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Getting their start in the mid-1960s as a covers band, the Surrey-based group that began as The Late and who would be forced to take the name Unicorn mid-way through the recording of this excellent debut LP soon understood that originals made better sense, pointed in that direction by the success of Crosby, Stills and Nash. Given greater depth by Gerry Rafferty’s producer, Hugh Murphy, Uphill All The Way makes for superb listening, the musical craftsmanship yielding intricate textures beneath Ken Baker’s dreamy lyrics, the intelligent folk rock complete with country and western underpinnings. A must for UK folk rock fans!

Multifaceted San Francisco psyche-delic band It’s A Beautiful Day drew on aspects of folk, classical, jazz and world music, their outstanding differences driven by the lead vocalist and violinist David LaFlamme, his keyboardist wife Linda, and harmony singer Patti Santos. This engaging compilation joins the anthem ‘White Bird’ and the spirited ‘Hot Summer Day’ with ‘Don And Dewey’ (based on ‘Wring That Neck’ by Deep Purple, who nicked one of their musical themes for the intro to ‘Child In Time’), plus the previously unreleased ‘Summer Blues’ and ‘You Are The Sun’ – this stunner’s a must for all It’s A Beautiful Day fans!

When the world's chatter is hushed to a whisper and emptiness replaces clutter, time falls away completely, exposing a vast, open canvas for the imagination fill with reflection, contemplation and abstraction. On their first collaborative album, released via Caterina Barbieri's light-year's label, Grand River and Abul Mogard gaze longingly into the abyss, capturing atemporality, splendour and tranquility with confident, impressionistic sonic strokes. Dynamic and poignant, 'In uno spazio immenso' balances on a knife-edge between booming, operatic grandeur and soft-focus simplicity, casting as much light on the subtle outlines and illusory rhythms as it does its dense, almost overpowering textures.

Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, has been evolving her unique musical language since she released 'Crescente' on Donato Dozzy and Neel's Spazio Disponibile imprint in 2017. A trained linguist, she uses her instrumentation and advanced processes to challenge cultural perceptions, portraying emotions and moods rather than fixed, visual images. Abul Mogard meanwhile is just one of veteran Italian producer Guido Zen's many aliases, and over a series of acclaimed albums for labels like Ecstatic, Houndstooth and VCO, he's muddled fiction with stark reality, shaking kosmische synth fantasies into post-industrial ambience and blissful shoegaze memories.

2025 Repress

Operation Sole like the summer, hopefully, imminent; “Operazione Sole” like the 1967 song by Peppino Di Capri, considered, perhaps wrongly, the first ska in Italy, but certainly the first to talk about Jamaica and upbeat rhythms.
The record you have in your hand is intended to be a testimony to how much the sounds born in Kingston between the '60s and '70s had a significant influence on local pop.
With the first explosion of reggae in England between 1968 and 1970, as well as with the rise of Bob Marley to a worldwide cult phenomenon, parallel to the all-English phenomenon of Two Tone and the ska revival, Italy, always attracted by the new trends not only English, he certainly couldn't stay on the sidelines.
Therefore these innovative and unknown upbeat sounds, derived from the blues of the 1950s and mixed with a Caribbean sauce, have also taken hold in the Bel Paese.
It began as early as 1959 with the song “Nessuno” by Mina, considered to all intents and purposes a Jamaican shuffle, to arrive in a few years at blue-beat (I4 di Lucca, Claudio Casavecchi) and ska (Margherita, Peppino Di Capri , Silvano Silvi, Renzo and Virginia) and be exposed to the first reggae (for example Jo Fedeli and his Italian version of “Israelites” by Desmond Dekker). Thus, we quickly reach the end of the decade of the economic boom and the culture, styles, references change: everything becomes more busy (on a cultural, artistic and political level).
After a stalemate phase that lasted more than five years, Bob Marley's reggae (considered a sort of new Messiah) conquers the planet, including Italy: the producers and artists, even at a high level, for a few years do not remain at all indifferent to this novelty and decide to introduce the "upbeat", primarily reggae, into the various pop repertoires: well-known names such as
Loredana Bertè, Mario Lavezzi, Rino Gaetano, Ivano Fossati, Ilona Staller, Adriano Celentano, Edoardo Bennato throw themselves headlong into new sonic adventures, in a pioneering way, but often with excellent results.
The "Operazione Sole" collection wants to take the credit, instead, of proposing and discovering lesser-known artists (with the exception of Gino Santercole, former associate and relative of Il Molleggiato), often real meteors in the Italian musical panorama, who have tried to achieve (or achieve again) success by adapting the pop that was so popular in those years to the new black sounds prevailing in the West.
We are in the early 80s and we range from the most classic reggae, to Italo-disco contaminated by dub up to the true Neapolitan style which, on more than one occasion, in its being endemically "black" and full of groove, has wrung out the watch out for agreements made in Kingston and London.
“Operation Sun”: a pleasant philological work, but surrounded by an equally pleasant aura of disengagement.

