Cerca:heavy rock

If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album shapes & colors is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town.
In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”
When Covid forced Hannah from her salon in San Francisco to become a backyard mobile hairdresser, what she saw inspired them both and the lyrical foundations for their new record. “I’d drive to mansions and people would complain about how hard the pandemic had been next to their swimming pool and tennis courts.” First meeting after the album’s co-producer Jason Kick (Mild High Club, Sonny and the Sunsets) recruited the pair for a Halloween band covering Eurythmics’ art-rock debut ‘In The Garden,’ the pair hit it off and shapes & colors is a product of the years that followed. It combines Chris’ own rhythmic demos following years on the road touring and opening for Amon Tobin, Matthew Dear and Generationals in Maus Haus with Hannah’s lyrical musings honed from project Cassiopeia, so even when topics are as heavy as the beats, they’re met with luminously positive arrangements of hope and warmth.
The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.
Casting a brighter rainbow still, in all its pastel-hued glory, Hannah, also illustrated a self-portrait of the band for the album artwork. “It reflects our makeshift recording studio to encapsulate all aspects of that time and space,” she shares of their abode where, over an intense two-week period and fuelled by the aroma of fermenting vino from the winery below, their single chord, bass and drum-heavy, groove-first momentum took them on an unexpected journey whilst the next-door couple would fire pizzas in their yard and a grandfather across the road would sweep the street clean. “We’d drink coffee and start the day, consistently working, without interruption,” Chris tells of finding their flow. “The loft is a cool space with skylights, tall ceilings and no shared walls so we could be as loud as we wanted to be.”
Just as well. Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists Greg Poneris (drums), K. Dylan Edrich (Vocals, Percussion: congas, bongos, chimes, cow bells and wood blocks, tone drum and tri-tone whistle) and Tom Smith (Guitar, Synthesizers, Vocals).
NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.

»Holo« by the US-American three-piece Kiln, first released in 1998, is one of those rare records that managed to carve out a niche of its own while also building bridges to variety of genres like Chicago-style post-rock, the ambient mysticism of projects like Rapoon or the music made at the intersection of shoegaze, and electronic music in the late 1990s. Lush textures, subtle rhythms, jazzy inflections and electronic experimentation seamlessly blend into each other over the course of the eleven tracks. This reissue through the German label Keplar makes the fully revised version, self-released by the group in 2007 under the name »Holo re/lux,« available on vinyl for the very first time. »Twenty-five years later this newly mastered vinyl edition is evidence that the sound of ›Holo‹ continues to attract like-minded listeners,« says member Clark Rehberg III. »Which on many levels means that our mission was successful.«

Rehberg had embarked on this mission together with Kevin Hayes and Kirk Marrison in 1993. They had first worked together under the name Fibreforms as a live trio that used treated guitars, kit drums, and tapes of found sound to explore the balance between band composition and recording experiments, while Marrison made heavy use of the Akai S612 sampler as a fabricating strategy with the project Waterwheel. »Kiln seemed to encapsulate the evolution and melding of those previous approaches to one that insisted on the continual opening up of the compositional process, allowing more of the mystery that can be discovered through studio experiments—and accidents—to become important elements of creating our music,« says Rehberg of the trio that is still going strong after three decades. »The word Kiln implies heat and transformation, an attitude that we apply to every sound we use—we begin with notes and performance and then mosaic with shape and colour.«

»Holo« followed up on the trio’s debut self-titled EP that had been recorded in the summer of 1996. »That same year, during a lull in our collabs, Kirk began building pieces on a low-memory Mac using an early 8-channel DAW,« explains Rehberg. Enchanted by the unprecedented fidelity and energy of those recordings, the three reconvened to build upon them and make more music in that manner. »I’d say our intention was no different than any other time: create something immersive and compelling: dense melodic blasts of uniquely constructed but ultimately accessible audio moments.« The group worked individually and in pairs for about 18 months while being spread across the United States. »We poured everything into it that we had at the time, working dead-end jobs by day and on audio in every other open moment. I remember the struggle of that process, but also the pure joy as we pulled down countless moments of magic while the pieces took shape.«

Rehberg says that he still hears »a time-stamp of those efforts and the belief that we were creating a special audio experience« when listening back to »Holo,« a record the band itself chose to revise almost a decade after its initial release. »Ultimately we just felt those pieces needed more impact and we had the tools and ability to make that happen,« he explains. 16 years after that and a quarter of a century after it first introduced Kiln as a force to be reckoned with, the remastered version feels indeed timeless. It is both a snapshot of the first extensive album project by a group whose bond is still »diamond strong,« as Rehberg puts it, and a record that continues to sound fresh, if not visionary also today.

