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2xLP + Book (Black) Heavy metal? Glam? Hard rock? Make your own fuckin' call, you poser. We're not gonna do it for you. Bound for Hell is early `80s L.A. rock as it actually was: a California cataclysm of drunk and horny headbangers, dressed in sharp, shiny, leather androgyny and fire, kicking crowds in the teeth to clear the way to that one big shot. This 2LP set delivers 21 tracks by 21 artists in an ephemera-stuffed gatefold, plus 144-page hardbound book detailing the Sunset Strip's most razor-sharp heathens. Drumsticks burned. Hands were severed. Faces bled. Heavy was HELL for a half decade and it was a long, long way down.

2xLP + Book (Black) Heavy metal? Glam? Hard rock? Make your own fuckin' call, you poser. We're not gonna do it for you. Bound for Hell is early `80s L.A. rock as it actually was: a California cataclysm of drunk and horny headbangers, dressed in sharp, shiny, leather androgyny and fire, kicking crowds in the teeth to clear the way to that one big shot. This 2LP set delivers 21 tracks by 21 artists in an ephemera-stuffed gatefold, plus 144-page hardbound book detailing the Sunset Strip's most razor-sharp heathens. Drumsticks burned. Hands were severed. Faces bled. Heavy was HELL for a half decade and it was a long, long way down.

Trauma and tragedy transfer from one generation to the next. As difficult as it may be, we still possess the power to break the cycle and start anew. Fit For A King ponder the pain of these cycles and the possibility to end them on their seventh full-length offering, The Hell We Create Solid State. The Texas quintet—Ryan Kirby [vocals], Bobby Lynge [guitar], Daniel Gailey [guitar], Ryan “Tuck” O’Leary [bass], and Trey Celaya [drums]—explore this ebb and flow with a deft, yet delicate balance of sharp metallic intensity and soaring melodic energy. Drawing on real-life experiences, the band members collectively rallied around Ryan and his family as they endured seemingly unending turbulence… “The album is a reflection of the events that happened throughout the pandemic,” recalls Ryan. “In short, my wife and I adopted children and had to homeschool them. She almost died from a stroke. The Hell We Create is by far the deepest and most personal record we’ve ever written.” “Falling Through the Sky" represents the mental struggles I had dealt with during the pandemic, and how little my upbringing prepared me to deal with it. Between adopting two children, my wife having constant health issues, and me losing almost 70% of my income, I was an absolute wreck. I thought my religious upbringing and faith would be enough to help me when adversity struck, but when the tidal wave came, I struggled immensely. So many think just having faith is enough to pull you through anything life throws at you, but the reality is, it makes a lot of us complacent in our personal growth.

[h] B4. Hell Moon (We Shall Never Die) [Acoustic]

Der GORGOROTH - Klassiker an dem kein echter Black Metal fan vorbeikommt! Jetzt als White/Black Marbled Vinyl

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

"Tommy Womack has been a revered and fearless leader among his
generation of fellow artists and kindred spirits for a long time now
Even the stories he makes up are true" — Todd Snider."Tommy Womack is a multihyphenated treasure: what you get when you put Keith Richards, Billy Graham,
and Hunter S. Thompson in a blender and turn it on high." — Marshall Chapman,
author of Goodbye, Little Rock and Roller and They Came to Nashville"One of
Nashville's finest singer-songwriters. For round pegs in square holes everywhere."
- John Hiatt

Orange Marbled Vinyl

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

All Good Things create cinematic epic rock that celebrates the underdog, lifts the fallen, and all out gloats in victory. Pairing post-apocalyptic pump-up rock with powerful lyrics, AGT crafts a massive, bombastic sensory assault of anthemic heavy rock, summoning vistas associated with gaming or blockbuster movies. Their worldwide 'For The Glory' hit has accumulated more than 50 million streams, now their full length debut album 'A Hope In Hell' is set for release on August 20th.

Die internationale Pop-Rock-Band As It Is - Patty Walters, Ronald Ish und Alistair Testo - hat ihr brandneues Album „I WENT TO HELL AND BACK” angekündigt.

„I WENT TO HELL AND BACK“ ist in einem Zeitraum von zwei Jahren entstanden, in denen die Band ihre Lebensentscheidungen hinterfragten und mit einer Welt rangen, die sich in einem ständigen Drang chaotischer Ungewissheit befand- aber das vierte Album der Band könnte nicht aufgeregter klingen. Die vierzehn Tracks sind kraftvoll und jagen furchtlos dem Unerwarteten hinterher. Es ist der Sound einer Band, die immer noch sehr großen Spaß hat.
Walters hofft, dass sich „I WENT TO HELL AND BACK“ anfühlt wie „ein Wiedersehen mit einem alten Freund“.

Wir können über all die guten und schrecklichen Dinge sprechen, die passiert sind, und wie wir daran gewachsen sind.
Das Album ist ab dem 4. Februar als 1CD erhältlich und erscheint am 10. Juni als 1LP

Limited Baby Pink Vinyl LP. P.H.F. is the recording project of Auckland, NZ songwriter and producer Joe Locke. From its origins in Locke's 2008 bedroom productions, P.H.F. has gone on to collaborate with artists like Clairo and ARTHUR, toured globally, and had music released on pioneering vaporwave label Crystal Magic, before settling at its current home, Danger Collective Records. P.H.F's highly anticipated 2022 LP Purest Hell stands as a love letter to Locke's close friend and essential collaborator Reuben Winter (milk, Totems) who passed away in September 2020. Expanding on the genre-bending ambition of New Metal, Locke uses musical experimentation as a way to process grief, incorporating shredding guitar, careening breakbeat chops, and heavy electronics as a way of paying tribute to, and feeling closer to Winter. While tracks like "Skincare" and "A Letter From Purest Hell" draw power from a deep and impactful sense of loss, the album is more than just an elegy, but a celebration of life of a beloved friend and musical innovator. Locke rises to the occasion, and with the help of collaborators Fantasyluv, Rew, and fellow 909 Worldwide members 99jakes & Forcefeeded, crafts his strongest and most affecting collection of songs to date // Also Available From P.H.F. New Metal LP/CD, Anthology LP

CIRCLE OF SILENCE melden sich mit ihrem neuen Album "Walk Through Hell" zurück, das düsterer als seine Vorgänger ausgefallen ist und ein wahres Schmankerl für jeden Power Metal Fan ist, der heftig, düster und melodisch mag.
"Walk Through Hell" ist das vierte Studio-Album von CIRCLE OF SILENCE.
Zum ersten Mal wurden alle Songs komplett in Drop-C Stimmung geschrieben, was dem Album ein schwereres und insgesamt düstereres Gefühl verleiht, viel düsterer als bei den vorherigen Alben.
CIRCLE OF SILENCE sind davon überzeugt, dass dies ihr bisher bestes Album ist, und dass es von allen Fans von härterem und dunklerem melodischen Power Metal geliebt werden wird.
Krachende Doublebass-getriebene Tracks, stampfende Groover sowie epische Hymnen - alles, was das Headbanger-Herz begehrt, findet sich zusammen mit vielen tiefgründigen und persönlichen Texten auf diesem Album.
Durch die Pandemie konnte die Band, im Vergleich zu früheren Alben, viel Zeit in die Arbeit an ihren Songs investieren. Epische Soli und Leadgitarren sowie ein bis zu 5-stimmiger Gesang verleihen dem neuen Album eine gewisse Epik.

CIRCLE OF SILENCE melden sich mit ihrem neuen Album "Walk Through Hell" zurück, das düsterer als seine Vorgänger ausgefallen ist und ein wahres Schmankerl für jeden Power Metal Fan ist, der heftig, düster und melodisch mag.
"Walk Through Hell" ist das vierte Studio-Album von CIRCLE OF SILENCE.
Zum ersten Mal wurden alle Songs komplett in Drop-C Stimmung geschrieben, was dem Album ein schwereres und insgesamt düstereres Gefühl verleiht, viel düsterer als bei den vorherigen Alben.
CIRCLE OF SILENCE sind davon überzeugt, dass dies ihr bisher bestes Album ist, und dass es von allen Fans von härterem und dunklerem melodischen Power Metal geliebt werden wird.
Krachende Doublebass-getriebene Tracks, stampfende Groover sowie epische Hymnen - alles, was das Headbanger-Herz begehrt, findet sich zusammen mit vielen tiefgründigen und persönlichen Texten auf diesem Album.
Durch die Pandemie konnte die Band, im Vergleich zu früheren Alben, viel Zeit in die Arbeit an ihren Songs investieren. Epische Soli und Leadgitarren sowie ein bis zu 5-stimmiger Gesang verleihen dem neuen Album eine gewisse Epik.

Years in the making – ‘Hillbillies In Hell’ (13) presents 16 timeless tribulations - a Lovecraftian clutch of Ancient Terrors, Sinful Seductions, Grinding Poverty, Debilitating Disfigurement, Hell's Eternal Maze of Hardships and God's Blazing Light of Redemption.

A misty shroud of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your cautionary listening pleasure.

SEE Little Richard Miller witness THE FIRE CAME DOWN! HEAR Dee Mullins declare I AM THE GRASS! ATTEST to Eddie Noack's brutal final fate in BARBARA JOY!