South of Here, das vierte Studioalbum von Nathaniel Rateliff & The Night Sweats, verarbeitet ein ganzes Leben voller Schmerz und Trauma und verwandelt es in eine mitreißende und seelenverwandte Betrachtung von Liebe, Verlust, Hoffnung und Entschlossenheit. Nach And It’s Still Alright, Rateliffs geliebter Solo-LP aus dem Jahr 2020, und The Future, der gefeierten Veröffentlichung von The Night Sweats aus dem Jahr 2021, vereint das neue Album beide Seiten seines immensen Talents: emotional starkes, lebendiges Storytelling und den rauen R&B-Revivalismus, der die Band in den letzten zehn Jahren zu weltweitem Erfolg geführt hat.

South of Here, das vierte Studioalbum von Nathaniel Rateliff & The Night Sweats, verarbeitet ein ganzes Leben voller Schmerz und Trauma und verwandelt es in eine mitreißende und seelenverwandte Betrachtung von Liebe, Verlust, Hoffnung und Entschlossenheit. Nach And It’s Still Alright, Rateliffs geliebter Solo-LP aus dem Jahr 2020, und The Future, der gefeierten Veröffentlichung von The Night Sweats aus dem Jahr 2021, vereint das neue Album beide Seiten seines immensen Talents: emotional starkes, lebendiges Storytelling und den rauen R&B-Revivalismus, der die Band in den letzten zehn Jahren zu weltweitem Erfolg geführt hat.

Dando Shaft’s self-titled sophomore set continued to build on the reputation established by their excellent debut, and now the arrival of female singer Polly Bolton added another textural dimension, as heard most clearly on the soaring ‘Riverboat,’ the absence of drums throughout allowing us to fully appreciate the players’ excellent musicianship, with Martin Jenkins’ masterful mandolin, flute and fiddle drawing the sound to higher realms. As it was issued on RCA’s prog sub-label Neon, which folded soon after its release, the LP is as rare as it is excellent—another must-have for fans of progressive folk and psychedelic folk rock.

Dando Shaft’s third LP continued their explorations into the progressive and psychedelic strands of folk, now with shifting time signatures evidencing an increasing sophistication, as well as an ongoing commitment to experimentation; more varied in theme than their previous releases, there were shades of blues in places and an array of new instruments in the mix, including harpsichord, accordion, and slide guitar, yet the progressive folk that was always at the core of the group is still intact. With original copies costing in the hundreds, this is another worthy exploration for Dando Shaft fans, and all lovers of progressive folk music.

In the 1971 counterculture comedy You Gotta Walk It Like You Talk It, Zalman King tries to find the meaning of life, with Richard Pryor and Robert Downey Jr among the cameos; who better to cut the soundtrack than Steely Dan? Except that the Dan had not officially formed yet! With typical tongue-in-cheek touches, Donald Fagen and Walter Becker rise to the challenge, with fellow Dan guitarist Denny Diaz and drummer John Discepolo of previous vehicle, Jay & the Americans; if you’re a Steely Dan fan, you really need to check out this one-off soundtrack, cut just before they upset the rock applecart with Can’t Buy A Thrill.

Before joining Dick Cuthell in jazz fusion act Trifle, keyboardist Alan Fealdman and drummer Chico Greenwood formed Jasper with bassist Jon Taylor, guitarist Steve Radford and singer/harmonica player, Nick Payne. On sole LP Liberation, released by Spark in 1969, Jasper skirts psychedelia, proto-prog and blues rock, the unusual hybrid a fluid sound that’s difficult to place. Along with unusual arrangements of ‘Baby Please Don’t Go,’ ‘St Louis Blues’ and Donovan’s ‘Cuttin’ Out,’ there are baroque motifs of the title track, repeated at varying intervals. For fans of multidimensional prog and cutting edge blues-rock.

