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Rare 1986 Funk/Soul From Alabama.

Originally released as a private pressed cassette tape only.

First Time On Vinyl.

Released in collaboration with the Numero Group.

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

Armed with little more than his Peavey T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!

The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.

Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.

Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.

Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.

The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham.

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

A reissue of Jorge Ben's Solta o Pavao, originally released in 1975. Jorge Ben is one of Brazilian music's iconic and best-loved figures. Born Jorge Duilio Lima Menezes in Rio in 1942, he took the stage name, Jorge Ben, in deference to his mother's Ethiopian roots, and later used Jorge Ben Jorge for further distinction. Playing tambourine and singing in a church choir from an early age, Ben began playing in Carnival blocos and was performing in nightclubs as a teen. Signed to Philips in 1963, his "Mas Que Nada" became an instant international sensation that has never waned, despite being sung entirely in Portuguese. Beginning in samba, Ben's openminded approach saw him embrace aspects of bossa nova, the "Jovem Guarda" rock movement of the mid-1960s and the experimental Tropicalia form, the broad palette and diverse influences yielding a number of adventurous and abstruse albums during the 1970s, of which Solta o Pavao is one of the most rated by connoisseurs, though somewhat overlooked in general; its title translates roughly to "Unleash the Peacock" and apparently concerns the outward expression of inner beauty. Against a backdrop of lushly produced samba rock with shades of MPB, highlights include opener "Zagueiro", in which Ben salutes football center-backs in typically playful and poetic language; closing number "Jesualda" is a heady ballad of a chance encounter leading to a girl's social climbing and "Para Ouvir No Radio (Luciana)" a love song with striking flute and string arrangements; Dadi Flavi's bubbling bass and occasional string synths help keep the sound non-standard.

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

Fans des ursprünglichen Death/Thrash Metal der 80er Jahre können sich freuen! Das lang erwartete Album mit den Demobändern der legendären Band Samhain (später bekannt als Desexult) ist endlich da.Obwohl die dänische Band Samhain in ihrer Blütezeit nie einen Plattenvertrag erhielt, gewann sie eine treue Fangemeinde und wurde zu einem Begriff in der Underground-Thrash- und Death-Metal-Szene, wo sie mit Bands wie Kreator, Pestilence, Imperator, Illdisposed, Exumer, Mezzrow und Invocator spielte.

Jetzt können eingefleischte Metal-Fans zum ersten Mal die rohe Kraft von Samhains frühen Aufnahmen auf Vinyl erleben.Das Album enthält alle Songs der ersten beiden Demobänder der Band, die 1985 und 1986 aufgenommen wurden. Remastered für maximale Audioqualität von einem der Besten des Metals: Kein Geringerer als Ex-Desexult-Schlagzeuger und Metal-Produzent par excellence Tue Madsen im Antfarm Studio (Rob Halford, Sick Of It All, The Haunted, Vio-Lence, etc.), dies ist so true wie es nur geht.

Die Veröffentlichung enthält außerdem ausführliche Linernotes von namhaften Metallern und seltene Fotos aus den Anfangstagen der Band.

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

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

The classic 1983 hardcore scuzz rock debut from Berkeley, CA’s Fang, Landshark is a unique mix of erratic thrashers and slow Sabbath-oid noise riffs. Its best-known tune is without a doubt the rumbling and stumbling opening track “The Money Will Roll Right In,” which has been covered by Nirvana, Metallica, Mudhoney, The Butthole Surfers and god knows who else. The record also includes cheerful odes to the disabled (“Destroy the Handicapped”), the follicle-y challenged (“Skinheads Smoke Dope”), and assorted werewolves, delinquents and drug users. Fang continues to unload their brand of sludge-punk on audiences to this day, with recent tours taking them around the US, Europe and Brazil. This reissue is remastered and back in print on vinyl for the first time in 20 years, with additional vintage artwork inside. The digital download included with the disc also features their entire Where the Wild Things Are release, plus more.

Letta Mbulu was lucky when she emigrated from South Africa, where blacks were troubled and ridiculed by the Apartheid system. She was lucky to rescue a recording deal with A&M records, and even the label's founder, Herb Albert, produced the record, Johnny Mandel did the orchestrations, and Quincy Jones wrote the liner notes. However, it wasn't only luck - Letta Mbulu's talents as a singer are such that they couldn't be overheard. Her husband, Caiphus Semenya, also from South Africa and a musician, helped her throughout. There's Music in the Air from 1976 features songs varying in tempos and moods and languages, and there's a mellow aura of purity and peace, almost innocence, that captures the listener.