The Carter Family - 2001 (Ballad To The Future), Henson Cargill - Skip A Rope, Porter Wagoner - Julie, Eddie Noack - Barbara Joy, Waylon Jennings - The Road, Sammi Smith - Birmingham Mistake, Norma Jean - One's On The Way, Wendy Bagwell And The Sunliters - This Train, Dee Mullins - I Am The Grass, Hank Thompson And The Brazos Valley Boys - I Cast A Lonesome Shadow, Porter Wagoner - Lonely Comin' Down, Henson Cargill - The Pain Will Go Away, The Carter Family - Poison Red Berries, Bobby Bare - When I've Learned, Roger Miller - I Know Who It Is (And I'm Gonna Tell On Him), Little Richard Miller - The Fire Came Down

The word that jumps to mind when hearing Deanna Petcoff's music for the first time is “yearning”. A whirlwind of emotions, her debut record To Hell With You, I Love You is a reckoning with the loss of a relationship, documenting the aggressive highs and deeply emotional lows that come from falling out of love.

Recorded in Toronto over the course of a year spent in-and-out of lockdowns, she was able to look more closely at the nuances and minutiae of relationships and examine the ways in which they can either grow or falter. She writes about her frustrating experiences as a24-year old woman finding her voice and identity while navigating a never changing world, exploring the ins and outs of love and heartbreak with a grace and quick wit that belies her year. Her rich, textured voice juxtaposes her soft imagery and her vulnerable and starkly honest lyrics welcome us into a world where even a fleeting moment of emotion can become its own monument.

Based in Toronto, ON, Petcoff shaped her own unique brand of beautiful and confessional indie rock through years of devotion to music, sharing stage with the likes of Molly Burch, Tokyo Police Club, The Nude Party and many more. She excels with heart-on-her-sleeve-emotive lyricism that showcases her strength as a songwriter and a vocalist, and on To Hell With You, I Love You, she wanted to present “the whirlwind of emotions you have when you’re grieving a relationship, which can feel like the death of a part of you or what you thought your life was going to look like.” It’s an album that ebbs and flows with a confidence and an assuredness as she tackles the highs and lows of falling in and out of love, and everything in between.

Friends Of Hell draws from the most seminal of doom sources, saluting the great works of Pentagram, Candlemass, Saint Vitus and Cathedral along the way. But something nastier and grubbier lurks within the Friends Of Hell sound: a viscous, blackened streak that owes its leathery scars to Venom, Bathory and Hellhammer. The resultant hybrid makes perfect, horrifying sense, as songs like rampaging opener Out With The Wolves and the harrowing crawl of Gateless Gate conjure devilry, disgust and riff-driven destruction in equal measure. Heavy as hell but defiantly gritty and underground in spirit, Friends Of Hell avows that the old school is the only school. Not just one of the finest and fiercest doom metal records in recent memory, but also a subtly subversive twist on that arcane formula, Friends Of Hell once again confirms the timeless nature and the unerring, infernal power of The Riff.

With influences like Parcels, Electric Wire Hustle, Blood Orange the Berlin based French-Italian duo Panna Cotta releases their accomplished 7 track debut EP “Sunrise” with an additional remix of the title track by label head Marcel Vogel. All songs are composed, mixed and mastered on analog gear to preserve the uncertainty of the moment, the imperfection of love.

High Roller Records, reissue 2022, clear/ red marbled vinyl, ltd 150, lyric insert, poster, bonus track, remix version, remastered & restored

Legendary Italian musician Sergio Messina serves up his 13 track Sensual Musicology on Hell Yeah this March. It comes a couple of years after he first released on the label's Buena Onda compilation and takes in everything from demented waltz to grown-up jazz, groovy beach music to heart-aching melancholia with artwork by virtuoso Italian AD DeeMo.

Now based in Lombardy, Sergio was there at the birth of pirate radio in the mid-seventies and eventually produced Radio art for national broadcaster Rai. At the same time, his DJ career took off and he helped establish Hip hop in Rome before taking his own live show to the stage with a mix of PCs, samplers and tape recorders as early as 1989. Frank Zappa declared himself a fan and in the years since Sergio has done everything from radio art to producing Neapolitan reggae and hip hop band 99 Posse, producing his own solo albums and writing for monthly music magazine Rumore. On top of this, he has both written books about and delivered lectures on the digital porno revolution, as well as teaching History of Pop Culture at the Istituto Europeo di Design in Milan. All this makes him a truly original creative thinking who has long been immersed in many niche facets of popular culture.

Sensual Musicology took several years and four different locations to happen. Its release has been delayed by the pandemic, during which Sergio lost many friends and relatives close to him. As a result, the album is dedicated to all of them. It is a record that addresses many topics from economic migration to jazz piano, 60s blues motifs to corruption, pollution and racism via Michael Jackson covers, odes to West Coast guitar albums and spaced-out pieces of electronica.

Opening with the beautifully delicate Mingus melodies of 'Goodbye Porkpie Hat' the album roams through the bluesy Italo-American-Jamaican groove of 'Amara,' slow melancholy of 'Sometimes Remember' with classy vocals from chanteuse Valeria Rossi and 'The Way You Make Me Feel', an acoustic rebuild of Michael Jackson's hit song. Then comes the serenade that is 'Just Because You're Dead,' and ‘Sono Stufa di Tutto’ which is based around a protest speech recorded from the radio in the 1980s. Jon Hassell Beach Bar' is a musical hybridisation for dancing pleasure.

The second half of the album takes in 'Ouana Di lambo' which is the Four Twenties taking you to a cocktail bar in the tropics, 'Benjamino Placido' which is a melody for a man who inspired Sergio to start writing his columns, and 'Nowhere Special' which is a tribute to West Coast guitar albums. Closer ‘Switchblade Bolero' has a Zappaesque theme.

Sensual Musicology is a rich and diverse musical world that is as thought-provoking and deep as it is emotionally rewarding.


Early DJ Support:
Leo Mas, Phat Phil Cooper, Calm, Chris Coco, Andy (We are The Sunset), Severino (Horse Meat Disco)

BLACK DIAMOND HEAVIES is a punk-ass blues duo from the South
featuring John Wesley Myers a.k.a JAMES LEG (vocals/ keys), and VAN CAMPBELL (drums/ vocals). 'All To Hell -

Their Baddest and Greasiest' includes 3 tracks released on vinyl for the first time and 2 previously unreleased live tracks featuring founding member Mark 'Porkchop' Holder (guitar/ vocals). All the material on this release has been remastered. 'Their attack of drums and keyboards is a mean, f*cked up, gospel punky hybrid and rocks with ragged, soulful passion.' ' ROCK SOUND. Pressed on Clear Orange Color Vinyl.

High Roller Records, 2nd pressing, black viny

High Roller Records, 2nd pressing, black viny

RAWAX proudly welcomes Mr. Helmut Geier aka DJ Hell to the family!
We are extremly happy and excited to present you his own series on our habel featuring classic re-issues and present works. Starting with former Disko B #38 by Hell + Jonzon - EP No. 1 from 1995!
Re-mastered vinyl edition will be out first week of September!

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

Malta-based stoner and grunge rock act A Broken
Design gear up for the vinyl-release of their latest
album, ‘Another Day In Hell’, via Argonauta
Records.
 The band’s much acclaimed debut album was
originally self-released in the middle of the
pandemic in October 2020, but will be now
reissued, for the first time ever, on vinyl.
 A Broken Design were formed in 2014 and feature
former band members of sludge metal
heavyweights Slit, doomsters Nomad Son and
electro rockers Kill The Action.
 With a mix of various alternative and heavy rock
influences, their 2017 debut EP ‘Halo Of Flies’
already showcased A Broken Design’s passion,
drive and skills to write catchy songs that deliver a
heavy dose of flat out grooves with a nostalgic oldschool grungy touch in a raw and rough sound.
 Their album ‘Another Day In Hell’ marks the band‘s
most mature and emotional record to date, delving
deep into a personal catharsis while the four-piece
broadens its sound to further sonic templates.
 For fans of Soundgarden, Los Natas, Life Of
Agony, Stone Temple Pilots, Queens Of The Stone
Age, Alice In Chains, I Mother Earth, Pist.On,
Mother Love Bone, Kyuss, Gruntruck.

New Originals 45 – you know the drill – B side samples the A side and the sample in question is JC Davis’ stone cold classic breakbeat A New Day as featured on DJ Shadow’s Entroducing LP sleeve – absolute fire! Hell Razah calls on some help from a couple of legends Talib Kweli & MF DOOM (RIP) who also produced the track which leans heavily on the JC Davis track to great effect – doubles are mandatory!!

Strap in for another standout release from Hell Yeah, and their final 12" of the year. 'Lagos Connect' is a one-off dance floor bomb from Aura Safari, one of the hottest names on the Italian electronic-jazz-funk circuit. Vocals come from Nigerian singer Villy and the artwork is by long-time label collaborator Andrea Amaducci who finishes off this package in style.

