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Vivian Jones' debut album, released in 1983 and backed by Undivided Roots. Heavy slow sparse rhythms (in a Roots Radics style) and floating keyboards. Superb roots by this inspired UK singer, including the well-known tunes Flash It And Gwan and Third World Man.

Born in Jamaica but raised in the UK, Vivian Jones is an important voice in the UK Roots scene. Started in the 70’s as deejay on local sound systems but also as a member of several UK Roots bands. Disillusioned with the music industry he returned to Jamaica in 1982 and recorded some material there. He returned to London, began recording again in his spare time and released his debut album Bank Robbery on Ruff Cut. He went on to work with Jah Shaka, Bobby Digital, Junior Reid and many others. In the 90’s he started his own ‘Imperial House’ label. Nowadays a welcome guest on every reggae festival in Europe, Vivian still plays live shows and even with more than 130 single releases under his belt, he keeps on recording new and uplifting tunes.

Vivian on the creation of the album: At that time I never had a band to work with or anything so I spoke to Crucial Tony Phillips and he said I must come in. I went down to Ruff Cutt and they had some rhythms down there that they didn't know what to do with and I think they were even going to wipe some of them off the tape. They played me a few of them and I said, "What? You gwaan wipe off this?? A me tek this!" so they say "Alright, come voice it..." and the tune was Flash It And Gwaan. When I heard that rhythm I said, "Bwoy you mad???" and they said, "we cyaan get nobody to sing 'pon this riddim" so I said, "gimme the riddim". And, in fact, before I sang it, when I heard the rhythm I went to a sound party. I went there and they gave me the mic and I started singing Flash It And Gwaan right there and then. Then I went to the studio and sang it for Ruff Cutt.

After Flash It And Gwaan I sang about three more tunes that night and then they decided to make an album so they started giving me different rhythms and I kept voicing them until we had an album. That was the album Bank Robbery, because at the time the bank robbery was a real thing that happened on my birthday, 1st April, when they robbed some gold bullion or something like that. Whole heap of millions. And because it was on my birthday, I remembered that and then one day they gave me a rhythm and so I sang Bank Robbery on it for the album title track.

The legendary session from members of The Outsiders, The Sound and Honolulu Mountain Daffodils. released for the very first time.
Overseen by Adrian Janes and remastered by Nick Robbins with sleeve design and artwork by Bi Marshall.
PRESSED ON ‘SPECIAL’ COLOUR VINYL.
In December 1978 Pete Williams, later to achieve cult infamy as Lord Sulaco of the Honolulu Mountain Daffodils, decided to realise a notion which he’d long kicked around with some of his musician friends. This was to record some original songs for which he - who had never been in a studio in his life – would provide the lyrics and sing. These friends were the Outsiders, at that time consisting of Adrian Borland (guitar, vocals), Graham Bailey (bass) and Adrian Janes (drums), plus an increasingly regular guest player in Bi Marshall (clarinet). (A year later, Janes having left, the Outsiders became the Sound.)
With no prior preparation other than Williams writing a set of lyrics (reputedly all based on newspaper stories), he then hired Elephant Studio in London for a day’s session. This was engineered by Nick Robbins, later to produce The Sound among others, but at that point at the very start of his career. This was no bad thing, since he was as open to the bizarre working methods of the Crazies (named after the George Romero sci-fi horror film) as they were innocent of their strangeness:improvise a song during one run-through, record it, and then move on to the next one, each to be created in the same way.
This extremely efficient method left enough studio time after recording six songs for the rest to head off for something to eat, while Williams scribbled lyrics for a final composition, ‘When We’re Dead’, which was recorded upon their return.
The surviving members (Bailey, Marshall and Janes) all recall this as one of the most enjoyable and relaxed sessions they were ever part of. The same experimental freedom and warped humour can also be heard in the albums Williams and Borland made as the Honolulu Mountain Daffodils a decade later.
Cassette copies of the resulting album were produced for all concerned, and it seems that there was an idea of making it more widely available in this format, but this was never to occur. It is only now that, with the original tape rediscovered, that the Crazies’ ‘A Simple Vision’, mastered by Nick Robbins, can at last be perceived by the wider world.

Rerpress

3AM Eternal returns with none other than Coco Bryce! He delivers 2 gorgeous tracks: "Cloud Busting" is a super energetic Reese & amen workout with beautiful strings and sparkling synths. The B side "Octopus" is subtle but brings such a huge vibe. Switching between absolutely lush atmospheres and FM clonks. Goosebumps guaranteed!

For this one, Jack and Meg decamped to Memphis to record at the legendary Easley-McCain Studio and walked away with a bonafide classic. Unique for a White Stripes album, as it contains no covers, no guest musicians, no blues and no guitar solos, this album would be most of the world's introduction to the band.

