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Pop Psychedelique vereint frühe Superstars des französischen Pop (Serge Gainsbourg, Brigitte Bardot) mit 60er Lieblingen (Frances Gall, Gillian Hills, Jacqueline Taieb), neuen Psych-Sounds (L'Epee, The Liminanas), 60er Pariser Coolness (Anna Karina), Freak-Beat-Psych-Rock (Les 5 Gentlemen), Dancefloor-Freuden (Charlotte Leslie), Exzentrik (Nino Ferrer) und schierer Moog-Pop-Brillanz (Jean Jacques-Perrey). Den Abschluss bilden Stereolabs French Pop, die einflussreichen Air mit Synthie-Psych-Pop und Pierre Henrys epischer Big Beat im Fatboy Slim Mix. Pop Psychedelique bedeutet pure Freude!

Well before Shuggie Otis (Born Johnny Alexander Veliotes, Jr.) cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he'd performed on records for the

likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. In spite of all this, widespread mainstream success eluded Shuggie for much of his career. His most famous release to date is his 1974 album Inspiration/Information, which would experience new resurgent life in 2001. Those willing to dig a little deeper however, would discover hidden gold in his earlier releases, especially in the album directly before Inspiration/Information, his sophomore 1971 release Freedom Flight. As with his debut, Freedom Flight was produced by Shuggie's father Johnny Otis, and built upon the distinct sounds of his debut album: lush, baroque, string section arrangements, paired with hard funk rhythms, and funky blues melodies, with the majority of the instruments once again performed by Shuggie himself. The album also featured backing from premium session greats like George Duke and Aynsley Dunbar, and the track "Strawberry Letter 23". which became a Billboard hit for The Brothers Johnson 3 years later. An unearthed treasure of deft, technical skill, and virtuosic composition.

Since roaring onto the scene, the band has cemented themselves as one of British indie's most consistent and successful groups.

The immediacy and carefree attitude are the driving motivations of this superb new release via the band's own independent label, Alt. Records. With creative collaborations including Matt Schwartz (YungBlud), Benjy Gibson (Fred Again), Kid Harpoon (Harry Styles) and The Nocturns (Mimi Webb), this record is for fans of guitar music who are not afraid of big hooks and massive choruses. The result
is their first album without compromise, reflecting the joy and energy they brought to the scene with their debut 'Open Up Your Head' and hit songs like 'Call Me Out' and 'All I Want To Hear You Say'.

Seit mehr als 15 Jahren steht die französische Alternative-Metal-Sensation ONLAP für kraftvolle und motivierende Musik und gewinnt damit die Herzen von Fans auf der ganzen Welt. Jetzt veröffentlichen sie ihr lang erwartetes Album "Waves". Nach einer Serie von Hit-Singles und beeindruckenden Musikvideos ist dies nun der finale Schritt auf dem Weg zur ersten Albumveröffentlichung der Band unter dem Dach von AFM Records. ONLAPs Musik ist die perfekte Mischung aus energiegeladenem Hard Rock und der rohen Modern Metal-Kraft. Alles mit einer einzigartigen melodischen Finesse. Ihre starken Texte über Motivation, Zusammenhalt, Liebe und andere Kämpfe runden das Paket ab, für das ihre Fans sie so sehr lieben.

Kein Zweifel: Ohne Axel Rudi Pell wäre diese Welt um vieles ärmer. Der Bochumer Gitarrist und Songschreiber hält auch auf seinem 22. (!)
Studioalbum ‚Risen Symbol‘ die Fahne des melodischen Hard Rock hoch, ohne sie mit pseudo-modernen Stilvarianten oder effektheischenden Studiogimmicks zu verwässern. Gleichzeitig sucht er ständig nach neuen Einflüssen, spannenden Inspirationen und griffigen Hooks. Das Beste an den ARP-Hymnen: Sie sind treffgenau auf die charismatische Stimme von Frontmann Johnny Gioeli zugeschnitten. Der Amerikaner gehört zu den besten Rocksängern der Welt und bildet gemeinsam mit Pell, dem früheren Rainbow-Schlagzeuger Bobby Rondinelli und den beiden ARP-Langzeitmitgliedern Ferdy Doernberg (Keyboards) und Volker Krawczak (Bass) ein seit mehr als zehn Jahren perfekt eingespieltes Team, das Fans wie Medien gleichermaßen überzeugt. Veröffentlicht wird ‚Risen Symbol‘ am 14. Juni 2024 über Steamhammer/SPV. Für Ungeduldige gibt es am 3. April 2024 mit der ersten Single ‚Guardian Angel‘ und am 22. Mai 2024 mit dem Nachfolger ‚Darkest Hour‘ zwei Vorabsongs, die Pell treffend mit den Worten beschreibt: „Sowohl ‚Guardian Angel‘ als auch ‚Darkest Hour‘ sind typische-ARP-Songs, aber nicht unbedingt repräsentativ für ‚Risen Symbol‘.“

John Grant, der Meister des Zwiespalts zwischen zerreißenden Balladen und progressivem Elektro-Pop veröffentlicht mit 'The Art Of The Lie' sein sechstes Soloalbum.

Obwohl es sich um eine John Grant-Platte handelt, die typischerweise Humor in Tragik einbettet und Wut in Mitgefühl umwandelt, hat 'The Art Of The Lie' eine neue musikalische Ambition, die die politischen und persönlichen Momente in den Songs untermalt. Der harte Kontrast von Schönheit und Grausamkeit macht das sechste Studioalbum des US-amerikanischen Songwriters so zu einem besonderen Hörerlebnis. Die elf Tracks verbinden Kindheitstraumata mit den verhärteten Nachwirkungen im Erwachsenenalter und verknüpfen beides mit der angespannten politischen Situation der Vereinigten Staaten im Jahr 2024.

Ivor Guests Produktionen mit Gastauftritten von Dave Okumu (Gitarre), Robin Mullarkey (Bass), Seb Rochford (Schlagzeug) und der schottischen Sängerin Rachel Sermanni sorgen für die nötige Dramatik auf Grants bisher opulentesten und filmischsten Album, die sich neben der beunruhigenden politischen Aufladung, wie in der ersten geteilten Single 'It's A Bitch' auch manchmal in elegantem Funk entlädt.

Seit über 20 Jahren sind The Decemberists eine der originellsten, gewagtesten und spannendsten amerikanischen Rockbands. Gegründet im Jahr 2000, setzten sich The Decemberists mit ihrer unverwechselbaren Form von Folk-Rock von Anfang an von der Masse ab, als sie 2001 Debüt veröffentlichten. Seitdem hat die Band neun Alben in voller Länge veröffentlicht, die nicht an ein bestimmtes Genre gebunden und äußerst ambitioniert sind und von an Americana angelehnten Storytelling-Epen bis hin zu Elementen des 70er Jahre Prog, Hard Rock und Disco reichen.

Jetzt meldet sich die beliebte Indie-Band mit ihrem ersten neuen Werk seit sechs Jahren zurück. Ihre neueste Single "Burial Ground", die bereits nach ihrem Live-Debüt im letzten Jahr ein Fan-Favorit war, nimmt den unverhohlenen Fatalismus des 2018 erschienenen Albums I'll Be Your Girl auf und verbindet ihn mit dem Jangle-Pop von The Dentists und den verträumten Harmonien der Beach Boys (mit Unterstützung von James Mercer von The Shins).

Limited Anniversary Edition: 180g vinyl, hand numbered, 1000 copies available!
In 1974, Cluster entered the sugar era. This doesn"t mean that they had finally arrived in their promised land, but they had simply moved from Berlin to the country, to a small place called Forst on the river Weser. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster.

Eivør, die oft als eine der produktivsten und einzigartigsten nordischen Künstlerinnen ihrer Generation angesehen wird, hat bis heute 11 Studioalben veröffentlicht, wobei sie musikalische Genres und immer wieder die Grenzen des Erwarteten überschreitet. Eivørs musikalische Reise, die 2021 mit dem Musikpreis des Nordischen Rates ausgezeichnet wurde, fasziniert weltweit - von den größten Festivalbühnen Europas bis hin zum Soundtrack für die Netflix-Hitserie The Last Kingdom und das Videospiel God of War: Ragnarök.

Ihr kommendes neues Album 'Enn' knüpft an Eivørs nordische Wurzeln an. Die meisten der Texte, die komplett auf Färöisch gesungen werden, entstanden in Zusammenarbeit mit dem färöischen Dichter Marjun Syderbø Kjelnæs. Eivør bezeichnet den Text des Titeltracks als besonders "hardcore". Der Song handelt vom Krieg - "von den Kriegen, die in der Welt vor allem in letzter Zeit stattfinden, die es aber schon immer gegeben hat", sagt Eivør, "und davon, wie man in dieser überwältigenden Dunkelheit einen Lichtblick findet." Der gutturale vorletzte Track, "Upp Úr Øskuni", ist ein aufregender Ausreißer, der knurrendes Beatboxing mit viszeralem Kehlkopfgesang mischt (sicherlich Eivørs metallischster Moment).

'Enn' sticht aus Eivørs Diskografie als kühnes neues Projekt heraus. Ihr Debütalbum für Season of Mist lehnt sich stärker an dunkle Elektronik an - der neuer Prophet-5-Synthesizer hat es kaum aus der Verpackung geschafft, bevor sie "Hugsi Bert Um Teg" anstimmt, ein schwelgerisches Stück Dream-Pop, das wie die Farben der Milchstraße tanzt.

Im Großen und Ganzen folgt 'Enn' einem kosmischen Bogen. Der Titeltrack ist eine symphonische, vom Krieg zerrissene Weltraum-Odyssee. Aber das Album widmet sich auch irdischeren Themen. Die Leadsingle "Jardartra" wird aus der Perspektive einer verletzten Mutter Erde erzählt, mit einer stetig pochenden Basslinie, die so dunkel und warm ist wie der geschmolzene Kern unseres Planeten ist. "Komm und leg dich in meine blaue Umarmung", singt Eivør und entfesselt dabei in ihr opernhaftes Register, als wolle sie uns ins Licht locken.

