Suche:got some

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Bill Gage is a quasi-famous singer with a raw, rock ’n’ roll voice.
Cheater Slicks are an infamous, raw, rock ’n’ roll band. Put the two
together and the resulting album is a stream-of-conscious stew of
wild, fuzz-drenched rock ’n’ roll!
Some history: both Cheater Slicks and Bill Gage’s band BILL
began in Boston in 1987, and it was sometime around then that Gage
first sang with Tom and David Shannon playing guitars, in Gage’s
bedroom in Laconia, New Hampshire. It was an intense and primal
sound that was not forgotten by those involved.
Gage’s singing has been compared to Captain Beefheart, David
Thomas, Damo Suzuki, and Yoko Ono. However, Gage clearly has his
own sound, which includes guttural yells, sweet crooning, and bluesy
meanderings—all seemingly told from a tarpaper shack porch under
the oceans of Mars.
Cheater Slicks have from the start been a brain-melting rock ‘n’ roll
dream / nightmare of a band. Steeped in the wild guitar interplay and
pounding drums of classic noisy underground rock groups (Cramps,
Scientists, Velvet Underground), they have created their own unique
and ever-evolving style that has only gotten deeper and sharper over
the years.
In spring 2018, when Cheater Slicks were presented with the idea
of a collaborative record with Gage, they wasted no time, and began
writing and arranging new songs for the project. Gage traveled to
Columbus to record at the legendary Musicol studios in November of
that year. It was a great session and came together as if it were always
meant to be. After thirty years of performing, is the world finally ready
for Bill Gage—accompanied by the seismic Cheater Slicks?
All profits from this record will benefit the Arts Resources programs
of the National Association for Down Syndrome.

After the demise of the Ooga Boogas in the Before Time,
the four band members went their very separate ways. Being
in that band was such an intense high pressure experience,
some chillax time was well-deserved.
Leon Stackpole aka Stacky recorded under the name
Leon, Per Byström joined Voice Imitator, Mikey Young
recorded with The Green Child and Richard Stanley
played in Drug Sweat. All quite deserving projects, but it
was Stackpole’s solo outing that garnered the most interest
from public and industry alike. The demand for live shows
led him to recruit Byström from Ooga Boogas and a guy
named Brad into his touring lineup.
The trio was red hot, but inevitably the venues they
filled required a fuller sound so Stackpole recruited Young
as well on second guitar. The gruelling touring schedule
became too much for family-man Brad, so Stanley jumped
in to fill his size 11s and off they went for another lap of
regional Victoria.
Eventually the question presented itself to this freshlyminted
foursome: should they continue as Stackpole’s
backing band or strike out anew with a fresh identity? The
answer came in a moniker too electrifying to resist; a name
as clever, enigmatic and indeed, as powerful as the band
itself: Power Supply.
Back in the shed, jams became songs, jokes became
lyrics and long afternoons spent together became this record—
listen though, and one will hear life through the lens
of Stackpole and the tactile tentacles of his pals. In The
Time Of The Sabre-toothed Tiger contains ten songs that
listen so easy, one will barely notice when they’re gone.

Brian Owens is a soul singer, a writer and a dedicated community activist from Illinois, USA.
At Visions HQ they fell in love with his album” Love came down” from 2019, and in particular with the 2 tracks “Sparrow “and “Cool water“ ( unreleased before on vinyl ).
They got in touch with him and after nice chats and lovely exchanges, they decided to licence these two soul gems and give them a new life on a proper 2x 12” with a new mastering and some great remixes from the likes of Kaidi and Dego, Soul Supreme and Sohan Wilson.
These new versions are wonderful and kept the essence of Brian’s music but what is amazing too is to have the original versions on one side for maximum quality and loudness play. This is music, pure new soul with the respect of tradition of the 70’s soul music that we love.
The first edition with full sleeve designed by Angelo Benedetto is limited to 300 copies only. Collector’s item here, don’t sleep!