All tracks composed and recorded by Kevin Hayes, Kirk Marrison, Clark Rehberg III.
Originally released on Thalassa in 1998.
Remaster by Stephan Mathieu. Vinyl cut by LUPO.
Cover art by Kirk Marrison & Clark Rehberg III.
Text by Kristoffer Cornils.

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

LTD Violet Vinyl

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

Violet Vinyl

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

Neues Album auf Vinyl der legendären niederländischen Power Metal Band Martyr..1982-1987 erschienen zwei Alben und Songs auf einigen Compilations, die heute in der Metal-Szene als Kult gelten. Der Stil von Martyr war schon immer einzigartig, eine Freude für diejenigen, die starke Melodien, schnelle Riffs und ein hohes Maß an Technik lieben. Auf vielfachen Wunsch gab es seit 2006 erst Reunion Shows auf großen True Metal Festivals und zahlreiche Tourneen. Bei "Planet Metalhead" hat sich die Band entschlossen, zum reinen Heavy Metal zurückzukehren, für den die Band so bekannt ist. Mit dem 80er-Jahre-Vibe, Zwillingsgitarren, hämmernden Drums und Bass und dem fantastischen Gesang glänzt die Band auf diesem 10-Song-Album. Auch aufgrund einer starken Produktion von Schlagzeuger Rick Valcon ist dies eine höllische Metal-Platte und alles rund um dieses Album strahlt Heavy Metal aus, von Musik bis zu Songtiteln und vom Albumtitel bis zum Artwork. Es sollte kein Zweifel daran bestehen, wenn Fans oder Käufer das Album in die Hand nehmen, dass sie wissen, was sie erwartet: Ein musikalischer Planet des Pure Fucking Heavy Metal, auf dem wir alle eins sind und wo wir alle gerne sind. Willkommen bei Planet Metalhead.

Pure Adult are a Brooklyn-based experimental rock duo formed
by Jeremy Snyder and Bianca Abarca. At the centre of their
music is the far-left political ethos and DIY attitude the pair
share.
Having grown up in the unusually sheltered environment of a
church-turned-cult, Snyder has always found himself drawn to
the harsh, dissonant music that was off-limits during his
formative years. In 2017, he and contemporary dancer and
visual artist Bianca Abarca formed Pure Adult, who released
their debut EP, ‘Pure Adult I’, in 2019. Now they are set to
release their debut album, ‘II’, on FatCat Records.
After leaving the church in 2007, Jeremy began studying
religion, philosophy and politics whilst working as a sound
engineer. “I ended up touring with some small pop rock bands,
while my studies brought me through an array of beliefs and a
far-left political worldview. While I’ve identified as a communist
for almost 20 years now, I didn’t fully give up on religious belief
until around 2010. A fundamental element to our belief system
was this sort of unverifiable feeling that must be something and,
because I’ve experienced that feeling, virtually nothing can
make me deny it. And it’s comforting, in a world of quantifiable
uncertainty, a guise of certainty,” he says.
In more recent years, Jeremy has become the engineer of
choice to internationally acclaimed acts such as Mdou Moctar
and IDLES, both of whom are big fans of Pure Adult. IDLES
lead singer Joe Talbot says of the band’s forthcoming album:
“Pungent chaos that serves no pomp, instead it throws around
dark innuendo like a rag doll to the cadence of fury and fucking.
The best album I’ve heard in ages. The best band you haven’t
seen. Go dig, it’s beautiful at its worst.”
As well as the release of their debut album at the start of 2023,
Pure Adult are also preparing to release a collaborative EP with
Gustaf, Thank and Heavy Lungs in the Spring. They will support
Gilla Band on tour in the US early next year.
“Blown-out, hyperactive, aggressive, and danceable rock
informed by punk and post-punk.” - Brooklyn Vegan
“A furious piece of work” - Steve Lamacq, 6 Music