The wide tapestry of sounds on ‘Inside Out’ reflects many of Richard's musical influences as a pianist. He has always strived to find his own voice when it comes to composition and improvisation, and this comes into focus with the music recorded here. The album features Richard's original compositions and two arrangements of tunes penned by the legendary Carla Bley. The album blends intricate melodies, evocative harmonies and energetic grooves alongside pieces where space becomes the sonic focus. When the band plays as a trio there is always a sense of exploration and freedom within the music and this feeling is what makes this band, and this record, a special one.

Drei Jahrzehnte Doro - drei unvergessliche Nächte - für immer festgehalten auf Blu-ray/DVD, CD und Vinyl.
"Strong And Proud - 30 Years Of Rock And Metal" erscheint nun als Re-Release auf DOROs eigenem Label Rare Diamond Productions und ist als Ltd. Edition Gatefold Doppel Vinyl in transparent Curacao erhältlich. 14 Killersongs inkl. der unverzichtbaren Megahits "All We Are und "Für Immer".
Eine fantastische Erinnerung für alle, die Doro während ihres 30 Jahre-Jubiläums weltweit live gesehen haben, und eine Offenbarung für alle Fans von guter, harter Rockmusik und erstklassiger Live-Performance.

Die Komfortzone seiner eigenen Band zu verlassen, um sich auf neue musikalische Pfade zu begeben, erfordert Mut. Daran sollte es MARCO GLÜHMANN als Sänger einer der erfolgreichsten deutschen Artrock-Bands SYLVAN nicht mangeln, da er es ja gewohnt ist, ganz vorne im Rampenlicht zu stehen. Es spricht für seine enorme Kreativität, eine längere Schaffenspause seiner Haupt-Band zu nutzen, um sich ohne die notwendigen Kompromisse, Vorgaben und Beschränkungen seiner Mitstreiter neu auszuprobieren. Herausgekommen ist ein fantastisches Album, das voller Energie und Esprit steckt und irgendwo zwischen Rock, Artrock und anspruchsvoller Popmusik wandelt. Nachdem seine SYLVAN-Bandkollegen Volker Söhl und Johnny Beck letztes Jahr das Projekt VIOLENT JASPER vorstellten, darf man nun auf das Werk "A Fragile Present" ihres Frontmanns gespannt sein!
Speziell die erste Single "My eyes are wide open" hat Marco nicht nur in kürzester Zeit geschrieben, sondern auch die Lyrics sind geblieben. "Die Textstelle 'Lay your head on me, oh my little boy' bereitet mir immer noch Gänsehaut, da ich mir hier mich und meinen Sohn vorstelle und die Liebe, die Kurzweiligkeit des Moments, aber auch Verantwortung spüre, ihn in diese Welt zu ‚schicken'." so der Künstler weiter. Dass gerade dieser Song von keinem geringeren als MARILLION-Gitarrist STEVE ROTHEREY veredelt wurde, einem von Marcos musikalischen Helden, setzt ein ganz besonderes Ausrufezeichen.
Apropos Musiker, das Line-up liest sich wie ein "Who is who" der Artrock-/Progressive-Rock-Szene: neben dem bereits erwähnten STEVE ROTHERY gibt auch BILLY SHEERWOOD von YES ein Gastspiel: er steuerte die Chöre bei "Hear Our Voice" in allerbester YES-Manier bei. RPWL-Gitarrist KALLE WALLNER spielt die meisten Gitarren auf dem Album und war nicht nur als Co-Produzent, sondern auch als Arrangeur maßgeblich beteiligt. Natürlich gibt sich SYLVAN-Gitarrist JOHNNY BECK die Ehre und die Rhythmusgruppe besteht aus Drummer TOMMY EBERHARDT und dem Bassisten MARKUS GRÜTZNER (RPWL). All das wurde aufgenommen, gemischt und produziert von RPWL-Mastermind YOGI LANG in den Farm-Studios, der zudem noch einige Keyboards beigesteuert hat.

"A Fragile Present" ist ein wahres "Bilderbuch"-Album, das man sich schöner nicht wünschen könnte. Tolle und einprägsame Melodien, die einen nicht mehr loslassen, hochemotionale Musik und grandiose Musiker. All das will einen das Album wieder und wieder genießen lassen.

Line-Up:
Marco Glühmann - vocals, keyboards, guitars

Steve Rothery (Marillion) - guitar on "My eyes are wide open"
Billy Sheerwood (YES) - choir on "Hear our voice"
Kalle Wallner (RPWL) - guitars
Johnny Beck (Sylvan) - guitars
Yogi Lang (RPWL) - keyboards
Markus Grützner (RPWL) - bass
Tommy Eberhardt - drums

Die Presse meint:
eclipsed 8.5/10 - ALBUM DES MONATS: "Insgesamt ein wunderbares Album und Beispiel für gelungene Kooperation."

Piranha/Start: "Von dieser Progrock-Basis aus wagt Glühmann den Schritt in Richtung intelligenten Mainstream-rocks: Songs wie "For A While" oder "Reach Out" würden ins Programm der Rockpop-Sender passen, die noch 80s-Rock wie "Boys Of Sum-mer" oder "Kayleigh" in ihrer Playlist haben."

Rock Hard 7.5/10: "…eine ohrenfreundliche Progrock-Scheibe… die etwas straighter und rockiger daherkommt als die Sylvan-Platten. Die stilistische Ausrichtung kann überzeugen, und kompositorisch ist auch alles im deutlich grünen Bereich."

Good Times: "Bei solchen Cracks versteht es sich von selbst, dass mit A FRAGILE PRESENT ein lupenreines - äußerst lyrisches - Prog-Rock-Werk entstanden ist."

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

Earth Tongue, the brainchild of guitarist Gussie Larkin and drummer Ezra Simons, present their second full-length album Great Haunting. The duo, known for their heavy flavor of fuzz-soaked psychedelic rock, are also pleased to unveil their signing to In The Red Records. Earth Tongue’s partnership with In The Red stems from a run of shows supporting the legendary Ty Segall throughout New Zealand. Larkin explains: “Ty’s band Fuzz was a significant influence for our sound early on. Ezra and I saw them play live in London about nine years ago, long before Earth Tongue existed. We absorbed a lot of music at that time, and in fact many of the bands we saw released records via In The Red.” Great Haunting sees the duo draw inspiration from the eerie depths of ’70s and ’80s horror cinema, delivering a sonic concoction of dark and primitive songs with thick layers of fuzz and punchy, compressed drums. The album was engineered by Jonathan Pearce from The Beths at his studio on Karangahape road in Auckland. The ascent of Earth Tongue is testament to their dedication and hard work. They’ve toured relentlessly across Europe and scored support slots for acts like IDLES and Queens Of The Stone Age. They’re consistently selling out headline shows and have featured on festival lineups throughout Aotearoa and Australia. Having just spent last week shredding SXSW, they tour America and then, in May, hit Europe/UK, playing DESERT FEST in London on 18th May!! Amongst a huge EU tour.

Drei Jahre nach "Symphonies of Horror" und der Split-EP "Greensleeves" mit "THE CRIMSON GHOSTS" im Jahr 2022, präsentieren sie ihr erstes Album im neuen Line-Up. Mehr düsterer, alternativer Rock'n'Horror! Bandgründer und Sänger Slaughter Lamb hat mit Bassist/Gitarrist Chris Cranium (ex-The Other / Sumerian Tombs), Drummer Fab McIan (ex-Schelmish) und Gitarrist Dr. Hoffmann eine stabile Band aufgebaut, die nun ihre Hymns Of The Dead präsentiert. Die vier liefern eine düstere Punk Rock Platte mit Einflüssen aus Gothic Rock und einer Prise Metal, die weit über die üblichen Genregrenzen des Horror Punk hinausgeht. Die zwölf neuen Songs sind schneller, härter und melodiöser als je zuvor. In Tracks wie "Take it all away", "The fiends in me" und "Seasons of my life" erweitern Synthies den Bandsound, während in der Wednesday Addams Verneigung "Her other side" ein Rock'n'Roll Piano zum Shuffle-Groove nicht fehlen darf und hier Szene-Größe NIM VIND Gast-Gesang und Gitarren beisteuert! Textlich ist die Band vielfältiger geworden, deckt neben Horror auch dunkle persönliche Themen und die Schrecken der aktuellen Realität ab. Aber auch die Party kommt wieder einmal nicht zu kurz und so feiern HELLGREASER in "Hymn of the Dead"- zusammen mit Hans von LEFT HAND BLACK - die Szene, die Musik, ihr Außenseiterdasein und sich selbst!

Limitierte Cargo-exklusive Farbe, 100 Stück weltweit.


Drei Jahre nach "Symphonies of Horror" und der Split-EP "Greensleeves" mit "THE CRIMSON GHOSTS" im Jahr 2022, präsentieren sie ihr erstes Album im neuen Line-Up. Mehr düsterer, alternativer Rock'n'Horror! Bandgründer und Sänger Slaughter Lamb hat mit Bassist/Gitarrist Chris Cranium (ex-The Other / Sumerian Tombs), Drummer Fab McIan (ex-Schelmish) und Gitarrist Dr. Hoffmann eine stabile Band aufgebaut, die nun ihre Hymns Of The Dead präsentiert. Die vier liefern eine düstere Punk Rock Platte mit Einflüssen aus Gothic Rock und einer Prise Metal, die weit über die üblichen Genregrenzen des Horror Punk hinausgeht. Die zwölf neuen Songs sind schneller, härter und melodiöser als je zuvor. In Tracks wie "Take it all away", "The fiends in me" und "Seasons of my life" erweitern Synthies den Bandsound, während in der Wednesday Addams Verneigung "Her other side" ein Rock'n'Roll Piano zum Shuffle-Groove nicht fehlen darf und hier Szene-Größe NIM VIND Gast-Gesang und Gitarren beisteuert! Textlich ist die Band vielfältiger geworden, deckt neben Horror auch dunkle persönliche Themen und die Schrecken der aktuellen Realität ab. Aber auch die Party kommt wieder einmal nicht zu kurz und so feiern HELLGREASER in "Hymn of the Dead"- zusammen mit Hans von LEFT HAND BLACK - die Szene, die Musik, ihr Außenseiterdasein und sich selbst!