Looks like we are hittin’ a milestone here. A little background has to be provided though, in order everyone to fully understand why it took us that long to put out this Album, which was already
announced at the dawn of 2020. The ELECTRIFIED project started almost 2 (TWO) years ago, with the first vocal takes recorded a few days ahead of Cannonball Weekender in November 2019. Everything seemed fine and in good working order so the release date was
planned and announced for june 2020. All self financed, self conceived and self realised in that style that’s a point of distinction of our small group of labels. Then the CVD damn thing kicked in. “So What?” some of you would be very entitled to ask. And,
believe me, I’d be on the very same
#sowhat lines as you, only that each member of our team reacted to the shitstorm in his very different and individual way. While folks all over the world were confined home
setting up new ventures, creating new labels and dedicating themselves to something productive not to get psychologically annihilated by the media induced fear, our project was totally disrupted instead. It took the first wave to fade away to gather our stuff
together and movin’ the production forward. Anyway, whatever the reasons, the album came ready and mixed by march 2021. So here we are. Further than the two acclaimed singles
“Break Free” and “Sitting On Top Of The World”, the tracklist includes 6 completely new songs, a smashing cover of
Massive Attack’s “Unfinished Sympathy” and the rearrangement of the two classics
“There Are No Winners” and “Mother Got A Way”. The style goes from modern funk experimentation to a more classic soul and a groovy electronic ender foreseeing the future of this beautiful music.

White Vinyl
E.VAX - the project of Ratatat’s Evan Mast - announces his new, self-titled album, out September 17th via Because Music. Performing as half of Ratatat for more than the last decade, Mast’s music has reached an enormous audience with its bombastic merge of rock and electronic music, as well as through his parallel work as a hip-hop producer for artists such as Kanye West, Kid Cudi, and Jay-Z . His new solo album, E.VAX is a collection of instrumental songs, dolloped with moments of exploratory dialogue, disembodied moments that are equally disorienting and moving. The throughline between the songs on his new album is not a certain signature sound, but Mast’s feel as a producer. Though one song may lean heavier on snappy drums and another on the coo of an organ, they all share a similar sensibility. The songs are sincere, playful, inviting, curious, and contemplative—all characteristics of Mast himself.

For this album, Mast loosened his attitude towards production, looking to capture some of the excitement of creation. He recorded at home, and then midway through the pandemic he spent time in Montana, recording in a friend’s art gallery. The blank space and isolation after so much studio time in close quarters allowed for a new looseness. He’d play songs at the wrong speed to see how it changed what he heard, or deliberately leave a melody untouched for months and then improvise over it after playing it anew for the first time. Unable to get lost in real life, he got lost in music. “I used to be way more precious,” Mast says about his songwriting. “A lot of this stuff on the record is about trying to skip the brain processes that can get in the way of making something that really feels sincere.”

Immortal jazz tracks from Woody Allen’s movies on 180g limited edition
vinyl featuring tracks by Sidney Bechet, Count Basie, Art Tatum, Benny
Goodman, Lester Young and others.
Jazz music has always filled an important part in Woody Allen’s life and work.
In addition to his career as a filmmaker he also plays the clarinet. Classic jazz
recordings are also present in nearly all of his films and play an essential role
in setting the mood. This LP presents a selection of 13 tracks that were used
on 11 of his movies.
“Everyone loves the music of his childhood, and for some reason, it has a
disproportionate impact on the person. When I was growing up and I got up
in the morning to go to school, I would turn on the radio and it would be Billie
Holiday and Coleman Hawkins and Benny Goodman.” - Woody Allen

The raucous, multi-song tale of a young man bitten by the blues bug.
A striking collection of songs tell the story in vivid lyrics brought to life by
Castro’s patented roadhouse rock, soulful ballads and deep,
greasy grooves.