THE LEGENDARY 1980 ALBUM REMASTERED FROM THE ORIGINAL TAPES.
• 2LP SET WITH 12” X 12” BOOKLET.
• INLCUDES THE PREVIOUSLY UNRELEASED ‘COMS 1-3 RDX SUITE’ (TAKEN FROM THE ‘COMMERCIAL
ALBUM’ MULTITRACK TAPES).
• PRODUCED WITH THE RESIDENTS AND THE CRYPTIC CORPORATION.
• THE SEVENTH IN A SERIES OF VINYL RE-ISSUES OF THE RESIDENTS’ CLASSIC 70S ALBUMS.
Formed in the early 1970s, The Residents have now been charting a unique path through the
musical landscape for 50 years. In celebration of that remarkable and unlikely anniversary, we
present an expanded vinyl edition of the classic 1980 LP ‘Commercial Album’.
Following almost a decade spent attempting to redefine what pop music could be, but with zero
hit singles to show for it, The Residents finally caved and produced their own pop music album as
the 80s dawned. But rather than have each song repeat the same minute of music three times as
per the traditional pop format, The Residents produced no less than 40 one-minute pop
masterpieces, and invited the listener to do the repeating bit themselves if they felt the need.
The resulting ‘Commercial Album’ both showcased the incredible depth of the group’s musical
palette and proved definitively that they could easily be as big as The Beatles if they wanted to.
Probably bigger, actually.
Featuring a breathless collage of toe-tappers, memorable melodies, instrumental experiments
and guest performers (Fred Frith, Chris Cutler and XTC’s Andy Partridge among them), the
record has since acquired legendary status among both fans and confused onlookers alike.
Alongside the original album, this 2LP edition presents the ‘COMS 1-3 RDX Suite’ – a brand new
interpretation of (almost) the entire album, produced by the group using the original multi-track
tapes – and a brand new sleevenote essay shedding new light on the album’s production.
‘Commercial Album’ is the latest in The Residents’ extensive ongoing pREServed series – expect
more throughout 2023 and 2024. Possibly even 2025 too, the way things are going.

Post Malone veröffentlicht sein neues Album AUSTIN

Der Superstar ist mit seinem Album „Austin‘‘ zurück.

Bisher konnte der sympathische Superstar mit jedem seiner Alben Platinstatus erreichen! Er ist zudem auf Platz 8 der best-selling Digital Artists aller Zeiten, verzeichnet zwei #1 Billboard Alben („Beerbongs & Bentley” und „Hollywood’s Bleeding”) und hat mit 5 Diamant zertifizierten Songs die zweit meisten Diamant-Songs der Geschichte. Das Album enthält die zwei vorab erschienen Singles ”Chemical” & ”Mourning”.

Robert Pollard has a very strong work ethic. With most of their touring canceled due to the pandemic and then a fractured kneecap, Guided By Voices ran up an extremely prolific streak in the studio, recording and releasing eight albums in the past three years and garnering piles of rave four star and five star reviews in the process. In case one were snoozing, the last album, La La Land was Uncut magazine’s “Best Of The Month.” The pandemic records were particularly notable and unique that the band members recorded most of their instruments individually in separate cities. Welshpool Frillies finds the gang back together, in a Brooklyn basement with producer Travis Harrison. Much of it was recorded live to tape. The catchy ear worms in these new songs are undeniable, as the kinetic energy of the band is captured in its most raw and pure form. The album is brash, no-frills, and punky, inspired by the wiliness of 90s-era GBV, specifically the Scalping The Guru compilation that Pollard put together in 2022. 2023 marks the 40th anniversary of GBV’s start in Dayton, Ohio. Robert Pollard was an elementary school teacher with no formal music training, and his unlikely success has been an odds-defying adventure. It’s never too late to discover this vital rock band and join the GBV cult.

