The genre defining Heavy Metal album ‘Black Sabbath’ laid the foundations for the bands path to legendary status worldwide. This black and purple splatter vinyl is being released for the first time as a single LP.
Black Sabbath and BMG are proud to reissue their debut album Black Sabbath for the first time as a single LP on black and purple splatter. This groundbreaking album released in 1970 is regarded as the first heavy metal album to be commercially released anywhere. The album has gone on to gain Platinum sales certification in the US and continues to defy the odds everywhere.
Over the past two decades, Dez Mona never ceased to surprise audiences. Less than a year after “Lucy”, a 'worldly oratorio' in collaboration with the Antwerp Baroque Orchestration X, singer Gregory Frateur and his companions now knock on the door with the cosmopolitan “Loose Ends”.
On the group's ninth studio album, rugged funk often alternates with bouncing disco pop. 'After the dark ballads from our previous projects, we consciously chose to make a cheerful, straightforward record', says Frateur. 'This time I didn't want to exhaust myself too much in metaphors: the lyrics had to be simple and 'in your face'.
On a compositional level, Gregory Frateur gave the steering wheel this time to guitarist Sjoerd Bruil and accordionist Roel Van Camp. This contributed to Dez Mona stepping out of their comfort zone on Loose Ends and experimenting with a new sound. On the new album, for example, Van Camp plays the piano more often than the accordion. Leaning towards a more electronic sound, some songs gravitate and take you on a fantastical, abstract journey. ’Indeed, sometimes Sjoerd adds strange angles in his compositions', the singer concludes. 'During performances, they force me to put myself aside as a singer and get completely absorbed in the instrumental trip'.
The emphasis is more than ever on the rhythm and groove. Drummer Karel De Backer, the newcomer in the band, gives the music extra punch, while the absence of a bassist is ingeniously compensated by Bruil and Van Camp. 'On Loose Ends we go 'back to basics', admits Gregory Frateur. “But without losing our recognisability.”
Multi-instrumentalist Tijs Delbeke, who was part of Dez Mona for many years, but has moved to Balthazar, was responsible for the production. Frateur prefers to surround himself with people with whom he feels at ease and who carry the DNA of Dez Mona.
Dr. Feelgood ist das fünfte Studioalbum der amerikanischen Glam-Metal-Band Mötley Crüe und der Höhepunkt ihrer Karriere. Es wurde am 1. September 1989 veröffentlicht und stieg auf Platz 1 der amerikanischen Charts ein. Das Album blieb weit über 100 Wochen in der Album-Hitparade Billboard 200.
Vollgepackt mit Hits, "Dr. Feelgood" (#6), "Kickstart My Heart" (#27), "Without You" (#8), und "Don't Go Away Mad (Just Go Away)" (#17). Jetzt wieder erhältlich als CD und remasterte LP.
Unavailable on vinyl for over 20 years, ‘Sings Reign
Rebuilder’ was the stunning 2001 debut LP from Set Fire To
Flames - a sprawling, adventurous 13-piece Montreal
collective, including seven members of Godspeed you black
emperor! plus others from bands like A Silver Mt Zion, Fly
Pan Am, etc.
The sole reason FatCat’s 130701 imprint was founded, the
LP remains an incredible and unique document. Recorded
over a five-day period in a rickety old house in a communal
atmosphere of long-duration improvised creative activity,
operating on no sleep / confinement / intoxication, it was
brilliantly edited to mix post-rock guitar-scapes; extended
passages of scratchy, freeform improv and concrete
clatterings; atmospheric location recordings; stirring,
chamber string arrangements; deep/sparse drones; and
Kraut-like, heavily rhythmic workouts.
Described on its release by TimeOut as “one of the most
broodingly beautiful, dramatically emotional, hauntingly
evocative albums likely to ever scrape at your soul… This
record will kill you”; and by Pitchfork as “a gripping testament
to the power of emotional expression in music... a
marvelously inventive and powerful album.”
Perhaps the most dynamic and adventurous record to come
out of the early 2000s Montreal scene around Godspeed you
black emperor!.
Long-awaited first ever reissue of a classic album, which sold
out of its original (only) pressing within weeks of its release
on 15th October 2001 and has been unavailable since.
Remastered at Dubplates & Mastering and issued in a
heavyweight black vinyl double LP edition, including lavish
gatefold packaging, 20th Anniversary-branded OBI strip and
original 24-page 7” x 7” booklet with full colour print and eight
tracing-paper pages plus full digital download coupon.
‘Funny Looking Angels’ is the debut album by Smith &
Burrows, reissued on special edition picture disc
exclusively for National Album Day 2022.
The band, made up of Tom Smith (Editors) and Andy
Burrows (Solo, I Am Arrows, Razorlight, We Are
Scientists), released their Smith & Burrows debut in
November 2011, a Christmas album combining original
recordings and four covers - ‘Only You’ by Yazoo,
Black’s ‘Wonderful Life’, ‘Funny Looking Angels’ by
Delta and ‘On and On’ by Longpigs.
This double-sided picture disc features the iconic
wings of the album cover and the Smith & Burrows
logo respectively. A fan favourite and a staple for
rotation at Christmas.
Fifth Anniversary reissue of William The
Conqueror’s debut album, ‘Proud Disturber of the
Peace’, featuring all-new mixes by Joseph Lorge
(Hiss Golden Messenger, Blake Mills, Phoebe
Bridgers et al) and new artwork by Australian
design studio Headjam.
