Now on blue vinyl! Blue Cheer's second album, Outsideinside, fully matches its predecessor's primal power. The last Blue Cheer release to feature the beloved lineup of Stephens, Peterson and Whaley, Outsideinside is a bracing orgy of volume, distortion and aggression, with such highlights as "Just a Little Bit," "Come and Get It," the instrumental "Magnolia Caboose Babyfinger" and the band's distinctive take on the Rolling Stones' "Satisfaction." Blue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal, and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the seminal San Francisco power trio was churning out ballsy blues-rock anthems whose fuzz-heavy, adrenaline-charged intensity helped to alter the course of contemporary music.
quête:gy ro
Loud and explosive or quiet and solemn, post-punk or pre-noise: Vorwärts Rückwärts (ForwardBackwards) are your allies when you have the feeling that everything around you is falling apart. ForwardBackward gives you energy or comfort, depending on your needs.
We get upset. Very. We scream our frustration at the top of our lungs. Loud. But ultimately it doesn't matter at all. Like in the Bild newspaper - fucking blaming alarm every day, and then it doesn't matter at all. Tomorrow we will have already forgotten what we are upset about today and the day after tomorrow we will be upset about things that we have no idea about today. Doesn't matter! The main thing is that it is loud - has a good beat - a driving bass - sharp guitars and the words have a good sound. Until everyone's ears ring and the practice room smells like an old gymnasium. Now finally pressed on vinyl. Actually at least our fourth debut album. Quickly pressed the stop button and finished and finished a small, fine pralined selection. The sound of now. The Sound of everything and nothing. Viva la contradiction.
Reissue of the highly sought-after 7” from 1979 by Chicago
reggae outfit Gypsy Fari.
Gypsy Fari was a project born in the south side of Chicago
after a chance meeting between St Kitts expat Leroy Webster
and local music grad Kevin Coleman. The pair set out to blur
the boundaries of genre with their unique brand of music,
spearheaded by Webster’s Caribbean roots and fused with
the soul and blues the midwest is famous for.
A striking stand-out of the band’s repertoire comes via their
debut recording, laid down at Curtis Mayfield’s legendary
Curtom Studios. The EP opens with Chi-Town Reggae - a
super-charged blend of reggae and disco, led by Websters
infectious vocal, steeped in soul and powered by a relentless
rhythm section. Hail Jah follows closely, written on the hilltops
of the outskirts of Kingston, Jamaica, it’s a deadly roots reggae
missile that pays homage to Websters beginnings.
Once dubbed by a local news outlet “Gypsy Fari are to
Chicago reggae what Muddy Water is to Chicago blues” -
now remastered, repackaged and made available again for
the first time since its initial release
In the late 1970’s Athens, Georgia was buzzing with a raw but sophisticated music scene. The turn of
the decade began producing new sounds from bands like the B-52’s, R.E.M. and Art-Rock luminaries,
Pylon. Before they were a band, Pylon were art-school students at the University of Georgia:
invigorated by big ideas about art and creativity. In 1980 the band released its first record, Gyrate and
began touring across the country in support of the release. Following the critical acclaim of Gyrate,
Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in
new shapes, revealing a band of self-proclaimed non-musicians who had transformed gradually but
noticeably into real ones. The resulting album was, Chomp. Now, more than three decades later, both
studio recordings have been remastered from their original audio tapes and are set for release on New
West Records.
In the late 1970’s Athens, Georgia was buzzing with a raw but sophisticated music scene. The turn of the decade began producing new sounds from bands like the B-52’s, R.E.M. and Art-Rock luminaries, Pylon. Before they were a band, Pylon were art-school students at the University of Georgia: invigorated by big ideas about art and creativity. In 1980 the band released its first record, Gyrate and began touring across the country in support of the release. Following the critical acclaim of Gyrate, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self-proclaimed non-musicians who had transformed gradually but noticeably into real ones. The resulting album was, Chomp. Now, more than three decades later, both studio recordings have been remastered from their original audio tapes and are set for release on New West Records.