While the video for "Fell In Love With A Girl" could've single-handedly raised the price of LEGO stock the other jams on here are momentous, from the fuzz distorted clarion call of album opener "Dead Leaves and the Dirty Ground" to the finger-pointing accusations of "I Think I Smell A Rat" this album has everything you could ever want from the Detroit duo.

Cut directly from the original 1/4" master tapes, pressed on HEAVY 180-gram vinyl and lovingly ensconced in a beauteous Stoughton tip-on jacket...this album has never looked better, and perhaps, has looked markedly worse.

Following on from the successful ‘An Idiot Prayer’ live album and livestream event released this year, Nick Cave Productions & BMG announce B-SIDES & RARITIES PART I & II to be released internationally on 22nd October 2021.

B-SIDES & RARITIES PART II was compiled by Nick Cave & Warren Ellis and features 27 tracks from “Dig, Lazarus, Dig!!!” in 2006 to 2019s “Ghosteen”. Also features 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

UNRELEASED TRACKS *

Paul’s sixth solo studio album, Illumination, was originally released in September 2002, and is Weller’s second solo number one, it includes the hit singles “It’s Written in The Stars” (no. 7) and “Leafy Mysteries” (no. 23) and features guest performances from Carleen Anderson, Jocelyn Brown, Kelly Jones and Noel Gallagher. The 2021 reissue features faithful original packaging replication including rounded corners and was cut at London’s Metropolis Studios.

NME: "Paul has clearly regained his sense of adventure… a spirited, joyous album.” (4/5)

The Guardian: "The trinity that opens his sixth solo album is his best work in ages, by turns love-besotted, politically outraged and burning with spite. What a surprise - just when you thought Weller would never do it again, he goes and does it.” (4/5)

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

The seminal Epitaph debut, Pennywise self-titled features many of the songs that have gone on to become legends in the band's live show. "Rules," "Homeless" and of course the original version of "Bro Hymn" all appear on this album. Recorded and mixed by Brett Gurewitz at Westbeach Recorders, this album helped to lay the groundwork for what would become one of the greatest punk rock bands of all time. A classic since it's original release in 1991, Pennywise stands as one of the most shredding and fearsome albums in the Epitaph catalog.

A decade since he first appeared on LUCKYME, Lunice brings
special editions of his first three EPs, with raided archives and
unreleased tracks available for the first time. LUCKYME have
also added significant remixes from the likes of Rustie and Girl
Unit to these new expanded deluxe versions.

Celebrating these influential EPs which first introduced the
world to this Québécois beatmaker. Recorded prior to his
breakthrough as half of TNGHT with Hudson Mohawke. These
are the tracks that first launched Lunice from his Montreal
bedroom to travelling the globe with his incendiary live
performances.

From producing Kanye West’s ‘Blood On The Leaves’ to touring
with Madonna, these tracks are the blueprint for everything that
came after. Flitting between minimalist electronic workouts to
heavyweight rap beats and merging those worlds in a way few
had before him.

On their vibrant and eclectic ninth studio album, Clinic -
the band who wore surgical masks before it was a
matter of urgency - are taking you to ‘Fantasy Island’,
where you will find yourself transported to tropical
climes.
In guitarist / keyboard player Jonathan Hartley’s words:
“Clinic look to a brighter future, Fantasy Island it’s a
very positive album, it’s more about what you can make
happen rather than being defeatist.”
Their last album, 2019’s ‘Wheeltappers and Shunters’,
found the band satirising British culture and wallowing in
sleazy Seventies nostalgia. ‘Fantasy Island’ was
recorded in an old studio on Merseyside during the
summer of 2019, with good vibrations seeping into the
grooves. This time they are embracing “the idea of
looking at the future and the different ways it can unfold,”
with their most electronic and pop record to date. “It’s a
more global, international and outward looking record,”
says Hartley. “Clear blue horizons. The brave new
world!”
The album was mixed last year by Claudius Mittendorfer,
who has worked with Parquet Courts, Neon Indian and
many pop greats.
CD in paper inner wallet into spined capacity outer
wallet.
Standard weight black vinyl into shared printed inner
sleeve and digital download card.

Biffy Clyro will release the surprise new project ‘The Myth of the Happily Ever After’ on October 22nd. The record is a homegrown project that represents a reaction to their #1 album ‘A Celebration of Endings’ and a rapid emotional response to the turmoil of the past year. It is the ying to the yang of ‘A Celebration’, the other-side-of-a-coin, a before-and-after comparison: their early optimism of 2020 having been brought back to earth with a resounding thud. It’s the product of a strange and cruel time in our lives, but one that ultimately reinvigorated Biffy Clyro.

“This is a reaction to ‘A Celebration of Endings’,” says vocalist / guitarist Simon Neil. “This album is a real journey, a collision of every thought and emotion we’ve had over the past eighteen months. There was a real fortitude in ‘A Celebration’ but in this record we’re embracing the vulnerabilities of being a band and being a human in this twisted era of our lives. Even the title is the polar opposite. It’s asking, do we create these narratives in our own minds to give us some security when none of us know what’s waiting for us at the end of the day?”