Following his tenure fronting British psychedelic rock act The Web, who cut a couple of likeable albums featuring his bluesy, soulful lead, US-born vocalist Mississippi John L. Watson went solo, working with Pete Wingfield on his 1970 debut, White Hot Blue Black. Superior sophomore set Let’s Straighten It Out was released on Bob Kingston’s Spark label in 1975 and credited to John L. Watson and White Mouse, with Watson headed in a funk direction; along with the potent title track, there’s a fine cut of Gwen McCrae’s ‘Rockin’ Chair,’ making the set a sure-fire winner for Watson fans and lovers of British funk and soul.

Formed in 1971 by guitarist John Evan-Jones and his bassist brother Trevor, obscure British prog-rock act Jonesy had a shifting line-up and unusual elements, Chicago-born Jimmy Kaleth’s battery of keyboards including a Mellotron. Sophomore set Keeping Up saw Trevor return to the fold, along with drummer Plug Thomas, fresh from sessions with Supertramp; guitarist Ray Russell’s lush string arrangements and Alan Bown’s plaintive trumpet and flugelhorn add extra musical dimensions. Capturing the group at their most eclectic, Keeping Up is a must for Mellotron fans and all lovers of pop, jazz, and blues-tinged prog.

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

Proto-prog act Titus Groan came together in London from disparate influences: drummer Jim Toomey, who later played in the Tourists, had a trad jazz background, and then played in a soul act with saxophonist/flutist/oboist Tony Priestland; bassist John Lee had played with jazz saxophonist Dick Morrissey, and guitarist/keyboardist Stuart Cowell was a blues fan, hence the diverse directions of their sole LP. Rare 12-inch ‘Open The Door Homer’ features their cover of the unreleased Bob Dylan song that was also tackled by Fairport Convention, originals ‘Woman Of The World’ and ‘Liverpool’ between blues rock, jazz rock and prog.

Pressed on chocolate covered strawberry splash colored vinyl. Limited to 300 hand-numbered copies. includes the bonus cut "Stars" and all instrumentals. Che Noir brings you The Color Chocolate Vol. 1, on her own imprint Poetic Records. The Queen MC of Buffalo NY has been steadily dropping gems and gaining momentum the last few years, with countless guest appearances and solo projects (After 12, Food for Thought, The Last Remnants, Noir or Never) and has much more in store for 2024. Whether on an introspective and autobiographical angle, or just spitting straight rawness, Che shows why she has been standing out from an overcrowded field of female MCs over the last 5+ years, and making a claim as the best rapper in NY, male or female. With contributions from Evidence, Your Old Droog, Ransom, and more, this EP is the perfect way for existing fans to witness her rise to excellence, and for new fans to get familiar with her greatness. Production by Playa Haze, welcome2dlolife, and Graymatter round out what is already being called the Best EP of the Year. This exclusive limited-colored vinyl pressing features a bonus song, “Stars” featuring Jynx716 and produced by frequent collaborator JR Swiftz and Motif Alumni, and also includes complete Instrumentals on the flip side.

Pressed On White (Lp1) & Red (Lp2) Vinyl. How do you define the music of Mantronix? Is it Hip Hop? Electro? Funk? House? Maybe the answer is all of the above (or is it none of the above?). It is true that Mantronix will be remembered for their multi-faceted sound as well as their ability to bend and blend genres flawlessly into a cohesive musical tapestry, but they will also most importantly they will be remembered as musical innovators and sub- genre pioneers. Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut: Mantronix: The Album shot to commercial success on the strength of their debut single, "Fresh Is The Word". The influence of this groundbreaking debut is still felt in popular music today, having been sampled by the likes of Beastie Boys, Beck, The Prodigy and more. Kurtis Mantronik was also as dangerous behind the desk as he was behind the boards. Working as A&R for Sleeping Bag while signed to the label, Mantronik also helped recruit, sign, and produce for artists such as T La Rock and Just-Ice. Notable records from this era include, Just Ice's "Cold Gettin' Dumb" and "Back to the Old School" as well as T La Rock's "Breaking Bells (12" Version)". Traffic Entertainment Group in conjunction with Sleeping Bag Records and Warlock Entertainment now presents; Mantronix: King of the Beats, The Anthology 1985-1988. This carefully curated double LP compilation combines the best of Mantronix's work from the early, and arguably, best era of their career into one amazing listening experience. Whether you are an avid Mantronix fan or are looking for a place to start - this is the collection to wrap your ears around.