Aura Safari are Alessandro Deledda, Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo. They contributed to the first volume of the Buena Onda compilation in 2020 and released the critical acclaimed Hotel Mediterraneo EP after years entrenched in the local scene of Perugia, attending the Umbria Jazz Festival every summer and legendary Red Zone Club during winter, both of which shaped the sound of Aura Safari. Now, they showcase their good-time grooves and vibrant vibes on two brilliant new tracks.

'Lagos Connect' is a gloriously upbeat tune that brims with musicality. The bass is fat, the chords seductive and the guitars slide in and out with funky charm. It immediately drops you in the middle of an open-air dance floor in high summer. Villy's soulful lyrics are socially and politically aware. They talk of living life with good vibrations even in the face of adversity. They speak of how society views those less fortunate and of staying true to yourself. They add realness and emotion to a sizzling and timeless track that will unite hearts and minds around the world. A reprise, radio edit and dub mix are also included, then 'Moving Rivers' ups the jazz-funk. It's another majestic arrangement packed with dazzling Rhodes chords, crashing drums and squelchy bass that demand that you move every limb in your body.

Keep yourself warm this winter with this pair of irresistible dance floor heaters from Aura Safari.

By way of some cosmic miracle, only one Total Hell pops up
when the band moniker is searched on Discogs. And that would
be the band responsible for the five-song blast of heavy metal
sounds at hand. Now active for about two years plus change
and exported from the very metal and punk fertile New Orleans,
Total Hell is DD Deth (aka Drew Owen—Sick Thoughts
wheelman, Trampoline Team etc) on drums / vocals, Henry
Hell (John Henry of Static Static, Heavy Lids) on bass / vocals,
and guitarists Jason “Panzer” Craft (Persuaders, Tirefire) and
Michael Maniac (Michael He-man of Trampoline Team).
If self-deprecation is beyond the listener’s processing skills,
then please know that as self-described purveyors of the “New
Wave of Shitty Heavy Metal”, Total Hell’s big-boy debut is
not “shitty” in any manner whatsoever. These four recordings
(“Desecrate”, “Clones From Hell”, “Violator”, and “Disfigured”)
are melodic monstrosities that hit with a wall-to-wall, floorto-
ceiling hugeness, while doing so in an economical manner.
There will be no mistaking this for Broken Bones screeching out
of an iPhone inside the vegan squat. On the flip, this is no Bob
Rock joint. DD Deth elaborates: “Recorded on a Tascam 8-track
cassette live at home (aka “The Parkway”) by Michael He-Man
and the process was a nightmare. Original tape crapped out on us
back in early 2020 so we had to redo the whole thing. Intros and
interludes were done last minute by me with the cheapest midi
keyboard on the net.” Well, color Goner Records impressed.
One might get momentarily lost in the cavernous drums that
introduce opener “Desecrate”, but soon the buzzsaw-riff-wall
will crush one into a smudge on the bathroom floor. Without
rocking some safety goggles and diving headfirst down a
terminology rabbithole, this is punk jumping into the sack
with metal and leaving black boots on the bedroom floor rather
than white hightops. Xmas came early for fans of Anti-Cimex,
Celtic Frost, pre-shit Discharge, Motörhead, Blitz, Midnight,
Venom, Broken Bones and...one gets the picture.

Ltd White vinyl LP w/ printed inner sleeve lyric insert (1000 copies ww)! Emma Ruth Rundle's forthcoming Engine of Hell is stark, intimate, and unflinching. For anyone that's endured trauma and grief, there's a beautiful solace in hearing Rundle articulate and humanize that particular type of pain not only with her words, but with her particular mysterious language of melody and timbre. The album captures a moment where a masterful songwriter strips away all flourishes and embellishments in order to make every note and word hit with maximum impact, leaving little to hide behind. "I really wanted to capture imperfection and the vulnerability of my humanity," Rundle says of the album's sonic approach. "Here are some very personal songs; here are my memories; here is me teetering on the very edge of sanity dipping my toe into the outer reaches of space and I'm taking you with me and it's very fucked up and imperfect.'" Emma Ruth Rundle has always been a multifaceted musician, equally capable of dreamy abstraction (as heard on her album Electric Guitar: One), maximalist textural explorations (see her work in Marriages, Red Sparowes, Nocturnes or collaborations with Chelsea Wolfe and Thou), and the classic singer-songwriter tradition (exemplified by Some Heavy Ocean). But on Engine of Hell, Rundle has opted to forego the full-band arrangements of her previous albums in favor of the austerity of a lone piano or guitar and her voice, which creates a kind of intimacy, as if we're sitting beside Rundle on a bench, or perhaps even playing the songs ourselves. It's an extremely up-close and personal confessional with a focus on the rich subtleties and timbre of Rundle's graceful performances. "For me this album is the end of an era to the end of a decade of making records. Things DO have to change and have changed for me since I finished recording it." In essence, Engine of Hell signifies a major turning point for Rundle as both an artist and as a person. The catharsis of this type of songwriting has effectively served its purpose, and to continue ruminating on the past going forward is less of a healing process and more like picking at a scab and refusing to let it heal. This may help explain why Rundle is less than enthusiastic about divulging the details about her muses, but it doesn't alter the fact that these songs served a purpose in their creation, and that they may continue to bring comfort to others.

"You ever wonder what Keith Morris does at the end of the day? Does he maintain that wide-eyed stare, the one that pins audiences to the floor with its very intensity, while he’s putting on his pyjamas? Does he continue spitting venom from that heroically ragged throat of his while he’s making his cocoa? Does he lay his head on his pillow with the same righteous fury that launched thousands upon thousands of moshpits? Hey, I’m just wondering. Y’see, all that intensity and venom and fury… it has to go somewhere while he’s otherwise occupied with mundane tasks like taking off his socks or brushing his teeth, right? And listening to the thrilling racket conjured up by Vancouver’s Chain Whip, you’d be forgiven for thinking that they have somehow become vessels for that energy. I mean, they’re Morris’ spiritual successors - if their 2019 debut ‘14 Lashes’ wasn’t enough of a clue, then this six-song blast of blink-and-you’ll-miss-it brilliance should leave you in no doubt. This is hardcore punk as it was originally conceived, and it slays. ‘But who are Chain Whip?’ I hear you ask. Well, they’re a bunch of dudes from British Columbia who’ve also served time in bands like The Jolts, Fashionism and Corner Boys (among others). They’re the ones who are gonna have you slashing the seats at your local cinema, or taking potshots at lines of empty bottles on street corners, cuz they make you feel so damn tuff. OK, I’m just goofing around here - whereas Chain Whip are serious business. No, really. I dare you to listen to the Germs-go-nuclear b(‘)last of ‘Laguna Bleach’, or the garage-slop-at-200-mph rush of ‘Fresh Paint And Philanthropy’, and not want to launch a stink bomb into your teacher’s car. Or, failing that, to bring about the extinction of global capitalism. If that fails, you’ll just end up wearing out the grooves of this very fine six-song EP while bouncing between walls like the DRI logo guy if he wore jet heels and spring-loaded shoulder pads. Jeez, imagine Keith finishing the night shift and giving these guys a handover. As if they’d even need to be told. Look, Chain Whip are the best straight-up old-skool punk band you’ll hear today. You know what to do. Trust your instincts. Dance that two-step to hell with ‘em. This. Is. The. Shit." Will Fitzpatrick.

Transmission incoming…
Alien sound waves have been bouncing off the side of our ship.
We’ve managed to capture some of them on plastic.
They seem to appear suddenly out of the vacuum.
Projected by planets
Beamed through stars
Reflected off debris
Hanging in space like dust motes

Witch egg is a improvised set of songs by John Dwyer, Nick Murray, Brad Caulkins, Greg Coates & Tom Dolas.
Another fired expedition out in the wilds.
Recorded and mixed at Stu-Stu-Studio by John Dwyer
This one is a burner designed optimally for your eco-pod sound system.
When you’ve left the world behind, you will need a soundtrack while you lay in dream stasis
This is it

Hell Awaits is the second studio offering by American thrash metal legends Slayer, originally released in March 1985 by Metal Blade Records. When it was released in 1985, Slayer's second full album, Hell Awaits, seemed to many a nearly impenetrable cacophony of sound. However, it proved to be incredibly ahead of its time instead, and has since been confirmed as a mandatory item in the band's remarkable discography

The next edition of the Dispatch Blueprints series comes from NC-17 and Kumarachi. Inspired by the original breakbeats / drum sampling production techniques, NC-17 continues the Blueprints ethos with two spectacular tracks that celebrate the old skool drum and bass flavours.

Whilst working on the latest edition of NC-17's ongoing album series "Most Violent Year" we received the two tracks that make up this release and all agreed that they would find the perfect home on the Blueprints imprint.

"Cache" is a drum heavy collaboration with Kumarachi that makes perfect use of rasping bass synths, razor sharp drum edits and well timed vocal samples, channeling the energy of a Blue Note era banger.