Limited two-colour vinyl! BENCH PRESS haven't been together as a band for as long as the relaxed aplomb of their single makes it seem. The band has only been around since March 2016, and they've been doing the live thing steadily ever since, even if their entire evening's material was just 20 minutes at the time. Since then, guitarist Morgan Griffith, bassist Lewis Waite and drummer Jordan Hicks have acted as a perfect, laid-back unit. The result is dynamic post-punk that makes a precision landing at any time - driven by the (spoken) vocals of Jack Stavrakis, who runs in circles live as if possessed and seems to think out loud into his mic, while venting his frustration with modern life. Snarling, edgy and loud, BENCH PRESS invoke the old and create something that feels very new. As if the SLEAFORD MODS were doing guitar punk with ART BRUT

Swami John Reis celebrates his 100th year in rock ’n’ roll with a brand new band and record! “Ride The Wild Night” is neither completely similar nor dissimilar to his previous bands (Hot Snakes, Night Marchers, The Sultans, Rocket From The Crypt, Drive Like Jehu, etc).

Yet the sound is immediately familiar and assuring (like an old friend you lost touch with that comes back into your life only to ask to borrow money).

The music is an amalgam of ’60s folk-punk, ’70s punk-punk and pre-Vietnam War rock ’n’ roll, filtered through the Reis’ unregistered, trademark sensibilities. “I wanted to celebrate some of my favorite rock n roll in its transitional periods. Flaming Groovies, Paul Revere and the Raiders, The Kinks, The Saints and others created some of the most exciting recordings while also connecting the musical past to its future. That really appeals to me”.

Although titled a “solo” record it is predominantly in name only. The record is built on stentorian bedrock of savage drumming by J. Sinclair K. of Hot Snakes and the pounding acoustic piano of Joe Guevara. Also adding their expertise to the mix is Chris Prescott (Pinback) Gar Wood (Hot Snakes), Glen Galloway (Truman’s Water), Jacob Turnbloom (Mrs. Magician) and Jordan Clark (PLOSIVS). With this backing, Swami John Reis finalizes it with his throaty basso and weaponizes the files with roaring electric guitars, rapid acoustic guitar strum and bass.

Hear his defiant, croak-howl in what might be his most autobiographical work yet. “All of these stories are real. They just might not be completely true.” Reis adds, ”The words come from what I overhear through my fence, what I see across the street, pictures I see in my head, experiences that I can’t forget or am grateful to remember.” If there is a loose theme throughout the record he offers, “Musically and lyrically there is a motivation to surrender to a restless and impulsive spirit that can only be satisfied by breaking things. Creating rubble for better or worse. “

Music critics and fans alike have long referred to Reis’s signature voice as “The Velvet Yawn” and never has that description been more apt. “Ride The Wild Night” was recorded by Reis at City Of Refuge (Night Marchers, Black Lips, The Spits) and mixed by Ben Moore (Hot Snakes, Diamanda Galas) at Singing Serpent.

Self-described as ‘Cult post-something organ jams for fans of Young Marble Giants / Dead Moon / the Stranglers’, they still only record to 4-track and still only do seven song records, pushing the old Hohner into every corner of the experimental pop landscape.

Colloboh (a portmanteau of Collins Oboh) is a Nigerian-born, Los Angeles-based experimental producer and composer who has spent the past several years cultivating genre-spanning modular wizardry. A self-taught synthesist, Colloboh’s DIY recording diaries (still archived on Instagram) quickly amassed a dedicated online following, eventually catching the eye of Leaving Records founder, MatthewDavid, who wasted no time tapping the then-twenty-six-year-old to perform at the monthly Leaving showcase, Listen to Music Outside In The Daylight Under a Tree. In 2021, Colloboh permanently relocated to Los Angeles from Baltimore, dedicating himself to music full-time, and quickly becoming a fixture of the city’s vibrant experimental scene. Whereas Colloboh’s debut EP Entity Relation (released that same year) dove headlong into club beats, Saana Sahel, out May 5th 2023 on Leaving Records, showcases the breadth of the fledgeling composer’s ambitions. The EP’s title, Saana Sahel, refers to a land of Colloboh’s pure imagining—an untouched utopia spanning lush coastlines and sweeping deserts. Beginning with the stately “Acid Sunrise” (like a Phillip Glass rave comedown), the EP functions as an atlas of sorts, mapping the region’s varied environments and moods. And varied indeed—across these six tracks there lie ecstatic jazz freakouts, samba shuffles, guest vocals from (seemingly) the very Seraphim, and interpolations of Debussy and Gabriel Faure. The breadth of sounds conjured here is a testament not only to Colloboh’s eclectic roster of influences, but also the period of deep and challenging personal growth that immediately preceded the EP’s composition. The construction of Saana Sahel (both the imagined locale and the release) served as a spiritual lode star, a place to which Colloboh could retreat for energetic restoration. Ever-generous, Colloboh has charted these expeditions for us in song, and now we may all draw sustenance and inspiration from the wellsprings of this rich land.