Drei Jahre nach "Symphonies of Horror" und der Split-EP "Greensleeves" mit "THE CRIMSON GHOSTS" im Jahr 2022, präsentieren sie ihr erstes Album im neuen Line-Up. Mehr düsterer, alternativer Rock'n'Horror! Bandgründer und Sänger Slaughter Lamb hat mit Bassist/Gitarrist Chris Cranium (ex-The Other / Sumerian Tombs), Drummer Fab McIan (ex-Schelmish) und Gitarrist Dr. Hoffmann eine stabile Band aufgebaut, die nun ihre Hymns Of The Dead präsentiert. Die vier liefern eine düstere Punk Rock Platte mit Einflüssen aus Gothic Rock und einer Prise Metal, die weit über die üblichen Genregrenzen des Horror Punk hinausgeht. Die zwölf neuen Songs sind schneller, härter und melodiöser als je zuvor. In Tracks wie "Take it all away", "The fiends in me" und "Seasons of my life" erweitern Synthies den Bandsound, während in der Wednesday Addams Verneigung "Her other side" ein Rock'n'Roll Piano zum Shuffle-Groove nicht fehlen darf und hier Szene-Größe NIM VIND Gast-Gesang und Gitarren beisteuert! Textlich ist die Band vielfältiger geworden, deckt neben Horror auch dunkle persönliche Themen und die Schrecken der aktuellen Realität ab. Aber auch die Party kommt wieder einmal nicht zu kurz und so feiern HELLGREASER in "Hymn of the Dead"- zusammen mit Hans von LEFT HAND BLACK - die Szene, die Musik, ihr Außenseiterdasein und sich selbst!

Horo proudly presents the long-awaited fourth studio album, Forces of Consciousness, by Ancestral Voices.

Following Liams first venture, 'Night of Visions,' a diary of a physical and life-changing journey to South America, he took a trip into seismic, dark, and heavy frequencies with his second LP, 'Divination,' which plunges into the notion of ritual. The third LP delved into the cosmic, devising custom tuning systems for the meditative 'Navagraha'.

Liam continues this conceptual approach that threads his work together with Forces of Consciousness - an exploratory dive into metaphysics, how consciousness creates reality, and how sound exists to bind and sustain our thoughtforms in harmony.

"I am fascinated by the intricate workings and unexplained phenomena beyond the physical. This has become a journey as I seek to understand the interconnectedness of all things. The threads that bind us to this experience.

Everything is consciousness; all things in existence are inherently conscious, including living and non-living entities. Consciousness is not merely a product of our brains and bodies but a fundamental universal aspect.

Consciousness creates reality; our consciousness shapes our perception of the world. Our thoughts and beliefs play a significant role in shaping the reality we experience.

While intangible thoughts cannot be measured physically, they shape our reality tremendously. Our thoughts significantly impact the world around us.

We are waveforms, and everything around us is sound. Sound plays a vital role in maintaining balance, whether the sound of a chirping bird, the whistles of dunes, or the resonance of the Earth.

As a collective, we make up chords that continuously merge and try to find a harmonious balance that sustains our consciousness. In essence, thought forms coexist to create harmonic structures, a lattice of electrical current that manifests as the lives we live every day."

The patterns change with the observer.
Matter is a limitation of consciousness.
That which was first was the immeasurable.
The harmonies remain.

Live Volume is the first live album by American heavy metal band Corrosion of Conformity, which was originally released in 2001. The album was recorded on April 20, 2001, at the Harpos Concert Theatre in Detroit, Michigan. Although the group began with strong punk leanings, they were one of the first groups to merge punk and metal. Live Volume features live recordings from their entire ‘metal period’ from Blind until America’s Volume Dealer, including “Albatross”, “Clean My Wounds”, “Vote With A Bullet”, and “Congratulations Song”. Live Volume is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.

"Family Style is a blues rock album by the Vaughan Brothers, originally released in 1990. The album features the brethren guitarists and vocalists, Jimmie and Stevie Ray Vaughan, in their only studio collaboration. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with ""Thanks Mama V. for letting us play."" With slick production from Nile Rodgers, this is bluesy, but far from purist. Jimmie makes his vocal debut on ""White Boots"" and ""Good Texan,"" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustainy twang, Jimmie moving into Albert King territory. Family Style is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl and includes an insert with lyrics. "

Knocked Loose eröffnen den Pit mit einem brutalen Sound, der sich zwischen Hardcore, Punk und Metal bewegt. Nach der eröffentlichung dieser Debüt-EP hat sich die Band eine große Fangemeinde unter ihresgleichen erspielt. Die EP erscheint auf Vinyl in neuer Farbe: Lavender Eco-Mix.

Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Limited purple vinyl. Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Rising from the fiercely DIY Philadelphia underground, CARLY COSGROVE graft achingly vulnerable lyrics atop a bed of mathy rhythms, intricate guitar work and a penchant for indie-rock cool meets emo authenticity. Their debut album, 2022's See You In Chemistry, was the sound of figuring life out in real time, tracing personal growth through anxiety, depression, and self-actualization - heavy subjects for a band originally formed as a low-stress side-project stopgap in 2018.

The quest for the answers to life's big questions is once again front and center on the band's second album, THE CLEANEST OF HOUSES ARE EMPTY, as Naylor, bassist Helen Bars and drummer Tyler Kramer find themselves face to face with the chronic emotional struggles of life in the modern age.

From the stop-start polyrhythms of first single "You Old Dog" and garage-rock sheen of "Random Dancing" and "What Are You, A Cop," which sounds like Motion City Soundtrack filtering "Everlong" through their idiosyncratic rock tilt, The Cleanest Of Houses is the type of record Carly Cosgrove simply couldn't have made last time - not musically, and certainly not emotionally. They needed to live, through hard touring and harder life experiences.

Das zweite Album der US-Indie-Rock/Noise-Pop-Band feeble little horse, "Girl With Fish", feiert sein 1-jähriges mit einer neuen Sprinkle-Splatter-Vinylauflage. Die neuen Tracks zwischen glückseligem Pop, harschem Lärm, fehlerhaft programmierten Drum-Beats und ausgefallenem Indie-Rock – manchmal alles in einem Song - begeisterten 2023 die Fachpresse von Stereogum ("Album of the Month") über Pitchfork ("Most Anticipated Albums for both Spring & Summer 2023") bis zu The FADER ("Best New Rock Songs").

Die Band wurde 1990 in Göteborg, Schweden, von den Zwillingsbrüdern Per ("Hellbutcher") und Erik ("Tyrant") Gustafsson gegründet. Frühe Versionen der Band umfassten Jon Nödtveidt und John Zwetsloot von Dissection, und insgesamt nahm die Band vier Alben auf. Nifelheim erhielten 1998 den Spitznamen "Bröderna hårdrock" ("Heavy Metal Brothers"), als Tyrant und Hellbutcher in einer schwedischen Fernsehdokumentation über ihre Superfan-Obsession mit Iron Maiden zu sehen waren. Das Terrorizer-Magazin zählte "Servants of Darkness" zu den "Top-Alben der 2000er Jahre". Über Dissonance gibt es nun den längst überfälligen Re-Release.

Bad Breeding, the Stevenage-based hardcore unit, are set to release their fifth album ‘Contempt’ on June 14th with One Little Independent Records and Iron Lung Records in the US.

It follows 2022s ‘Human Capital’ which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism. ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”.

Christopher Dodd explains “Capital and its bourgeois foot soldiers hold nothing but contempt for working people and it’s in that contempt we can find solidarity with one another. Whatever story gets sold and packaged, contempt guides every move of the capitalist class. We see it every day – unspeakable destruction from war and government-sponsored genocide, exploitation of workers and the very gutting of the planet we live on. Only when we realise and utilise the utter contempt held for us can we reach a level of class consciousness that will provide an adequate challenge to capital”.

Bad Breeding, the Stevenage-based hardcore unit, are set to release their fifth album ‘Contempt’ on June 14th with One Little Independent Records and Iron Lung Records in the US.

It follows 2022s ‘Human Capital’ which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism. ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”.

Christopher Dodd explains “Capital and its bourgeois foot soldiers hold nothing but contempt for working people and it’s in that contempt we can find solidarity with one another. Whatever story gets sold and packaged, contempt guides every move of the capitalist class. We see it every day – unspeakable destruction from war and government-sponsored genocide, exploitation of workers and the very gutting of the planet we live on. Only when we realise and utilise the utter contempt held for us can we reach a level of class consciousness that will provide an adequate challenge to capital”.

"Never sacrifice the art for anything and never leave home without your respect. Southwest representer Cash Lansky hails from the deserts of Tucson, Arizona about 45 minutes from the Southern border. His story is one of family, trials, growth, and being forced into a role all too many young boys face - being the Man of the House at a young age. Wise beyond his years, Cash grew up quick. This record is the heartfelt result of being able to reflect on that life and bring forth the lessons and stories that make great art.