The album includes fan favourites ‘Tend to the
Thorns’, ‘Cold Ontario’ and ‘Sunny is the Style’,
delivered with bluesy, alt-rock swagger and wry,
cerebral lyrics that find the band in the same lane
as Built to Spill, Spoon and Pavement.
Tourdates - October 12 Southampton Joiners, 13
Tunbridge Wells Forum, 14 Cambridge Portland Arms, 16
Liverpool Jimmy’s, 17 Manchester Night & Day, 18
Glasgow Attic, 19 Todmorden The Golden Lion, 20 Stoke
Sugarmill, 21 Sunderland Pop Records, 22 Scunthorpe
Café Indie, 23 London The Lexington, 25 Ashford The
Glass House, 26 Bristol Thekla, 28 Falmouth The Cornish
Bank.
Back in 2002, Lacuna Coil released an album which is now undeniably an anthem laden millennial classic that established them as a band with the stamina to go the distance and much of the climbing that still lay ahead back then. Now, 20 years later, Lacunca Coil decided to revisit the songs, but not to just re-record the songs as they were, but deconstruct and transport them into 2022. ‘This is not a reboot or a spin-off or anything like that,’ says vocalist Cristina Scabbia. ‘We just wanted to give these songs a 2022 dress and see how this guy or girl who was born 20 years ago would still look fucking slick in 2022.’
Back in 2002, Lacuna Coil released an album which is now undeniably an anthem laden millennial classic that established them as a band with the stamina to go the distance and much of the climbing that still lay ahead back then. Now, 20 years later, Lacunca Coil decided to revisit the songs, but not to just re-record the songs as they were, but deconstruct and transport them into 2022. ‘This is not a reboot or a spin-off or anything like that,’ says vocalist Cristina Scabbia. ‘We just wanted to give these songs a 2022 dress and see how this guy or girl who was born 20 years ago would still look fucking slick in 2022.’
Demolition 23 was a band featuring Michael Monroe (Hanoi Rocks) on vocals, Sami Yaffa (Hanoi Rocks) on bass, Jay Henig (Star Star) on guitar, and Jimmy Clark (studio drummer) on drums. Their self-titled album was produced by Little Steven and originally had a limited release in 1994. Though the album has been out of print for years, tracks from Demolition 23 remain a staple in Michael Monroe’s live set. We are thrilled to give the album the proper release it deserves.
"Incongruous is packed with nearly impossible guitar work that puts just about every other tech-minded band to shame. Notes come flying at an intense speed from all fronts (sans vocals) with mechanical precision. Some of the instrumentation is just absolutely mindblowing; how they manage to make this much wank listenable is beyond me. It really is an impressive feat all around, especially when you consider the nightmare it must have been to track songs with this level of speed and difficulty across multiple instruments and have it sound so tight and clean. Incongruous is certainly a tech-death marvel. This is one of Beneath the Massacre’s strongest releases yet, from the larger-than-life production to the impossible guitar acrobatics.
Surprise Chef’s music is based on evoking mood; their vivid arrangements utilize time and space to build soundscapes that invite the listener into their world. The quintet’s distinct sound pulls from 70s film scores, the funkier side of jazz, and the samples that form the foundation of hip hop. They push the boundaries of instrumental soul and funk with their own approach honed by countless hours in the studio, studying the masters, and perhaps most importantly, the “tyranny of distance” that dictates a unique perspective to their music. Hailing from just outside of Melbourne, Australia their first two albums, All News Is Good News and Daylight Savings amassed a die-hard fanbase and brought their sound from their home studio to every corner of the globe. The band is now signed to Big Crown Records, joining a lineage of contemporary and classic sounds that have influenced Surprise Chef’s music since their formation in 2017. Surprise Chef is Lachlan Stuckey on guitar, Jethro Curtin on keys, Carl Lindeberg on bass, Andrew Congues on drums, and Hudson Whitlock—the latest member who does it all from percussion to composing to producing. Their self proclaimed "moody shades of instrumental jazz-funk" have a bit of everything: punchy drums, infectious keys, rhythm guitar you might hear on a Studio One record, and flute lines that could be from a Blue Note session. But when you step back and take in the entirety of their sound and approach, you'll hear and see a group greater than the sum of its parts. In many ways Surprise Chef embodies the idiom "the benefits of limits." They were limited in that there weren't many people making or talking about instrumental jazz/soul/funk in Southeast Australia, let alone putting out records. This left them to develop their sound and approach in a kind of creative isolation where a small circle of friends and like-minded musicians fed off each other. "Being in Australia, being so far away, we only get glimpses and glances of this music’s origins," Stuckey says. "But hearing a label like Big Crown was one of the first times we realized you could make fresh, new soul music that wasn't super retro or just nostalgic." This approach is on full display throughout their new album Education & Recreation. Tracks like “Velodrome” pair chunky drums with an earworm synth line that has all the making of something you would find on an Ultimate Breaks & Beats compilation while numbers like “Iconoclasts” show their knack for tasteful use of space. From the crushing intro of “Suburban Breeze” to the floaty mellow bop of “Spring’s Theme” Surprise Chef has weaved together an album that takes you through peaks and valleys of emotion and provides a vivid soundtrack that will pull you deeper into your imagination. There is a beauty in the vast space for interpretation of instrumental music and they are adding a modern classic to the canon with this new album. Turn on the record and enjoy the ride, wherever it may take you.
