRAMMYr-nominierten Toningenieur John Baldwin neu gemastert wurde und 25 B-Seiten, seltene Singles, Cover, Demos und bisher unveröffentlichte Aufnahmen aus Sinatras reichhaltigem Katalog enthält. Das 2-LP-Set wird in einem erweiterten Klappcover präsentiert und von einem 24-seitigen Booklet begleitet (das auch in der CD-Ausgabe als 40-seitiges Booklet enthalten ist), das eine Reihe von Fotos aus der persönlichen Sammlung der Künstlerin sowie ein neues, ausführliches Interview mit Sinatra enthält. "Keep Walkin': Singles, Demos & Rarities 1965-1978" dient als Ergänzung zu der weithin gefeierten Retrospektive Start Walkin' 1965-1976 aus dem Jahr 2021, die die gesamte Karriere umfasst.

After 14 years and nearly 150 CD releases, Cherry Red's psychedelic imprint Grapefruit finally produces its first-ever vinyl issue.

A 90-minute, 30-track anthology, ‘When The Alarm Clock Rings’ is an all-encompassing overview of the late 60s British psychedelic scene.

The set features major underground names (Crazy World of Arthur Brown, Blossom Toes, Dantalian's Chariot, John's Children), cult 45s (The Voice, Paper Blitz Tissue, The Syn), future legends (Alex Harvey, Genesis, Greg Lake's early venture The Shame) and pop groups who occasionally turned dayglo (The Merseys, Plastic Penny, Picadilly Line).

Limited to 1000 copies and containing Grapefruit's trademark combination of photos and annotation on stylish 12” x 12” inserts, ‘When The Alarm Clock Rings’ is an essential purchase for vinyl aficionados and a tantalising taster of further plastic platters!

When punk arrived in late 1976, the scene acted as a catalyst for an explosion of independent labels which swiftly sprung up around the UK. Named after a classic track by Manchester’s The Drones, ‘Just Want To Be Myself’ boasts classic sevens on imprints such as Small Wonder, The Label, Rough Trade, Dining Out, Deptford Fun City and Cherry Red (all London), Zoom (Glasgow), Attrix (Brighton), Heartbeat (Bristol), Good Vibrations (Belfast) and Bent (Manchester).

Many of the individuals and bands featured would later enjoy success in various incarnations – for example, The Pack mutated into Theature Of Hate, The Outsiders’ Adrian Borland attracted acclaim with his band The Sound, ‘O’ Level’s Edward Ball made an impact with various acts including The Times and Leyton Buzzards evolved into pop combo Modern Romance!

Pure Hell and The Electric Chairs’ Wayne County were American but eligible here because the tracks were recorded in the UK