A seasoned performer and respected member of the Arizona Hiphop scene and Southwest culture, Cash Lansky makes his indie label debut with Mello Music Group on this T-Wade and Mario Luciano produced album (Mario's credits include notable releases like Drake’s “8am in Charlotte”, Kendrick Lamar & Baby Keem’s “Savior” , J. Cole’s “Punchin’.the.clock”, Jack Harlow’s “Is That Ight?”, and H.E.R. & YG’s “Slide”). The new record is mixed by the legendary Willie Green. This is Rec-Center Rap straight from the heart of one the West's best."

"Lady Lake is the second studio album of the British progressive rock band Gnidrolog. The album was recorded in the London Morgan Studios in 1972 and released that same year. The songs in the album deal with a variety of concepts varying from pacifism in ""I Could Never Be a Soldier"", to pilgrimage in ""Ship"", and Tchaikovsky's Swan Lake in the title track, ""Lady Lake"". Gnidrolog was originally formed in 1969 and signed to RCA Records in 1971. Following on the heels of the album in spite of Harry's Toenail, Lady Lake featured a lineup of Colin Goldring, Stewart Goldring, Peter Mars Cowling, and Nigel Pegrum. The album saw Gnidrolog continue to develop their unique form of progressive rock, which had critics compare the band to cohorts such as Gentle Giant and Van Der Graaf Generator. Lady Lake is available as a limited edition of 500 numbered copies on translucent yellow coloured vinyl and includes an insert.

"15 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

Turning in a smoking rendition of studio guitarist Jan Davis’ “The Fugitive,” later covered by the Ventures (and much later, Laika & the Cosmonauts), they also lay down a hot version of “Opus Twist” – also by way of the Ventures, written by Tommy Allsup and J.I. Allison of the Crickets. Three other instrumentals came from the Let’s Hide Away & Dance Away With Freddy King album: “San-Ho-Zay,” “Just Pickin’,” and “Sen-Sa-Shun.” He delivers a lovely “Sleep Walk” sans Santo & Johnny’s steel guitar, and converts pianist Floyd Cramer’s “Last Date” to guitar.

Balancing out the program are live tracks from Big Al’s Gas House in neighboring Belmont, showing the emergence of British Invasion along with credible renditions of R&B warhorses “Linda Lu” and “Come On.” “Route 66” is obviously the Stones version, with Rich playing the Keith Richards guitar solo – “and ‘Roll Over Beethoven,’ you could tell it was the Beatles’ version because my guitar licks are George Harrison.”

Vividly illustrating the band’s meld of R&B and surf are the two versions of “San-Ho-Zay” – the relaxed groove in the bedroom versus the furious live rave. Lord knows what’s going on in “The Fight” – a typical set-opening/closing riff breaking up a brawl?

Though they never released even a 45, these live cuts and “Bedroom Tapes” prove without a doubt that they’d have been up to the task had the opportunity presented itself."

2010 release from the critically acclaimed Punk trio. Last year, Screaming Females toured relentlessly in support of their critically acclaimed third album Power Move. Their hard work landed them spots opening for Dinosaur Jr., Throwing Muses, and Jay Reatard, plus dates touring with Arctic Monkeys and the Dead Weather. The year brought them to a wider mainstream consciousness, gaining attention for their Punk Rock sensibilities and their raucous live shows driven by front woman Marissa Paternoster’s famed guitar heroics. On Castle Talk, the trio proves their abilities as more than just a pint-sized guitar shredder. Castle Talk showcases their growth together as a unit, as a band, with some of their most complex and confident songwriting to date.

Originally released in 1970, on CD for the first time! Their sole album boasts members of the Wrecking Crew along with three Motown producers, all experimenting with a commercial psychedelic sound that defined the end of an era. Sitar head-swirlers, sunny, melodic harmonies and a country folk influence all blend together to bring listeners Truth!

IMOGEN presents WIGS002 - a four track EP celebrating the women of Wigs, featuring Grace Dahl, NVST, Rebecca Alle Paine and IMOGEN.

WIGS002 kicks off with heavy breaks and kick drums bringing a rough hardcore vibe to IMOGEN’s latest single ‘SHOUTOUT 2 LDN’, premiered by radio legend Mary Anne Hobbs on her Radio 6 show.

IMOGEN samples a vocal from her favourite 90s MC Alex Pearce, adopting the same “zero f***s attitude” of the early 2000s techno scene. She combines this with squelching reese basses and slick programmed breaks to bring the same energy of early warehouse parties to the dancefloors of today.

Next up, Grace Dahl departs from her usual rolling techno style with electro banger ‘I Like Em Sexy’. A fast-paced distorted vocal slides its way through the drums into an epic breakdown before an unexpected 4/4 drop. IMOGEN and Dahl’s musical chemistry shone in their B2B on the Wigs NTS show, making this the perfect A-side combo of the EP.

Upcoming Italian DJ and producer Rebecca Alle Paine keeps up the EP’s high energy with the perfect DJ tool of rolling 909 drums. Hardgroove is having its resurgence right now and Rebecca is a leading light in the genre currently flooding the scene. Wigs isn’t the only label to pick up on Rebecca’s driving style - she recently released an album on hardgroove legend Ben Sims’ label as well as featuring on Freddy K’s KEY. It is clear Rebecca is one to watch for 2024.

NVST closes off the EP in a mind bending Aphex Twin-style crescendo. ‘A Face Has No Voice’ is an eight minute long saga boasting her skill as a multiverse producer. It follows a journey through dub, breaks and IDM. WIGS002 showcases the true diversity of the next generation of musicians, and that one piece of music can traverse many genres.

Wigs kicked off as a project aimed to offer a new approach to party series and workshops with an emphasis on community, bringing like minded ravers together to build a platform for the next generation of artists and party goers. As well as a residency at Tresor Berlin, Wigs has hosted sold out parties across Europe bringing names such as Daria Kolosova, Dr Rubinstein Salome and more. After the success of WIGS001, Wigs is proving itself to be a staple sound in dance music right now.

Neunzehn pointierte Betrachtungen zu allen möglichen und unmöglichen Aspekten des Lebens, und das in unter 44 Minuten: Tempo, verzerrte Powerchords und eingängige Melodien sind die Hauptzutaten für den GRUSS AUS DER KÜCHE, das neue Album von Ernte 77. Die Songs sind wieder kürzer geworden, die Ideendichte dafür höher. Ohne Verschnaufpause geht es von einem lyrischen Mikrokosmos zum nächsten, während sich notorisch durch die (nicht nur) Punk-Historie zitiert wird. Das Album ist eine bandtypische Gratwanderung zwischen harmonischen Refrains und anstrengendem Gekreische. Ernte 77 ziehen in DIY-Manier unbeirrt weiter ihr Ding durch und bleiben deshalb eine der eigensten Punkbands, im besten Sinne des Wortes.

Diamanda Galás In Concert is not simply a live album. With nothing but a piano and the full expressive range of her extraordinary voice, Diamanda Galás strips away the comforting patina of time, tradition and stylistic convention to expose and express the raw human emotion that is the living heart of a song. It explores an eclectic range of material; rembetika, soul, ranchera, country and free jazz, and her passionate eviscerations reveal their hidden kinship. Four of the songs-O Prósfigas, La Llorona, Let My People Go, and Anoixe Pétra are for and by the forsaken, outcast and debased; the other three are hardboiled love songs. "In Concert" features select recordings taken from performances at Thalia Hall in Chicago, and Neptune Theatre in Seattle from 2017.

In March 2023, @ turned heads with their debut album Mind Palace Music that utilized an array of acoustic instrumentation and densely layered harmonies, like the great outsider folk records of the 60s and 70s and placed it in a modern setting. If Mind Palace Music was @ playing on story mode, their new EP Are You There God? It’s Me, @ is the darker, stranger side quest.
Mind Palace Music was written in very specific circumstances. The band was formed while they were confined to their homes during quarantine — Victoria Rose in Philadelphia and Stone Filipczak in Baltimore — exchanging musical sketches over iMessage and email. Even though the world has opened back up and they’ve been able to play together live, this EP was again created remotely while in their respective cities. What did change, however, was the production.
Are You There God? It’s Me, @ is @’s foray into electronic music — consisting primarily of software instrumentation (with the occasional flute, guitar or bass part sprinkled in). The band’s experience producing in this style was minimal, but they found the new process to be a rewarding exercise allowing them to explore new textures and structures made possible by computer music. Where their previous acoustic recordings had a looser and more human feel, these new songs allowed them to experiment with autotune and quantized beats. Rose was able to resurrect her passion for classical choir by singing and recording a capella vocal arrangements to be incorporated into Filipczak’s instrumentals.
Across five songs, @ call upon a higher power, as the title suggests, in search of fulfillment. While they try to remain hopeful, daily suffering casts doubt on whether that high power even exists. On “Soul Hole,” overtop an autotuned vocal loop and hyper-pop-esque production, Rose repeats “I’m going to the soul hole and I’m never coming back,” hoping to leave behind the material world and the desires that comes with it. “Webcrawler,” named after the pioneering search engine, might be considered Are You There God?’s epic. @ sees their search for meaning in life akin to how search engines pull together data from all over the internet to find answers. The music itself is even reminiscent of dial-up internet connection, with droning keys and machine-like drum programming until overheating and erupting into chaos, in the form of heavy-metal shredding, only to cool down again back on a loading screen.
While the band confesses the departure from their usual sound may only be temporary, it’s an exciting listen full of twists and turns that surprised even themselves. “We’re both really dramatic in our musical sensibilities and don’t shy away from ridiculous choices,” Rose recalls, “which can really be exaggerated when working mostly with electronic sounds.” Full of soul searching and sonic experimentation, Are You There God? It’s Me, @ is an encapsulating spiritual saga for the digital age.

The Italian trio Desert Wave was formed in 2016, when Drugo (drums) and Logan (bass) were already playing in a doom metal band and then decided to break away and form their own with a more psychedelic/stoner-style. Guitarist Burton joined them a month later, and their musical influences were quite similar: Black Sabbath, Pink Floyd, Led Zeppelin, 70's hard rock, Seattle grunge, up to the granite desert sound of Kyuss.