Auf ”Complete Collapse”, dem sechsten Studioalbum der Band, verarbeiten Sleeping With Sirens das Leben in der heutigen Zeit und bringen es perfekt auf den Punkt. ”Wir finden uns mit der neuen Realität ab, in der wir leben”, erklärt Quinn. ”Die Dinge haben sich so schnell verändert, und wir tun alle unser Bestes, um das zu verarbeiten. Die Platte hat eine gewisse Schwere an sich, sowohl was den Sound als auch die Emotionen angeht. Wir versuchen herauszufinden, was los ist und wo wir hinwollen. Wir haben so viel
Stagnation erlebt, aber auch eine Menge Veränderungen, die nicht unbedingt zum Besseren waren. Wir merken jetzt, dass unsere Stimme und das, was wir sagen können oder sagen sollten, durch die Musik kommen muss. Es geht nicht darum, was man auf Instagram oder Twitter sagen kann, es geht darum, was man durch seine Arbeit sagt.”
Olympia“ entstand während der Pandemie und beschreibt schwierige Zeiten. Umgeben von Nebel und Gefühlen, die in Wirklichkeit Momentaufnahmen einer fast allbestimmenden Schwere.Bittere Ironie des Schicksals als Stilelement seiner Texte; Zenith des Scheiterns. Am Ende schaut man nur noch YouTubeVideos. Liegt rum, versinkt in alten Sport-Videos und lässt gelähmt die Stunden verstreichen. Während Menschen auf dem Bildschirm in 47 Sekunden 100 Meter Schwimmen und damit ihr komplettes Leben und die Welt verändern, bekommt man selbst nichts mehr auf die Reihe. Totaler Stillstand. Das Bild ruckelt.
Zwischen Apathie, Slo-Motion-Sadness und Geschwindigkeitsrekorden entsteht der Drang, etwas derart
Destruktives in etwas Konstruktives zu transformieren. Ein Ziel, das Betterov auf seinem Debütalbum erreicht hat. „Olympia“ sucht nach Gründen und spendet Hoffnung. Es geht um Liebe, um verlorene
Liebe, um den Wunsch, jemand anderes zu sein, sich selbst zu finden. Die Sehnsucht, Teil einer Gruppe zu sein. Nur um am Ende zu erkennen, dass die eigene Unangepasstheit eigentlich die größte Stärke ist.Gemeinsam mit befreundeten Musikern ist unter Aufsicht des Producer-Duos Tim Tautorat (Pharrell, Herbert Grönemeyer, AnnenMayKantereit) und Dennis Borger (Razz, Anoki, Trille) in den Berliner HansaStudios eine Scheibe entstanden, deren dichter, kompromisslos rauer und doch einnehmender Sound viel
mehr nach Band, als desperatem Alleinunterhalter klingt. Guter Move.
Olympia“ entstand während der Pandemie und beschreibt schwierige Zeiten. Umgeben von Nebel und Gefühlen, die in Wirklichkeit Momentaufnahmen einer fast allbestimmenden Schwere.Bittere Ironie des Schicksals als Stilelement seiner Texte; Zenith des Scheiterns. Am Ende schaut man nur noch YouTubeVideos. Liegt rum, versinkt in alten Sport-Videos und lässt gelähmt die Stunden verstreichen. Während Menschen auf dem Bildschirm in 47 Sekunden 100 Meter Schwimmen und damit ihr komplettes Leben und die Welt verändern, bekommt man selbst nichts mehr auf die Reihe. Totaler Stillstand. Das Bild ruckelt.
Zwischen Apathie, Slo-Motion-Sadness und Geschwindigkeitsrekorden entsteht der Drang, etwas derart
Destruktives in etwas Konstruktives zu transformieren. Ein Ziel, das Betterov auf seinem Debütalbum erreicht hat. „Olympia“ sucht nach Gründen und spendet Hoffnung. Es geht um Liebe, um verlorene
Liebe, um den Wunsch, jemand anderes zu sein, sich selbst zu finden. Die Sehnsucht, Teil einer Gruppe zu sein. Nur um am Ende zu erkennen, dass die eigene Unangepasstheit eigentlich die größte Stärke ist.Gemeinsam mit befreundeten Musikern ist unter Aufsicht des Producer-Duos Tim Tautorat (Pharrell, Herbert Grönemeyer, AnnenMayKantereit) und Dennis Borger (Razz, Anoki, Trille) in den Berliner HansaStudios eine Scheibe entstanden, deren dichter, kompromisslos rauer und doch einnehmender Sound viel
mehr nach Band, als desperatem Alleinunterhalter klingt. Guter Move.
Als Kodaline Anfang März 2022 die Bühne des gemütlichen, ausverkauften Olympia Theaters in Dublin betraten, spürten Sänger/Multiinstrumentalist Steve Garrigan, Bassist/Sänger Jason Boland, Gitarrist/Sänger Mark Prendergast und Schlagzeuger/Sänger Vinny May ein tiefes Gefühl der Erneuerung, ihrer Freundschaft, ihrer Brüderlichkeit und ihrer musikalischen Gemeinschaft.
Das geliebte irische Quartett spürte auch ein Gefühl der Befreiung. Zwei Jahre der pandemiebedingten Trennung voneinander und von dem Publikum, das sie sich seit 2011 akribisch aufgebaut hatten, hatten deutlich gemacht, wie wichtig diese symbiotische Beziehung wirklich ist.
