Suche:d roc

Deeply rooted & slowly explosive, Estonian Andres Lõo slides from loud guitar skanks to rumbling toms, all capturing periods of dub, jazz, folk music and the drama of an orchestrated band surrounding the Estonian Seto peoples musical background. B-side carries a generously beautiful xylophone, played, recorded and manipulated gently. Both sides highly polarizing his debut album Skeletons on Rock (Laton, 2009).

Crafted blend of soul, blues and rock by Finnish Marjo Leinonen on Jimi Tenor's Ronet imprint. A-sides "No More Crying" is classic and time certain, radio quality from the AM times. But the flip grooves has the absolute thrill – a drawn out balad with skillfull arrangement and musicianship. "Treat Yourself Right" could also have one of 2019's best positioned dub echos!

Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release limited to 5,000 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging!

By the time Bob Marley died, he was one of the world's first global superstars, famous and lauded from Europe through Africa and the Americas. Some even saw him as not just a reggae singer but as a folk hero, a sort of freedom fighter, and to this day his enduring image feels greater than the music he made, writes Pitchfork. In the 21st century, Bob Marley is a global cultural icon and the first Jamaican inducted into the Rock & Roll Hall of Fame. 1977's Exodus — recorded in London exile after a failed attempt on his life — turned out to be Marley's biggest-selling studio album.

Time magazine named it the greatest LP of the 20th century. Other Marley discs had bigger hits and still others had better album tracks, but the balance Marley strikes between politics, religion, and romance on Exodus — compare and contrast the urgent title track and the laid-back "Jamming" — shows a pop star at the peak of his powers.

Now, Analogue Productions presents perfection — Exodus in UHQR 45 RPM format on Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. After the success of 1974's Natty Dread and 1976's Rastaman Vibration, Bob Marley was not only the most successful reggae musician in the world, he was one of the most powerful men in Jamaica. Powerful enough, in fact, that he was shot by gunmen who broke into his home in December 1976, days before he was to play a massive free concert intended to ease tensions days before a contentious election for Jamaican Prime Minister.

In the wake of the assassination attempt, Marley and his band left Jamaica and settled in London for two years, where he recorded Exodus. Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, "including the title song, 'Three Little Birds,' 'Waiting in Vain,' and 'Turn Your Lights Down Low,' tunes that defined Marley's gift for sounding laid-back and incisive at once," writes AllMusic. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed on 180-gram vinyl at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

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

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

40. Jubiläumsausgabe von Ozzy Osbournes legendärem dritten Studioalbum "Bark At The Moon" auf schwarzem Standard-Vinyl.

h B4 Diary Of A Madman, Arranged By Strings – Louis Clark








h B4 Diary Of A Madman, Arranged By Strings – Louis Clark








h B4 Diary Of A Madman, Arranged By [Strings] – Louis Clark








[h] B4 Diary Of A Madman, Arranged By [Strings] – Louis Clark








[Strings] – Louis Clark

2020 was a good year to listen to Baba. So is 2025. good music is never dated. This music is good for a date. Chugging rock disco.
What else? This is the future. Let’s!

Friss is a turntablist at heart. Inspired by legends like C2C, The X-Ecutioners, Cut Chemist, A-Trak, D-Styles and many more, he always dreamed of creating music in that same spirit. For years, he searched for his own unique sound. The search is over, it’s been found.

GENERATION CMD+Z is a tribute to the art of turntablism, filled with battle record references. Soulful, jazzy hiphop beats accompanied with scratches by friss., DJ Robert Smith and Kypski. The warm, distinctive touch of Amsterdam-based keys wizard Soul Supreme shines through on "Beep Aaah Fresh" and "Use Head. After years of rocking clubs and touring with side projects, Friss is taking it back to the roots: beats and scratches, turntables and a mixer, a computer and CMD+Z. At the end of the record there is a "hidden" scratch sentence containing all scratch samples used on the record to complete the turntablism feel.

Following his journey into the 45 scene with Deejay Irie as It Takes Two since 2020, this marks Friss’s first-ever solo release — a personal and powerful debut.

Limited to just 200 copies.

Pluto, although not necessarily one of those bands who spring immediately to mind as having been a seminal influence on the weaving of rock music’s tapestry, remain an excellent, if little-known and much underrated band.