A1. Mantronix - Needle To The Groove (12” Version) A2. T La Rock - Breaking Bells (12” Version) A3. Just-Ice - Back To The Old School B1. Mantronix - Fresh Is The Word (12” Version) B2. Just-Ice - Turbo Charged B3. T La Rock - Breaking Bells (Dub Version) C1. Mantronix - We Control The Dice C2. Just-Ice - Cold Getting Dumb C3. Just-Ice - Cold Getting Dumb II C4. T La Rock - Bass Machine (12” Version) D1. Mantronix – Bassline D2. Tricky Tee - Johnny The Fox D3. Mantronix - Fresh Is The Word ‘88

Although For The Longest Time She Has Been A Chicago Resident, Ruby Andrews's Wonderfully Dramatic Vocals Sounds Like Straight From The Deep South Of The Usa. Actually, That Is Where She Was Born In Hollandale, Mississippi, In 1947. She Recorded At Least Six Albums That Are Each Highly Treasured By Soul And Funk Fans All Over The World. Black Ruby, The Brilliant Second Lp From This Marvelous Soulsinger First Appeared On The Zodiac Label In 1972. Just One Minor Nationally Charted Hit Came Off The Lp. But As A Whole It Is Even More Revered Than Her Hit-laden Predecessor Among Soul Aficionado's. It's Considered An Exemplary Classic Of A Deep- And Chicago-soul Album. The Music Has Re-appeared Some Times In One Form Or Another But The Lp Was Never Before Fully Reissued On High Quality Vinyl! Everland Is Thus Very Proud To Re-present The Black Ruby Album In Closest To Original Format With That Beautifully Designed And Shiny Psychedelic Album Cover. A True Gem Indeed.

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

Mike Mooney presents his debut solo album The Cthulu Mythos via Nine X Nine Records. Mike Mooney has had a storied career in the music business, over the years he has had stints in Echo & The Bunnymen, The Psychedellic Furs, Spiritualized and The Wild Swans to name a few. Reknowned for his incendiary guitar work and distinctive style it seems incredible that only now are we seeing a solo debut proper. This record is inspired by the work of American authour and the godfather of the cosmic-horror genre H.P. Lovecraft. Mooney had long been a fan of Lovecraft’s work but through rereading much of his work during the coronavirus lockdown an idea for an album was planted. Using the titles of Lovecraft’s work as a springboard, Mike started recording. The songs came easily, almost as if being channeled via a conduit from some unknowable dimension of Old Gods and unspeakable horrors. The Cthulu Mythos is a larger-than-life, rock n’ roll affair. Purposefully distorted guitars are layered to a create a caucophonous effect that immerses you in Mike Mooney’s world populated by the creatures, characters and cosmic forces of H.P. Lovecraft’s mind.

Nick Garrie was an unknown backpacker until his music was discovered in the late ’60s while busking in the South of France. Recognising his talent, work on a collection of recordings followed which would culminate in his legendary debut album The Nightmare of J.B. Stanislas. Set to be released in 1969 on the influential French label Disc’Az, however due to the suicide of the label’s founder, Lucien Morisse, shortly before the album’s release date, only about 100 copies of this psych pop/soft rock masterpiece came into circulation. It became a cult album in the truest sense and was finally reissued almost 40 years later. With the death of Morisse, Nick took some time away from recording only to return under an alias, writing with Oscar and Golden Globe winning composer Francis Lai. His directory of credits only grew as he worked with Paul Samwell-Smith (The Yardbirds), Alun Davies (Cat Stevens’ Band), drummer Gerry Conway and Leonard Cohen. Nick Garrie grew his audience in Europe, penning an album that would top the charts in Spain. In 2005 the album The Nightmare of J.B Stanislas was reissued, achieving critical acclaim from The Independent, BBC & Record Collector. Nick’s resurgence combined with fascination of his back story led to a new generation of music fans and musicians appreciating Garrie’s work. In this tim he was collaborated with the likes of Duglas T. Stewart (BMX Bandits) Norman Blake and Francis McDonald (Teenage Fanclub) and Gary Olson (The Ladybug Transistor). Now, for the first time ever, the classic title track is to be released as a 7” single. It is also the first ever vinyl release of Nick’s work on a UK label. The B side is a song close to Nick’s heart Around the World. This track was also written in the ’60s but had never been recorded before. It was recorded at Nick’s home in late 2023 with the help of fellow 9X9 recording artist Jamie Whelligan and musician/producer Nick Frater.