Der Geruch des Todes kriecht aus den Gräbern...
...aus der Türkei kommend, begrüßen wir die klassische Death Metal Truppe ABOLISH im Roster von FDA Records. Ohne Demo oder EP-Veröffentlichung beginnen wir mit dem Debüt-Album '...From The Depths'.
Verdorbener und morbider Female Fronted Death Metal für Fans von CEREBRAL ROT, GRAVE MIASMA oder DISMA.
'...From The Depths' wurde von Ozan Yildirim-Atakan Güçlü im Deadhouse Studio aufgenommen, gemischt und gemastert, Coverartwork von Ozan Yildirim.

Green Vinyl

From Ashes To New nutzen ihre Außenseiterperspektive, um Grenzen zu sprengen. Die US-Band aus Lancaster, Pennsylvania, liefert eine Mischung aus Hardrock, Hip-Hop, Elektronik und Alternative. Die Band hat sich von bescheidenen Anfängen an die Spitze der Rock-Avantgarde gespielt, mit Hunderten Millionen Streams, Radiohits und ausverkauften Konzerten. Mit Hits wie "Nightmare" und "Heartache", die den Weg für dieses neue Projekt geebnet haben, kehren From Ashes To New mit dem Longplayer "BLACKOUT" zu ihren Wurzeln zurück. Wut und Hetze erreichen weltweit neue Höhen und das Album wurde geschrieben, um diese Gefühle einzufangen, um sie in Musik umzusetzen. Ein Album, das die Probleme der 2020er Jahre mit einem Sound auf den Punkt bringt, der an die 2000er Jahre erinnert.

Cassette

From Ashes To New nutzen ihre Außenseiterperspektive, um Grenzen zu sprengen. Die US-Band aus Lancaster, Pennsylvania, liefert eine Mischung aus Hardrock, Hip-Hop, Elektronik und Alternative. Die Band hat sich von bescheidenen Anfängen an die Spitze der Rock-Avantgarde gespielt, mit Hunderten Millionen Streams, Radiohits und ausverkauften Konzerten. Mit Hits wie "Nightmare" und "Heartache", die den Weg für dieses neue Projekt geebnet haben, kehren From Ashes To New mit dem Longplayer "BLACKOUT" zu ihren Wurzeln zurück. Wut und Hetze erreichen weltweit neue Höhen und das Album wurde geschrieben, um diese Gefühle einzufangen, um sie in Musik umzusetzen. Ein Album, das die Probleme der 2020er Jahre mit einem Sound auf den Punkt bringt, der an die 2000er Jahre erinnert.

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

Auf "Amongst the Low & Empty" wird der wütende Deathcore von SIGNS OF THE SWARM mit einer gehörigen Portion Groove und Industrial-Impulsen angereichert, die Vergleiche mit Meshuggah, Deftones und Fear Factory nahelegen. Die Band aus Pittsburgh, Pennsylvania, erreicht damit eine neue Ebene der Düsternis - der Soundtrack zu einer nicht allzu fernen dystopischen Zukunft, während ihre eigene heller denn je brennt. Das Feuer wurde von Co-Produzent und Mixer Josh Schroeder (Lorna Shore, King 810, Tallah) entfacht, der über einen Monat lang im Studio an dem Album arbeitete, wobei Schlagzeuger Bobby Crow das Fundament legte, auf dem alles aufgebaut wurde. "Amongst the Low & Empty" beginnt mit einer Bulldozer-Note - kein mäanderndes Intro - mit einem Titeltrack, der so schwer ist, dass ein später Ausbruch der Double Bass den Manager der Band buchstäblich zum Lachen brachte. Danach geht es mit "Tower of Torsos", "DREAMKILLER" oder "The Witch Beckons" weiter, bei dem Trivium-Sänger Matt Heafy neben dem animalischen Growl von Sänger David Simonich zu hören ist.Unermüdliches Touren mit Bands wie Lorna Shore, Whitechapel, Fit for an Autopsy, Born of Osiris, Archspire und VIELEN anderen hat es Signs of the Swarm ermöglicht, ihr Handwerk zu verfeinern, aber auf "Amongst the Low & Empty" haben sie es wirklich gemeistert und sind bereit, in der Welt des extremen Metal auszubrechen.Einfach gesagt ist dies der Sound von Kunst, die bis zum Äußersten getrieben wird.