With "Deafening Silence" they created a more psychedelic and epic, mostly instrumental, sound than their 2017 debut “Lost In Dunes”, much more like the long jam sessions they play in the rehearsal room. The songs were born during the pandemic that deeply marked the band. Like everyone else, they spent several weeks at home, while the empty streets generated a ghostly and disturbing silence. The lyrics are a bit dark and gloomy and on "Endless Night", Logan's voice carries that ghostly presence that loomed over us all. Drugo designed the artwork, as a tribute to the Blade Runner movies. In both films, as in the songs on the album, there was the same feeling of foreboding that hovered in a dystopian future, in which not all the answers are clear and many questions are still unanswered. Burton's powerful guitar riffs echo in this unreal silence, sometimes increasing the sense of restlessness, other times instead, in the more psychedelic parts, they create a crescendo of impotence and inevitability that totally invades you and from which you cannot escape. Purple edition.

First new album in five years from the legendary Say Anything "...Is Committed" via Canadian indie powerhouse Dine Alone Records. preceded by several singles and pinpointed US touring, this release will be supported by a headline 20th anniversary tour of "Is A Real Boy" (April-June), where they will play their landmark album in its entirety, as well as focusing on the new album.

Julius Rodriguez returns with his 2nd LP on Verve Records. The album is made up of exciting new original material and a cover of Dijon’s “Many Times”. Guest features from Keyon Harrold, Nate Mercereau, and Georgia Anne Muldrow. “This album for me embodies the meaning of "Evergreen." With the differing worlds that are presented by each track, I still aim to be fully honestly myself in my expression - maintaining my voice in any variation of musical climate. With this, I hope to carry on the importance of prioritizing the music itself, rather than letting a genre or label create a preconceived connotation of the music. The genre is me.”

Doo-Wop was and remains the most accessible of popular music formats. You don’t need instruments, just tuneful voices, the ability to harmonise and a street corner on which to perform. Over 10,000 different vocal outfits are estimated to have recorded in the Fifties – be they black, white, Italian or Hispanic. Only a few practitioners like Dion DiMucci, lead singer with the Belmonts, would outlast the phenomenon to bloom in subsequent decades, but Doo-Wop’s legacy would remain. In this collection, you will discover the foundations of popular music as we know it. From coast to coast, Doo-Wop ruled the Fifties – here it is at its very best!

"Loving You Backwards, the debut album from Blood, flourishes in the subtle, the ambiguous, the shades of gray. In winter of 2021, longtime Austin residents Blood made a fresh start, using a move into a house together in Philadelphia as a chance to reorient and spend time writing music around the clock. As they wrote, the sound of the band began to shift. Blood, in the past, made huge, angry, grandiose, operatic songs. Loving You Backwards, was not that. Instead, this debut record is quieter, less reactive, but no less powerful.

As an organism, Blood circa Loving You Backwards, was a six piece. Tim O'Brien is the lyric writer, but the song writing and arrangement is a painstakingly collaborative process in which the band aims for democracy over swiftness. The record also features the band’s first major work with the producer Daniel Enrique Howard, whom the band recorded with at his studio in Brooklyn. Howard helped guide Blood into this new sonic territory. It is not a bedroom project, but instead fully realized, somehow sounding both intimate like Liz Harris’ Grouper feels intimate and totally vast in the way that a Talk Talk record feels vast. It’s in the same universe as Ought in its earlier iterations.

The songs on Loving You Backwards exist in the realm of ballads, heart-wrenching and weird pop with a post rock sensibility. It explores, as the title implies, approaching a relationship in the reverse, dealing with your past while you try to stay in the present. Loving You Backwards is a record of ideas and big honesty, but it’s also a record of genuinely pristine pop. A definitive statement from a band that is more than on the rise as truly excellent songwriters and performers."

Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Limited purple vinyl. Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

"In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities." - Zoe Efstathiou.

Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory.

The mercurial talent that is SW. back in the building with a new album, and if it weren’t already apparent, OYSTER45 goes some way to assert his place in the pantheon of pioneering producers. In fact, nobody can question his position right at the vanguard of forward-facing dancefloor dynamics.

myDEFINITION part II catches the SUED co-founder as vital as ever. Keeping it on that dusty, low-key flex that has long been his trademark, it harnesses ingenuity to conjure some of the most intriguing gear you’re likely to hear from a limited studio setup. Gone are the hi-tek jazz and ambient flourishes of the near-mythical ‘Untiled’ album, opting, instead, for pure dancefloor headiness. Precision-tooled breakbeats, opulent IDM cybernetics, tuff bleep n’ bass and late nite electro across 10 distinct trax.

Side quests into more abstract realms are fleeting. Dappled melodies evoke warmth in hues of pink and orange but any ambient-dub ephemera quickly dissipates into the peripheries in favour of club-ready pressure. The spectre of mid-‘90s dance music looms large but the SW. blueprint, with its captivating free-form approach, spins those vintage tropes into a distinct sound unto itself. Masterful, cinematic and hallucinatory.

Often drawing comparisons with B12’s seminal brand of ambient techno, SW. will surely be a stylistic reference point in his own right for years to come. Such is the indelible influence he has cast on contemporary electronic music.

Tim Burton’s 2005 adaptation of Roald Dahl’s classic children’s book was conceived as long ago as 1991 and was in development for several years before Burton was involved in the production. He immediately brought regular collaborators Johnny Depp and Danny Elfman aboard.

Charlie and the Chocolate Factory represents the first time since The Nightmare Before Christmas that Elfman contributed to a film score using written songs and his vocals. The film was released to critical praise and was a box office success, grossing $475 million worldwide.
The wonderfully quirky melodic score and songs from one of Hollywood’s great composers harks back to Edward Scissorhands, Burtons’ and Elfman’s most personal work, and is a return to the composer’s “vintage” sound from the late 1980s and early 1990s.
First released on vinyl in 2015, this latest edition brings the popular soundtrack back to vinyl on Marshmallow Pink and Chocolate Brown Vinyl.

“It was more fun than I ever had working on a movie. It was so crazy and doing all the vocals was so much fun. I found myself falling into voices, singing vocal mannerisms. I was having such a gas.”
- Danny Elfman

One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.



There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.



Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album Bitches Brew.



But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.



Her 1974 sophomore album They Say I’m Different features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B-Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.”

Peacefull darly... The Violent Cases 09 explore a new artist. His first record ! A sound very Dark Hardcore influenced, and even sometime Hard trance and Doom.

Oozi who did the mastering, also was a smart choice considering the music style here...

Fresh Dark Acid sound !!!

Sweet Mental Acid Techno for the A-side... While B side goes a bit more weird and hard !

Since roaring onto the scene, the band has cemented themselves as one of British indie's most consistent and successful groups.

The immediacy and carefree attitude are the driving motivations of this superb new release via the band's own independent label, Alt. Records. With creative collaborations including Matt Schwartz (YungBlud), Benjy Gibson (Fred Again), Kid Harpoon (Harry Styles) and The Nocturns (Mimi Webb), this record is for fans of guitar music who are not afraid of big hooks and massive choruses. The result
is their first album without compromise, reflecting the joy and energy they brought to the scene with their debut 'Open Up Your Head' and hit songs like 'Call Me Out' and 'All I Want To Hear You Say'.

Black Country Communion is a powerhouse supergroup fusing the incredible talents of Glenn Hughes (Deep Purple, Black Sabbath, Trapeze), Joe Bonamassa (Blues Rock Legend), Jason Bonham (Led Zeppelin, Sammy Hagar and the Circle, Foreigner) and Derek Sherinian (Dream Theater, Sons of Apollo). Their brand of
earth-shattering rock is heavily influenced by both British and American classic hard-rock and blues-rock music. The reputation they've cultivated after 15 years since their inception, not only as amazing songwriters, but as a powerful live act, is only exceeded by their dedication to their craft and willingness to challenge each other to make the best music imaginable.

Noelle & The Deserters bring South-Western honky tonk and songs of heartbreak from the high deserts of New Mexico to the golden hills of California. Fronted by singer-songwriter Noelle Fiore, their music draws inspiration from the likes of Emmylou Harris, Loretta Lynn, Marty Robbins, J.J Cale, Gene Clark, Townes Van Zandt, and the great outlaw country players. The Deserters include seasoned players Graham Norwood (Bryan Scary, Graham Norwood) on guitar, Alicia Vanden Heuvel (The Aislers Set) on bass, David Cuetter (Tarnation) on pedal steel, and Jerry Fiore (Sonic Love Affair)on drums, all based in the Bay Area and Sacramento. Fiore was raised in Taos, New Mexico. As a guitar player and vocalist, she was a founding member of Sweet Chariot, singing and playing guitar / banjo. Later, she and Tim Cohen (The Fresh & Onlys) founded the band Magic Trick, recording four full length albums for labels Hardly Art and Captured Tracks. Fiore is also a current member of the Shannon Shaw Band, on guitar and vocals. High Desert Daydream is Noelle & The Deserters debut album, out on Speakeasy Studios SF. The songs on the album, written by Fiore, touch on life in the west, growing up in Taos, living in California, songs of love, memory, marriage, work, good times, and bad times. Like all classic country music, the songs are infused with a sense of real-life struggles and living life in the everyday. Fiore’s incredible voice carries the album, and her songs are at once moving, powerful, tender, humorous, and intimately relatable. Produced by Noelle Fiore and Alicia Vanden Heuvel, High Desert Daydream feels country, yet of the west, of California and New Mexico, of experimental fronts in country music, and is truly a work of beauty.