"Rules of Hell" is pure NC-17 magic - a dark, broody, cinematic journey through the depths of drum and bass grit. Tuned to make whole dancefloors shake, this one is a real monster. Watch out for that bassline.
Orde

FULL OF HELL return with their highly anticipated new album, Garden Of Burning Apparitions. The new album, a genre-bending blitzkrieg of hardcore, grind and death metal, sees the band expand upon the very elements that have propelled them to the forefront of extreme music over the last decade. Produced by Seth Manchester, Garden of Burning Apparitions also sees FULL OF HELL adding new dimensions to their warp-speed hellscape. Guitarist Spencer Hazard and bassist Sam DiGristine's monstrous riffs now have an added noise-rock influence, while drummer Dave Bland commands the rhythm section at blazing speeds.
Lyrically, Garden of Burning Apparitions sees vocalist Dylan Walker exploring (anti)religion, life's impermanence and the fear that comes with knowing death is inescapable. "Industrial Messiah Complex” grinds organized religion to a pulp in under 90 seconds, while Walker contemplates the commodification of spirituality seen in America’s vast network of garish mega-churches and how these practices are at odds with true spirituality. Meanwhile, “Reeking Tunnels” rides a strident noise rock riff down into the sewer. It’s a metaphor for the physical and mental space we become trapped in when we live in a perpetual state of fear and hate. Elsewhere, justifiable ochlophobia propels the guttural death metal blast of “Eroding Shell.” Lyrically, the song seeks to capture our fear of the violent, ignorant mob—a scene glimpsed far too often in this volatile era.
In the end, FULL OF HELL’s boundary smashing has paid off again. “I think it’s good that we tried not to pigeonhole ourselves early on,” Walker reflects. “Because now, 10 years in, we have the opportunity to make whatever record we want, within reason, and people will follow along.”

Welcome to Hell is the debut studio album by English metal band Venom. It was released in December 1981, through Neat Records, at the culmination of the New Wave of British Heavy Metal movement. The music of Welcome to Hell is often described as speed metal, but it had a great influence on the then-emerging thrash metal style, and crystallized the elements of what later became known as death metal and black metal and has been a huge influence on extreme metal as a whole, the band being the pioneers of the genre. This 40th anniversary, limited edition splatter vinyl version comes in an embossed sleeve, with a reproduction of the original lyric bag and poster.

The Paradigm-Shifting Fourth Studio Opus From The Norwegian Pioneers.
Presented On 2cd Deluxe Digipack Format & Including A Retrospective Look
At The Album Courtesy Of Writer Jeff Wagner.
‘Themes from William Blake’s The Marriage of Heaven and Hell’ is the fourth
studio album by Norwegian experimentalists Ulver.
Having been known for their more folklore-tinged black metal compositions on
early studio releases, in late 1997, mainman Kristoffer Rygg invited keyboardist, sound conceptualist, and composer Tore Ylwizaker into the collective, and
together they devised a plan for The Blake Album; an altogether far more adventurous endeavour than prior releases.
What resulted was a seamless integration of electronic & industrial music, with
elements of progressive metal & avantgarde rock, all fused with ambient passages, & following Blake’s plates as track indexes. A work of deep and personal
art, the album, while initially surprising to fans due to its complete shift in genre, has become a classic today, and a prime example of the boundary-pushing
evolution beyond the confines of genre expectations through the latter part of
the 90’s. Upon release, ‘The Marriage of Heaven & Hell’ received widespread
acclaim from critics within the rock, metal & alternative music press, being
awarded Album of the Month in several high-profile magazines such as Terrorizer, Metal Hammer, and Rock Hard.
The album notably includes guest vocal appearances from Darkthrone’s Fenriz,
as well as Ihsahn & Samoth; most known for their work in Emperor.
This newly remastered edition of ‘The Marriage of Heaven & Hell’ is presented
on 2CD deluxe digipack format, including full lyrics/text, plus a new article from
writer and journalist Jeff Wagner on the background, nature & triumph of such
an ambitious release.

STANDARD 2LP VINYL EDITION - LIMITIERT Geboren 1970 in Tokio, verbrachte Jonathan Meese seine frühe Kindheit in Japan, und kam mit drei Jahren 1973 gemeinsam mit seiner Mutter zurück nach Deutschland. Als Kind sprach er nur japanisch und englisch. 1995-1998 Studium an der HfbK in Hamburg, 1998 Durchbruch als bildender Künstler auf der Berlin Biennale. In seinen Gemälden, Performances und Aktionen thematisiert Meese immer wieder die Rolle Deutschlands und deutsche Mythen. Eine ursprünglich beauftragte Meese-Inszenierung des ûParsifalë 2016 in Bayreuth wurde 2014 wegen angeblicher Unfinanzierbarkeit gekündigt. Der Münchener Techno- und House-Produzent Hell ist seit zwei Jahrzehnten ein Bewunderer Meeses. Als Hell vor zwei Jahren bei Jonathan Meese anfragte, ob dieser das Cover für Hells neues, kürzlich erschienenes Album ûHouse Music Boxë gestalten wolle, sagte dieser sofort zu. Die Wertschätzung entpuppte sich als gegenseitig. Man verabredete eine experimentelle Studiosession, um auszuloten, ob die polarisierenden Sprachperformances von Jonathan Meese in Verbindung mit Musik von Hell eine eigene Qualität entwickeln würden. 2019 nahmen Hell und Meese zum ersten Mal gemeinsam auf. Meese steuerte Textideen auf Papier bei, Hell hatte Instrumentals vorbereitet, die sowohl Hells stilistische Interessen, als auch Meeses musikalische Vorbilder - von DAF über Sisters of Mercy bis hin zu Kraftwerk - berücksichtigten. Hell: ûMir wurde in vielen gemeinsamen Gesprächen klar, wie musikaffin er eigentlich ist und wie viel unterschiedliche Musik er kennt. Und vor allem: Wie sehr die Musik ihm auch in seiner Kunst als Inspirationsquelle dient.ë Die Sessions - insgesamt drei, davon zwei gemeinsam mit Meeses 91-jähriger Mutter Brigitte - fanden im Trixx-Studio am Berliner Moritzplatz statt. Meese assoziierte Freestyle über Beats und Loops von Hell. Hell: ûIch bewundere Jonathan Meese nicht zuletzt als performativen Künstler - und gerade auch seinen stimmlichen Vortrag. Im Studio sang, sprach oder flüsterte er dann seine improvisierten Texte über die Tracks, die ich vorbereitet hatte.

A desperate, desert-baked Midnight Highway of Lost Souls, Cuckolds, Wastrels, blistering Righteous Anthems and delirious Apocalyptic Fever-Dreams. This sublime collection of knowns and unknowns, battered Nashville legends and forgotten backwoods-poets features tales of Grisly Barroom Homicides, Jilted Lustmords, Grim Divorcees in Bedlam and Fiery Suburban Infanticides. Often originally waxed and distributed in unrewarding amounts, these Troubled Troubadours sing of Cowardice, Infidelity, Spurned Lover's Suicide Pacts, Tortured Jailbirds, Vengeful Inebriates and dubious Parenting Skills.
Years in the making – ‘Hillbillies In Hell’ (Volume XII) presents 16 timeless tribulations - Sinful Seductresses, Grinding Poverty, Nihilistic Murderous Horrors, Satan's Eternal Maze of Hardships and Temptations and God's blazing Light of Redemption.
A dank yet at times uplifting stash of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure…

. Elton Britt - Lost Highway
, Porter Wagoner - Fairchild
, Justin Tubb - The Great River Road Mystery
, Sanford Clark - It's Nothing To Me
, Johnny Paycheck - You'll Recover In Time
, Stonewall Jackson - Somebody's Always Leaving
, Porter Wagoner And Dolly Parton - The Party
, Buddy Starcher - When Payday Comes
, Tommy Curtis And Bill Taylor - Devil's Stumbling Block
, Jody Reynolds - Devil Girl
, Henson Cargill - Going Backwards
, Lorrie Collins - Another Man Done Gone
, Bobby Braddock - Revelation
, Stonewall Jackson And The Brentwood Children's Choir - That's All This Old World Needs
, The Speer Family - You Can't Run Away From God
, The Singing Rambos - When Payday Comes",Witness...

Various Artists ‘In Bed With Marina’
Classic Indie/Chamber-Pop
2LP MA90 (Marina Records) £15.50
Deal: B/C: 4015698905656

THIS ONE MISSED THE DEADLINE FOR THE OFFICIAL RSD LISTINGS BUT WILL BE AN **UNOFFICIAL RSD DROP 2 ** RELEASE...LIMITED +NON-RETURNABLE..

Celebrating its 25th anniversary, this classic Marina compilation from 1996 makes its first appearance on vinyl. Packaged in a deluxe gatefold cover, In Bed With Marina features track-by-track notes, lots of photographs, two vinyl-only bonus cuts and a gorgeous poster.
Enjoy 24 stunning tracks on two groovy LPs incl. many unreleased cuts and exclusive contributions by Edwyn Collins, Shack, Teenage Fanclub, The Pearlfishers, Cowboy Mouth, The Bathers, Harpers Bizarre, Sugartown, Paul Quinn & The Independent Group, Jazzateers, Antonio Carlos Jobim, Malcolm Ross, The Secret Goldfish, and many others.

Lande Hekt’s voice in music is one that’s socially aware yet often
introspective, drawing awareness to serious issues but at the same time
baring her soul.
Much of Hekt’s compositions act as a personal diary of what’s going on in her
life at any given time. This is evident in her discography with Muncie Girls, the
band which she formed in her hometown of Exeter as a teenager and have
released two critically acclaimed albums to date.