Dieses Gefühl der Befreiung durchdringt auch ”Our Roots Run Deep”, das brandneue Live-Album von Kodaline mit 17 Tracks, das am 14. Oktober 2022 bei Fantasy Records erscheint. Produziert von Phillip Magee, einem irischen Weggefährten, bietet ”Our Roots Run Deep” einen Querschnitt der beliebtesten Stücke der Gruppe und drei aufschlussreiche Coverversionen in über 80 Minuten Musik.
”Dieses Album ist etwas, das wir schon sehr lange machen wollten, aber es ist auch etwas völlig Neues für uns”, erklärt die Band. ”Es ist eine akustische Show ohne Klicks, was im Grunde bedeutet, dass es sehr roh und ungefiltert ist. Wir wollten versuchen, die Energie und Atmosphäre des Abends so gut wie möglich einzufangen. Es war eine intime Show, die wir in einem unserer Lieblingsorte auf der Welt aufgenommen haben, in Dublin City, zu Hause in Irland.”
OVERVIEW: Press Club return with their third studio album, Endless Motion, to be released this October. Brave, energetic and expansive, the idea of motion has always been central to the Press Club ethos. Having made music together for 12 years, the Melbourne-based punk rock four-piece reject stagnancy, constantly pushing to change and thrive in a scene that largely stays the same. Endless Motion is the ultimate artistic statement about the past three years – a collective and global struggle that has provided the material and circumstances for Press Club to emerge as one of the most exciting and relevant bands of 2022.
OVERVIEW: Press Club return with their third studio album, Endless Motion, to be released this October. Brave, energetic and expansive, the idea of motion has always been central to the Press Club ethos. Having made music together for 12 years, the Melbourne-based punk rock four-piece reject stagnancy, constantly pushing to change and thrive in a scene that largely stays the same. Endless Motion is the ultimate artistic statement about the past three years – a collective and global struggle that has provided the material and circumstances for Press Club to emerge as one of the most exciting and relevant bands of 2022.
OVERVIEW: Press Club return with their third studio album, Endless Motion, to be released this October. Brave, energetic and expansive, the idea of motion has always been central to the Press Club ethos. Having made music together for 12 years, the Melbourne-based punk rock four-piece reject stagnancy, constantly pushing to change and thrive in a scene that largely stays the same. Endless Motion is the ultimate artistic statement about the past three years – a collective and global struggle that has provided the material and circumstances for Press Club to emerge as one of the most exciting and relevant bands of 2022.
The visionaries at Bethesda, Arkane and Laced are bringing the twisted ’60s soundtrack for award-winning looper-shooter DEATHLOOP to wax.
The complete 59-track soundtrack has been specially mastered for vinyl and will be pressed onto heavyweight discs. These will come in spined inner sleeves housed in a rigid board slipcase. Tracklist curation and stunning original sleeve artwork is by the team at Arkane Lyon.
This Standard Edition quadruple LP box set features traditional black discs.
Lead composer Tom Salta has built an enviable credits list, with entries in the Prince of Persia, Tom Clancy and Halo universes to his name. For DEATHLOOP’s original score, he immersed himself in the music of Jimi Hendrix, Pink Floyd, Nelson Riddle and a host of other late-’60s influences. Layers of period-appropriate organs, synths and other instruments (including Rhodes, Wurlitzer and Hammond B3) help maintain the tension as Colt picks off Eternalists from the shadows. As things get dicey, or Julianna intervenes with extreme prejudice, tracks explode into furious guitar and drum grooves that propel the zany, supernaturally enhanced gunplay.
Ross Tregenza’s multi-genre diegetic cues perfectly complement the psycho-sophisticate stylings of Blackreef’s artistically aspirational inhabitants, while songwriter Erich Talaba and singer Jeff Cummings brought to life the vicious visionary Frank Spicer with catchy in-universe songs. Music agency Sencit teamed up with powerful yet soulful vocalists for trailer and credits songs, including Bond-ish banger “Déjà Vu” (featuring FJØRA), “Pitch Black” (featuring Lady Blackbird) and “Down the Rabbit Hole” (featuring Samantha Howard & Haqq.)
Am besten immer schön zwischen alle Stühle setzen, das ergibt - nicht zwangsläufig, aber oft - die interessantere Musik. Und im Falle von Kuhn Fu definitiv die lustigere. Seit 2012 hat die Band um den Gitarristen Christian Kühn eine singuläre und sehr eigensinnige Form von Jazzrock (oder Rockjazz) entwickelt, zwischen Parodie und einer großen Ernsthaftigkeit, mit der sie gegen musikalische Scheuklappen anspielt. Kühns mit John Dikeman (Saxofon), Tobias Delius (Saxofon, Klarinette), Ziv Taubenfeld Bassklarinette), Sofia Salvo (Saxofon), Esat Ekincioglu (Bass) und George Hadow (Drums) international besetztes Ensemble spielt die vor Melodien und kompositorischen Ideen überbordenden Stücke, als ginge es ums Ganze. Die Komik, die in der Musik Kuhn Fus immer präsent ist, nimmt ihr nichts von ihrer Intensität. "Ich liebe tonale Musik", erzählt Christian Kühn. "Tonal gespielt und dann überspitzt, darum geht es, deswegen klingt es immer wieder mal parodistisch." Parodie - aber auch Klamauk. Auf Jazz Is Expensive erzählt Kühn das Märchen "Vom Fischer und seiner Frau" noch einmal neu und anders. Der Vortrag Kühns trägt sein Übriges bei: Mit forciertem deutschem Akzent wird auf Englisch die Geschichte zu einem modernen Märchen umgeformt. Hauptfigur ist der Fischer Marcel De Champignon, ein Hornspieler, der auf der Suche nach der perfekten Melodie ist - "the melody that makes millions". Diesen Wunsch soll ihm der Fisch erfüllen, "Bruno the Architect" der Name.