Tracks

Originally released in 1987, Life Time is the full-length debut by Rollins Band. This reissue—released on ROLLINS’ 2.13.61 label—has been remastered for vinyl by TJ LIPPLE and includes updated artwork by JASON FARRELL. Henry Rollins on Life Time: “Life Time is the first studio record by the Rollins Band. We did our first practice on 04-07-87 and went out on a long tour of America and Europe. On the road we wrote songs and put them into the set. By late October we finished the shows in London, UK. We went up to Leeds where Chris had a place to live and booked studio time at the same place that he and I did the Hot Animal Machine recordings a year before. I had no producer for this record and feared that since everyone in the band had strong opinions on how it all should be done that if we tried to do it ourselves we would do more harm than good. I called Ian MacKaye and asked for help. He got on a plane and came right out. That's Ian. We got straight to work as we had little time or money. All twelve songs were cut and mixed in a few days. We would do a take and Ian would tell us that it was good and we were moving on. When someone would say that they wanted to do it over again, he listened patiently and then asked again which song we wanted to do next. We got it all done and dragged it back to America for about 3,200 dollars. My, how things have changed. The album cover was drawn on the back of a diner place mat by Stephen Myers as a gift for my then roommate, Laura. Only the offset reproduction of the piece remains as the original went with her when she gave up her room. She shot herself a few years ago. Special thanks to Ian for coming to the rescue on such short notice. Thanks to you for checking this out.” Download code for full album plus live tracks. Also comes with lyric insert.

We're old and familiar friends. These compositions represent the thing that happens when we get together. They aren't representative of one individual, one moment in time, or one chain of decisions. Some are ancient refrains, beginning life as habits and warm-ups, in-jokes; others are distilled jams; more still are refined from MIDI sketches and ideas whistled into voice notes. On whatever terms these elements become something we're happy to stand in front of you and play, to put on record, so be it.” So ANTA describe the process behind 2024's Organesson. Characteristic of the Bristolian Sci-Prog quartet, the record weaves together mesmerising, muscular riffs in insanely loud compositions that extend well into excess. Less typical is the polarisation at play, where granular polymeters will yield in an instant to passages of one or two-note simplicity. The record strides from one raging refrain to the next, lurching between devastation, joy, chaos, and stirring the themes accumulated along the way in exposition. “It comes down to those precious sweaty hours” the group suggest, “in which we get to vibrate these sounds into your face and chest, and you can dance and laugh with us. This is the stuff we remember and plan for, the moments we talk about the most when writing these songs.” ANTA's live shows, ceaseless onslaughts of deafening riffs, have been notable for maintaining the same intense energy among festival crowds or to three people in a basement. Walls of amps going full-pelt. Pounding, ornate drums and metals, wherein drummer James King is relentless in discovering strange and mighty rhythms. Full-drawbar organs, electric pianos, piercing synths from keys-man Alex Bertram-Powell. Joe Garcia's growling bass that strides rather than walks. Ben Harris' all-encompassing, dizzying guitars. Hypnotic, communal, compelling, indefinite energy. Organesson is the latest effort to put this feeling on record.

A band with many chapters and an everchanging sound, Shudder To Think’s story began in 1986 in Glover Park, Washington DC. Bass player Stuart Hill and drummer Mike Russell had just recruited Chris Matthews to play guitar in their fledgling hardcore band Stüge (1984-86) when they suddenly found themselves in need of a new singer as well. Matthews suggested his friend Craig Wedren for the role. At the audition, Wedren’s style clashed with the style of the band’s previous singer, but the group all sensed that they might have stumbled into a “chocolate-inmy-peanut-butter” situation with intriguing potential. The group changed their name and headed into new territory. Side A of this LP is comprised of five songs from one of their first recording sessions together. The tracks chosen are songs that were only released on demo tapes, never to be re-recorded for future proper releases (this version of “Too Little, Too Late” did appear on the local punk compilation FR-5 in 1987). Side B consists of four tracks that were originally released as their first 7-inch release, the It Was Arson EP, a split release by Sammich/Dischord Records. Included at the end of side B is a version of “Take The Child” from this session (later re-recorded for their first album in 1988).

Worst Case Scenario started out in 1994 with Justin Trosper and Brandt Sandeno from Unwound as another of the many bands they formed together. That summer was a little slow for Unwound’s hoped-for tour schedule so they decided to start another hardcore-influenced band while working day jobs. As they began practicing in the basement of the Olympia punk house “Lucky 7”, long time friend and roommate Chris Jordan jumped in as the vocalist. Sandeno soon recruited his college friend, Scott Larsen, that had recently moved from Minneapolis. They quickly wrote about an album’s worth of songs and recorded them with Tim Green at the Red House for a “demo tape” that Tobi Vail released on her tape label, Bumpidee. 1995 saw another Tim Green recording with 7-inch records on Lookout Records and Troubleman. This LP contains all of the forementioned material. In 1996 they recorded a full length record with “Seasick” Steve Wold in Olympia for Vermiform which resulted in the self-titled vinyl LP and The Complete Works of Worst Case Scenario CD collection a year later. WCS played a few random shows, mostly in Olympia, with friends’ touring bands from 1994-96 and set up a national tour for the summer of ’97. Shortly before the tour Jordan was injured in a random accident and then Larsen broke his wrist in a work accident, rendering the band unable to embark on the tour. To cap it off, the one sheet of paper that had all the venues’ contacts for the tour was destroyed in a laundry related incident and the band was unable to properly cancel the tour. Apropos to their name. They disbanded amicably later that year with members moving away from town and taking on more demanding tour and work schedules.

Es ist das Jahr 2007. Die Welt gehört dir und der Rest deines Lebens beginnt. DIY ist das Motto der Stunde. Nach dem überbordenden Vorgänger „Geräusch“ wirken die ärzte harmonischer und kompakter denn je zuvor. Genau dieser Moment, er ist perfekt.

Mit „Jazz ist anders“ präsentiert sich die Beste Band der Welt in exzellenter Spiellaune und vervollkommnet das System BelaFarinRod. Es gibt die irre vielen zwingenden Melodien, die elektrischen Gitarren, den Quatsch, das Nachdenken, das Rausbrüllen, die ganz großen und die ganz kleinen Gefühle.

„Lied vom Scheitern“ ist die schmissige Hymne zur Selbstermächtigung, „Niedliches Liebeslied“ hebt das Genre Rodballade auf ein neues Level, „Licht am Ende des Sarges“ probt den Perspektivwechsel zum lustigen Vampir. „Tu das nicht“ ist ultimatives Statement zur Lage der Musikindustrie im beginnenden Breitband-Zeitalter. Und „Junge“ protokolliert nicht nur pedantisch allseits bekannte elterliche Sorgen, sondern schafft auch ohne Versmaß und echte Reime die Aufnahme in den Klassiker-Kanon der deutschen Popmusik.

die ärzte: Jetzt gegen Angst, Hass, Titten und den Wetterbericht. Immer noch ohne Festanstellung und Barry Manilow. Dafür mit Schalala und Schalalu und ein bisschen breit. Und ständig dieser Lärm.

Unio Mystica: Absorbed from my room onto a triangle ship, by an alien wearing blue scaled bio-armour, to travel instantaneously across vast folds of time & space. The alien occupied the pinnacle of the triangle, the other two points by myself and an unknown human female, respectively. The ship, at least for this type of journey, was powered by harnessing the coalescent, universal force of LOVE. This truly hierogamic union acted as a sort of inter-dimensional transcendence driver, which allowed us the defeat of all material boundary and therefore, time itself. It was a keen insight into the ultimate conciliation: that love permeates and binds together an otherwise cold and hostile universe. And perhaps it was not an "alien" but an angel. Angels are traditionally understood to be preternaturally photonic (of a type), lacking physical densification, and which manifest themselves as various imaginal forms in the human psyche... What is known: the starship is ours; a portal of two souls combined. - personal log, entry #3073, 07/14/2017

SamOne seamlessly picks up where his ¦rst EP left off and
starts another chapter ¦lled with broken and cheeky sounds!
“Breakz N Harmony Pt. 2” is a 4 track heavy record carefully
pressed, handmade packed and sprayed. Just like the ¦rst
one, the sample-oriented intuitive style prevails, spanning
across Breaks and Electro. Bold and rough drums,
harmonized with organic basslines and iconic vocals,
dominate both sides A and B. Tune in, Shake Well!

A brand new label coming in hot, from Montreal to the world.
Run by E. Chamandy (part of the Fella's Q-Tips crew) our
label focuses on giving the spotlight to the seers around us
who's craft deserves to shine outside of their hard drive. Here
at Seer Records, we value quality over quantity, delivering
nothing but smooth trax exclusively for the underground.
SEER-001 packs a punch, with the A-side delivering
dance§oor movers of the highest proportions; battle-tested
and approved ! A1 includes a remix by Tony Lionni
(Madhouse Records), while A2 is a tribute track dedicated to
the rare 90s NY house track by Barkim & Langel. On the §ip
side, discover local house-heads 'Maximum Enemi' with their
debut releases on the B-side, mixing it up with deep & dreamy
§avours. Starting it off with a live jam on B1, expect lushychords, chunky basslines and a touch of acid on B2.
Finishing it off in style, label head has provided us with a
downtempo, electro-funk jam that carries an analog feel,
making any body move like it's an 80s groove. Tip!