Hell Yeah's debut Buena Onda compilation proved hugely successful. It also kept people drenched in exotic dance floor sounds while the pandemic has kept everyone apart. Now the Berlin-based party is back and on a mission to redefine what Balearic means with a first-ever vinyl-only sampler featuring exclusive, unreleased tunes and remixes compiled by Marco Gallerani and Gallo from brothers around the world.

The a-side is all about new kids on the block: Australian cyborg disco don Kayroy appeared on the label in 2020 with his Imaginary Expeditions EP and now links with his friend Jaspar Robinson, a dreamer with his head amongst the stars. He provides the vocals which speak of an astronaut lost in space and aching for a missing loved one while sombre chords and downbeat bass make for a beautifully longing groove. It's a blue-eyed Balearic classic. The up-and-coming Italian Feel Fly of labels like Internasjonal then goes widescreen with his 'Esperanto.' The chords shimmer, the baseline percolates and the guitar riffs arc up to the heavens for some late-night intergalactic bliss.

The flip side features more mature and established artists: label regular Max Essa offers a remix of The Vendetta Suite 'Neon Secrets,' which has naive Eastern melodies and rueful 80s chords with a subtle new age feel that dumps you right on the beach at sundown. Last of all come Chris Coco and Micko Roche with true-school Balearic classic complete with cicada-like shakers, mellifluous Spanish guitar licks, flutes and soft, frothy, rolling beats that break like waves on a sun-kissed Mediterranean coastline.

Balearic Beats 2021 Sampler 1 offers something for every hour of the day, making this a perfectly functional 12" for the modern Balearic DJ.

Support by Prins Thomas, Calm, Chris Coco, Andy Wilson (Ibiza Sonica), Pete Gooding, Severino (Horse Meat disco), Will Nicol, Phil Cooper, Leo Mas, Mike Salta, Balearic For You, Jon Sa trinxa

hardcore kicker


b A2 Zero Control Deathchamber Par t2 - Hellfish - 200bpm - 5m49s

Global pop sensation Ava Max—who has already accumulated more than 4 billion career streams—has released her highly-anticipated debut album Heaven & Hell. The record features eight new tracks alongside her previously released hit singles “Sweet But Psycho,” “Who’s Laughing Now,” “So Am I,” “Salt” and “Kings & Queens,” the latter of which spent five weeks at #1 on European airplay and is currently #21 on Top 40 radio.

“Heaven & Hell represents light and dark, good and evil, and the devil and angel on your shoulder,” said Ava on the meaning behind the album. “I’m discussing the dualities of the challenges we face each day. Some songs have darkness; other songs are more positive. Heaven & Hell is the middle ground.”

Ava has also revealed the video for her track “Naked,” which was directed by Hannah Lux Davis (Ariana Grande, Halsey, Doja Cat).

“It’s about the real emotions we go through,” said Ava on the meaning behind the track. “If you don’t know my mind, soul, and heart, you’ll never know me by seeing me naked. We are more than our physical bodies. That’s what I wanted to show.”

A truly international artist, Ava sealed her pop superstar status with the blockbuster success of the RIAA 3x-platinum certified hit, “Sweet but Psycho.” Currently boasting over 2 billion global streams and counting, “Sweet But Psycho” was named among the New York Times’ “54 Best Songs of 2019,” spent three weeks in the top 10 of Billboard’s “Hot 100,” peaked at #3 at US Pop Radio and earned Ava her first-ever Teen Choice Awards nomination for “Choice Pop Song.” The song was joined by an official video that has more than 600 million views on YouTube.

Produced by GRAMMY® Award-winning super-producer Cirkut (Maroon 5, Miley Cyrus, The Weeknd) and co-written with Madison Love (Camila Cabello), “Sweet But Psycho” hit #1 on both Spotify’s “United States Viral 50” and Billboard’s “Dance Club Songs” while becoming one of “The Top Most-Shazamed Songs of 2019.” The song’s stateside success followed the track’s remarkable popularity abroad, including four consecutive weeks atop the UK Singles Chart and #1 rankings on charts in nearly 20 countries.

Dubbed an “Artist You Need to Know” by Rolling Stone, Ava has been feted with a wide range of media attention including high profile features in Vanity Fair, Billboard, FORBES, PAPER, and more. The pop star first took over TV with performances of “Sweet but Psycho” on CBS’s The Late Late Show with James Corden, NBC’s TODAY, and the Ellen DeGeneres Show, as well as a summer performance of her RIAA-certified gold single “So Am I,” on ABC’s Jimmy Kimmel Live. Ava became one of 2019’s most honored performers, including “Best New Artist” nominations at both the 2019 MTV Video Music Awards and the 2019 MTV Europe Music Awards. The latter was highlighted by both Ava’s first-ever win for “Best Push Artist” and show-stopping live performances of both “Torn” and “Sweet But Psycho,” streaming now.

EVILE geben Thrash der alten Schule neuen Biss!
Seit ihrer Gründung 2004 hat sich die britische Thrash-Abrissbirne EVILE mit bis dato vier veröffentlichten Studioalben einen stattlichen Ruf erspielt, indem sie puren Thrash mit einer kompromisslosen Death-MetalAttacke befeuert. Das fünfte Studioalbum, Hell Unleashed (30. April 2021 via Napalm Records), markiert nicht nur den lang ersehnten Nachfolger des vorangegangenen 2013er Albums Skull, sondern zeigt das Quartett mit Ol Drake (Gesang, Gitarre) und RipTides Adam Smith (Rhythmusgitarre) außerdem in herausragender, neuer Formation.
Auf 41 Minuten entfesselt Hell Unleashed die ungestümen Mächte der Hölle, fängt Dämonen der Vergangenheit ein und verleiht dem klassischen Thrash Metal einen zeitgemäßen, aber dennoch harten Touch.
EVILE sind zurückgekehrt und das direkt aus dem Abgrund!

Hell Yeah welcomes the Italian musical collective Aura Safari for a debut EP on the label.

The band, who are at the forefront of a new Italian fusion sound that blends jazz-funk, electronic and world sounds, is made up of acclaimed house devotee Nicholas Iammatteo, plus Alessandro Deledda, Lorenzo Lavoratori, Daniele Melloni and Andrea Moretti. They contributed a standout track to the Buena Onda - Balearic Beats compilation last year as well as releasing a full length LP on UK label Church to critical acclaim.

Opener 'Dreams of Music' is a lush, new age groove with rich musicality, wind instruments and live drums all glowing warmly as you roll into sundown. 'Oasis' then sinks into a reflective mood, with lazy drums and sensuous late night chords sounding like Roy Ayers all loved up and super stoned. The noodling keys really melt your heart before the excellent 'Slow Divers' pairs more majestic bass riffs with wet claps and splashing cymbals as a wandering lead drifts up to the heavens. It has a dubby swagger to it that is superbly subtle.

Closing out the EP 'Libra', is a heartwarming, slow motion, jazz-funk fusion packed with detail and life affirming synth playing.

These are gloriously heartfelt tracks that showcase this collective's supreme musical ability as well as their unquestionable understanding of jazz, funk and soul, past, present and future.

25 Years after it was released, the 16x platinum selling Bat Out of Hell II: Back Into Hell is to be repressed on vinyl for the first time since its initial release. Featuring the classic #1 single 'I Would Do Anything For Love (But I Won't Do That)'.
 And following on from the hugely successful Bat Out of Hell II: Back Into Hell, Welcome To the Neighbourhood is to be repressed on vinyl for the first time since its initial release in 1995. Featuring the hit single 'I'd Lie For You (and That's The Truth)'.

FULL OF HELL make their Relapse debut with their most explosive album to date, Weeping Choir. Dynamic, pissed, and wholly urgent, the highly-anticipated Weeping Choir is a definitive statement of intent by one of the underground’s most dynamic and virulent entities. FULL OF HELL have once again culled the extreme elements from hardcore, metal, and power electronics to redefine darkness and sheer brutality. Distorted guitars and ominous, disparate electronics grind and gnash against rapid-fire drumming as FULL OF HELL take themes of religion, loss, hatred, and set them ablaze. Recorded by the critically acclaimed Kurt Ballou at GodCity Studio, Weeping Choir sees FULL OF HELL fully unleashed. Abrasive, confrontational, none equal!

Lande Hekt’s voice in music is one that’s socially aware yet often
introspective, drawing awareness to serious issues but at the same time baring her soul. Much of Hekt’s compositions act as a personal diary of what’s going on in her life at any given time.
This is evident in her discography with Muncie Girls, the band which she formed in her hometown of Exeter as a teenager and have released two critically acclaimed albums to date.
This knack of combining her own experiences and feelings whilst highlighting larger socio-economic issues has carried through to her more contemplative solo material, which began life in an EP ‘Gigantic Disappointment’, self-released
in 2019.

Hell Yeah call upon their merry crew of grown up groove makers to revisit key tracks from Quiroga's widely acclaimed Passages album, with Whodamanny, Jazz N Palms, A Vision of Panorama and My Friend Dario all stepping up.