- Intro At The Piano
- Red, White, And Blue
- Improvisation At Heart Mountain
- Summer Of '42 (Orchestral Edition)
- Improvisation In The Root Cellar
- ? ? ? ? ? (Iga Ueno Castle)
- Improvisation At Jerome, Ar
- Theme For Jerome (Orchestral Edition)
- ? ? ? ?? (Nada Sou Sou)
- ? ? ? ? ? ? ? ? (Ue O Muite Arukou)
- A Safe Place For Animals
- Manchester (Acoustic Edition)
- Removal (With Kara Kondo)
- Violin Tsunami For The Victims Of Tacoma Detention
- Epilogue From Improvisations On Eo9066
- For Every Voice That Never Sang
- War
- Removal
- Arrival At Heart Mountain
- Coldest Of The Camps
- Know Your Enemy:japan
- Improvisation For The Tokyo Firebombing
- Intro To 1853
- 1853: Commodore Perry And His Black Ships
- Bach's Double Violin Concerto In The Key Of Gypsy Swing
- Keiko Ishibashi
- My Name Is Kishi Bashi
- Proud American
- The 442Nd - Go For Broke
- Chicago Meditation
- A New Life
- The Pilgrimage
- Omoiyari And The Model Minority Myth
"Omoiyari" means to have empathy and consideration for others, and act on it. This fall, the American indie-folk multi-instrumentalist and singer-songwriter Kishi Bashi is set to release the companion album to his forthcoming documentary song film, titled Music from the Song Film: Omoiyari. Consisting of two LPs_"The Songs" and "The Score"_the release showcases what is essentially the soundtrack to Omoiyari, the feature-length motion picture co-directed by Kishi Bashi, aka Kaoru Ishibashi or "K," which is being released via MTV Documentary Films in November. Focusing on K's own six-year journey of discovery surrounding his research of the incarceration of 120,000 Japanese Americans that followed the attack on Pearl Harbor in 1941, the film is part social justice documentary and part song-film experiment. The album includes K's live improvisations, which are featured in the documentary, many recorded on the sites where the concentration camps stood. Written during and about the artist's transformational dive into his personal identity and serving as a broad survey of the Japanese American experience as well as the incarceration_Music from the Song Film: Omoiyari serves as an evocative musical accompaniment to the lessons of empathy and compassion portrayed in the film and highlights the process and power of one of modern indie's most talented musicians.
Bill Evans and Jim Hall had first recorded together in July of 1959, during the making of John Lewis’ LP Odds Against Tomorrow, and the two musicians also participated on Gunther Schuller’s Jazz Abstractions (recorded in December of 1960). However, those were big band albums and had no space at all for any real interaction between the pianist and guitarist. Undercurrent, presenting them as a duet, was their third studio encounter and one of their most rewarding collaborations. 180-GRAM BLUE COLORED VINYL - THE COMPLETE ALBUM + 2 BONUS TRACKS
What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and
dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus’ influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the
profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald’s repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter’s Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries.
- A1: ) White Mice – Mo-Dettes
- A2: ) Typical Girls – Slits
- A3: ) Idealogically Unsound – Poison Girls
- A4: ) Dear Marje – The Gymslips
- A5: ) Identity – X-Ray Spex
- A6: ) You – Au Pairs
- A7: ) Warm Girls – Girls At Our Best!
- B1: ) Sightseeing – Ludus
- B2: ) No Side To Fall In – The Raincoats
- B3: ) In Love – Marine Girls
- B4: ) Trees And Flowers – Strawberry Switchblade
- B5: ) Aerosol Burns – Essential Logic
- B6: ) Launderette – Vivienne Goldman
- B7: ) October (Love Song) – Chris & Cosey
Women In Revolt! is an exhibition of work by over 100 women artists working in the UK during the 1970s and 80s. It explores how women used radical ideas and rebellious methods to change the face of British culture. With music, painting, sculpture, photography, film, and performance, they forged a path for women’s liberation in the UK. To underline this trailblazing exhibition, a compilation has been dutifully curated to further reveal the music, sound art, and prominent musicians creating during this artistic and societal paradigm shift. The music that defines and defied this era, not only soundtracked but spurred on increasingly impassioned creative output and representation for women. Bands included on the compilation like X-Ray Spex and The Slits remain front of mind for band’s espousing this robust stance both sonically and politically, with equally impactful artists included like Ludus, whose lead singer Linder Sterling also impacted the genre.