"Learn To Die is a bold new step for a group of musicians, artists, and writers that has at least nominally been considered a punk band. A stylistic overhaul. For those who have been following along, it’ll carry some surprises. Slender began over a decade ago as a semi-improvisational cassette recording project, a casual collaboration between a few friends that was initially documented by two self-titled cassette-only releases released in 2014 and 2015 respectively, now both unavailable and out of print. Most fans, however, will know Slender for their two most recent releases, Walled Garden (2017) and Time On Earth (2019), both released on the tastemaking London art-punk label La Vida Es Un Mus. "Their prior work has earned them comparisons to anarcho-punks Crass and The Snipers, lo-fi flagbearers Swell Maps and Pink Reason, and artrockers Cromagnon and Amon Düül. Here, however, such comparisons feel largely unfounded and the band feels somewhat peerless. Moments of artpunk brutalism, lo-fi experimentalism, and kosmiche detours grace the fabric of Learn To Die, but the album reaches for more than pastiche. Teasing the rarified worlds of chamber music and musique concrete, Slender manages something intangible and strange. A vocoded voice intones multi-lingual poems alongside tinny guitars and sampled strings and flutes. Three chord janglepunk anthems arise suddenly out of a cosmic mist crafted by analogue synths reciting the poetry of machines. The album moves in ways reminiscent of works by artists as varied and singular as Nobukazu Takemura, Chuquimamani-Condori, Coil, and Robert Wyatt, but it doesn’t necessarily occupy the same realm as any of them.” – Leah B. Levinson

“Memo PST was formed in 2022 by longtime associates Orville Neeley and Chris Shaw. “The band released a self recorded cassette demo and played a handful of shows in California before setting up shop at Discount Mirrors (the neighborhood studio owned by John Dwyer and Eric Bauer) to lay down an LP. “Recorded the first five days in May of 2023, the debut album from Memo PST features twelve blasts of raw and primitive Los Angeles punk rock, with Orville Neeley (Bad Sports, OBN IIIs) handling songwriting duties and Chris Shaw (Ex-Cult, Vile Nation) handling vocals and lyrics. “The debut long player from Memo PST is everything fans have come to expect from the two longtime fixtures in underground rock, but also features some of their most memorable songs yet, including ‘I Used To Be A Pretty Boy’ the debut single from the band that sold out in hours via record label In The Red. “The black and white album cover photo (taken behind the iconic rocker shop Worship) and the stark presentation that Memo PST has thus far deployed is a clear statement that this is punk made for punks, and the band has little to no regard for current trends created and championed by those less informed. “Written, recorded, and released in Los Angeles, this is the latest chapter in the LA transplants discography, and only the beginning of what we can expect to hear from the songwriting duo. “Rounding out the live lineup is life long Los Angeles punk Danny Clodfelter on bass and San Clemente surf punk Jackson Todd on drums. Crumple up your scribblings, this is Memo PST.”

For fans of Pan Amsterdam, Edan, Homeboy Sandman, Sleaford Mods etc. Features the singles ‘Baby Don’t’ ft. Sonnyjim & Quelle Chris and ‘Space-Bar’ ft Pan Amsterdam. Blessing/curse. Division/unity. Love/hate. It’s in the context of a polarising 24-hour, digitised, globally connected world that NightjaR finds its wings. NightjaR being the nom-de-plume and smudged rainbow constellation of collaborative copy-and-paste sound-wrangling and hip-hop from Doves’ Jimi Goodwin. But it’s here and it’s Mala Leche. Mala Leche (Spanish: Bad Milk) is 16 tracks of beats and bars, vocals provided by some of the hip-hop artists at the very top of Jimi’s own, personal home listening lists and interludes that throw back and forth through eras and genres in sometimes playful, occasionally awakeningly abrasive styles.