‘The Myth’ has been launched alongside the new track ‘Unknown Male 01’. In six adventurous minutes, the band explore every facet they’re renowned for, taking in the unguarded emotion of its introduction, a skewed off-kilter breakdown, and a jagged, spiralling riff that builds towards a cataclysmic crescendo. The song reflects on friends who have taken their own lives.

Biffy Clyro will release the surprise new project ‘The Myth of the Happily Ever After’ on October 22nd. The record is a homegrown project that represents a reaction to their #1 album ‘A Celebration of Endings’ and a rapid emotional response to the turmoil of the past year. It is the ying to the yang of ‘A Celebration’, the other-side-of-a-coin, a before-and-after comparison: their early optimism of 2020 having been brought back to earth with a resounding thud. It’s the product of a strange and cruel time in our lives, but one that ultimately reinvigorated Biffy Clyro.

“This is a reaction to ‘A Celebration of Endings’,” says vocalist / guitarist Simon Neil. “This album is a real journey, a collision of every thought and emotion we’ve had over the past eighteen months. There was a real fortitude in ‘A Celebration’ but in this record we’re embracing the vulnerabilities of being a band and being a human in this twisted era of our lives. Even the title is the polar opposite. It’s asking, do we create these narratives in our own minds to give us some security when none of us know what’s waiting for us at the end of the day?”

Grounded by lockdown, Biffy Clyro recorded ‘The Myth’ in a completely different way to how they approached ‘A Celebrations’. Rather than spending months in Los Angeles, they traded one West Coast for another by recording for just six weeks in their rehearsal room (converted DIY style into a fully functional studio by rhythm section brothers James and Ben Johnston) in a farmhouse closer to their homes.

The trio went in with the intention of completing some unfinished songs from ‘A Celebration’, but instead ‘The Myth’ took over as it started to take shape late in 2020, with everything written and recorded within a ten-mile radius. Traditionally, 90% of Biffy songs have been written in Scotland before the band head to London or Los Angeles for recording, but this represented the first time they’ve ever recorded in their homeland. As Simon jokes, “It’s our first full-on tartan album!”

‘The Myth’ blends experimental flourishes with flashes of old school Biffy. ‘Existed’ is the moment that shaped the record an elegant expression of self-doubt that redefines the sonics of the band’s catalogue of vulnerable slowburners, while ‘DumDum’ is an even bigger departure, having been constructed primarily around soft synths sampled from Simon’s voice. And ‘Slurpy Slurpy Sleep Sleep’ is just as audacious a closer as ‘Cop Syrup’ from ‘A Celebration’. It also represents one of a selection of “easter eggs” or “turns of phrase” that subtly complement and contrast the two records.

At the other extreme, devoted fans will connect with the feral anger of ‘A Hunger In Your Haunt’, the arena-scaled drama of ‘Errors In The History of God’ and the sheer catchiness of ‘Witch’s Cup’.

‘The Myth’ has been launched alongside the new track ‘Unknown Male 01’. In six adventurous minutes, the band explore every facet they’re renowned for, taking in the unguarded emotion of its introduction, a skewed off-kilter breakdown, and a jagged, spiralling riff that builds towards a cataclysmic crescendo. The song reflects on friends who have taken their own lives.

“When you lose people that you love deeply and have been a big part of your life, it can make you question every single thing about your own life,” he says. “Like a lot of creative people, I struggle with dark thoughts. If you’re that way inclined you realise you’re staring at darkness, but you don't want to succumb. Those moments don’t stop. As the song says, ‘The devil never leaves.’ There’s never a day where you wake up thinking, ‘I feel great, it won’t cross me ever again.’”

A recurring concept of the album is the power of personal convictions, which have taken on an almost religious fervour via the echo chambers of social media and news platforms. But that idea has the nuance to rise above contrasting sides of an argument, arguing that greater unity and open-mindedness is the only way forward. Elsewhere, it spans everything from gaslighting to the ultimate devotion of cults and the beautiful failure of a Japanese racehorse.

‘The Myth of the Happily Ever After’ is now available to pre-order here, with ‘Unknown Male 01’ provided as an instant download. It will be released on CD and digital formats, as well as a limited edition red vinyl which is packaged with a must-have bonus CD for fans: full audio of the acclaimed livestream show that Biffy Clyro performed at Glasgow Barrowland in August 2020 to commemorate the release of ‘A Celebration of Endings’.