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

In an era defined by futility, isolation, and precarity, it can be difficult to envision a utopia. But on Skeleten’s thrilling, immersive debut album, Under Utopia, the Sydney musician dares to imagine new ways of being that are not characterized by doom or despair. Across eleven tracks of free-flowing, transcendent, and often euphoric electronic music, Skeleten praises the power of comradery and community; while dreaming of a future that is joyously boundless. 



Skeleten, real name Russell Fitzgibbon, has always been fascinated by the ideas of utopias. He’s thought a lot about how the concept has shifted and morphed throughout history, and how the goal post for a utopia is always moving further and further away. “We're more familiar with the idea of a dystopia in the modern world - that's more close to our consciousness. I think on this album I wanted to explore the importance of imaging and embodying a new world.”

Written before and during the pandemic, the album was born out of a desire to connect with others and to shake the mantle of introspection that had been placed on his previous works. From the opening notes of the otherworldly album opener “Generator”, it's clear that this record prioritises immediate pleasures without forgoing intimacy. The lyrics are also more explicit, reaching outward with inviting choruses and mantra-like melodies. “I think the album came out of the experience of feeling this great desire to reconnect and dreaming of the power of community,” says the musician.

This is especially present in lead single ‘Sharing The Fire’, a song that crackles with optimism. A sprawling dance track with pulsating synths and Fitzgibbon’s gentle, warm vocals, the song is about futures that are full of brightness and bliss. As the artist repeats in the song’s chorus: “for all that you know, summer could be around the corner.” The song is about an “almost frustrated desire to connect with more people and feel that sense of community through shared goals.” The accompanying video clip, shot on 35mm, is similarly invested in ideas of companionship and gathering. Shot in a clinical, drab office space, friends and revelers fill the space with warmth and energy.

Elsewhere, this invocation of paradise is infused in the stripped-back, singular title track “Under Utopia”. The song was significant to Fitzgibbon, as it allowed him to gather all his thoughts and ideas about his new music under one message. “It’s something I wrote when I had this collection of songs and wanted to give it a single voice, which was about seeing the world entirely new, full of hope and beauty, and all of us underneath pushing it upwards.” 

An antidote for gloom presented in Under Utopia is the transformative power of love. There’s “Heart Full Of Tenderness”, a woozy, languorous love song, awash with cloudy vocals and glistening synths; the truncated beats and hypnotic pleading of “Territory Day” and “Right Here It’s Only Love” which explores the icier and ambient side of R’n’B.


Another hallmark that characterizes Under Utopia is Fitzgibbon’s airy and spacious mix, which gives his songs room to sprawl out and simmer; as well as allowing his calming baritone to come to the fore. This is notable in the contemplative, synth-laden “Colour Room”, the funk-tinged “Walking On Your Name,” the previously released “No Drones in the Afterlife,” and the beloved early single “Mirrored,” which speaks of finding yourself through a connection to those around you.

Fitzgibbon has been enmeshed in the Sydney music scene for years. Skeleten emerged out of a need to experiment and make music without worrying about the outcome. “It was just me making music that felt right, and very much focusing on this kind of meditative aspect of exploring without any goal,” says Fitzgibbon. But as the project has evolved, the artist has gained clarity on what he hopes his music will achieve: bringing people together, and creating an atmosphere of elation. Or as Fitzgibbon puts it on Under Utopia’s hallucinatory album closer “We’re gonna get everything we need in the world.”