The original album was noted as Piccadilly Records' Best Balearic Album of 2019 and a year on is still providing solace for us in these strange times. First to add his own spin to it is Periodica associate Whodamanny from Naples, whose magical take on 'Martinica Feelings' made it onto the excellent recent Buena Onda compilation, which is out now. It is a big hearted vocal reinterpretation filled with stomping kicks and twisted synths that bring the funk next to withering sci-fi effects and happy piano chords.

Then, up steps man of the moment Jazz N Palms, a resident at the cult Ibiza venue Pikes and regular at London's Ronnie Scotts. He has recently started his own self titled label and here offers a mad Latin jazz take on 'Africa Addio' that brims with energy and sunshines. The busy percussion will make you move your ass and the whole thing has a sexy 70s vibe.

Saint Petersbourg's very own balearic legend A Vision of Panorama is hailed as the king of the modern balearic sound thanks to EPs on labels like Omena. He takes care of 'The Zoist' with sentimental melodies and sunset grooves to die for. His arching pads speak to the soul and melt the heart.

Last of all, Hell Yeah's very own discovery My Friend Dario (who soon has an EP coming on NuNorthern Soul, recently remixed Calm and Gallo) tackles 'Chiaia Sunset'. The result is a laidback and cathartic track that slowly unfolds on tumbling drums and wooden hits as synths leave vapour trails high up in the clear blue sky above.

These are four more high class remixes that will keep the summer vibes alive long into Autumn.

Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

Max Essa completes a trio of terrific releases on Hell Yeah with The Great Adventure EP. It's packed with more grown up dance floor dynamite and later in the year will be collected together with the first two parts to make for a full album.

By now you will know that Essa is part of the UK's Balearic mafia. He's served up big tunes on Is It Balearic?, Aficionado, Music For Dreams, and his music always acts as a sonic raft that floats you out to sea and leaves you bobbing up and down in a state of pure bliss.

Opener 'Tombolo' starts as acoustic music and the sound of a muffled crowd but soon awakens into an uptempo affair littered with toms, guitar licks and claps that are driven by bumping drums. There are elements of old school, Italo and classic house but somehow it feels completely new and fresh as it takes you ever higher.

'The Great Adventure' is masterfully sun kissed disco with crisp 80s drums, love struck chords and a yacht rock feel that is pure joy, something like topless dancing with sand between your toes and umbrellas in your cocktails.

Closer 'Fool in the Pool' sinks into gentle tabla drums and unhurried chords. It's horizontal and thoughtful - the sound of a lazy afternoon somewhere on the Mediterranean coast, gazing at glistening seas through the romantic lens flare in your sunglasses.

This EP is already great feedback from the DJ dons who have been giving it early plays, so act now to snap up your first summer sounds of 2020.

Completing a red hot trio of remix EPs of Calm’s By Your Side album is this final part with Lucas Croon, Cantoma and Gallo and Yuri Shulgin all serving up expansive and mind altering new versions.

He doesn’t release often but when he does you need to listen to Lucas Croon. His unique take on ‘Before Landing’ is a proper dance floor heater to get you on your toes. Once you're there, a gentle rush of rave euphoria tases over you and sends shivers down your spine as old school breakbeats and glowing pads complete the trip.

Elsewhere, long time Balearic pin up, scene hero and all round blissed out boss man Phil Mison has a new album corn gin the spring. Before that, he becomes Cantoma for a timeless version of ‘You Can See The Sunrise Again’ that has bright blue skies and jaunty chords making you move.

Regular label artist homie Gallo is in the form of his life right now - he's resident DJ at Hell Yeah's weekly Balearic night Buena Onda in Berlin, has a growing reputation for being one of the best eclectic selectors in the game and is currently working on compiling the forthcoming BUENA ONDA comp with label head Marco. He gets long legged on his deep cut remix of ‘Sky Color Passing’ which is another killer that slowly but surely works you in a slow motion acid trance.

Completing this most exquisite outing is Yuri Shulgin, a multi-instrumentalist music producer from Tajikistan with credits on Cocktail d'Amore Music. His spellbinding take on 'Ending of Summer, Beginning of Autumn' is a fusion of jazz, leftfield and electronica will have you in a spin and your head lost in the clouds amongst the twinkling stars and cosmic pads.

The first set of remixes of Calm’s By Your Side got plenty of props for sound quality as well as their ability to get people grooving. Now the label serves up some more remixes, this time from legendary figures Mark Barrott (International Feel) and My Friend Dario.

Up first is Barrott, the long time slow motion master whose downtempo, ambient, new age and electronic fusions very much set out the Balearic template way back in the nineties. ‘Space Is My Place’ (Mark’s Re Imagination to the Sacred Heart Center) is an enchanting and tropical reworking with exotic percussion and liquid drums that gentle sway to and fro like a raft at sea. It’s another escapist, transportive track from Barrott that takes you to the other side of the world.

My Friend Dario returns to Hell Yeah after his exquisite Calamari Fritti EP late last year with more of his worldly infused sounds. His Etna Vision of ‘Shadows and Lights’ is a glistening affair with loosely jumbled drums and romantic keys that ring out into a balmy night sky. It’s musical and blissful as always with this artist.

Once again here Hell Yeah have come through with your most essential summer sounds.

Supported by Leo Mas, Chris Coco, Pete Gooding, Bobby Beige, Soft Rocks, Calm, Balearic Gabba Sound System, Phat Phil Cooper…

Neil Landstrumm returns to UTTU with an EP of oddball house & techno featuring long time collaborator Si Begg on the title track “Hell Is Other People.” A super charged fusion of dance music styles!


b a2. Shadow Man Vinyl Only Exclusive

Phillip Mitchell only cut one single for the Spring subsidiary, Event, in 1975 and despite the beautiful ballad ‘There’s Another In My Life’ being an R&B hit, he did not have a follow-up. However, there were three songs recorded at the Brad Shapiro-led Muscle Shoals session and ‘I’ll See You In Hell First’ was the superb mid-tempo track that lay dormant until compiled on an Ace CD in 1990. It features Mitchell singing at his best on an inspired, self-penned song and is long-overdue a vinyl pressing as originally hoped for.

Singer Ray Godfrey had four 45s for the label but like Mitchell he was best known as a songwriter for Millie Jackson, Joe Simon and Act I in particular. He wrote under his real name of Raeford Gerald. He produced this song on both Joe Simon and Millie Jackson and his own reading has now been found on the multi-track tapes for the song’s recording session. It is a worthy addition to the Godfrey/Gerald catalogue.

After many years the long lost Apocalyptic Disco Funk offering has been unearthed and re-released for the world to hear. Rob's prophetic pre-apocalypse disco message, Hellfire, was originally released as a promotional LP by Nigerian label Taretone. Though a seminal work by Rob, disco stylings had fallen from vogue on the Nigerian dance floors. With the local airwaves dominated by artists like Félix Lebarty, Rob's promotional release was shelved, and never got to see a full-scale commercial issue. Ultimately the master tapes were lost by Taretone and the album was doomed to obscurity for decades until its recent rediscovery by Tambourine Party Records.

Hellfire is both a disco burner and a frantic warning about the impending end of the world. From the downtempo title track Hellfire to the floor-filling Glory be to Jesus, Rob will be sure to get his message across. Once the needle is dropped it is hard to deny that even if the world is coming to and end you can die happy listening to this album.

The second Keep on Wankin EP continues Hell Yeah label boss Marco's on going quest for the perfect remixes. This time out he serves up the most Balearic Gabba influenced material yet and takes you on a trip to the clouds with Bjorn Torske and Fango both stepping up.

First up is Bjorn Torske's take on everybody's favourite Luminodisco tune 'Oh Mary.' It's an impossibly adventurous 11 minute epic with buoyant chords dancing over trilling guitars. Lush, multi-layered and brimming with musicality, this is the sort of dubbed out yet percussively lively masterpiece that will mark the high point of any set as it washes over you time and time again.

Then it's to Fango's chunky and spaced out take on Somerville & Wilson's 'Yantar.' It's been the final track of all recent Fango sets around the world for a while now and that won't change any time on thanks to the slow build to a colourful dub disco peak. It takes you ever higher on wandering lead synths as the fat drums pump away below. Essential stuff.

Press:
Resident Advisor New Tracks Review

"This unhurried, euphoric bit of cosmic disco will bowl over a daytime festival crowd in just about any country"

DJ Support:
Andrew Weatherall (A Love From Outer Space), Kolsch, DJ Tennis, Tim Sweeney (Beats In Space), Benjamin Frolich, Front De Caseaux, Gerd Janson...

DIGGING IN THE BOXES IN DJ SPATTS LOFT WE FOUND NUMEROUS DAT TAPES IN GOOD CONDITION, SOME CONTAINED TRACKS FROM THE MIND BOMBING ALBUM. WE THOUGHT THEY WERE LOST SO IT WAS A NO BRAINER TO REMASTER THEM AND MAKE SOME OF THEM AVAILABLE ON VINYL.