Tommy McLain, one of the founding fathers of the swamp pop genre,
returns with his first new album in over 40 years: I Ran Down Every Dream
Produced by fellow Lil' Band O' Gold member CC Adcock, the album features
contributions from legendary artists who cite Tommy as a major influence,
including Elvis Costello, Nick Lowe, Van Dyke Parks and Augie Meyers. At 82
years young, Tommy has finally released the album of his career. Ranging from
the Americana roots sound of "Somebody" and "Livin' on the Losin' End" to
stripped- back, introspective renditions of early Tommy hits like "No Tomorrows
Now" and "Before I Grow Too Old," Tommy McLain cements himself as one of the
few living legends from the 1960s who is still putting out new music and touring
around the world. A beautiful look at a songwriter who (a half- century later) is
finally receiving his due.
Active since 2013, Paisley Fields is a singer, songwriter, and bandleader
splitting time between Brooklyn, New York and Nashville, Tennessee.A
touring member of the newly reformed Lavender Country, Paisley also
played keyboard on their album "Blackberry Rose"
On his new album, "Limp Wrist", he draws inspiration from queer icon Andy
Warhol and the myriad drag artists with whom he's collaborated. His years of
experience in Manhattan piano bars did not diminish his love for country music,
and he released two albums that pay homage to the music of his youth.
"Limp Wrist" is an exploration of where rural queerness intersects religion.
Paisley's family were devout Catholics, and he served as the official church
pianist in his parish throughout his teens, playing every Sunday.
The songs on the album are deeply personal, and often touch on what it was like
to grow up closeted and queer in rural Iowa in the early 2000s. "Black Hawk
County Line" tells the story of Paisley being outed by a former friend his senior
year in high school, "Dial Up Lover" is about logging on to gay AOL chat rooms to
find other queers in the area, and "Plastic Rosary" recounts the experience of
being told he'll never get into heaven while praying the rosary.
The most personal and biographical moment comes during "Iowa", which
recounts the tragic murder of Matthew Shepard, and the visceral fear he had to
wrestle with since he was already aware of how different he was.
The album ends on an uplifting note, sharing a message of friendship and hope
with "Tomorrow Finds a Way".
The stories are his, but the feelings they convey - love, loneliness, lust, fear - are
still universal.
Pressed on Red color vinyl.
THE NEW STUDIO ALBUM FROM THE JAPANESE LEGENDS - AN OPUS
OF DARK & ECLECTIC BLACKENED HEAVY METAL, SHROUDED IN
TRADITIONAL EASTERN INFLUENCES..
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought in & Sigh set about
recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence
Productions, going on to become one of the country's greatest & most revered
metal exports. With a journey through the strange & the psychedelic,
incorporating a whole eclectic mix of genre styles & experimentation throughout
their career, Sigh has remained a vital creative force in the avantgarde field whilst
maintaining their old school roots.
'Shiki' marks the latest chapter in the Sigh legacy & includes some of the band's
heaviest & darkest material for some years; a fine hybrid of at times primitive
black metal akin to early influences such as Celtic Frost amid more epic melodic
heavy metal riffing & solos. The album also utilises a whole host of instruments
to give further texture & dynamics to the compositions & eerie atmosphere,
incorporating traditional oriental instruments such as the Shakuhachi & Sinobue
flutes.
The word "Shiki" itself has various meanings in Japanese such as four seasons,
time to die, conducting an orchestra, ceremony, motivation, colour. The two
primary themes for the album are "four seasons" & "time to die".
The concept & artwork is based around a traditional Japanese poem & on 'Shiki'
Mirai explores how at this stage of life he himself is going through Autumn, with
Winter coming soon & so empathises with the contrasting sentimental feelings
from watching cherry blossoms (a symbol of spring) in full bloom.
Joining Mirai & Dr Mikannibal for this release are Frédéric Leclercq of Kreator,
plus US drummer extraordinaire, Mike Heller of Fear Factory, along with an
appearance by long-time member Satoshi Fujinami on bass. 'Shiki' was recorded
across multiple studios & mixed & mastered by Lasse Lammert at LSD studios in
Germany.
When it came time to record 5-3-8 - the title being a reference to the
lyrical refrain that appears at a few points of the album of "Fifths, thirds,
octaves only" - Dendrons decamped to Sonic Ranch in Tornillo, Texas, and
did additional recording at Highland Recording Studio in Phoenix,
Arizona, producing the album with Tony Brant and Sonny DiPerri
A far cry away from where they started as two friends doing everything
themselves, from the recording to the booking to even the graphic design, the
band is now an eagerly collaborative project. And they're already thinking about
what's to come. "You're always gonna leave a record feeling like there is
something more to be said," Jarvie says. "I don't believe in a magnum opus. Art is
contextual, and exists for the specific time and circumstance it was created in.
Every record is a conversation with the last."
Produced by A Great Big Pile of Leaves and recorded primarily at their
home studio, new album Pono was mixed by touring guitarist Matthew
Weber at Gradwell House Recording and mastered by Dave Downham
(Beach Slang, Into It Over It)
With eight years between releases, the band recalls how the recording process of
Pono felt like they were making their first record, adding 'we worked at our own
pace with no preconceived notion of what it needed to be.'
