Search:hard rock

If we have press-agent, you can read now something like "smashed drums", "ultra fast broken beats", "sharp guitar riffs", "earfucking duel of vocals", "wall of noise", "absolutely dancefloor killers", and again about guitars - "hard, speedy, motorbike sounding", and again about drums - "punchy hammerbeats", and again about noise - "king size",
and again about vocals - "mouth full of nails, unique, sexy".
If we have press-agent, you can read: "industrial", "hardcore", "breakcore", "gabber", "noise", "digital hardcore".
If we have press-agent, you can read: "must have", "strongly recommended", "you can love it or hate it, but you can not stay in the middle".
But we have not.
We made this album, just because we are. We believe one hundred percent everything we says.
We don't make music - we are the music. It's sound of underground. It's our rock'n'roll.
Are you ready for blowjob, suckers Bon courage!

! Irreal, the fth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the group's most experimental and open music yet.



If their last album Era conrmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It's a master class in texture, pace and control.



Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.



track listing:

1.Interpretation 2. I _ O 3. Another Thought 4. Irreal 5. OUD 6. Halcyon Days 7. Mist Rites 8. Navigating the Void



press quotes for Era:



'On Era, Disappears begin to pave a path to transcendence that's a little more varied, grabbing the more anemic sounds of Clinic and Liars, while keeping the forward momentum of their most obvious influences Spacemen 3 and rough-edged Velvet Underground. They know they trade in the business of the past and work within confined musical language, but they play on, middle fingers scratching their eyebrows.' 7.3 Pitchfork



'For Chicago based quartet Disappears, time seems to move at a different, altogether more indeterminate pace. Era is a work of magic; a record you could lose days or even weeks in, without noticing at all.' Drowned in Sound



'It's an incredible mix of legitimately haunting energy and maturity that is really, really hard to nd, and even harder to nd in an exciting form that doesn't come off cynical or jaded.' The Talkhouse



'Era is truly a landmark album for this formidable foursome' -Brainwashed

Sao Paulo born Toni Tornado was considered the Brazilian James Brown by many.

His career began as 'Tony Checker', lip syncing to rock 'n' roll hits and touring extensively outside of Brazil. Whilst in New York he met Tim Maia and became involved in the 'Black Rio' movement. Toni also worked with Ed Lincoln and Antonio Adolfo amongst many others. He had a successful acting career and starred in many soap opera's.

'O Journaleiro' is a tearing funk track with tough drums and big vocals. Taken from his hard to find and expensive to acquire debut LP, 'BR-3', released by Odeon Brazil in 1971.

This track has never been released on 7".

Som Tres was a jazz ensemble formed by legendary Brazilian musician César Camargo Mariano, who also formed Sambalanço Trio.

Cesar's collaborations with many of Brazil's most important singers, notably Wilson Simonal and Elis Regina, have brought him worldwide acclaim; the historic 1973 album Elis and Tom, made with Antonio Carlos Jobim, features Cesar as arranger, pianist and musical director.

Som Tres recorded eight albums between 1966 and 1971. 'Homenagem a Mongo' is taken from the sought after 'Som 3' LP from 1969 on Odeon Brazil. It has never been released on a 7".

REPRESSED !!
Tim Xavier's newest imprint looks to cross the boundaries between House and Techno, this time featuring Jamaica Suk with her Spektrum EP. Stepping into harder Techno territory the up and coming artist brings a solid 4-track EP with style and flair like none other.
Born and raised in California, Jamaica Suk has always been surrounded by music playing many instruments as a child. In her teenage years she began to play bass guitar in many Math Rock and Shoegaze bands. After becoming frustrated with the conflicting ideas of band members she would eventually find a new love in electronic music.
After enrolling in audio engineering school in San Francisco, she quickly became a known force within San Francisco's electronic music scene. Once she completed her audio engineering studies she decided she wanted more. Traveling around the world following her Techno dreams, she would eventually find her new home in Berlin where she has built her own fully functioning production studio at Salon Wilde Renate.
Jamaica makes her vinyl debut on Face To Face, following her Embers EP on Coal Recordings. Her sound can be described as sexy and sophisticated contemporary Techno but still packing a punch that puts it perfectly in line for prime time sets. The 4-track EP with a bonus digital only track explores all her ideas as a musician and artist including taking inspiration from her rock roots with gritty raw elements.
Already highly respected amongst her professional peers as a tour de force of creative energy and drive. There is nothing this woman can't do, as all her work is produced and mixed solely by herself. She continues to push the boundaries of Techno music while staying true to herself as an artist and it's through this determination we're sure to see more from Jamaica as she continues to evolve.

Took a bit of a break from demos and releases after extending the family with a cute little boy, but now we're back with some of the best deep techno and house lined up for you! But first, something completely different.
Michele Mininni hails from the south of Italy and counts everything from post- and krautrock over new wave, house and disco amongst his influences. He's been a DJ for years, but only recently released his debut EP on Optimo Trax in Glasgow. He immediately found himself on the playlists of Beats In Space and Rinse FM. We were literally blown away when he sent us his music and didn't hesitate to release it although it's not what you're used to hear from us. It's hard to describe 'Endless Ceremony'. Epic, but not as you know it. Cosmic, definitely.
For the remix we thought of Rocketnumbernine. Two brothers with releases on Soul Jazz, Four Tet's Text label and more recently an album on Smalltown Supersound. Currently touring with James Holden and Neneh Cherry. Their remix could be described as almost dreamy electronica/idm.
We think this is a really special release. The following people already agree: Gavin Russom, Âme, Ripperton, A Made Up Sound, James Holden, Optimo, Deadbeat... First pressing on coloured vinyl!