- A.1. I Wanna Be Somebody
- A.2. L.o.v.e. Machine
- A.3. The Flame
- A.4. B.a.d
- A.5. School Daze
- B.1. Hellion
- B.2. Sleeping (In The Fire)
- B.3. On Your Knees
- B.4. Tormentor
- B.5. The Torture Never Stops
- C.1. Wild Child
- C.2. Ballcrusher
- C.3. Fistful Of Diamonds
- C.4. Jack Action
- C.5. Widowmaker
- D.1. Blind In Texas
- D.2. Cries In The Night
- D.3. The Last Command
- D.4. Running Wild In The Streets
- D.5. Sex Drive
- E.1. The Big Welcome
- E.2. Inside The Electric Circus
- E.3. I Don`t Need No Doctor
- E.4. 9.5. - N.a.s.t.y
- E.5. Restless Gypsy
- E.6. Shoot From The Hip
- F.1. I`m Alive
- F.2. Easy Living
- F.3. Sweet Cheetah
- F.4. Mantronic
- F.5. King Of Sodom And Gomorrah
- F.6. The Rock Rolls On
- G.1. The Heretic (The Lost Child)
- G.2. The Real Me
- G.3. The Headless Children
- G.4. Thunderhead
- H.1. Mean Man
- H.2. The Neutron Bomber
- H.3. Mephisto Waltz
- H.4. Forever Free
- H.5. Maneater
- H.6. Rebel In The F.d.g
- I.1. The Titanic Overture
- I.2. The Invisible Boy
- I.3. Arena Of Pleasure
- I.4. Chainsaw Charlie (Murders In The New Morgue)
- J.1. The Gypsy Meets The Boy
- J.2. Doctor Rockter
- J.3. I Am One
- K.1. The Idol
- K.2. Hold On To My Heart
- K.3. The Great Misconceptions Of Me
- L.1. The Story Of Jonathan (Prologue To The Crimson Idol)
- L.2. Phantoms In The Mirror
- M.1. Inside The Electric Circus (Live)
- M.2. I Don`t Need No Doctor (Live)
- M.3. L.o.v.e. Machine (Live)
- M.4. Wild Child (Live)
- M.5. 9.5. - N.a.s.t.y. (Live)
- M.6. Sleeping (In The Fire) (Live)
- N.1. The Manimal (Live)
- N.2. I Wanna Be Somebody (Live)
- N.3. Harder Faster (Live)
- N.4. Blind In Texas (Live)
- N.5. Scream Until You Like It (Theme From Ghoulies Ii)
- O.1. Animal (F**K Like A Beast)
- O.2. Show No Mercy
- O.3. Paint It Black
- O.4. Savage
- O.5. Mississippi Queen
- O.6. Flesh And Fire
- O.7. D.b. Blues
- P.1. Locomotive Breath
- P.2. For Whom The Bell Tolls
- P.3. Lake Of Fools
- P.4. War Cry
- P.5. When The Levee Breaks
DELUXE 8LP BOXSET FROM THEIR ‘CAPITOL YEARS’, WITH STUDIO ALBUM HALF-SPEED MASTERING, LP OF BONUS TRACKS, 60 PAGE BOOK, POSTERS & NUMBERED CERTIFICATE
Currently on the 40 Years Live World Tour and sounding better than ever, W.A.S.P. is one of the most consistent and reliable forces in rock music - unstoppable and unassailable, like a heavy metal juggernaut sent back in time from a long, distant galaxy. Frontman Blackie Lawless is undoubtedly one of rock’s everlasting figures – someone’s whose attitude and vision changed the musical landscape around him, in the process bearing fruit to some of the biggest anthems of their time.
Their first five studio albums (W.A.S.P., The Last Command, Inside the Electric Circus, The Headless Children & The Crimson Idol) contributed enough on their own for W.A.S.P. to be considered one of the greatest rock bands of all-time. Those LPs are all presented in this set, mastered half-speed at Air Studios, London, for a superior, sharper, more direct and engaging sound.
Packaged within a deluxe red leatherette effect double slipcase, The 7 Savage: 1984-1992 is completed on vinyl with two more LPs: 1987’s Live… in the Raw and new compilation Bonus Tracks & B-Sides featuring the controversial breakthrough anthem ‘Animal (F**k Like a Beast)’.
Compiled with the full cooperation of Blackie Lawless, the box set also includes a 60-page book with exclusive and rare pictures from legendary metal photographers (including Ross Halfin, Tony Mottram, David Plastik and Paul Natkin), along with extensive liner notes from Amit Sharma (Kerrang!, Planet Rock). Also included is an exclusive Blackie Lawless poster, plus an individually numbered circular saw shaped certificate.
The 7 Savage: 1984-1992 will be released Friday 27th October 2023 on Madfish and is strictly limited to 2000 copies worldwide.
[yb] L.2. Phantoms In The Mirror [04:36] D.3. The Eulogy
Named for the rewind mechanism on the reel to reel tape machine on which the band tracked the album, Auto Locator coils up the chemical trails of ribbon binding old places and head spaces to our consciousness. Static and hiss leach between analog track layers, blurring the normal and paranormal to remind us that no memory is totally separate from a fiction - just like no drum track is totally separate from bass.
Over Auto Locator's ten songs, Del Paxton rip shit like a band entering their second decade of existence. On-the-nose opener "Freight Train Metaphor" throws listeners face first into the band's first album since 2017, with a syncopated pulse and arpeggiating guitar foreshadowing a record replete with punkish, serpentine composition. "Up With a Twist," the album's lead track, deals in Del Paxton's crashing punk vibrance, through which the band explores and laments the uninspired architecture of American sprawl.