Pressed on White + Green + Blue Marbled color vinyl.
Danish quartet Kindsight make the kind of music that feels like a summer
kiss in an autumn breeze
Pointed out as "your new favourite band" by UK tastemakers For The Rabbits their
highly anticipated debut LP 'Swedish Punk' arrives in March on Rama Lama
Records (Melby, Steve Buscemi's Dreamy Eyes, Wy etc.). The debut is packed with
charming and infectiously catchy noise- jangle- pop melodies full of exuberant
optimism and coming-of-age tales. Inspiration comes from acts such as Pixies,
Cocteau Twins, Snail Mail, Big Thief and more.
Anlässlich des 30-jährigen Jubiläums der Single "When You Gonna Learn?" veröffentlichen Jamiroquai das Album "Emergency On Planet Earth" neu und feiern damit das 30-jährige Bestehen einer der bahnbrechendsten und wegweisendsten britischen Bands der letzten Zeit. Nach der Wiederveröffentlichung der 25. Jubiläumsausgabe von "Travelling Without Moving" - dem meistverkauften Funk-Album aller Zeiten - feiert Jamiroquais Debütalbum "Emergency On Planet Earth" in diesem Jahr sein 30-jähriges Bestehen und wird als transparentes/klares Doppel-Vinyl mit Gatefold-Cover und bedruckten Innenhüllen mit Linernotes von Jay Kay aus den Jahren 2013 und 2017 neu aufgelegt.Pour marquer les 30 ans de la sortie du single "When You Gonna Learn ?", Jamiroquai réédite "Emergency On Planet Earth" qui marque le début de la célébration du 30ème anniversaire de l'un des groupes britanniques les plus révolutionnaires et pionniers de ces derniers temps. Après la réédition en janvier de l'édition du 25e anniversaire de " Travelling Without Moving " - l'album de funk le plus vendu de tous les temps - le premier album de Jamiroquai, " Emergency On Planet Earth ", fête cette année son 30e anniversaire et est réédité en double vinyle transparent/clair avec une couverture gatefold et des pochettes intérieures imprimées contenant des notes de Jay Kay de 2013 et 2017.
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
"Bywater Call will be among the best new bands of the decade" - Nathalie
Leblond of Blues Quebec Toronto-based, 2020 Maple Blues Awards
nominees for Best New Artist, Bywater Call's self-titled debut album was
released in Canada, USA, Europe and Australia on November 22, 2019
The album received rave reviews across all territories and placed #1 on the Roots
Music Report Canada Top 50 for 11 straight weeks and continues to place today.
It was featured as album of the month on the IBBA chart, gained repeated top 5
placement on the International/ US Rock Blues, and top 20 placement on the
International/US Blues RMR charts.Bywater Call are geared to released their longawaited sophomore album 'Remain'. This album is for fans of roots/ blues rock
bands such as Tedeschi Trucks band, Marcus King, Beth Hart, and alike.
Taking Back Sunday scored one of the highest charting independent rock albums
of 2004 when 'Where You Want To Be' hit No. 3. Dubbed "one of the most
anticipated albums of 2006" by Alternative Press, the band's follow- up and
Warner Bros. debut Louder Now released on April 25, 2006, took the group's
classic ethos of intertwining vocals and hardcore meets- rock- meets- pop to an
even more enticing level, besting its predecessor and skyrocketing to No. 2 on
Billboard's Top 200 selling 158,000 copies in its first week and garnering a Gold
certification in the process.
'Louder Now' went on to receive favorable reviews from critics, and was voted
Kerrang!'s album of the year. Additionally, it reached top 10 status on several
Billboard charts and the top 20 in Canada, Australia and the UK where it later was
certified silver by the BPI for sales exceeding 60,000 copies.
OVERVIEW: Lande Hekt’s natural state of being is in the writing of a song. Having crafted politically aware, heart-on-sleeve, punchy yet tender, punk-flecked songs with her band Muncie Girls, Lande turned her hand to an even more personal songwriting approach as she embarked on writing a solo record - 2021’s ‘Going to Hell’. The debut full-length documented her experience coming out as gay. It set out her stall as a solo artist with supreme storytelling abilities and a knack for understatedly luminous melodies. Lande’s music sits beautifully alongside such essential artists as The Wedding Present, The Sundays, The Replacements, Sleeper and Sharon Van Etten
Alex G - the Philadelphia singer, songwriter, and producer Alex
Giannascoli - releases his highly anticipated ninth studio album,
‘God Save The Animals’, on Domino.
‘God’ figures in the album’s title and multiple of its thirteen
tracks, not as a concrete religious entity but as a sign for a
generalized sense of faith (in something, anything) that fortifies
Giannascoli, or the characters he voices, amid the songs’ often
fraught situations.
Filtering his experiences through fact and fiction, Giannascoli
also opened up the songs through a more practical method:
collaboration. ‘God Save The Animals’ features several
individual contributions from his bandmates (guitarist Samuel
Acchione, drummer Tom Kelly, and bassist John Heywood) or
frequent collaborator Molly Germer on strings and / or vocals.
CD in printed inner wallet and spined capacity outer wallet with
8-page folded poster insert.
LP in gatefold outer sleeve with special gold foil print and white
polylined inner sleeve with digital download card.
C45 audio cassette in coloured shell and standard clear plastic
outer case with cassette inlay (J-card with panels) and digital
download card.