Tomorrowland Music kündigt ’TOMORROWLAND 2024 - LIFE - OFFICIAL COMPILATION’ an. Erlebe die Euphorie des diesjährigen Tomorrowland-Mottos „LIFE“ bequem von zu Hause aus, mit exklusiven Tracks und erweiterten Versionen, die für DJs und Musikliebhaber gleichermaßen geeignet sind. Mit einer handverlesenen Auswahl aktueller Singles von einigen der größten Namen der elektronischen Musik, darunter Lost Frequencies, David Guetta, Alok, Dimitri Vegas & Like Mike, Martin Garrix, Alesso und einige der größten Club-Hits des Augenblicks, wie Zerb (Mwaki), Alex Wann (Milkshake 20). Von erhebenden Melodien bis hin zu herzzerreißenden Beats ist jeder Track ein Zeugnis für die Einheit, Freude und Vielfalt, die auf dem Tomorrowland gefeiert wird. Jedes Vinyl ist ein Sammlerstück, reich an ästhetischen Details und angereichert mit luxuriösen Verpackungselementen, die durch ein atemberaubendes Artwork aufgewertet werden.

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns.

As the releases of DUBBLACK’s catalogue pile up, the novelty and exploration for new music keeps on thriving.


A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek.


The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement.


A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), GAMO (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc.


He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B DODI and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music.


Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “R909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”.


Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness.


The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of DUBBLACK harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

Folly Group become the first band on Ninja Tune imprint Technicolour
(Elkka, Sofia Kourtesis, VTSS) with their new EP ‘Human and Kind’.

The four-piece of Sean Harper, Louis Milburn, Kai Akinde-Hummel and Tom Doherty formed in the tumultuous melting-pot of the London musical circuit. They released their debut EP ‘Awake and Hungry’ last year, receiving wide acclaim for their electronic infused post-punk sound and furiously brilliant live shows, landing coveted slots at Pitchfork Music Festival, in NME’s 100 Artists On The Rise and a co-sign from IDLES’ singer Joe Talbot.

Speaking about the EP, Folly Group said: “Where ‘Awake and Hungry’
doubled as a diary of the band’s formative months and encapsulation of our live show, ‘Human and Kind’ is a projection of our ambition, and our desire to push ourselves through what we might previously have
perceived as the ceiling of possibility for four players.”

For fans of Black Country, New Road, Squid, Yard Act, Black Midi, Dry Cleaning, Shame, Do Nothing.
140g crystal clear vinyl in 12” sleeve with spine and printed inner, plus
digital download code. Pressed sustainably within a 99% circular
environment at Deepgrooves.

“Every track is so good. They haven’t released anything that isn’t
amazing.” - Joe Talbot (IDLES, speaking on BBC 6 Music)
“thriving in well-crafted chaos.” - NME
“brilliant, experimental jungle rock” - i
“Give me that post-punk syncopation any day of the week” - Lauren
Laverne, who has made the band’s last three singles (including ‘I Raise You…’) her While You Were Sleeping Track Of The Day.
Headline UK Tour starting 31 March, taking in London, Bristol,
Manchester, Leeds, Birmingham, Nottingham, Margate, Newcastle,
Southampton, Milton Keynes and more.

Re-release of the ‘88 rave house classic 'The Real Life' sampling Queen, Simple Minds, Prince and Scarface here perfectly formed Oppy Mix. Used copies still sell up to £50 with very few cropping up on the market so this official remastered reissue will be a welcome sight to many.

Flipped with the collectable housey / garage crossover gem 'So Where Are You' harnessing the raw vocal power of Kevin Williams over a tough house rhythm. Both the Hashish Dub and Vocal Mix are included on this release.

Repressed on Blue 12 inch vinyl with replica Smokin’ artwork.

Obscure Formats is a sonic strike of moving body electronics. This modern metal machine music is directed, goaded and prodded into reaction by Robert Galbraith, Component Recordings founder and one half (with of the monster modular outfit that is Snowbeasts. Under the Obscure Formats moniker, he forges a tight, earthbound sound from synths, modular racks and drum machines to pound a path through your ears right into your mind. Tracks like pound and pulse with unrelenting beats, percussion and arpeggiating pulses. Within each Obscure Formats track is a harsh soundscape of angles, jagged edges and eerie drones. Obscure Formats - Agitations consists of 4 tracks of alluring body music with special remixes by AXKAN & Years of Denial.
Written + Produced by: Robert Galbraith Except Haunted & Blood Moon - Robert Galbraith & Elizabeth Virosa

First Time On Wax! Pressed On White Vinyl! Originally released on July 9th, 2012, only via Soundcloud, Cigarette Boats is NOW available on wax! When Curren$y (aka Spitta Andretti) & Harry Fraud collab, they create classics, something which is most definitely evidenced on 'Cigarette Boats'. The merger of Harry's signature production and Spitta's deadly flow show why XXL Magazine named it the "2012 EP of the Year." The duo decided it was time to make Cigarette Boats available in all formats, releasing the instrumentals exclusively on vinyl. Fraud recalled his audition for Curren$y, after meeting him while working on a Smoke DZA project: "I had met Curren$y briefly for one second at a radio station, but that was the first time we really kicked it. He just asked me to play some beats,

and I played like five beats, and he was just like, 'Yo, I need all of those. We gotta do a little EP with those.'' Those same five beats became the entire sound bed for the 'Cigarette Boats'.

This collaboration between Spanish producer Nueen and Manc vocalist / rapper Iceboy Violet - who has previously sprinkled their magic dust across Hyperdub releases from aya and Loraine James - traces the arc of a four year relationship, memorialising its highs and documenting its lows, processing, reflecting, and then ending with the ecstatic spark of new love. It’s a magical, intimate and heartfelt album, sometimes anguished but often enchanting. Nueen's music responds with foggy, but richly detailed, production. Smudgy drill-laced beats contrast with curdled, spiralling chords, at times drawing out a malevolent ambience. ‘You Said You'd Hold My Hand Through The Fire’ is an immensely affecting and lucid album, powerfully wrought, ultimately hopeful.

'Bra Tid' marks the vibrant debut LP from D. Apal, a playful exploration of dance music characterized by creamy synths, dub-infused rhythms and soulful melodies.
The album showcases a fusion of 70's and 80's influences alongside nods to modern music, resulting in a captivating blend of funk, disco and electronica.

Since 2008 our Spiritual Jazz series has presented unlimited horizons. Each album celebrates the rich tradition of African-American songs based on the belief in a higher force than oneself and has also focused on geographical areas, such as Europe or Japan, thus recognizing that these territories have immense cultural riches. Religions, like Islam, whose musical traditions have vivid Arabic and North African resonances, have also been highlighted. The stylistic range of all the above is wide.

Yet historic record labels, from Blue Note and Impulse! to Prestige and Steeplechase, have also featured because their catalogues are musical treasure troves that could not be more relevant to Spiritual Jazz, even though they issued vast amounts of music between the late '30s and present day, that have not been confined to any one school.

Spiritual Jazz 16 is a focus on Riverside and its associated sister labels. Riverside itself was founded in 1953 by Orrin Keepnews and Bill Grauer, and became an important purveyor in that decade and beyond of what would be marketed as of modern jazz. That coinage was itself an amorphous, umbrella term that essentially created a demarcation from the vocabulary of pre-war classic jazz and inter-war big band swing, thus recognizing that improvising artists were breaking new creative ground that would subsequently give rise to a flurry of sub-genres, for example bebop, hard bop, cool, modal and Latin jazz. And it's from this multiplicity of sub-genres that we choose the deepest, most vibrant selections that the vast, pan-generational catalogue of Keepnews & Grauer has to offer

'Quintela', the debut album by Carme López, a performer, teacher and researcher of traditional oral music from Galicia, is a new experimental work for Galician bagpipe. Influenced by the approach of composers like Éliane Radigue or Pauline Oliveros, the Spanish composer creates slowly modulating sound environments, and stretches the sonic the possibilities of the bagpipe to its absolute limit. 'Quintela' is structured in four movements, plus a prologue and an epilogue, which serve as a link to the contemporary language of the instrument.

The bagpipe is strongly tied to traditional musics; its use in different genres and musical contexts is extremely limited and unimaginative. 'Quintela' brings it to a wholly unknown field, decontextualising the bagpipe in order to elevate a personal approach, and leaving behind its male-dominated past (in which it relates to ideas of prestige, dominance or carries even sexual connotations). López expertly demonstrates its grandeur and breadth; the music on 'Quintela' ranges from barely audible sounds of air passing through the hide bag through rhythmical use of its reeds to all-encompassing drones with complex harmonic structures and vibrant overtones.

The narrative arc focuses on the composer's past, its people and places, and could be conceived as a journey in and of itself. A homage to those in our memories, but also a step into the unknown, 'Quintela' is an ambitious, graceful and captivating debut.

U.S. Cinematic outfit Whatitdo Archive Group returns to explore the worlds of Mid-Century Exotica and Library Music with "Palace Of A Thousand Sounds," out on May 5th.

From the instrumental cinematic-soul outfit behind 2021's critically acclaimed The Black Stone Affair comes Whatitdo Archive Group's most recent foray into the realms of the esoteric and arcane, and their most adventurous album to date: Palace Of A Thousand Sounds, available May 5th, 2023 on Record Kicks on limited edition LP, CD and digital platforms.

After The Black Stone Affair enthralled record collectors by traversing the cinematic landscape of an imagined 1970s Spaghetti Western, Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

When the dust finally settled from their debut album, composer and tireless sound scientist Alexander Korostinsky set out to discover the band's new direction, with the ultimate goal to breathe new life into the mid-century era sound with the compass of modernity as his guide.

From its conception in 2021, Palace has sought to carry on a legacy set in motion by the likes of Martin Denny, Les Baxter and Juan García Esquivel. Korostinsky, guitarist Mark Sexton, and drummer Aaron Chiazza recorded the album in marathon sessions from Korostinsky's Studio "A," in Reno, Nevada—a mysterious sonic laboratory where the year 1970 has yet to happen, and vintage analog equipment interfaces with modern musical perspectives and experimental recording techniques to produce era-defining sounds.

Not content to appeal to the sensibilities of armchair anthropologists, Palace Of A Thousand Sounds finds the band interrogating the genre itself while making studious tributes to the real places and times it draws from. It's in this tension between here and there, fantasy and reality, that Whatitdo Archive Group find their groove.