The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996's On Avery Island and 1998's In the Aeroplane Over the Sea give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it-no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called "zanzithophone" and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility. Mangum was born in the small city of Ruston, Louisiana, in 1970, coming of age within the '80s and '90s indie and punk undergrounds, a movement of teenagers recording in their bedrooms, sharing zines and trading tapes, listening to hardcore and experimental music on college radio. For all the mythology Mangum's elusive persona has accrued-particularly during the 15 years immediately following Aeroplane, when he abruptly left the band behind-it's the beguiling songs themselves that have resonated so deeply for generations. In 2011, Mangum collected nearly all of the band's recorded output in a limited-edition box set (self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother) which is now re-pressed by Merge. // CONTENTS: Black matte box is a 2-piece telescoping casewrapped package. Outer shrink-wrap includes a front sticker with "Neutral Milk Hotel," and a back sticker listing box contents. The box set includes 2 folded posters, each printed one side and each 24 x 24 inches when flat, and 1 postcard, printed front and back with box set information and sized 3.75 x 5 inches. Vinyl records: 1. In the Aeroplane Over the Sea: LP is 11 tracks pressed 33RPM to black vinyl in a gatefold jacket + printed insert for full album download. --- 2. On Avery Island: 2-LP is 12 tracks pressed to double black vinyl in a gatefold jacket + 11 x 11 printed insert + printed insert for full album download. Sides A, B and C pressed 45RPM. Side D pressed 33RPM. --- 3. Live at Jittery Joe's: 12-inch picture disc is 11 tracks pressed 33RPM to a full color picture disc in a heavyweight poly jacket + printed insert for full album download. --- 4. Ferris Wheel on Fire: 10-inch is 8 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download. --- 5. Everything Is: 10-inch is 7 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download --- 6. "Little Birds": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download 7-inch housed in a heavy-weight poly jacket. --- 7. "You've Passed": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavy-weight poly jacket. --- 8. "Holland, 1945": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavyweight poly jacket.

But when 19 Naughty III was released on February 23, 1993 with the lead single Hip Hop Hooray the group proved that they could recreate that magic. Celebrating its 30th Anniversary this year, the album has been certified platinum and "Hip Hop Hooray" has become a hip hop anthem. The single was #1 on the charts, earning the band their second Top 10 hit, with the video directed by Spike Lee, featuring
appearances from Tupac Shakur, Run-DMC and more. The album also contains the hits "Written on Ya Kitten" and "It's On" and has guest appearances from Heavy D and Queen Latifah. Production was handled entirely by group member KayGee, who has one foot in the clubs and the other one on the street corner, and that's true of the group as a whole.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.12 Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

Renaldo Domino
Chicago Soul Legend
Born March 27th 1950) from “The Valley” around 49th & Forestville.
He was nicknamed Domino because his voice was sweet as sugar, Domino being an American sugar brand name.
Renaldo Domino blasted onto the fertile Chicago soul scene of the late 60's with a voice as sweet as sugar and deep grooves that sound just as fresh five decades later. Releasing singles on Mercury subsidiaries Smash and Blue Rock, and later Twinight records, Renaldo’s all-too-brief career has still managed to leave an impact to all those lucky enough to hear it.
He had a relatively short recording career releasing only 7 singles between 1967-1971. His first 45 was recorded whilst he was still attending high school on a tiny label Arnell on a low budget.
The Arnell 45 did well enough for him to get signed to Smash (a Mercury subsidiary) where he released two 45s, re-recording 'I'm Hip To Your Game' for his second Smash single, as it's a different version to the one released on Arnell. His third 45 was released on another Mercury subsidiary, the now revived Blue Rock which had been 'suspended' since 1966 and reacivated in 1968. The records sold reasonably well locally but Dominio left to join Twinight, feeling that his material wasn't being promoted by Mercury, where he released a further three singles between 1969-71. Twinight released him in 1971 and despite trying to get another recording contract he was unsuccessful and left the music business to pursue another career.
He was managed by William Sandy Johnson who also managed LaShawn Collins and Wendy Woods who recorded on Johnson's Sincere label, the only 2 releases on the label. He also wrote Renaldo Domino's first 4 A sides: 'I'm Getting Nearer To Your Love', 'Just Say The Word', 'Not Too Cool To Cry', 'Let Me Come Within'. In addition he wrote 'Do It Now' for Wendy Woods and the flip to LaShawn Collin's classic 'What You Gonna Do Now', 'Girl Chooses The Boy'.
Renaldo returned to the spotlight in 2007 when the Chicago reissue powerhouse Numero Group put him on the cover of their deluxe box set Eccentric Soul: Twinight's Lunar Rotation (which included other greats Syl Johnson, The Notations, and many more). Renaldo’s performing career began to flourish once again with shows around country.
In early 2019 Renaldo teamed up with producer Jeremy Kay and arranger JB Flatt and set out to record new tracks that would live up to Renaldo’s great early records. Assembling a crack team of Brooklyn’s best they pulled out all the stops, creating a mix between the lush arrangements of Chicago’s early soul style and the hard-hitting beat of current Brooklyn soul. The new single “No Laggin’ & Draggin’” / “Give Up The Love”, released Feb 2020, is now available on Colemine Records.
Backed by The Heavy Sounds, Renaldo’s live performances continue to deliver with passion and precision, making new fans young and old.