UK headline tour in 2023.
Alex G - the Philadelphia singer, songwriter, and producer Alex
Giannascoli - releases his highly anticipated ninth studio album,
‘God Save The Animals’, on Domino.
‘God’ figures in the album’s title and multiple of its thirteen
tracks, not as a concrete religious entity but as a sign for a
generalized sense of faith (in something, anything) that fortifies
Giannascoli, or the characters he voices, amid the songs’ often
fraught situations.
Filtering his experiences through fact and fiction, Giannascoli
also opened up the songs through a more practical method:
collaboration. ‘God Save The Animals’ features several
individual contributions from his bandmates (guitarist Samuel
Acchione, drummer Tom Kelly, and bassist John Heywood) or
frequent collaborator Molly Germer on strings and / or vocals.
CD in printed inner wallet and spined capacity outer wallet with
8-page folded poster insert.
LP in gatefold outer sleeve with special gold foil print and white
polylined inner sleeve with digital download card.
C45 audio cassette in coloured shell and standard clear plastic
outer case with cassette inlay (J-card with panels) and digital
download card.
UK headline tour in 2023.
Freedy Johnston is one of those rare singer-songwriters who counts
critics among his biggest fans — and whose heroes consider him a peer.
Not bad for a self-proclaimed "geek in glasses who never left his room."
Johnston's 9th album, 'Back on the Road to You' is a record steeped in
wit, humor, pathos, love, and friendship drenched with memorable,
infectious melodies
Johnston recorded the album in Los Angeles with producer Eric Corne after
setting up house in nearby Joshua Tree. The new surroundings seem to have
imbued the album's mood and instrumentation with echoes of The Byrds,
Jackson Browne, Joni Mitchell, and Neil Young. Joining Johnston in the studio
were Aimee Mann, Susanna Hoffs of The Bangles, and longtime collaborator,
Susan Cowsill, along with an all-star roots music band, including Doug Pettibone
(Lucinda Williams), Dusty Wakeman (Jim Lauderdale), Dave Raven (Shelby Lynn)
and Sasha Smith (Priscilla Ahn).In 1994 Rolling Stone named Johnston the
'Songwriter of the Year', describing him as "A master storyteller, (who) sketches
out full- blown tragedies in a few taut poetic lines." Adding, "He joins that elite
cadre of songwriters—Bob Dylan, Neil Young, Elvis Costello—whose brilliant pop
compositions turn magical with the addition of a defiantly idiosyncratic singing
voice."
'Back on the Road to You' is a return to grace for this gifted songwriter. It
embodies the sound of an American original reminding us that he is still
considered one of the best songwriters of his generation.
Freedy Johnston is one of those rare singer-songwriters who counts
critics among his biggest fans — and whose heroes consider him a peer.
Not bad for a self-proclaimed "geek in glasses who never left his room."
Johnston's 9th album, 'Back on the Road to You' is a record steeped in
wit, humor, pathos, love, and friendship drenched with memorable,
infectious melodies
Johnston recorded the album in Los Angeles with producer Eric Corne after
setting up house in nearby Joshua Tree. The new surroundings seem to have
imbued the album's mood and instrumentation with echoes of The Byrds,
Jackson Browne, Joni Mitchell, and Neil Young. Joining Johnston in the studio
were Aimee Mann, Susanna Hoffs of The Bangles, and longtime collaborator,
Susan Cowsill, along with an all-star roots music band, including Doug Pettibone
(Lucinda Williams), Dusty Wakeman (Jim Lauderdale), Dave Raven (Shelby Lynn)
and Sasha Smith (Priscilla Ahn).In 1994 Rolling Stone named Johnston the
'Songwriter of the Year', describing him as "A master storyteller, (who) sketches
out full- blown tragedies in a few taut poetic lines." Adding, "He joins that elite
cadre of songwriters—Bob Dylan, Neil Young, Elvis Costello—whose brilliant pop
compositions turn magical with the addition of a defiantly idiosyncratic singing
voice."
'Back on the Road to You' is a return to grace for this gifted songwriter. It
embodies the sound of an American original reminding us that he is still
considered one of the best songwriters of his generation.
Criminal Heart is not just another album from another Singer-Songwriter
According to Beth Nielsen-Chapman, "This is what killer songwriting sounds like"
Legendary guitarist Robben Ford describes it as "Absolutely beautiful."And Chris
Difford reckons it's the work of a "Fantastic and special singer-songwriter."This is
a 'coming of age' album from Hollie Rogers, who remains, by choice, completely
independent. Known already for the candid, confessional nature of her songs and
for live performances that make audiences laugh and cry, Hollie refers to the
album, which has been 5 years in the making, as her "baby." She says, "I'm not
having a human one. I'm proud to have nurtured this one instead; it's got a great
personality and there's absolutely no poop."
The album is the most impressive showcase to date of Hollie's songwriting
prowess, with each song framing insight into a cohesive story; one that reveals
itself more and more with each and every line of lyric. Love, lust and selfdiscovery are some of the key themes tightly bound together throughout, as an
added maturity reveals itself in the record's strong melodies, satisfying harmonic
structures, and hooky choruses. (Try listening to 'Sinner' or 'Love' without them
becoming earworms.)
Criminal Heart was produced at Masterlink Studios, Surrey - with a cast list of A
Grade players in the shape of Masterlink's House Band. Their CV's run like a
'who's who of music' - think Elton John to Herbie Hancock - and, much to Hollie's
particular delight… The Spice Girls. She admits, "Much as I may profess my
influences to be exclusively the likes of Joan Armatrading and Joni Mitchell, I
can't deny there's probably a smidge of Spicefluence hidden in there somewhere.