Days Of Speed is an acoustic, double live album featuring songs from across Paul’s career including The Jam classics; That’s Entertainment and Town Called Malice, The Style Council’s Headstart For Happiness and Down In The Seine and solo hits, You Do Something To Me and Wild Wood. Originally released in October 2001, charting at no. 3 in the UK, the initial double vinyl release was strictly limited and now sells for £250+ on the secondary market. The 2021 reissue features faithful original packaging replication & was cut at London’s Metropolis Studios.

NME: “Live acoustic brilliance from the master songsmith.” (4.5/5)

Eleven groups in eight days. A marathon recording session in a makeshift storefront studio in a 100-year-old building in the tiny Eastern North Carolina town of Fountain. Once the idea for the project was in place, Alice Vines of the Glorifying Vines Sisters started calling local musicians. It didn’t take her long to line up almost a dozen groups to come lift their voices and represent the region’s unique Sacred Soul traditions. When the groups on this record gathered to record in February of 2020, they couldn’t have known that the world was on the heels of a global pandemic, or that the year would bring great turmoil and social upheavals. But in the reality created by gospel songs even the greatest of trials are not surprising, nor can they be ultimately devastating. Every time singers stepped up to the mic during these sessions, they created a sonic world where no amount of bad news can undermine the truth of The Good News. Even when “you can’t really see a solution to what you’re dealing with at the moment,” says Kiamber Daniels of Faith and Harmony, singing gospel music will remind you, “hey, I’m still here; I got what it takes to make it through this. It will give you a sense of peace.” Produced by Bruce Watson (Fat Possum/Big Legal Mess/Bible & Tire), this collection of sacred soul recordings of Eastern North Carolinian gospel groups is a one of a kind exploration. With a rich heritage of family gospel music, the artists in this area have been honing their craft over generations and have their own way of making the material original and unique. This is Sacred Soul of North Carolina.

Purple vinyl pressing of the 22-year-old blues sensation’s
eagerly-anticipated follow-up to his Grammy-nominated debut,
2019’s Kingfish.
662 (the area code of his Mississippi Delta stomping grounds) is a powerful and
personal album, a fiery coming-of-age record.
The lyrics reflect Ingram’s newfound maturity and how your roots inspire
where you’re heading.
Musically, the record delivers a heaping helping of the deep, visceral Ingram
guitar magic his fans love, fueling a combustible mix of molten blues rock,
down home shuffles and soulful grooves.

The brothers Jerry and Jimmy Vivino belong(ed) to sought-after session
musicians and producers in the American blues scene.
Their services have been taken by numerous blues musicians such as Son Seals,
Johnnie Johnson, Hubert Sumlin, Al Kooper, Shemekia Copeland, Aaron Neville,
Lucky Peterson, Dr. John, Buddy Guy and Odetta, among others.
However, the Vivino Brothers rarely recorded albums together. With Chitlins
Parmigiana, however, they recorded something special by fusing urban blues,
jazz funk and soul. Although the album spreads a party atmosphere, the ballad
‘Fools Gold’ is goose bumps pure.
An enjoyable album that illustrates the Vivino siblings’ diversity.
The album by the Vivino Brothers, which is still legendary today, was no longer available in mint condition for over a decade. Now Chitlins Parmigiana is
emerging again - as a Double-LP.

We're heading deep into the bowels of the cosmic basements with our latest vinyl release which is headed up by those 2 lovely souls from Leeds, PBR Streetgang.

From rocking it all over the globe to releasing a plethora of absolute yesmate bangers & a long player too, we're pretty thrilled that they have joined our family of music makers with their double A side E.P. 'Transpennine Express'.
GCP gets the party started and instantly takes you to 4am at Barbarellas Discotheque with stacks of throbbing-ness & pumping, laser reaching vibes whilst the boys take you down a wormhole of electronic music pleasure.

Condor jumps ships from Barbarellas & hot foots it over to Berlin to sweat it out in basement with only a smoke machine for company and tons of ravers. Pulsating synth surfs across a chubby bass with some slick as heck cosmic stabs making this a multitude of all that is good in proper dance music.