The band’s only album Pluto (originally released on the Dawn label back in November 1971) has, during the latter half of the ‘90s, become a much sought-after item in the ever-expanding underground/progressive sector of the record collectors’ market. Conceived
initially by guitarist Paul Gardner and taking their name from the Disney cartoon character, they were formed in North London in 1970. The key members were Gardner and Alan Warner, two highly experienced campaigners from widely disparate musical backgrounds.

The album is a nice mix of hard rock, progressive rock and blues rock elements. The song writing is pretty solid and there are no fillers included. This lone Pluto LP is easy to recommend for those who like the early 70’s hard rock bands.

Pluto is available as a limited numbered edition of 750 copies on translucent magenta coloured vinyl

Editrix is a Massachusetts-rooted trio known for their wild, gnarly take on experimental rock. Blending jagged guitar riffs, unpredictable rhythms, and bursts of cartoonish eccentricity, the band creates a sound that's both chaotic and compelling. Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing _ ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix's most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion _ in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder (released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band's new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person. The Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed "vibe" up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with `70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II _ which found the act toying with Finnish death metal and harsh noise _ The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold_, Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like "meditative" and "evocative" to describe Editrix's methods, but the end result is crunchy, intricate, and impressively baffling. Easygoing as the band's operation may be, The Big E is a strong jump forward for Editrix inching them towards the center of the avant-rock constellation.

HEMELBESTORMER have been a commanding entity in the heavy music scene for over 10 years, with their idiosyncratic take on the merger of post-rock, doomgaze and black metal. Made up of veterans from the Belgian hardcore and metal community, the four piece from Hasselt, Belgium create intricate sonic journeys through space and time built over punishing riffs and spine-chilling climaxes. With their fourth full-length The Radiant Veil HEMELBESTORMER take their songwriting and production to new heights, honouring their name as trailblazers on the intersection of dark and light, the crushingly heavy and the hauntingly beautiful. Having appeared at many of Europe's finest music festivals - ranging from Roadburn festival to Dunk! festival to Graspop Metal Meeting - HEMELBESTORMER feel right at home on stages with a wide variety of heavy, experimental and ethereal acts. The road combining ethereal post-rock with seething black metal has been travelled by many acts, but with HEMELBESTORMER that winding path has taken a different turn. Facing away from shoegaze or indie rock influences, the band find a more sophisticated way of incorporating unsettling melodies, blast beats and lo-fi synthesizers to emulate the dark void of space and eerie cold light of stars. HEMELBESTORMER are a sight to behold on stage, and with The Radiant Veil they penetrate deeper than ever into the farthest reaches of their sonic space ethos. Once more the Belgians capture the cavernous expanse between the cold lights of the universe, but also our power as humans to explore it, proving their greatness as masterclass storytellers in sight and sound. FOR FANS OF Neurosis, ISIS, Year of No Light, The Ruins of Beverast, WuW

HEMELBESTORMER have been a commanding entity in the heavy music scene for over 10 years, with their idiosyncratic take on the merger of post-rock, doomgaze and black metal. Made up of veterans from the Belgian hardcore and metal community, the four piece from Hasselt, Belgium create intricate sonic journeys through space and time built over punishing riffs and spine-chilling climaxes. With their fourth full-length The Radiant Veil HEMELBESTORMER take their songwriting and production to new heights, honouring their name as trailblazers on the intersection of dark and light, the crushingly heavy and the hauntingly beautiful. Having appeared at many of Europe's finest music festivals - ranging from Roadburn festival to Dunk! festival to Graspop Metal Meeting - HEMELBESTORMER feel right at home on stages with a wide variety of heavy, experimental and ethereal acts. The road combining ethereal post-rock with seething black metal has been travelled by many acts, but with HEMELBESTORMER that winding path has taken a different turn. Facing away from shoegaze or indie rock influences, the band find a more sophisticated way of incorporating unsettling melodies, blast beats and lo-fi synthesizers to emulate the dark void of space and eerie cold light of stars. HEMELBESTORMER are a sight to behold on stage, and with The Radiant Veil they penetrate deeper than ever into the farthest reaches of their sonic space ethos. Once more the Belgians capture the cavernous expanse between the cold lights of the universe, but also our power as humans to explore it, proving their greatness as masterclass storytellers in sight and sound. FOR FANS OF Neurosis, ISIS, Year of No Light, The Ruins of Beverast, WuW

First vinyl release of the 1992 recordings by these Wisconsin Underground Rock trailblazers, includes a fold out insert with the story of the band. Limited edition of 300 copies. Remastered recordings of these Northeast Wisconsin Underground Rock trailblazers, originally released on cassette in 1992. An obscure gem of powerful 90's music with one foot firmly planted in the American Midwest tradition of Twin/Tone Records bands like The Replacements and the other in loud, fiery, High Energy Rock'n'Roll.