Remastered and recut by MUSIC PRESERVATION SOCIETY

Tokyo-based Dj And Producer Tsuyoshi Ogawa Launches His New Record Label tokyo Hell' With tokyo Yakuza Society Ep'. tokyo Hell' Is Tsuyoshi's Mission Of Bringing Back The Japanese Positive Life Values After The Tragic American Bombing During The Second World War In Tokyo. A1 tokyo Yakuza Society' Reflects Human Deeply Connection Giri-ninjo And Taking Care Of Each Other, With Compassion And Empathy. B1 dance Yakuza' Is Tsuyoshi's Personal Version Of The Influence Of Chicago Label dance Mania' In The Tokyo Club Scene Over The 90s. B2 ghost Story In Yotsuya' Pays Tribute To A Strong Japanese Tradition: one Hundred Ghost Stories - The Lantern Ghost, Oiwa' By Hokusai, Extremely Respected Artist In Tokyo.

Industrial badman Sei2ure back on PRSPCT release with a huge 2 track vinyl EP.

Some say industrial hardcore is dead. If that were the case then this one is for sure the one to bring it back to life!

On the A side we have Send You To Hell. A 175BPM monster containing almost everything both Sei2ure and PRSPCT stand for. Driving pounding kick drums, catchy hooks and that perfect dose of snare drum warfare making this the perfect track to kill it on both Hardcore & Drum & Bass events. Huge track!

On the flip we have Push The Prozac. A 190BPM beast tune pushing up the tempo a bit without losing the groove and that dark Industrial vibe we love to death and have been missing so much.

Again another release on PRSPCT that is All Killer, No Filler. Enjoy!

A year after his debut outing on the label, Max Essa makes a welcome return to Hell Yeah with the Han zon Roc EP, which is another of his impossibly laidback offerings.Essa is of course the long time UK talent who has become a part of the Balearic mafia thanks to releases on labels like Aficionado, Music for Dreams, and his own Jansen Jardin. This is the second coming together of artist and label and is another timeless excursion far out to sea.
Opener 'Han zon Roc (Midori Coup)' is an epic 12 minute adventure that slowly awakens your spirit with new age guitar plucks and heavenly ambience before organic drums slowly being to drift into earshot. They grow ever larger as synths start to spray about the mix, hand drums pitter patter and big chords bring the soul-shine. It's like the soundtrack to an afternoon boat party all condensed into one brilliant cut. 'How You Showed Me Everything' then gets super chill with lazy drum tumbles, bendy guitar lines and scattered hits. Withering cosmic chords colour the airwaves and its a track that will slow your heartbeat to nothing. Last of all, 'Rain Bird's Alfalfa Jam' is a analogue drum work out with early 90s hip hop influences and diving basslines. It's light and airy, nimble and playful and of course filled with the sort of tropical rays that make all of Essa works so brilliantly escapist.

After releasing their Yantar LP digitally last year, Hell Yeah now serve up a much anticipated vinyl version of Richard Somerville and Craig Wilson's perfectly horizontal sounds. It features two of the superb originals with remixes from The Beat Broker and Los Gatos Escobar.

Somerville & Wilson have appeared on ISM Records, DWDK (Danny Was A Drag King), Paper Records and Music for Dreams and count the likes of Tensnake and Gerd Janson as fans of their laidback and charming grooves, and this EP is a real slab of heat that will surely sizzle souls across the world this summer.

First up, The Beat Broker proves he is on fire right now with a remix of the classic 'Melt'. His heart swelling remix has impossibly mellow chords ringing out into a yellow-orange sky as melodies rise and fall like a yacht bobbing on gentle waters. It's a blissed out musical sunset of the highest order.

Then comes Somerville & Wilson's 'Cero Gravity', eight minutes of cosmic synth workouts, yawning chords and long legged drums offset by soft acid. Drenched in reverb and rippling out in all directions, it's a warm musical rush that keeps washing over you until your soul melts away.

From New York, Los Gatos Escobar duo offer a more driving but just as tropical remix of 'Yantar' with big rubbery drums, zoned out chords and smeared pads. It's beautifully innocent and honest, heartfelt and meditative music that encourages you to escape to a seaside paradise.

Last of all, a melted Space Edit of Yantar is drowned in saturated chords, scorched pads and heat damaged keys that leave you adrift in a sea of sumptuousness.

Music doesn't come much more majestic, melodic and mellow than this.

For its third release, Here To Hell welcomes Melbourne (via Adelaide) veteran, Rambl, and his incredible groover 'Doss'.

This third release on the label happened purely by surprise, and what a discovery! The track itself is no accident, but the signing took place after a chance encounter. Richard Campbell aka Rambl, who is one of Melbourne's best and most consistent DJs since the last two decades, had developed a small cult following of viewers via facebook, where he had been providing live video coverage of Australia's wild weather in a kind of comedy-weatherman format. Once these updates caught our attention, the magical facebook algorithm placed all of his content at the top of our feed.

One day his video moved away from the wild South Australian coast and into the studio. Rich - who we also know for his huge stature akin to an NBA basketballer, and his brain for Mathematics and Computational Biology - was bopping that giant brain up and down and making his 'bass face', with a mixing desk and some speakers (and some beers) in the background. The soundtrack to this video was completely mesmerising. We sent him a private message immediately: 'what the hell is THIS!!!'

His reply: 'This is one of mine, it's not finished yet but it feels good'. Our reply: 'It feels INCREDIBLE!!! Finish it and let's put it on wax!'

So today we bring you 'Doss' and we expect you'll love it.

On the flipside we've invited another Melbourne man, Sly Faux, to demonstrate why he's appearing in the playlists of Richie Hawtin and Maceo Plex, and why his EP on Nicole Moudaber's Mood was a bestseller. He's also just remixed The Presets and continues to impress with his tight productions. Sly Faux's remix takes the original Detroit-inspired techno-funk and twists it into a different kind of main room banger.

Marcel Vogel's third record on his own Lumberjacks in Hell in a row, 'If You Like' comes in three versions A1 one featuring Brooklyn weirdo-rap veteran Sensational and Alma Negra's Wisdom Of Oz Remix. Juicy Patwchworks Remix of Brown Curls on A2 reminiscent of Roy Ayers perhaps

After putting out Kito Jempere's well received Sea Monsters album last year, Hell Yeah now serve up another selection of remixes of it. Accomplished musician Jimi Tenor, plus Miskotom and Max Essa all contribute before a 7", also taken from the album, lands later in summer. First up is Jimi Tenor, the legndary Finnish musician who has released on Warp, collaborated with Tony Allen and has his own band as well as occasionally playing sax with Kito Jempere Band at live gigs. He flips Puzzled into five minutes of stripped back and moody electronics with plenty of his own flute playing in the track. Busted drum sounds, spooky sci-fi synths and scattered hits make it woozy and late night and utterly absorbing. Miskotom—a newly emerging pair made up of Mik and his wife Andra, both based in Vilnius, Lithuania with credits on Pleasure Unit and Balearic —then reimagine 'Ampa' as a beatdown but of deep house with trudging drums staying low and shimmering synths drift out in all directions. Crunchy hits bring a subtle sense of funk and reverb drenched vocals bring a heavenly feel to the soul drenched grooves and summery keys.
Then comes Max Essa, the Japan based Brit who is a regular on this label as well as the likes of Is It Balearic. His first remix is a huge one that is sure to soundtrack many a boat party this summer. It's a gorgeous rework of 'Ampa' that puts achingly blissful vocals front and centre as low slung bass and slowly turning drums sink you into a pan-pipe laced reverie. Secondly, Essa offers a Dub Reprise that removes the vocals and places all the focus on his churning drums and new age grooves.
This is another perfect package of masterfully electronic horizontal sounds.

After their strong debut on Giallo Disco in 2014, the duo from Paris is back with a full length album on Bordello A Parigi. Open the gate of hell!

Hell Yeah Recordings are pleased to announce they have been tempted into the reissue market. As such, the label starts a new offshoot, PERDIO (roughly meaning 'lost' in Portuguese) which will focus on putting out re-issues and new remixes of classic or forgotten gems.

The first one is a newly remastered instrumental version and new Francisco Dub of Giorgia Morandi's 'Children of the Sky', a cover of the Italo-classic "Figli delle Stelle" by Alan Sorrenti which just happened to be released 40 years ago.

Here To Hell is an Australian label project conceived by The Presets' Kim Moyes, and Revolver resident DJ Mike Callander.
Inspired by a Johnny Cash song, by the record industry' in general, and by the spirit of commercial suicide, Here To Hell celebrates the pointlessness of everything: It's the perfect reason to do only what feels good.
Together Kim and Mike also record and remix as Zero Percent, and along for the ride they've invited Aussie musicians and remixers from all over to celebrate techno, electro, Aussie rock, ambient and whatever they think sounds good on repeat in your headphones.
The label's first release sees legendary Aussie band The Drones being remixed for the first time. Their song Boredom' from the album Feelin' Kinda Free' has been twisted into two dancefloor interpretations (plus a dub of each): Side A is by K.I.M, who takes the original's Aussie Rock to the disco, and Side B is by HTH label bosses Zero Percent, it's their first official published work and explores the darkness of the original instrumentation that underpins Gareth Liddiard's exceptional vocals.

Marcel Vogel and Khalil Anthony team up for 2 consecutive releases. Brown Curls has been three years in the making and has seen several very different incarnations. Comes with a filthy remix by Nebraska and the bumpy You Are A Star!