Die GRAMMY® nominierten Stilikonen des Modern Metal mit cineastischem Alt Metal Meisterwerk Truth Killer

SEVENDUST stehen für innovative Riffs, ausgefeilte Rhythmik und mitreißenden, gefühlvollen Gesang, der sich in der Schnittmenge von Modern Metal, Nu Metal, Alternative Rock und Soul wiederfindet. Seit ihrer Gründung 1994 verfolgen die US-Amerikaner ihren ganz eigenen Weg, auf dem sie sich stets treu geblieben sind. Und der Erfolg gibt ihnen Recht: Bis heute hat Ausnahmeband weltweit über sieben Millionen Alben verkauft. Drei ihrer Alben erreichten in den USA Goldstatus, drei weitere landeten direkt in den Top 15 der Billboard Charts, und mit einer GRAMMY®-Nominierung in der Kategorie „Best Metal Performance“ haben SEVENDUST zweifelsohne ein für alle Mal ihre herausragende Stellung unter Beweis gestellt.

In diesem Sommer meldet sich die Band mit Album Nummer 14 (!) zurück: Das Napalm Records Debut Truth Killer, produziert von Michael ”Elvis” Baskette (Alter Bridge, Trivium, Slash), erscheint am
28. Juli 2023.

Nach knapp 30 Jahren Bandgeschichte machen SEVENDUST mit Truth Killer eindeutig klar, dass sie in all den Jahren weder ihren innovativen, kreativen Geist, noch an Relevanz in der Musiklandschaft verloren haben.

Ursprünglich im September 2002 zum ersten Mal veröffentlicht, bekommt „Forty Licks“ noch einmal die Aufmerksamkeit, die es verdient: Die Kollektion von 40 der bekanntesten Songs der Stones wird nun zum ersten Mal sowohl digital als auch auf Vinyl veröffentlicht!

Ab dem 26. Juli – Mick’s 80. Geburtstag – kann man im Streaming in das Album reinhören und ab dem 28. Juli findet die 4LP als limitierte 180g Schwarze Vinyl ihren Weg in die The Rolling Stones Sammlung.
Die damalige Veröffentlichung des Albums markierte das 40-jährige Jubiläum der Band und den Start ihrer erfolgreichen „Licks“-Tour. Teil der zweieinhalb Stunden langen Tracklist sind unter anderem Songs wie „Satisfaction“, „Miss You“, „Paint It, Black“, „Get Off Of My Cloud“ und „Angie“. Diese Kollektion sollte also in keiner Fansammlung fehlen!

Born from their shared love for heavy music and 20 years of experience in playing together, THE GORGE consists of four jazz musicians who use the project as a creative outlet besides their day jobs as session musicians and music educators. Triangulating the chaotic yet groovy energy and the guitar masterclass of Botch with the riffage of Mastodon and the nimble instrumental intricacy of Animals as Leaders or Intronaut, Mechanical Fiction is an immensely ear-pleasing collection of tasty riffs and complex compositions that are nonetheless free-flowing like a river smoothly carving its winding path through a rugged landscape. With their third full-length album, THE GORGE take you on a giant voyage of discovery from which an incredible amount of joy can be experienced. Besides being wizards at their instruments, the quartet from St. Louis also prove to be incredible composers who know when to shine and when to take a step back, which is a rare feat in progressive music these days. The final track «Wraith» offers a sublime moment in which the band's compositional skill and emotional lyrics come together to offer one last opportunity for respite and consideration. Among the giant synthesizers, slow syncopated riffing and dying screams we are all laid to rest with our faces towards the sunset. Having come to the end of a life's journey, THE GORGE ofer us the thing that we have all longed for: release from the bonds of our Mechanical Fiction. Ltd Orange Red Marble (Beneath The Crust Ed.) Vinyl!

'In The Moment That You're Born' features 10 never released songs, and all the lyrics were solely written by the late Shawn Smith, exception made for Stars N’ You, (originally written by Andy Wood of Mother Love Bone and Malfunkshun for the Deep Six Compilation). Barrett Jones plays piano on "Meadow in Autumn", while Hans Teuber plays horns and keys on various other tracks. The album was self-produced by Brad, and recorded and mixed by Floyd Reitsma at Studio Litho in Seattle (except for "In The Moment That You're Born," which was mixed by Josh Evans). The artwork was cured and crafted by Regan Hagar with the addition of pictures taken by Lance Mercer. Brad is: Keith Lowe: Bass, Piano, Keys Shawn Smith: Vocials, Guitars, Keys Stone Gossard: Guitars, Keys Regan Hagar: Drums, Keys