The Mighty Rootsmen features the unparalleled talents of Reggae superstars
Toots Hibbert, Luciano, Gregory Isaacs, Michael Rose, and the rhythmic prowess of Sly & Robbie, Mikey Chung, Robbie Lyn, and Sticky Thompson, alongside Zap Pow Horns members David Madden, Calvin ‘Bubbles’ Cameron, and Glen DaCosta. A groundbreaking collaboration – it is a celebration of reggae’s iconic artists, seamlessly blending the genre’s rich rhythms with rock and soul classics.

Brought together by producer Ralph Spall (Paul McCartney, Billy Joel, Cat Stevens) and recorded at the famous Anchor Studios in Jamaica. The album’s unique sound comes from the decision to let the musicians’ instincts drive the creative process, striking a balance between homage and innovation. Featuring classic tracks from the likes of Tom Petty, The Steve Miller band, The Eagles and Fleetwood Mac. It is produced with a reverence for authenticity and musical mastery. This once-in-a-lifetime project brings together a dream team of Jamaican legends, paying tribute to their artistry and the art of collaboration.

This is Timeless classics with a reggae supergroup. Tracks like “Fly Like an Eagle” showcase Steve Miller’s unexpected, soulful guitar work layered over a reggae groove. Meanwhile, Mike Campbell’s guitar on “I Won’t Back Down” deepen the album’s connections to rock royalty. Yet, the project remains firmly rooted in reggae. "My intention was to try to do something that hadn’t been done in reggae before by putting these giants of the genre together to make a record that leaves you with good feelings, they’re very recognisable as the songs they are but have a distinct reggae feel and stamp.” reflects Ralph.

The Mighty Rootsmen stands as a tribute to the enduring power of reggae music—an album that brings joy, good vibes, and a profound connection to musical history.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

Das mit Spannung erwartete Soloprojekt von Michael Clifford von 5 Seconds Of Summer ist da - inklusive der Hitsingle "Cool" und Kollaborationen mit Waterparks, DJ/Produzent Porter Robinson (Virtual Self) und Indie-Hyperpopper Ryan Hall! Der Gitarrist und Sänger der rekordverdächtigen australischen Alternative Rock-Band 5 Seconds Of Summer Michael Clifford ist bereit sich mit seinem monumentalen Solo-Debütalbum "Sidequest" zu präsentieren. Die vielfältigen persönlichen und menschlichen Verbindungen sind das Thema - für seine treuen Fans und alle weiteren, die ihn bislang noch nicht wahrgenommen haben. Michael liefert auf "Sidequest" die beste Gesangsleistung seiner Karriere ab. "Nach 12 Jahren 5SOS haben die Leute meine Stimme immer noch nicht richtig gehört", sagt er. Jetzt kann er endlich alles rauslassen. "Sidequest" entzieht sich jeder Kategorisierung - von den verspielten Pop-Punk- und Alternative-Sounds seiner Jugend zu zukunftsweisenden, schwungvollen Synthies, flirrenden elektronischen Rhythmen und asymmetrischen Arrangements. Hier gibt es keine eindeutigen Bezugspunkte, keine einfallslosen Nostalgiespiele. Michael hat einen ganz eigenen Sound kreiert, bei dem sich das Durcharbeiten von Selbstzweifeln wie Euphorie anfühlt und seelentragende Offenbarungen über Powerchords offenbart werden, die den Hörer dazu verleiten, tiefer einzutauchen. Michaels Band 5 Seconds of Summer lernte sich 2011 in der Highschool kennen, startete einen YouTube-Kanal und wurde von Rolling Stone mit fünf von der Kritik gefeierten Studioalben, darunter ihr jüngstes, von Michael selbst produziertes Album "5SOS5", schnell zum "größten neuen Rock-Act der Welt" gekürt. Bis heute sind 5SOS die einzige australische Band in der Geschichte, deren erste drei Studioalben in voller Länge auf Platz 1 der Billboard 200 eingestiegen sind. Außerdem haben sie über 18 Millionen Alben verkauft plus 6 Millionen Konzerttickets. Als CD & transparente Vinyl LP