Drawing from a century of pop and folk sounds from around the world the way only 21st-century crate-diggers can, Palace is rooted in an undercurrent of heavy funk that is decidedly here and now. Whatitdo Archive Group showcase the breadth of their influences with disarming confidence, equally at home behind sweeping harp, loungey vibraphone or Turkish bağlama saz. A lush seventeen-piece orchestra commanded by award-winning composer Louis King (Janelle Monáe, Monophonics) completes the instrumental mélange, enticing listeners to imagine a borderless planet unified by melody and rhythm.

The album is unafraid to explore the strange and uncomfortable in pursuit of an authentic musical identity, subverting expectations in pursuit of forwarding the genre while paying homage to its past. Fans will appreciate the architectural complexity of the record accessible only through multiple listens—each visit to the palace yielding new details to marvel at, curiosities to ponder, grand mysteries to explore.

Once the needle drops, W.A.G carefully guides you from room to room, sound to sound within the walls of the album's sonic palace. Listening becomes an aural journey providing glimpses into different worlds both real and imagined; you are everywhere and nowhere all at once—a guest in the grand halls and hanging gardens of time and sound.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective(Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig, Blues & Soul Magazine, BBC 6, FIP Radio (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

2024 Repress

"DJ Sim and Dr. Phil Omanski are the focal point in the fourth part of the extremely successful series; Hardcore Legends. DJ Sim is, without a doubt, a Hardcore Legend. Tracks like “Go Get Busy”, “Cartoons in Progress”, “Simbiosis” and “Pump That Stupid Bass” have made many hardcore hearts beat faster. These tracks inspired many hardcore artists. Dr. Phil Omanski aka Jorn Hanneman is essential in this series. Everyone remembers the hit “Young Birds” with the mega catchy synth stab and Celtic vocals, but also gems such as “BZRK Feelings (Toni Salmonelli Mix)” and “One Tribes Jam” are featured. Hardcore Legends by DJ SIM x Dr. Phil Omanski is available as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl. "

Hardcore Legends by DJ SIM x Dr. Phil Omanski, released 4 April 2024, includes the following tracks: "BZRK Feelings (Toni Salmonelli Mix)", "One Tribes Jam (Org. Ragga Edit)", "Pump That Stupid Bass (Hardcore Mix)" and more.

This version of Hardcore Legends comes as a 1xLP.

Reissue of this long out of print overlooked gem of Swiss Hardcore, originally recorded in 1983. A great chance to rediscover an obscure masterpiece of primo European Hardcore. Remastered from the original master tapes. Includes a bonus track not included on the original vinyl version and a fold out insert with lyrics and an interview with the band. Remastered reissue of this overlooked gem: a long out of print Euro Hardcore classic made in Switzerland that needs to be heard to be believed. With strong sonic ties to the best American Hardcore (think Black Flag and early SST and Touch & Go bands) it still sounds as fresh, powerful and aggressive as when it was originally recorded in 1983! 15 tracks of pure unaltered anger and frustration. A must!

LTD. BLACK CLOUD COLOUR VINYL

THE GHOST INSIDE stands as an unstoppable force in the realm of hard rock music. Fueled by unwavering determination and unyielding passion, this band has forged a path marked by resilience and redemption. Their latest endeavor, the 6th studio album titled Search for Solace, delves into the profound theme of grappling with one"s own thoughts - the internal struggle between good, bad, and evil. It explores the journey of finding comfort and making peace amidst the chaos of life"s ebb and flow. The album reflects the band"s commitment to not succumb to negativity, anger, or darkness, aligning with their identity as an uplifting and comforting musical force for fans seeking solace. Established in 2004, THE GHOST INSIDE has solidified its position as a trailblazer in melodic hard rock. Their music seamlessly combines raw aggression with profound lyricism, creating a resonant experience for their dedicated fanbase. Despite facing challenges, notably a tragic bus accident in 2015 that left some members with life-altering injuries, the band refused to be broken. Through unwavering perseverance, they made a triumphant return to the stage, defying the odds. Their music embodies a spirit of resilience, unity, and the indomitable power of the human spirit. Each thunderous breakdown and soaring melody strikes a deep chord within the hearts of their fans, serving as a testament to the band"s enduring impact. THE GHOST INSIDE"s journey is a testament to their ability to inspire and uplift through music. As they embark on a global tour starting this Spring, venturing into new territories, including South America and beyond, the band continues to share their message of strength and perseverance with audiences around the world.

THE GHOST INSIDE stands as an unstoppable force in the realm of hard rock music. Fueled by unwavering determination and unyielding passion, this band has forged a path marked by resilience and redemption. Their latest endeavor, the 6th studio album titled Search for Solace, delves into the profound theme of grappling with one"s own thoughts - the internal struggle between good, bad, and evil. It explores the journey of finding comfort and making peace amidst the chaos of life"s ebb and flow. The album reflects the band"s commitment to not succumb to negativity, anger, or darkness, aligning with their identity as an uplifting and comforting musical force for fans seeking solace. Established in 2004, THE GHOST INSIDE has solidified its position as a trailblazer in melodic hard rock. Their music seamlessly combines raw aggression with profound lyricism, creating a resonant experience for their dedicated fanbase. Despite facing challenges, notably a tragic bus accident in 2015 that left some members with life-altering injuries, the band refused to be broken. Through unwavering perseverance, they made a triumphant return to the stage, defying the odds. Their music embodies a spirit of resilience, unity, and the indomitable power of the human spirit. Each thunderous breakdown and soaring melody strikes a deep chord within the hearts of their fans, serving as a testament to the band"s enduring impact. THE GHOST INSIDE"s journey is a testament to their ability to inspire and uplift through music. As they embark on a global tour starting this Spring, venturing into new territories, including South America and beyond, the band continues to share their message of strength and perseverance with audiences around the world.

Streng limitierte Neuveröffentlichung auf blauem Vinyl der 1985er Mini-LP der australischen Indie-Rock-Legenden Crime & The City Solution. 'Just South Of Heaven' wurde in der "Londoner Besetzung" mit Simon Bonney, den ehemaligen Birthday-Party-Größen Mick Harvey und Rowland S. Howard, Rowlands Bassisten-Bruder Harry Howard und dem Schlagzeuger Epic Soundtracks (früher bei Swell Maps und Jacobites) aufgenommen. Die Platte präsentierte einen verfeinerten Sound im Vergleich zu ihrer selbstproduzierten EP und wurde zwischen den Hansa Tonstudios in Berlin und The Strongroom in London mit Toningenieur Flood (a-ha, Depeche Mode, Erasure) aufgenommen. In einem Interview mit Uncut erklärte Harry: "Die erste EP, 'The Dangling Man', war ein bisschen roh. Für 'Just South Of Heaven' haben wir versucht, eine elegantere Platte zu machen, und das hat ganz gut funktioniert."

Dream Harder is the sixth studio album by The Waterboys, released in 1993. Scottish singer-songwriter and bandmember Mike Scott produced the album together with acclaimed producer Bill Price, which resulted in a return to the rock-based sound. The song “Love And Death” was an arrangement of a poem by the Irish poet William Butler Yeats, “The Return Of Jimi Hendrix” a tribute to the famous guitarist, and other songs contain references to pre-historical religion. Singles from the album were “The Return Of Pan” and “Glastonbury Song”. The album peaked at #5 in the UK Albums chart, reached several European charts and the US Billboard 200.

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes.

Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars.

On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

Shall Not Fade welcome the legend Harrison BDP back to their Lost Palms sister label for his NINTH release with the Bristol label!

'Third Time Lucky' EP is four deep, dubby, spaced out, meditative jams perfect for those late night rave moments!

Plasma Color Vinyl. 'The way Bloomsday's Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday's new record, 'Heart of the Artichoke', is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure. Like earlier Bloomsday songs, the work here is threaded with warmth; it's simmering, crisp and deeply human, an encapsulation of the present moment. Recorded across 10 days in June 2023 in upstate New York at duo Babehoven's studio and co-produced by Babehoven's Ryan Albert, with mixing by Henry Stoehr of Slow Pulp. The record was built out with a wideranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven's Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self. Collaboration is an integral part of Bloomsday's musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there's a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they're meant to take. Garrison's role as maestro is crucial, singular - it's a collaborative, exploratory spirit harnessed by Garrison's intuition, and by an honest commitment to carve out creative space for play, to delve into what's known - or pushing past that, into unknown. "The ghosts of the past still come up and haunt me," Garrison says, "but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present." Heart of the Artichoke was written from a healed, matured place - written in a moment of safety from chaos. It's a prayer for the present, an appreciation of tenderness and what happens once we give ourselves the space to really see, and really feel - becoming free and whole - an ode to the way healing allows us to bloom.

'The way Bloomsday's Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday's new record, 'Heart of the Artichoke', is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure. Like earlier Bloomsday songs, the work here is threaded with warmth; it's simmering, crisp and deeply human, an encapsulation of the present moment. Recorded across 10 days in June 2023 in upstate New York at duo Babehoven's studio and co-produced by Babehoven's Ryan Albert, with mixing by Henry Stoehr of Slow Pulp. The record was built out with a wideranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven's Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self. Collaboration is an integral part of Bloomsday's musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there's a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they're meant to take. Garrison's role as maestro is crucial, singular - it's a collaborative, exploratory spirit harnessed by Garrison's intuition, and by an honest commitment to carve out creative space for play, to delve into what's known - or pushing past that, into unknown. "The ghosts of the past still come up and haunt me," Garrison says, "but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present." Heart of the Artichoke was written from a healed, matured place - written in a moment of safety from chaos. It's a prayer for the present, an appreciation of tenderness and what happens once we give ourselves the space to really see, and really feel - becoming free and whole - an ode to the way healing allows us to bloom.