After headlining Reading and Leeds in August, Biffy Clyro will also play further large-scale outdoor gigs this summer at Cardiff Bay and Glasgow Green. Plans for 2022 are also taking shape, with April’s long sold-out ‘Fingers Crossed’ intimate tour and a huge Saturday night headline set at Download. Please see the band’s official website for a full list of shows and ticket information.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their fourth album, aptly titled "BCCIV" was originally released by Mascot Records in Europe in 2017. Just like its three predecessors, "BCCIV" was produced by Kevin Shirley, the band's unofficial 'fifth member'. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

The 10 songs on BCCIV will appeal to all fans of high quality hard rock, also those that admire singers of distinction. Hughes is not known as The Voice of Rock for nothing. In terms of content, 'BCCIV' expands upon the progression that took place between the first three albums. With an abundance of heavy riffs, undeniable hooks, melodic flair and infectious choruses, BCCIV is a spectacular album that gets bigger and bolder with repeated spins. Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

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!”

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!”

Roy Woods' Exis EP, originally released in 2015. This 6-track EP features the smash singles “Drama” featuring Drake, and “Get You Good”
Exis (stylized as EXIS) is the debut EP by Canadian recording artist Roy Woods. It was originally released on July 31, 2015, by OVO Sound and Warner Bros. Records. The EP's sole guest appearance comes from Canadian rapper and label-mate Drake. The official cover of Exis contains a picture of a white sketched tree with a blue background (representing "night time") and also the yellow moon. The back cover reveals the track list on one side of the moon

Grey Marbled Vinyl

VARIÁT is the new experimental metal one-man band of Ukrainian artist Dmytro Fedorenko. Through dissonant noise poetry, corrosive synthesis, and subtle seeds of interiority and folk song, VARIÁT creates a sound world of austere urban psychedelia, invoking themes of primitivism and mysticism within the volatile currents of a contemporary digital era.

Conceived in 2020 as a provocative creative outlet, VARIÁT is founded on ideas of transgression, reinvention, and liberation, the consequence of observing prescribed artistic boundaries and pursuing new depths of aesthetic freedom. The project began as an exploration of new recording techniques: metallic materials used as percussion and channelled through blown amps, toms played with a hammer, drilled cymbals, raw, dimensional textures produced from found objects.

For the project’s debut album ‘I Can See Everything From Here’ a library of recordings rooted in musique concrète initiated countless sessions of seismic, discordant guitar noise and overloaded detonations of low end. Synthesizers calibrated and treated to sound like traditional instrumentation, rhythms of deluge and disarray. Compositions constructed with an intent to preserve their original modality; the chaotic spark of their inception.

The artwork created for ‘I Can See Everything From Here’ is an aquarelle (watercolour) painting, an ink-based projection which mirrors the sound of the album with dense, fragmentary shades of black and extensive tendrils of detail. A microcosmic depiction of the graphic power that defines ‘I Can See Everything From Here’.

Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years bringing a full set spanning their entire discography, and new album, III! Recorded at Zebulon in Los Angeles, CA. In Oct 2020 the band released their first album in 5 years, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that is meant to be heard and experienced live, and their Levitation Sessions set is the smoldering slab of heavy psych we’ve all been waiting for, recorded at Zebulon in Los Angeles, CA. Director Joshua Erkman alongside sound engineers Matthew Littlejohn and Mike Kriebel, capture FUZZ’s intense energy backdropped by electric artwork from artist Tatiana Kartomten. “We wanted to create something that felt like more than just a replacement for seeing us live. This is the first time we had played songs from III in the context of a set, and we found new footing on some of the old songs. This led us down avenues we hadn’t seen in rehearsal. To find ourselves in the space right in between ‘lost’ and ‘found’ (aka live) was both alarming and electrifying after having been away from it for so long.” -FUZZ

For Andy and Edwin White, the brothers behind Orlando’s Tonstartssbandht, a song is a living, breathing thing. Through constant touring, the Whites’ songs both take shape and change shape, becoming something a little different every night as they explore the possibilities inherent within them. With time, attention, and intention, these songs—long, languid, full of open musical questions and temporary answers—become distinct objects, and the process begins again. On Petunia, Tonstartssbandht’s 18th album and second for Mexican Summer, they bring us to the earliest moments of this process, showing off a barn full of hatchlings already decked with splendid plumage. Using little more than a 12-string guitar and a drum kit, Andy and Edwin weave together the gentle headiness of Laurel Canyon and the sweaty pacing of Cologne; like a gyroscope, its constant motion produces the illusion of stillness—and that stillness gives it a sense of intimacy and introspection, something that’s further illuminated by the new emphasis placed on the brothers’ vocals. It allows the quiet wisdom of the lyrics—what Andy self-deprecatingly calls “generic broad platitudes that I still think resonate when I say them”—to slip in almost unnoticed, delivering their emotional truths while preparing a feather bed for you to collapse into. “All roads will lead to the heart of town, when you’ve been running too long,” he sings in the album’s opening moments. “Being at peace only slows you down, but you’ve been running so long now.” If Petunia feels like a journey in the direction of peace, that, too, is a reflection of how it was made—the entire thing was written and recorded in Orlando in 2020, rather than pieced together in spurts over the years. This is an album built on level ground that shows what can happen when the artistic environment is stable, even while the world’s environment is anything but. Petunia is not Tonstartssbandht’s definitive statement on these songs, because how could it be? But it is a portrait of Andy and Edwin White at home in Florida, an artfully staged landscape rich in detail, its winding passages and airy environment waiting to be explored.