To call Current Affairs a Glasgow band may initially seem misdirection. Though Joan Sweeney (ex-Rose McDowall’s Band, Aggi Doom, The Royal We) is a lifer, Sebastian Ymai (Comidillo Tapes, Pissy, Anxiety) came from Chile via York, recently relocating to Berlin in 2021, and new member Gemma Fleet (The Wharves, Order of the Toad, Dancer) alongside Andrew Milk (Shopping, Pink Pound) were persuaded to leave London for the ‘second city’ after touring through with previous bands. However, Glasgow is the heart and hub of the band’s music, musical life and the place where Off the Tongue was solidified and produced. Their current line up formed in 2020, but the four have been circling each other for years, touring and playing with their previous bands within the close UK network of DIY music. Stalwarts of their respective scenes they finally began working together through the creation of the Spitehouse collective – a project designed to promote Queer and female-fronted music through events mainly held at Transmission Gallery and Glasgow Autonomous Space, putting on many local and international acts (Sneaks, Sacred Paws, Still House Plants and Comfort amongst others). When an opening for a new bassist arrived, Gemma was the obvious compliment, the slogan of Spitehouse being the language of Current Affairs – “Everyone’s welcome, but don’t get it twisted.” Following on from 2019’s singles collection, Object & Subject, the wait for their debut full-length may belie the urgency of its sound. Songs that were written in pieces over a long time and distance, but fully formed in the instant of the recording room across just a few days by producer Ross McGowan at Chime Studio. Current Affairs’ song-writing process has always been collaborative. Songs are developed responsively, with each of the band’s members sending/bringing elements or hooks to each other, but practices being the place where the songs flesh out, structure and are fully realised. These new songs feel a little brighter than their previous offerings, yet still hold true to their propulsive and caterwauling sound. Still embryonic in the most exciting way that that can be. Current Affairs’ music straddles new-wave pop and gothic post-punk in the way that you should expect a Glasgow-Berlin band to do so: with grit and panache. Written from within the world of crumbling services, broken bonds and wounded spirits, Off the Tongue rolls off an ecstatic rage, filled with hope for you, them and everyone else. It’s a rallying cry away from hopelessness, forgiving your fears and laying them to waste. Their album holds a place for you to be angry and to be focussed. In lieu of having anything else, we’ve always got each other, and an uncertain future is open game for us too

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

Mission to the Sun synthesizes ambient, post-industrial landscapes with expansive arrangements and haunting vocals. The project consists of Ritual Howls' Christopher Samuels (synths, samples, programming) and Kirill Slavin (vocals). Their sophomore album, Sophia Oscillations, is an immersive journey through the dark corners of post-industrial music. The Detroit based duo continues the sonic exploration started on their debut album Cleansed by Fire, while delving deeper into themes of isolation and lost communication. Christopher Samuels' synths, samples and rhythmic programming is accented by Kirill Slavin's haunting vocal delivery as the listener receives intersperse audio recordings from the outer reaches of inner space.

it 'Loving You' zollt die mit einem Grammy ausgezeichnete Sängerin, Songwriterin und Multiinstrumentalistin Amanda Shires einer Frau Respekt, die für sie Inspiration und Wegbereiterin war und der sie laut eigener Aussage viel verdankt.

Bobbie Nelsons musikalische Karriere reicht bis in die 1940er Jahre zurück. Als begnadete Pianistin spielte sie in Kirchen, Revival Tents, Konzertsälen und Honky-Tonks und schloss sich schließlich in den frühen 70er Jahren der Family Band ihres Bruders Willie Nelson an. Shires und Nelson taten sich 2021 zusammen, um in den Arlyn Studios in Austin, Texas, Aufnahmen zu machen - eine Einrichtung, die von Nelsons Sohn Freddy Fletcher mitgeleitet und betrieben wird. Das Album 'Loving You' enthält Songs, die Nelson und Shires ihr Leben lang begleitet haben, sowie Nelsons eigenes elegantes Solo-Piano-Titelstück.

Ein Cover-Album der besonderen Art.