Second single "Chart Reader", whose origins trace back to a psychedelic dream inspired by Wayfaring Strangers: Cosmic American Music, sees the trio dabbling in emo Americana, even featuring a nod to John Denver's "Take Me Home, Country Roads." Such unashamed references abound throughout Auto Locator, which takes further inspiration from bands like Mock Orange, Third Eye Blind, and Jimmy Eat World, all of whose influence can be heard on "Palpitations" and third single "Spiritual Gymnastics."
Fulco Ottervanger and Lander Gyselinck, you remember them from their debut album Duizeldorp which included cult classic Isabellade.
On October 27 they add the second album Altijd Bewust Bewegen to their discography.
On this album the duo goes in search of reasons for movement. Head and body harmoniously translated into Beraad-language. The two 2 improvisational athletes once again gracefully stretch themselves between the limits of gravity.
Admiration for movement culture takes them from gym to racetrack, from apps to abs. A breaststroke here, a backhand there. An aimless goalkeeper musing on a distant acquaintance. From village to town and back, the tandem rustles at to tennis lessons.
Talk about it with your coach.
A new band that truly understands what '80s metal was.
Get ready to rock with the Cobrator! Go back to the golden age of metal with this powerful band, delivering a unique 80s feeling and plenty of head- banging fun.
With crunchy guitars, rocking basses and fierce drums, it's perfect for those who are looking for the perfect time travel to the '80s!
COBRAKILL are here to bring you the best of classic metal, with the energy of new blood.
If you are a fan of early MOTLEY CRUE, ODIN or SEDUCE, then you will be hooked on the Cobrator! An album with a total of eight songs high on heavy riffs and hard-hitting solos, "Cobrator" will be available in an ultra limited edition on vinyl LP, with all the extras that our followers are used to.
country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, The Rainbow Wheel of Death. Rooted in sharp songwritingvand the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world. The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole _ who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 _ it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he in his New York City bedroom and wrapping up the songwriting process in the recording studio itself. Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" _ whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship _ mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release The Freelancer's Blues told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time. With The Rainbow Wheel of Death, Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work _ drum machines, synthesizers, and his deep-set voice _ while pushing toward something warm, organic, and prismatic.
country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, The Rainbow Wheel of Death. Rooted in sharp songwritingvand the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world. The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole _ who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 _ it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he in his New York City bedroom and wrapping up the songwriting process in the recording studio itself. Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" _ whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship _ mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release The Freelancer's Blues told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time. With The Rainbow Wheel of Death, Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work _ drum machines, synthesizers, and his deep-set voice _ while pushing toward something warm, organic, and prismatic.
Nicht nur in der aktuellen Hardrock/Metal-Szene beziehen sich immer mehr junge Bands, darunter auch viele deutsche Acts (als Beispiel seien Wucan genannt), auf die heute wesentlich mehr gewürdigten Jahre des Krautrock. Natürlich handelt es sich bei dem Begriff nicht direkt um einen Stil, denn von Hardrock bis Jazz/Fusion wurde einst fast alles in diesen Topf geworfen.
Neben Elektronikpionieren wie Can, Tangerine Dream oder Kraftwerk gab es eben auch die Gruppen, die man im Rock verorten kann: Jane, Birth Control oder Lucifer´s Friend sind nur drei Beispiele. Auf „German Rock“ findet man in der Tat auch eine der frühen Bands: Floh De Cologne, die schon Anfang der Siebziger Rock mit deutscher Sprache geboten haben. Die Hardrocker Mass aus Regensburg, lieferten ihr Debütalbum, welches auf „German Rock“ ebenso gewürdigt wird, im Jahr 1977 ab.
Der Rest der ungewöhnlichen Compilation, welche es nur auf Vinyl gibt, befasst sich mit späten Gruppen, die Anfang der 80er noch einen Sound geliefert haben, der durchaus ein paar Jahre früher seinen Ursprung hätte haben können. Und in der Tat wurden auch mindestens zwei Songs nach Ende der 70er geschrieben, allerdings kam der Plattenvertrag oder das Kapital für eine Eigenpressung „zu spät“. Viele dieser spannenden Bands wie Iris, Cannock oder Sphinx waren bei Erscheinen nicht mehr dem Zeitgeist entsprechend, so dass
sie nur wenige, oder nur lokale Chancen hatten. Heute suchen Fans und Neugierige eben nach solchen unbekannten Acts, die eine vergangene Zeit neu zum Leben erwecken. Handgemachte Musik, und das nicht nur live, sondern eben auch noch im Tonstudio. Das Material der Frühachtziger-Gruppen auf dieser Compilation erinnert den einen oder anderen vielleicht auch an die regionalen Helden, wie man sie in den 80ern noch in lokalen Sporthallen erleben konnte…
Nostalgie ist aber nicht das Hauptanliegen dieser LP, sondern der Erhalt wertvoller Musik, die damals nicht bei den großen Majorlabels
erschienen ist.