​

Der Startschuss für das vierte Album von PIGS x7 war im November 2022 die erste, süchtigmachende Single, das knallharte und auf den Punkt gerockte "Mr. Medicine". Die Intensität des pulverisierenden Album Opener "Ultimate Hammer" und seinem Schlachtruf "I keep spinning out, what a time to be alive" ist nicht geringer. Während "Terror's Pillow" und "Big Rig" mit der für die Band typischen SABBATH'schen Kraft ausgestattet sind, übertrifft die Bandbreite dieses Mal alles, was die Band bisher versucht hat. Matts Duett mit dem traditionellen Folk-Gesang von Cath Tyler auf dem abschließenden Lamento "Ball Lightning" ist zum Beispiel eine besonders starke Illustration ihres erweiterten Horizonts. Was die emotionale Wirkung angeht, so ist "The Weatherman" ein weiterer Höhepunkt auf "Land Of Sleeper". Voller hingebungsvoller Entrückung und strahlender Intensität wird die Attacke der Band auf ein mantrisches und hypnotisches Kriechen verlangsamt und markiert eine Zusammenarbeit mit den heulenden Tönen der BONNACONS OF DOOM-Sängerin Kate Smith und einem Chor, dem Richard Dawson und Sally Pilikington angehören. Das Ergebnis ist ein Sound, der dem "We Will Fall" von THE STOOGES nicht unähnlich ist, neu erfunden und adrenalisiert als eine belebende Predigt für den Zeitgeist. PIGS x7 sind mit einem grandiosen Heavy-Stoner-Psychrock-Album zurück! Limitierte orangefarbende Vinyl-LP!

Papir's majestic third album back in print on vinyl for the first time in eight years! On this album, produced by Causa Sui's Jonas Munk, the band really found their sound, blending powerful semi-improvised psychedelia with jazz and atmospheric post-rock. At this point the Copenhagen trio had become masters of their craft, mixing together new and old, heaviness and ambience. Now, ten years after its original release, it stands as one of the highlights of post-millennial psychedelia. When Mojo writer Kieron Tyler visited Denmark's renowned SPOT Festival in the summer of 2012 he was blown away by Papir's performance as an experience that clearly stood out compared to the rest of the bill: it takes a lot to stand out at SPOT...but Copenhagen's Papir are arresting. Their guitar, bass and drums mesh powerfully in an intense, jazz-inflected instrumental rock. Voyaging through post-rock Tortoise terrain, it nods towards Hawkwind's freak outs and employs liberal dollops of wah-wah pedal. The pieces - not songs - twist and turn like Dark Star Grateful Dead. From these jumping off points, Papir scurry off on their own path. These guys are certainly on their own path and Papir III is one of their most fully realized albums to date. It encompasses everything the band represents in a single piece of heavy vinyl - from explosive, guitar-solo driven peaks through motoril krautrock grooves to peaceful and atmospheric soundscapes.

An extended 12” ‘Club Mix’ of the 1980’s classic covered in true lovers rock style by the late Melody Beecher. Produced by husband Paul and remastered from the original two track session tape. Jura Soundsystem delivers a ‘Lovers Version’ combining snippets of vocal from the original with the Dub mix, going heavy on the reverb to create a more dubbed out excursion.