First new release from Lizard Music in over two decades Since their hiatus, band members have joined Wilco, become the musical director for Cat Power, been a featured guest on RuPaul’s Drag Race, and worked with artists including Lana Del Rey, Brian Wilson, The Monkees, and more! Available on CD, Digital, and double-LP What Lizard Music says about Arizone! This collection of buzzy, whirly pop songs from a parallel dimension is a testament to Martin Short, Martin Sheen, Sheena Easton, Tina Turner, and Tiny Tim. Arizone! is better than discovering never-before seen discs for a View-Master. Arizone! is the sound of four old friends who spent their formative years playing music, traveling, and learning about the world, reuniting after a 25 year hiatus to compare notes and wound up with a one-way ticket to Arizone! Lizard Music began in Atlantic Highlands, NJ in 1989 when high school friends Mikael Jorgensen and Erik Paparozzi started learning and writing songs with a four-track. They pillaged their parents' record collections and discovered the musical universes of The Beatles, Frank Zappa, Captain Beefheart, XTC, James Brown and The Meters. In the fall of 1990, Lizard Music (named after the book by Daniel Pinkwater) was hired to be the backing band for David Peel and The Lower East Side at the recently-closed Brighton Bar in Long Branch, NJ, which would serve as the unofficial home base for the band for the next five years.

The making of “I Dreamed of Electric Sheep” was heavily influenced by the situation everyone had to face lately. “We were forced to work under very peculiar circumstances, often interrupting our studio activity because of the lockdown”, says Franz Di Cioccio (lead vocals, drums). The whole process took one year spent mostly working at home, sharing ideas and meeting at Patrick Djivas’ (bass, keyboards) home studio, before the band was able to record the album at White Studios in Milan, Italy. Being the rhythm section Cioccio and Djivas make a perfectly working team. “We both have a great passion for SciFi movies. In the past we watched many of them together. In the case of ‘Blade Runner’ we were hit by the question: Do Androids dream of Electric Sheep? - The world has been changing around us. Computers are taking over and Covid has accelerated the process. However, we strongly believe in the power of people to use their imagination and fantasy. To us this is what really makes the difference between human beings and androids.” The band considers themselves being in a similar place when it comes to music that Impressionists were in when it comes to painting: They didn’t paint fixed somatic traits for their figures with their brush strokes while PFM (Premiata Forneria Marconi) do not consider themselves limited to a specific genre. While the album tells multiple stories they are all linked to passion, love and the power of imagination. As a real treat PMF invited a couple of musicians they have been friends with for a long time: Ian Anderson (Jethro Tull) on flute and Steve Hackett (ex-Genesis) on electric guitar. “I Dreamed of Electric Sheep” is simultaneously released in both English and Italian versions, hence the Italian subtitle, “Ho Sognato Pecore Elettriche". PMF’s “I Dreamed of Electric Sheep” is available in the following formats: Special 2 CD Digipak with O-Card, Gatefold 2LP+2CD & Special LP-Booklet and Digital Album.

In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe. This brought the band to the attention of the wider music industry, and after multiple offers (including one from a major label) the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch,sold out several runs. Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful, widescreen reimagining of the band’s sound - Dawn of the Dead to its predecessor’s Night of the Living. Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail.

Formed in 2019, LA-based Cuffed Up were born out of a search for “self acceptance and self-realization”. Amidst a shared affinity for the ever-expanding global post-punk scene, vocalist and guitarist duo Ralph Torrefranca and Sapphire Jewell, bassist Vic Ordonez and drummer Joe Liptock breathe fresh life into the resurgent genre. The quartet’s latest EP, Asymmetry, saw the band pair up with producer Brad Wood (Touché Amoré, Smashing Pumpkins, Liz Phair) spending a week honing the songs through experimentation with sounds and ideas. The result is a collaborative effort that tackles one’s own mortality, abandonment in relationships and reckoning with shame. Now signed to Royal Mountain Records (Alvvays, Mac DeMarco, METZ, Wild Pink), Asymmetry expands on their refreshing self-titled debut that saw love from the likes of KEXP, NME, DIY, Bandcamp, and The Line Of Best Fit, as well as Steve Lamacq (BBC Radio 6), Daniel P Carter (BBC Radio 1) and John Kennedy (Radio X) and a supporting run with Silversun Pickups.

Mondo Music, in conjunction with Hollywood Records, is proud to present the premiere vinyl pressing of Lorne Balfe’s score to the highly anticipated MARVEL STUDIOS’ BLACK WIDOW.

Pressed on 2x 180 Gram vinyl and housed in a gatefold sleeve, kick-start Phase Four with the latest in our ongoing celebration of the music of the MCU.