Not only in the current hard rock/metal scene more and more young bands, among them also many German acts (as an example Wucan may be mentioned), refer to the nowadays much more appreciated years of Krautrock. Of course, the term is not directly a style, because from hard rock to jazz / fusion was once almost assigned to this style.
Besides electronic pioneers like Can, Tangerine Dream or Kraftwerk, there were also the groups that can be categorized as rock: Jane, Birth Control or Lucifer‘s Friend are just three examples.
On „German Rock“ you can indeed also find one of the early bands: Floh De Cologne, who already offered rock with German language at the beginning of the seventies. The hard rockers Mass from Regensburg delivered their debut album, which is also honored on „German Rock“, in 1977.
The rest of the unusual compilation, which is only available on vinyl, deals with late groups that still delivered a sound in the early eighties that could well have originated a few years earlier. And indeed, at least two songs were written in the late seventies, but the record deal or the capital for a selfpressing came „too late“. Many of these exciting bands like Iris, Cannock or Sphinx were no longer in line with the zeitgeist when they appeared, so they had few or only local chances.
Today, dedicated fans and the curious are looking for just such unknown acts that bring a bygone era back to life. Handmade music, and not only live, but also in the recording studio.
The stuff of the early eighties groups on this compilation may remind some of the regional heroes, as you could still experience them in the eighties in local gyms... Nostalgia is not the main concern of this LP, but the preservation of valuable music, which was not released by the big major labels at that time.
Spaniens führende Thrash-Metal-Band ANGELUS APATRIDA kehrt mit ihrem achten Studioalbum "Aftermath" zurück. Es ist zweifelsohne das gefühlvollste und kraftvollste Album in der illustren Geschichte von ANGELUS APATRIDA, aber auch eines der schwersten und direktesten. Es ist der Nachfolger des selbstbetitelten Albums von 2021, das in Spanien auf Platz 1 der offiziellen Albumcharts einstieg und in Deutschland auf Platz 49 sowie in der Schweiz auf Platz 41 die ersten Chartplatzierungen der Band überhaupt markierte. "Aftermath"
enthält 10 intensive und vielseitige neue Songs, die von Zeuss (Rob Zombie, Overkill, Hatebreed) gemischt und gemastert wurden, und kommt mit einem Artwork von Gyula Havancsák (Annihilator, Destruction, Stratovarius). Es enthält Gastauftritte von Jamey Jasta (Hatebreed, Gesang), Pablo García (Warcry, Gitarre), Todd La Torre (Queensrÿche, Gesang) sowie dem spanischen Rap-Star Sho-Hai und ist als Ltd. CD Jewelcase im O-Card und Digital Album mit zwei frischen Live-Bonustracks oder als 180g Vinyl LP erhältlich. Haltet
Ausschau nach ANGELUS APATRIDA, die mit "Aftermath" rund um den Globus touren.
The Best of Kris Drever includes all the highlights of his acclaimed career to date including those made with Lau and Drever McCusker Woomble Limited Edition of 500 Black LP's. Featuring for the first time on vinyl format "Wintermoon" , hard to find / out of print classics "Ghosts", "Harvest Gypsies" and "The Poorest Company" alongside two brand new songs "Catterline" and "Punchbag". "The Best of" album features many incredible guest performances from over 17 years of recordings including: Boo Hewerdine, Eddi Reader, Kate Rusby, Ian Carr, Yola, Heidi Talbot, Norman Blake (Teenage Fanclub), Roddy Woomble (Idlewild), Louis Abbott (Admiral Fallow), Andy Cutting (Leveret), Euan Burton, Rachel Lightbody, Elysian Quartet, John McCusker, Tim O'Brien, Megan Henderson (Breabach), Eamonn Coyne and Joan As Police Woman. ' Completely infectious' BBC Music ***** ' Immense yet ultra- supple sophistication, musicianship of the first order ...a breath of fresh air' SONGLINES ' Guitarist with that bravely experimental trio Lau, Kris Drever has all the makings of a solo celebrity' THE GUARDIAN ' Sets the standard for others to follow - Kris Drever is a serious talent' MOJO




