The 12” is housed in a black and yellow IOJ Island Disco sleeve with sticker designed by Bradley Pinkerton.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

Historically Fucked is a four way entanglement made to create short, eruptive songs and then set about obliterating them from the inside, like improvising a barrel to encase themselves in and then proceeding to lick their way out of it. It is about playing and laughing at playing, and it is about not doing either of those things sometimes. Sometimes it is to do with talking, howling or grunting, and sometimes it is to do with hitting and rubbing.
Historically Fucked contains four people, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce. They are from Manchester and often other places. Guitar, bass, drums and voices keenly jostle amid the group’s frenzy of spontaneous rock throttles. Some of these rampant exercises in avant are collected on ‘The Mule Peasants’ Revolt of 12,067’, the band’s new album, released by Upset The Rhythm on February 3rd. This is the group’s first release since 2018’s mantlepiece staple ‘Aliven Wool’ (Heavy Petting). This is Rock and/or Roll as fertilizer, uncivilised and free, as if one were to imagine what the Plastic Ono Band would’ve hit upon if they had read ‘Riddley Walker’, the sound of an entire timeline of expression put back together back-to-front, misshapen and irradiated.

‘The Mule Peasants’ Revolt of 12,067’ is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”. It is the sound of sacks crammed full of aggregate, a chimerical mind-meld, a seductive din that is to a hound dog in blue suede shoes what a raking of the dorsal fin with a fat marrow pinecone is to a pelican in the midst of being fired from the academy.

‘The Mule Peasants’ Revolt of 12,067’ by Historically Fucked was recorded by Rory Salter, mixed by Otto Willberg and mastered by Mikey Young. The liminally worrisome artwork was painted by John Cobweaver.

“They say these days that History is Fucked. Nothing ever dies but continues to rule the earth as an undead tyrant that cannot accept its own decomposition, look earwardly upon the dance of the proudly dead and decrepit!”

Vymethoxy Redspiders, Leeds 2022

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).

Frokedal is a popular folk singer-songwriter whose haunting vocals have scored the music of various acclaimed bands over the past decade. The members of Sa^ver are veterans of the Norwegian heavy scene. Having toured all over the world playing renowned festivals like Roadburn and Psycho Las Vegas, they now fill and orchestrate the gap between eerie softness and furious anger as a three-piece atmospheric sludge metal ensemble. This split 10" sees each of these artists present a song from the respective other artist's back catalogue, finding a transcendental middle ground between the other artist's musical realm and their own sphere. Commenting on the beginning of her own musical career, Frokedal notes: "Because everyone has a computer these days there's no limit to how many times you can multi-track. I was sick of that. I hoped to go the other way - to remove as much as I could and be left with a beating heart." Remarkably, Sa^ver have done just that in their execution of Frokedal's track «Shot-Put», turning down their guitars to give space to clean vocals and laying bare the synths that are an integral part of their sound. Driven by deep drones and soft layered vocals, the Homeric simile of a meeting at the shot put becomes even more compelling, turning the folksy original into a haunting ambient rock opus. In turn, Frokedal lays bare the heart of «I Vanish» from Sa^ver's debut LP in a gently swaying but bewitching folk version. In a world somewhere between the triple harmony magic of The Staves and the polyphonic madness of Le Myste`re des Voix Bulgares, Anne Lise conjures the unsettling path towards obliteration. Many things can be said about the way these songs sound and even about how they transcend the originals in some ways, but the true beauty of this EP lies in the way both Frokedal and Sa^ver incline towards each other to find a middle ground that is yet unexplored in their respective careers. Coming together, they prove that beauty is found in the eye of the beholder, but transcendence is found in the eye of the storm! Limited (100 copies ww) Single Colour (Dark Blue) Edition!

It’s not often that an artist creates something so unique
and unpredictable that an entire genre is created
because of it, but here we are, Scene Queen and
‘BIMBOCORE’ have arrived.

 Fed up with a genre of music filled with gatekeepers
and judgmental hard rock purists, Scene Queen has
unleashed the most daring, provocative, indefinable
music the world has ever seen.

 Songs like ‘Pink Rover’ and ‘Pink Panther’ are as
daring and raunchy as they are inclusive and
community building.

 In Scene Queen’s world, one can wear pink and like
‘girly things’ while gutturally screaming relatable lyrics
over a metal riff.

 Blending metal, hard rock, and explosive pop, Scene
Queen is making music for a genreless TikTok
generation - the alt kids, the misfits, and the ones that
don't fit in.

 With a heavy following on TikTok and a wildly
entertaining live show that is an experience of a
lifetime, ‘BIMBOCORE’ is the debut of a young scene
kid emerging into the leader of a movement.

 For fans of Ashnikko, Bring Me The Horizon, Poppy.
 Recently performed at Reading & Leeds Festival and
The Great Escape. Upcoming touring with Palaye
Royale (US) and Wargasm (UK).