Lorne Balfe's first MCU score is a force to be reckoned with. He's no stranger to crafting propulsive music for espionage epics (just listen to his masterful score to “Mission: Impossible - Fallout”) and his take on “Black Widow” is no exception. Balfe blends Russian choirs and soloists, with delicate and haunting piano and acoustic guitar; swirling strings with his trademark layered percussion. Balfe is incredibly elastic, delivering a beautiful score for this long-awaited chapter in Natasha Romanov's story.

Composed by Lorne Balfe
Artwork by Mo Shafeek
Manufactured in the Czech Republic

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

UMC are proud to present two reissues of certified multi-platinum albums from DMX. Nominated for Best Rap Album at the 2001 Grammys, '...And Then There Was X' is the third studio album from DMX. Featuring the hits "What's My Name" and "Party Up (Up In Here)". Released in 2001, 'The Great Depression' was the fourth album by the American rapper. Featuring the singles "We Right Here", "Who We Be" and "I Miss You". Both packages presented as 2LPs on 180g vinyl.

Live at The Troubadour is a live album by James Taylor and Carole King, originally released in 2010. In November of 1970, the two rising stars first performed together at The Troubadour in West Hollywood, California. Thirty-six years later, James Taylor, Carole King and members of their renowned original band “The Section” (featuring guitarist Danny Kortchmar, bassist Leland Sklar and drummer Russell Kunkel) returned to the Troubadour for a three-night, six-show run to celebrate the venue’s 50th anniversary. These historic moments are documented in Live at The Troubadour. The remarkable recording features 15 songs and 75 minutes of stunning performances of their collective biggest hits including “You’ve Got A Friend,” “Fire and Rain,” “I Feel The Earth Move” and more.

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

In 1994 Come responded to the difficult-second-album stereotype with the hypnotic, intense and emotional masterpiece 'Don't Ask Don't Tell'. Featuring the original line-up of Thalia Zedek, Chris Brokaw, Sean O' Brien and Arthur Johnson, the Boston band broadened their sound by slowing down the tempos and creating a dense urban stream of consciousness that mixes noise, city blues and_ catharsis. The album hits you immediately as one of the greatest dissident records ever made. Lovingly remastered, this expanded edition includes 'Wrong Sides', an additional albums worth of b-sides and unreleased tracks, including the band's very first single 'Car' and their last recorded song, 'Cimarron', featuring this core line-up. These gems showcase the rawness and incredible growth of a band completely in command of their songwriting and at the same time paying homage to some of their punk roots with beautiful renditions of Swell Maps 'Loin Of The Surf' and X's 'Adult Books'. Also Includes new artwork with unearthed photos and fresh liner notes by the band. Dissident from traditional rock this is a band playing music that thematically and structurally seems to pull from old Europa, from Eastern folk and modernist classical music as much as US and UK rock. Dissident from traditional ideas about singing and songwriting Thalia's (ex of Live Skull) presence on songs like 'Yr Reign' and the astonishing closer 'Arrive' isn't the pushy self-aggrandizement of a lead singer but the internal voice of the eternal migrant, someone who knows about survival, hiding, how living between multiple worlds can become its own refuge of distance, its own sanctuary of unbelonging Don't Ask Don't Tell emerged from a period of cohesion, a break from the tight and hectic touring schedule Come had been plunged into after the acclaim accorded 11:11, and you can hear that increased focus in every moment the layers of guitars and feedback are even more precise, the structuring of songs takes on a new openness and ambition, and the whole narrative arc of the record from 'Finish Line' to 'Arrive' is more exquisitely realised and sequenced. "The songs on Don't Ask Don't Tell . . . had a kind of magic we didn't necessarily control ourselves." Chris Brokaw - interview with Neil Kulkarni, 2013. "Devastating, with slow, burning songs that shudder and wince" NY Times

”Live at The Troubadour” ist ein Live-Album von James Taylor und Carole King, das ursprünglich im
Jahr 2010 veröffentlicht wurde. Im November 1970 traten die beiden aufstrebenden Stars zum ersten
Mal gemeinsam im The Troubadour in West Hollywood, Kalifornien, auf. Sechsunddreißig Jahre später
kehrten James Taylor, Carole King und Mitglieder ihrer berühmten Originalband ”The Section” (mit dem
Gitarristen Danny Kortchmar, dem Bassisten Leland Sklar und dem Schlagzeuger Russell Kunkel) für drei
Nächte und sechs Shows in den Troubadour zurück, um das 50-jährige Jubiläum des Veranstaltungsorts zu
feiern. Diese historischen Momente sind in ”Live at The Troubadour” dokumentiert. Die bemerkenswerte
Aufnahme enthält 15 Songs und 75 Minuten atemberaubende Auftritte ihrer größten Hits, darunter ”You’ve
Got A Friend”, ”Fire and Rain”, ”I Feel The Earth Move” und viele mehr.
Das Album debütierte auf Platz 4 in den USA und bescherte James Taylor in jedem Jahrzehnt seit den
1970er Jahren ein Top-10-Album und Carole King ihr erstes Top-10-Album seit 1976.
Das Album ist nun erstmals in HiRes und auf Vinyl (2-LP-Set auf 180g-Vinyl, gepresst bei Quality Records
Pressing) erhältlich.