Girl Power!"
But spice aside; this is no 90s pop record. Indeed, US guitar legend Robben Ford
and UK chart- topper Jamie Lawson make guest appearances, as does a track
produced by 4- time Grammy- Nominated James McMillan. All serving to add
some particularly tasteful icing to a not- inconsiderable cake. (Or more likely, a
pasty - since Hollie is from Penzance, Cornwall. It's no coincidence that her name
rhymes with a famous Pirate Ship.)
Ally is psyched to be releasing The Cakekitchen's dark and powerfully
catchy fourth LP, Stompin Thru The Boneyard, on vinyl for the first time in
the US!
Originally released on CD domestically by Merge Records in 1994, Graeme
Jefferies has remixed and remastered the original album creating a more even
and equally stirring effect. Mac McCaughan (Merge / Superchunk) cites this as
one of his favorite iterations of the band, and for good reason. "Tell Me Why You
Lie" ranks among the best of Jefferies' edgy pop songs, while the multi-part "Hole
in My Shoe" finishes with a sterling instrumental segment. "The Mad Clarinet" is a
highly textured acoustic piece featuring another NZ legend, Alastair Galbraith, on
violin. The album ends with the perfect closer, "Another Sad Story," which is not
just another song, but one of the finest melancholy earworms you'll ever
experience. NZ pop at its finest!
The story of this album is a story of love and lust - it's a love letter to rock
music - Your first love being the first time you held that instrument or
lover that would propel you into the next chapter
Your first heartbreak. Your first fear. Your first fuck. There's a constant need to
feed the first because all of that unfinished business fuels the second.
But the truth about the first is that it was there all along. These songs were out
there years ago, playing out their melodies to a closeted, jealous, angry Iowa City
gay boy trying to find his way towards freedom. Decades later, No. 2 grabs those
songs down and punches the idea of a first all open. First Love reintroduces No. 2
to us all, driven by the propulsive lyrics of Neil Gust along with the incomparable
Gilly Hanner on bass and the unparalleled Paul Pulvirenti on drums.
Produced by Joanna Bolme (Stephen Malkmus & The Jicks) and mixed by Gary
Jarman (The Cribs) and Tony Lash (Heatmiser). The album was recorded over 3
years in studios and basements across Portland, OR and finished in a boathouse
in Connecticut during Covid. Special guest Rebecca Cole (The Minders, Wild Flag)
shows up on keyboards here and there.
Racing through queer anthems, noir grooves, and more under and over ground
rock references than a Quentin Tarantino movie, First Love bursts with all the
infectious chemistry that made the band so much fun in the first place.
In the kitchen of the Byron Bay home of Winston McCall stands a
refrigerator, adorned on one side by a quote from Tom Waits: "I want
beautiful melodies telling me terrible things."This, the PARKWAY DRIVE
vocalist says, is a pretty good summation of himself
It holds true, too, as one of the guiding principles behind Darker Still, the seventh
full- length album to be born of this picturesque and serene corner of northeastern NSW, Australia, and the defining musical statement to date from one of
modern metal's most revered bands.Darker Still, McCall says, is the vision he and
his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor
and drummer Ben Gordon – have held in their mind's eye since a misfit group of
friends first convened in their parents' basements and backyards in 2003. The
journey to reach this moment has seen Parkway evolve from metal underdogs to
festival- headlining behemoth, off the back of close to 20 gruelling years, six
critically and commercially acclaimed studio albums (all of which achieving Gold
status in their home nation), three documentaries, one live album, and many,
many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically
standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera,
Machine Head, Guns N' Roses – as much as it does their metalcore
contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who
credits much of his inspiration to the connection his riffs have with a crowd in a
live setting.
Emerging from the darkness of the past few years, this is the true face of
PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.
Progressive rock bent with a considerable amount of rock 'n' roll gospel
soul!
.Sanctuary's virtuosity is undeniable, and every song displays each
member's considerable talents
The album is abundant with soaring and passionate vocal arrangements that are
carried on high by the lively interplay of Norm Weinberg's percussive flurries as
they weave their way through a tapestry of flutes, strings, and guitars. Deeply
resonant keyboards set the foundation for the band's sound, and in fitting, albeit
unsuspecting, fashion, it is Eric Bikales' flute playing that shepherds the listener
through the album.
Beginning with "All In My Dreams," the flute's light and colorful timbre captures the
ear, serving as a clarion call for all to follow and creating moments of majesty, as
music and message seamlessly transform into one. Sanctuary's interpretations
of Yes's "Time And A Word" and Edgar Winter's "Winter's Dream" are not mere
covers. They are bright and bold musical statements, refusals to submit to the
negativity of the times. Their unique take on these compositions, as well as their
own, provides the kind of bright eyed anthems their generation's voice needed to
compete against the backdrop of war and social upheaval dominating the
headlines.
Laurence Jones returns with his 7th studio album ‘Destination Unknown’,
his debut release on Marshall Records, featuring his trademark virtuoso
guitar backed by his stellar live band, creating the perfect blend of tight
rhythmic groove and soulful delivery, Laurence pays tribute to his blues
roots whilst developing a more rock-oriented sound
Laurence has been seen most recently on tour with the legendary Status Quo as
well at festivals across the UK and Europe.