If the originals are on the dance floor then we made sure to go full on weirded-out on the remixes and crikey they don't disappoint!
ELLES totally flips the script on GCP and turns in a hazy, broken beat style electro groover with a full vocal giving it the sound of a lost track by A Certain Ratio.

Psychederek takes the 'make sure to go really wonky!' advice we gave when sending the parts to Condor and matches ELLES with his full on acid tinged psych wig-out rework. The beat sure is broken, the bass guitar punches, the old school piano thumps and the whole thing sounds like an amazing Andrew Weatherall remix from the mid 90's you never knew existed.

Something for everyone.from clubs to shebeens to after parties & beyond...

Sound Wonders: A Series of Epics is the second compilation from Touchtheplants, the imprint and multidisciplinary creative environment founded by Kaitlyn Aurelia Smith and Sean Hellfritsch (aka Cool Maritime). Following 2020's Breathing Instruments, the new collection features sonic responses to a new prompt. Like its predecessor (which explored music as an extension of the human body and the natural world), the medium of focus here dates back to ancient civilizations. Smith invited artists to compose music based on the idea of epics: the long poems and narrative verse works that have detailed deeds and adventures since the dawn of storytelling. The musicians — some of today's most exciting practitioners of experimental sound design, instrumentation, and synthesis — took this directive loosely, realizing a series of vibrant and transportive songs evoking wondrous visions, subjects, and locales.
From Elori Saxl’s chamber piece to Olive Ardizoni’s ode to the strange and beautiful phenomenon of starling murmurations with synth and xylophone tones the album splays out like chapters in a panoramic account of all that surrounds us.

Ark To Ashes label boss Shadi Megallaa got some down-time from his Dubai record shop, The Flip Side, to produce this EP. It features 2 original productions with one being a collaboration with fellow Egyptian & Dubai resident Omar Fayyad.

The remixes on the EP come courtesy of Rhauder with his signature subaquatic dub techno & another of Shadi’s friends, the prolific electro wizard Reedale Rise. Ark To Ashes has returned & it’s not looking back.

So here is the deal.... in 2002, THE VAPIDS teamed up with GORD “LAZY LEGS” LEWIS (Teenage Head guitar player) and recorded the entire “self titled” TEENAGE HEAD record from 1979........The thing is, THE VAPIDS practically RE-WROTE every song! Some are surely recognizable, but most are not.... Originally released on CD only on DOUBLE HELL RECORDS, it sold out within a year. Available now on vinyl in 3 different colours... “You take today, I’ll take tomorrow “ – Jimmy Vapid

We are always happy to throw you a curve ball, Athens of the North have an LP of our catalog flipped by Scottish beat Maker / Hip-Hop producer extraordinaire Jaisu.

We have always been a huge fan and sorted Jaisu with records whenever he popped down the office for a chat. One day early this year in full covid gear he came down to the studio with some beats from our previous releases and immediately I was like "Man do us an LP" and so the project was born. Jaisu took arms full of vinyl back to his studio in Niddrie and started feeding his MPC.