"M_Sessions" is offering a contemporary version of Mania D., Malaria and Matador's music for the 40th anniversary plus the rare originals. Bringing the past into the now and into the future. Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations. The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm. The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and myself selected "Rare Originals" from the repertoire of the 3 bands where we saw special relevance and beauty - these tracks are on LP2. We rediscovered live tracks, living room recordings and demo versions from our times long gone. (G.Gut)

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

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.

Ein Weihnachtsalbum zwischen sentimentalen Pop-Balladen, Witz, Swing und Charme präsentiert Darren Criss, multitalentierter Sänger, Songwriter, Emmy- und Golden-Globe-prämierter Schauspieler und
Broadway-Star. Seine Fans lieben den gutaussehenden jungen Mann für seine Rollen in ”GLEE”, ”VERSACE: AMERICAN CRIME STORY” oder ”HOLLYWOOD”.
Jetzt erfüllt sich Criss einen Wunsch mit einem Weihnachtsalbum, das zwischen Pop und Swing a’la
Dean Martin allerbestes Entertainment unter dem Weihnachtsbaum verspricht. Sein erstes Album in voller
Länge besteht aus Originalsongs und kreativen Neuinterpretationen klassischer Weihnachtshits. Als Gäste
hat er Adam Lambert, Lainey Wilson und Evan Rachel Wood zur Weihnachtsparty geladen.

OH WONDER, alias Josephine Vander Gucht und Anthony West, veröffentlichen ihr 4. Studioalbum mit
dem Titel „22 Break“. Ihre beiden letzten Alben “No One Else Can Wear Your Crown“ (2020) und “Ultralife“ (2017) erreichten jeweils die Top 10 der UK Albumcharts. Insgesamt verkaufte die Band bisher mehr
als 1.7 Millionen Alben.
Kurz nachdem Josephine und Anthony ihre Beziehung nach außen bekräftigt haben, fanden sich die beiden aufgrund der Pandemie zu Hause wieder, wo sie eigentlich das erste Mal ausschließlich Zeit zu zweit
verbrachten, ohne den gewohnten Oh Wonder-Kosmos drum herum. Das sehr ehrliche und kraftvolle neue
Projekt „22 Break“ gewährt sehr persönliche und gefühlvolle Einblicke in diese turbulente Zeit, in der die
private Beziehung der beiden auf der Kippe stand.
Anthony über das Album: “It was such a weird thing, to make a break-up album with the person you’re
breaking up with, while you’re breaking up.”
Josephine: “We were just writing songs. We had no idea we were writing a break-up album.”
“22 Break“ ist ein zutiefst hoffnungsvolles Album, das Licht am Ende des Tunnels von Oh Wonders
ganz persönlicher Pandemie. Die Frage “Make or Break?“ steht für die aktive Entscheidung so ehrlich wie
möglich zu sein, weiterzumachen und in ein neues Kapitel zu starten.

Quentin Tarantino’s WWII film “Inglourious Basterds” was released in 2009 to both critical and commercial acclaim. The movie won multiple awards including an Academy Award, BAFTA, Screen Actors Guild and Golden Globe and, like all of Tarantino’s movies the soundtrack played a pivotal role. QUENTIN TARANTINO'S INGLOURIOUS BASTERDS: MOTION PICTURE SOUNDTRACK – which itself was nominated for a Grammy Award – is a mixture of score from legendary Hollywood composer Ennio Morricone and a selection of quirky rare tracks, amongst them David Bowie’s theme from the 1982 film Cat People. It will be available on blood red translucent vinyl.

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound. Loose, live, and brimming with energy, Sorry Ma… is a lesson in chaos.

The 40th anniversary of Sorry Ma, Forgot To Take Out The Trash is celebrated this fall with a 4CD/1LP set that offers a remarkable document of The Replacements’ formative years. Of the set’s 100 tracks, 67 have never been released before, including the first demos the band recorded in early 1980, as well as a professionally captured concert from January 1981. Along with a newly remastered version of the original album, it also uncovers many unreleased rough mixes, alternate takes, and demos from the band’s first 18 months together. The LP included in the set, titled Deliberate Noise, presents an alternate version of the original album using these previously unreleased tracks.