Es gibt nur wenige Bands in der Metal-Szene, die als Pioniere, wahre Wegbereiter und Anführer musikalischer Bewegungen gelten können. Als PANZERCHRIST 1996 mit ihrem Debütalbum "Six Seconds Kill" eine geschwärzte Form des Death Metal in Skandinavien einführten, machten sie sich neben Vader und Bolt Thrower einen Namen unter den Stilpionieren in Europa. Im Laufe der folgenden Jahre hinterließ das dänische Kollektiv ein gutes Dutzend unerbittlicher Alben, die keinen Gegner auf der Strecke ließen und zahllose Truppen in ihre Reihen holten, darunter auch begeisterte Pressevertreter. Leider wurden auch Panzerchrist von Lineup-Schwankungen geplagt, so dass es nach "7th Offensive", das 2013 erschien, ein Jahrzehnt lang still um die Band wurde. Das neue Album "Last Of A Kind", das in den Antfarm Studios aufgenommen und von Tue Madsen produziert
wurde, löst beide Probleme - die Stille im Panzerchrist-Lager und die Lineup-Instabilität - indem es neues Blut mit Erfahrung in der Szene und genug Blutvergießen im Kopf hinzufügt, um ein Album zu machen, das den Namen der Dänen verdient... Und dann noch etwas. Die Wut, die Härte und die Schnelligkeit, die die Seele von Panzerchrist ausmachen, sind hier, unberührt und gekrönt von einem neuen Sinn für Bösartigkeit, verkörpert von Sonja Rosenlund Ahls bösartigen Vocals. Ja, Sir, Panzerchrist sind zurück, aber nicht nur zurück: sie sind zurück mit einer Rache und einer wahnsinnigen Menge an Interessen in Bezug auf die einjährige Schuld, die sie uns schulden!

Texas born guitarist Melvin Sparks is one of the godfathers of Acid Jazz. He first came to prominence in the bands of Jack McDuff and Lou Donaldson, providing an essential element in their funky groove-based classics of the late 60s. He then became part of the Prestige Records funk team, under the tutelage of producer Bob Porter. He made his debut LP “Sparks”, for the label in 1970, alongside Idris Muhammad, Leon Spencer and Houston Person. Two further exciting albums appeared on the label with “Spark Plug” and “Akilah” and over a dozen side-man appearances.

When Porter left to set up Eastbound Records in Detroit - as part of Westbound Records - Sparks followed, recording his label debut "Texas Twister” in 1973. The following year, after Porter left, he recorded the album that became “’75” with some of the label’s top session players, including members of Funkadelic and vocalist Jimmy D Scott, who sang on ‘I Got To Have You’ and ‘If You Want My Love’. The nine tracks featured a slicker sound, that mirrored the contemporary soul jazz of the time and included club classics like 'Get Ya Some' and 'Get Down With The Get Down’.

Sparks began recording one more album for the label which languished in the vaults for decades and then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, and was brought over to Europe to tour as part of the BGP All-Stars and this late revival saw him record five further albums.

This is the first vinyl reissue of this album since 1975.

A masterful funky jazz album by one of the godfathers of acid jazz. Produced by Bob Porter, “Texas Twister” was a continuation of Sparks’ sought-after work at Prestige. The Texas-born guitarist had joined Bob Weinstock’s label at Porter’s request in 1970 after several years working with the likes of Jack McDuff, Lou Donaldson and Reuben Wilson. At Prestige, he recorded three albums as a leader and over a dozen as a session player, showing himself to be a wizard at playing funky licks and energised solos.

When Porter left to set up Eastbound Records in Detroit - as a branch of Westbound Records - Sparks followed, recording "Texas Twister” in 1973 as his label debut. The incredible rhythm section of Idris Muhammad (drums), Sonny Phillips (electric piano), Caesar Frazier (organ) and Wilbur Bascombe (bass) make this album a sure-fire funk bomb. On the front-line, a hard hitting horn section that includes Cecil Bridgewater (tenor sax) and John Faddis (trumpet) are a perfect foil for Sparks. The album includes the monster acid jazz club cut 'Whip! Whop!' and the frenetic 'Texas Twister', as well as a beautiful rendition of the Four Tops’ 'Ain't No Woman (Like The One I Got)’.

After Porter left Eastbound, Sparks recorded the more soul-based “’75” and began to record another album that languished in the vaults for decades. He then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, when he was brought over to Europe to tour as part of the BGP All-Stars. This late revival saw him record five further albums of funky blues-drenched jazz funk.

Ace Records now offer you the first-ever UK reissue of this album, that should take pride of place in anyone’s collection of 70s jazz funk.