No less than 12 months later arrives ‘Deep Blue View’ – not so much of a follow-up, as a mini-flipside moving the Jazz from AM to PM, between city and sea.
“I originally had AM Jazz down as walking around some New York backstreet at 4am, smoking in a fedora, looking for crimes to solve but it now ends as night begins,” reveals Al, of his latest tale’s gradual evolution. “Deep Blue View is the night-time album now… like losing yourself deeper in the fog, or disappearing in the sea… would someone, or some 'thing' come to save you or would they , or it , come along for the ride?”
Usually by now, Daveyhulme’s own could-be John Barry would have left distractions of success for suburban side-projects and writing with his fellow Mancunian musicians, but AM Jazz left unfinished business - and, with 50 or so session recordings leaving a litter of sonic debris strewn about the cutting room floor, one major clean-up. Deep Blue View is 6 brand new tracks crafted from its reconstructed and revived remnants, unfurling like Sinatra’s Wee Small Hours to reinforce the strangely beautiful atmosphere of Al’s now revered repertoire. “I had the urge to create something new and started playing around with different EPs and pseudonyms but when I sequenced these tracks, I was really happy how smoothly they flowed; it just needed an opener. I quickly wrote ‘Deep Blue View’ and it fell into place. It’s great, so I carried on, knowing it was time to save the best stuff for myself,” Al grins.
Just as AM Jazz was created in the spirit of his earlier working style on debut album Tower of Love, Deep Blue View fuses Al’s love of finding the ‘right’ in the odd, weird, back-to-front and everything in between, with the hi-fi meets lo-fi sounds of his crate-digging curiosity and empathy for TV themes and movie soundtracks. Guided by melody, his home-based sorcery of working with analog, tape and field recordings opposed to the lure of studio mechanics allowed his inner subconscious to tap at the door and reveal itself in new musical forms. “In the studio it’s tempting to turn everything up loud but I’ve got bad tinnitus and don’t want to write anything else in a Beatles style. I have done all that now… at home I have a computer, a microphone and just go crazy and lose myself staring at the screen. Then suddenly loads of music is written.”
Setting his inner autopilot to flight mode, ‘Peppergone’ adds to the tracks’ nocturnal narrative and appears reborn after a last-minute culling from AM Jazz’s initial tracklist. Like a beautifully romantic ode to Beethoven’s Moonlight Sonata, it is a fitting tribute to dearly departed best friend 'Batfinks', written in the middle of a tough night. “I have no idea why or how the song came about because I was so upset to do anything, let alone record any music. But there you go. Somehow I did and it’s a really special thing. I know he would have dug me using his chords; growing up we’d both try to create the perfect chord sequence. This is his idea of that. I hope he doesn’t think it’s shit,” Al jests.
Also revived from AM Jazz’s archive is the simmering groove of ‘Night Talk Late Street’ and instrumental ‘Star Six Seven’, whilst ‘Have Another Cigar’ weaves its own semi-autobiographical fairy-tale with lyrics written and sung by long-time pal and former housemate Aidan Smith. Transformed from backing track into a cool morsel of story pop, it recalls the drunken joy of when the pair would make recordings together between singing the Everly Brothers at full volume. “I’m sure it’s about not wanting the musical party to stop and having to get on with real life,” Al says.
‘String Beat’ meanwhile, soars like a beautiful Bond theme with the shimmer of Lee Hazlewood holidaying in Palm Springs, alongside perhaps, the waltzing string-like synthonies of some long-lost rhythm and blues orchestra of Davyhulme (whose real-life origins reside with the Berlin Symphony Orchestra), introduced to him by Super Furry Animals’ Cian Ciaran. “I’ve never created anything this moody before and have always threatened to do something John Barry-esque with some slightly dark and spooky musical changes.”

Faithful to the ethos of the label to put new talents on the map, the second E2-E8 release comes from newcomer Hems. A regular punter at underground festivals such as Freerotation and Labyrinth, Hems spends some of his time making great electronic music in his East London cave… And we are very happy to be the first to put his music out.

A fine connoisseur of ambient and electronica, Hems has sometimes featured on the line-ups of Astral Industries parties. This release covers a wide spectrum of his sound. The almost beatless title track Post Radiance opens things up, followed by the subtle dub techno of I Know This Road and by the raw and relentless beat of Dirty Chords. On the B side, Let It Go is a suspended 15-minutes journey clocking in at 140bpm – arguably the highlight of the EP, sounding like little else out there. Madsituation closes the EP, with a nod at lighter atmospheres and a hint at Detroit-influenced strings.

Techno heads will be pleased to hear that the record has already got praises from techno talent Refracted, who loves Let It Go, and from Jane Fitz.