Slight Delay aka Tiago makes a welcome addition to the Vibrations camp with this supreme e.p of leftfield house. 'West Sonic Vibe' is a deep eastern infused tropical gem with 'Party Over' taking on a harder edge on the same mystical journey. Oz producer of the moment Inkswel takes on the remix duties and rocks 'Party Over' into a slower funked up, bass line heavy trip via Sugarhill.

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

On Speedy Ortiz's Real Hair, the band sets a course between the knotty discord of debut album Major Arcana and the pop bonafides of the preceding Sports EP. Recorded and mixed by Paul Q. Kolderie (Pixies Radiohead), the new EP finds them subtly adding new techniques to their songbook. Guitarists Sadie Dupuis and Matt Robidoux bring on additional guitar effects to color the roundabout feel of 'Oxygal,' while bassist Darl Ferm and drummer Mike Falcone hit hard to deliver the jump-in-the-pit urgency of 'American Horror'.From the vocal melodies to the no-nonsense guitar turns, this is Speedy's catchiest outing yet, drawing inspiration from contemporary Top 40 and R&B radio in addition to their regular arsenal of guitar rock. Dupuis' lyrics continue to address concerns about identity, representation, and their misalignment, this time from a new angle: 'While the last album was kind of a breakup jam, these songs are a lot more introspective—myself dealing with and talking to and making sense of myself,' she says.With Real Hair, Speedy Ortiz once again taps into the four-part chemistry that brought their prior outings praise. They're still equal parts noisy and poetic, and now merge those channels more seamlessly than ever.



TRACKLISTING

"Rave Tapes" ist Mogwais achtes Studioalbum und ihr zweites auf dem eigenen Label Rock Action, auf dem sie vor fast 18 Jahren ihre Debüt-Single "Tuner/Lower" veröffentlichten. Seit dem letzten, von Fans und Kritikern gleichermaßen gefeierten Album "Hardcore Will Never Die, But You Will" sind knapp drei Jahre vergangen, in denen das schottische Quintett überaus umtriebig war. Neben der "Earth Division" EP und einem Remixalbum erschien Anfang 2013 auch der Soundtrack zur TV-Serie "Les Revenants" (The Returned). Gleichzeitig tourten Mogwai unaufhaltsam durch die Weltgeschichte. "Rave Tapes" entstand im bandeigenen Castle Of Doom Studio in Glasgow. Und wieder einmal entwickeln sie ihren Soundkosmos entscheidend weiter. Die Mogwai-typischen Gitarrenwände bleiben erhalten, treten aber öfter bewusst in den Hintergrund und schaffen so Klangräume für vielschichtige, oft elektronische Sounds, die sich in den zehn atemberaubenden Songs auf "Rave Tapes" wiederfinden.

Repress

In this time of age where it seems many are slowing down the BPM on tracks and releases it makes us extra proud and happy to send you another Fast and XTRM Hardcore monster!

All 4 tracks rock out harder than hard and the slowest track on the EP is 190 BPM.. So you boys & girls get the message... This is not for the weak hearted... This is HARD Core!!!

Hope you guys enjoy these releases as much as we do and play it loud and fast just as DROKZ & AKIRA intended it to be played!!

As with their first various artist compilation EP, Let's Play House has chosen to grab tracks from a handful of artists both new and old to the label and party. Portuguese duo Johnwaynes released the I Can See EP on the imprint in July of 2012 and Belgium's Mugwump has been part of the company's NYC party stable since 2010. The newcomers here—montel and Last Waltz—are obvious shoe-ins for inclusion in the roster.

As with the last V/A, this one tells a cohesive aural story. montel kicks the thing off with a no-nonsense jackin' house boogie, underscored by a slightly-out-of-tune and elastic bass that infects your whole body. Johnwaynes darkens the mood a bit without loosing montel's sense of urgency. The track throbs forward with the assistance of another thick bass, scattered synth ditties, herky-jerky hats, and breathy overlaid effects, giving it a cavernous vibe.

Brussels-based troublemakers Mugwump start the flip with a tune that seamlessly fits into their cannon—it sounds so familiar that it's hard to believe it's only just come out. As always, the duo's foundation is a choppy, hook-laden bass that's wrapped in playful synth lines, water-submerged effects, and big drums suitable for the largest of rock stadiums. Then Last Waltz wraps the whole affair up with their own melodious house boogie. As with the A2, theirs is more somber and spooky, yet just as catchy and addictive as the brighter montel and Mugwump songs. Imagine this EP as a miniature rendering of one of LPH's warehouse parties: it's big, bold, and lots of fun, while still having an obvious sense of a buildup, peak, and comedown.

Like hardly any other ambassador of modern Rhein Main House music, Christian Burkhardt has experienced a true rocket-like takeoff in the last year. Burkhardt's Cocoon debut EP "Stopover Goa" has, after one year, still a place of honour in many DJ's record cases.

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.”