Lumberjacks in Hell boss Marcel Vogel and Berlin based Singer Khalil Anthony team up for 2 EP's for the label, exploring together their version of Soul, Disco and House. Dance The Blues Away get's remixes by BB BOOGIE and Julien Dyne from New Zealand.

Acidcore, banging clear & clean dancefloor agressive progressor ina ùmental acidcore ! A bloody weapon ! Don't miss !

Just in time to warm up your winter, Hell Yeah revisit the peerless recent Tsuki album from ambient and Balearic masters Tempelhof & Gigi Masin. Two tracks from the album are included on this new package, as well as a remix from Jex Opolis. Trancendental and dreamy drums characterise the new age 'Corner Song', which is the sound of laying back on a boat and bobbing up and down on gentle seas at sunrise. It's organic and soothing to the max.
The other original is 'Flying Man', a suspensory film that feels like floating amongst the clouds on a humid afternoon.
Wordless vocals add a heavenly feel to the lush and all encompassing chords and pads and nothing sounds sweeter than being lost in this one. It is Corner Song that gets remixed by Good Timin' and Running Back man Jex Opolis.
Famous for his disco infused synth pop sound he is a master of his own musical world. His version is eight minutes of laid-back tropicalia. Slowly churning drums and knotted funk-bass prop it up as an eco-system of pops, clicks and hits add to the steamy and sensuous groove. It's grown up disco for cocktails on the terrace and will have you hugging anyone in earshot.
Support by Calm, Lexx, Leo Mas, Apiento, Zambon, Max Essa, Kito Jempere, Buena Onda Djs, Balearic Gabba Sound System...

After putting out Kito Jempere's stunning Sea Monster album earlier in the year, Hell Yeah now serve up a bunch of remixes from it that have been secret weapons for the last few months.

Hell Yeah is back with more beach ready and boat party styled summer tunes, this time from Riccio. This Italian producer has long been making essential edits, off kilter grooves and soul kissed house sounds that demand to be played loud and these new ones are no different.

Described by the label boss as Balearic Big Beat, this EP kicks off with Afro Chemy, a scorching seven minute tune that builds on a bed of fat drums. The scattered percussion is loose and organic and when the funky bass and colourful xylophone sounds comes in you can't help but cut loose. Add in a sexy trumpet line and you have the sound of summer distilled into seven sensational minutes.

Funky Cave will get any party started with its old school drum breaks and cymbal splashes sounding like the ocean when you plunge in on a hot day. Busted bass lines add a certain fatness and cosmic keys and steamy guitar licks make this another perfect outdoor anthem.

Last of all is the blissed out Heather, one to drop at sundown after a long day's dancing. The beats are warm and lumpy, the synths smear out to the horizon like gently breaking waves and soulful leads really get your heart swelling. Proper.

Hell Yeah is proud to present a new EP from an artist that has been on their radar for a while. That artist is Napoli's Quiroga aka Walter Del Vecchio, the Italian DJ and producer who also runs his own Really Swing label and has been given props by the in the know Test Pressing blog, as well as having all his tunes dropped by
Balearic Gabba Sound System at every opportunity.

One of the finest talents to come from Italy in recent times, Quiroga cooks up hypnotic and trance including sounds from a myriad of diverse influences from opiate jazz to shuffling funk beats, from shifty landscapes to library music.

First up is Viaggio a Tulum, a perfectly loose and jumbled mix of sunny vibes, feel good chords and clipped vocals full of soul. The sort of thing that has you day dreaming of lazy afternoons and drunken BBQs, it's perfect example of Quiroga's efforts style.
Non Dire Notte—featuring Acido and ReallySwing act 291Out members Luca "Presence" Carini on electric bass and Vincenzo "Warren" Ciorra on electric guitar—is even more lazy and elongated, horizontal and blissed out. Twanging guitars off set pixelated synths, squelchy chords and Afro signifiers bring the heat and overall you cannot fail to get lost in the groove.

Prati Bagnati is a serene ambient interlude that feels like laying on your back and looking into a deep blue sky and second ambient cut Bava is more textured and intense, with shifting drones and muffled voices bringing a sense of filmic unease to the table. Overall, this is a perfect window into Quiroga's most intoxicating musical world.

Support by Alexis Le Tan, Aficionado Djs, Coyote, Ibiza Sonica, Reza Athar, Gonno, Noema, Fabrizio Mammarella, Riccio, Bill Brewster, Private Agenda, Soft rocks, Tim Love Lee...

Acclaimed Russian producer, DJ and live musician Kito Jempere is back with a stunning second album, this time on Italian label Hell Yeah. Entitled Sea Monster and due for release in early 2017, the nine track album is a fantastic fusion of live instrumentation and electronic production.

Kito Jempere is a musical polymath. The Russian artist, producer, multi-instrumentalist and band leader has been involved in many projects over the last ten years plus. These range from rock to acid jazz to electronic bands and often call upon a rotating cast of other members who are all equally talented.

From playing in small bars to headlining big shows for thousands of people in Saint Petersburg, he has put out a number of albums and singles on labels like Freerange, Room With A View and Hell Yeah and DJs around Europe.

Jempere plays live as the Kito Jempere Band, and here he calls upon his bandmates for their many skills to lend the album a richly musical feel.

Mixed and co-produced by band member Roman Urazov, the album features Artemiy Gunbin aka Noteless, the voice of the Kito Jempere Band and front man of his own rock band Videatape, as well as Ruslan Gadzhimuradov, a long time drummer on many projects, plus Matvey Averin, the bassist but also co-producer for cult group Manizha and finally Sergey Lipsky who here plays guitar and is also half of Simple Symmetry as well as having played for Kito's other project Saint Petersburg Disco Spin Club group.

Sea Monster kicks off with Lifetime Theme, a heavenly groove with loose drums and percussion and gorgeous keys. Form there, Artemiy Gunbin's ethereal and crystal clear vocals take centre stage amongst balearic guitars on album single 'Ampa', and then 'To Talk' is a deeper cut with bumpy drums, long tailed pads and shiny synths all making for a curious and whimsical atmosphere.

'Grid Cells' is a lush instrumental track with clever revel and echo adding a sense of grandeur to the freeform jazz drums and frazzled synths, 'Uohha' is as sunny and laid back as an afternoon on the beach and 'Puzzled' then layers up scuzzy basslines, popping hits and suspenseful synths into something smooth and seductive.

The final third of the album closes out with blissful guitar licks, lazy broken beats and brilliant drum playing that all have you wishing it was summer again.

This is an album with elements of jazz, house, disco, balearic and many more sounds all smoothly blended into one coherent and captivating album full of soul and musical skill.

After sending out these tracks last summer and getting great reactions from DJs and dancers alike, Hell Yeah is pleased to finally officially release virtuoso musician Verdo's Little Blue EP, complete with a remix from Lauer. Fully remastered for vinyl, the likes of Lexx, Chris Coco, Soft Rocks, Leo Mas and many more have all be playing these tunes with great results.

The talented Verdo runs the famous Gratis Club in Senigallia on the Italian east coast. It is a place he calls home, and that has really allowed him to hone and sharpen his DJ skills so that now he is a slick, unpredictable and singular DJ with many tricks up his sleeve. Bjorn Torske, DJ Fettburger, Prins Thomas, Kenji Takimi, Glenn Underground and more have all played there in the last decade and Verdo himself is a skilled pianist who has played for Zero7 singer Mozez in the past. He has worked with Hell Yeah before now, as well as releasing on Danny Was A Drag King, and here serves up his biggest bit of dance floor dynamite to date, including his previously digital only cut 'Big Fish' (mixed by DJ Rocca).

Opener 'Little Blue' is a perfectly sunny track with hip swinging claps, bobbling bass and boat party vibes that soothe your soul. Rich with instrumentals and golden synth lines, it's a perfect beat that gets followed up by the retro disco pump of 'Sazerac', another tropical cut with loose drums and rubbery bass to get you up on your toes.

The massive 'Big Fish' then hits hard with its tin pot percussion and wild synths all making you flail your arms like you just don't care. Jumbled jungle vibes and big chords all swell your heart as your feet skip about down low.

Closing out the package is Phillip Lauer (Tuff City Kids), one of the most in demand stars of the day, and his version is a direct house jam with percolating and rugged synths and slapping hits, all demanding you ditch your cocktail and get up and groove.

"all good stuff here! OG for early / mornings and Lauer for peak. really nice release! " Piers - Soft Rocks

"Big fan of Verdo! great tunes here as expected. Sezarac fav at first listen." - Dream Chimney

"Little blue is super nice!!" - Phil South (Golf Channel)

"Yes, some great stuff here. Sezerac and the Lauer mix are really great, perfect sunshine session material." - Chris Coco

"I love Big Fish's keyboards! strong!!! Arigato!!!" - Chida

"Little Blue and Big Fish are fun for sure, def will play em on a rooftop sooooon" - Jacques Renault

"Yeah, feeling Little Blue, heavy rotation this Summer! " - Jason Boardman (Aficionado)

"Little Blue, i like." - Lexx

"This is tremendous. Driving peak time track that you can imagine Joe Claussell really working the dancefloor with." - Andrew Pirie

"killer ep guys!!!" - Discodromo