CD Tracklist:

1. TAKIN A RIDE
2. CARELESS
3. CUSTOMER
4. HANGIN DOWNTOWN
5. KICK YOUR DOOR DOWN
6. OTTO
7. I BOUGHT A HEADACHE
8. RATTLESNAKE
9. I HATE MUSIC
10. JOHNNY’S GONNA DIE
11. SHIFTLESS WHEN IDLE
12. MORE CIGARETTES
13. DON’T ASK WHY
14. SOMETHIN TO DÜ
15. I’M IN TROUBLE
16. LOVE YOU TILL FRIDAY
17. SHUTUP
18. RAISED IN THE CITY
19. IF ONLY YOU WERE LONELY
1. TRY ME (Demo)
2. SHE’S FIRM (Demo)
3. LOOKIN FOR YA (Demo)
4. RAISED IN THE CITY (Demo)
5. SHUTUP (Demo)
6. DON’T TURN ME DOWN (Demo)
7. SHAPE UP (Demo)
8. I HATE MUSIC (Studio Demo)
9. CARELESS (Studio Demo)
10. SHUTUP (Studio Demo)
11. OTTO (Studio Demo)
12. GET ON THE STICK (Studio Demo)
13. OH BABY (Studio Demo)
14. RAISED IN THE CITY (Studio Demo)
15. SHIFTLESS WHEN IDLE (Studio Demo)
16. MORE CIGARETTES (Studio Demo)
17. YOU AIN’T GOTTA DANCE (Studio Demo)
18. DON’T TURN ME DOWN (Studio Demo)
19. RATTLESNAKE (Basement Version)
20. TAKIN’ A RIDE (Basement Version)
21. LIE ABOUT YOUR AGE (Basement Version)
22. WE’LL GET DRUNK/CUSTOMER (Basement Version)
23. JOHNNY FAST (Basement Version)
24. MISTAKE (Basement Version)
25. BASEMENT JAM (Rehearsal)
1. CARELESS (Alternate Version)
2. TAKIN A RIDE (Alternate Version)
3. SHUTUP (Alternate Version)
4. OTTO (Alternate Mix)
5. RAISED IN THE CITY (Alternate Version)
6. RATTLESNAKE (Alternate Mix)
7. LOVE YOU TILL FRIDAY (Alternate Version)
8. CUSTOMER (Alternate Version)
9. SOMETHIN TO DÜ (Alternate Version)
10. JOHNNY’S GONNA DIE (Alternate Version)
11. I’M IN TROUBLE (Alternate Version)
12. I HATE MUSIC (Alternate Version)
13. WE’LL GET DRUNK
14. MORE CIGARETTES (Alternate Mix)
15. GET LOST (Instrumental)
16. HANGIN DOWNTOWN (Alternate Version)
17. SHUTUP (Alternate Version 2)
18. SOMETHIN TO DÜ (Alternate Version 2)
19. DON’T ASK WHY (Alternate Mix)
20. KICK YOUR DOOR DOWN (Alternate Mix)
21. LOVE YOU TILL FRIDAY (Alternate Mix)
22. JOHNNY’S GONNA DIE (Alternate Mix)
23. LIKE YOU (Outtake)
24. GET LOST (Outtake)
25. A TOE NEEDS A SHOE (Outtake)
26. YOU’RE PRETTY WHEN YOU’RE RUDE (Solo Home Demo)
27. IF ONLY YOU WERE LONELY (Working Version/Solo Home Demo)
28. BAD WORKER (Solo Home Demo)
29. YOU’RE GETTING MARRIED (Solo Home Demo)
1. CARELESS
2. TAKIN A RIDE
3. TROUBLE BOYS
4. HANGIN DOWNTOWN
5. LIKE YOU
6. OFF YOUR PANTS
7. GET LOST
8. EXCUSE ME
9. CUSTOMER
10. I WANNA BE LOVED
11. MISTAKE
12. MY TOWN
13. SHIFTLESS WHEN IDLE
14. OH BABY
15. I’M IN TROUBLE
16. JOHNNY’S GONNA DIE/ALL BY MYSELF
17. MORE CIGARETTES
18. OTTO
19. DON’T ASK WHY
20. SLOW DOWN
21. SOMETHIN TO DÜ
22. LOVE YOU TILL FRIDAY
23. RAISED IN THE CITY
24. RATTLESNAKE
25. ALL DAY AND ALL OF THE NIGHT
26. I HATE MUSIC
27. SHUTUP

Echo & The Bunnymen formed in Liverpool back in 1978, with Ian McCulloch on vocals, Will Sergeant on guitar, bassist Les Pattinson with Pete De Freitas on drums. Their first release came in the form of the single The Pictures On My Wall, with the B-side Read It In Books. Both tracks would appear on their debut album Crocodiles, released in 1980. Released amid the growing wave of post-punk, Crocodiles cemented the band amongst the best around, with the NME at the time describing it as “probably the best album this year by a British band” and featuring amongst many greatest ever debut album lists.

The lead single from the album, Rescue, was produced by Ian Broudie who would later produce more Echo & The Bunnymen material, as well as later forming The Lightning Seeds in 1989. The single would enter the UK charts, with the album breaking into the top 20 and going on to be certified Gold. The original cover was shot by Brian Griffin near Rickmansworth, Hertfordshire. The atmospheric, moody aura of the sleeve sets the tone for quintessential post-punk.