Cleveland death metal legends-in-waiting 200 Stab Wounds have returned with Manual Manic Procedures, a superlative sophomore effort that follows 2021’s Slave to the Scalpel, their tour de force debut. The new album is a brutal slab of old school death metal with a contemporary edge. Not for the faint-hearted, Manual Manic Procedures may well be the album that puts classic gore-themed ferocity back into the metal community’s collective consciousness. The band's debut, "Slave to the Scalpel" saw 200 Stab Wounds insinuate themselves into the minds of extreme metal fans, leading to praise from Pitchfork for their “unpretentious brilliance, pitch-black sense of humor” and an “aesthetic that’s built around a chugging, groovy riff that stomps down a path of destruction.” Manual Manic Procedures sees the band upping the ante both musically and lyrically. Ultimately, for 200 Stab Wounds, it’s all about creating art that they enjoy. “I know that if we like it, our fans will like it,” says Buhl. “That's really all that matters to us. And if we keep touring, it's just gonna get bigger and bigger. Then everyone's happy, far as I'm concerned.” The songs on Manual Manic Procedures are not safe for work – perhaps unsafe most anywhere. But that’s its dark charm in a world where even heavy music can play it too safely. 200 Stab Wounds have crafted Manual Manic Procedures for themselves and like-minded brethren: thrill-seekers, carnage cravers, horror fans, and aficionados of the most extreme metal. Above all, 200SW created a future death metal classic.

Cleveland death metal legends-in-waiting 200 Stab Wounds have returned with Manual Manic Procedures, a superlative sophomore effort that follows 2021’s Slave to the Scalpel, their tour de force debut. The new album is a brutal slab of old school death metal with a contemporary edge. Not for the faint-hearted, Manual Manic Procedures may well be the album that puts classic gore-themed ferocity back into the metal community’s collective consciousness. The band's debut, "Slave to the Scalpel" saw 200 Stab Wounds insinuate themselves into the minds of extreme metal fans, leading to praise from Pitchfork for their “unpretentious brilliance, pitch-black sense of humor” and an “aesthetic that’s built around a chugging, groovy riff that stomps down a path of destruction.” Manual Manic Procedures sees the band upping the ante both musically and lyrically. Ultimately, for 200 Stab Wounds, it’s all about creating art that they enjoy. “I know that if we like it, our fans will like it,” says Buhl. “That's really all that matters to us. And if we keep touring, it's just gonna get bigger and bigger. Then everyone's happy, far as I'm concerned.” The songs on Manual Manic Procedures are not safe for work – perhaps unsafe most anywhere. But that’s its dark charm in a world where even heavy music can play it too safely. 200 Stab Wounds have crafted Manual Manic Procedures for themselves and like-minded brethren: thrill-seekers, carnage cravers, horror fans, and aficionados of the most extreme metal. Above all, 200SW created a future death metal classic.

A new SOS, from 024... Nijmegen Tekno crew !
A side from Wazig opening with a Breakbeat minimal killer threartening to fall 4/4... and doin' it !
Then will come his second tune, a Pumpin Mental Acid run !

Frixion side kicks harder, louder, kicker... Pityless swing in a Hardfloor ambiance. Heavy stuff !

This is a colored vinyl ! Red&Black transparent !

We're excited to unveil our inaugural vinyl release, introducing the first Neptune ‘Disc’ to the world. Trance-inducing progressive genres, which dive into the magnetic allure of '90s progressive sounds with a distinct tilt towards the club scene. Four tracks resonating through the depths of a festival ambiance, enveloped in an enigmatic mist and bathed under shimmering purple strobes.

A1 introduces Cybernet, an emerging force hailing from the vibrant scene of Aus. Delving beyond the sounds of the '90s Cybernet brings forth a distinctive sonic narrative, intertwining intricate vocal hooks before unleashing the pulsating acid-line. An instant classic unfolds, resonating with the essence of the dance-floor.

Glen S swiftly becomes a Neptune Disc regular with "Uh!" on A2. Tailored for the club, he infuses his signature alien scattered pulses and a rolling bassline. With a deft touch, he creates a surge of energy by cutting off all elements on the drop, leaving only the bass and kicks. Expertly crafted.
Aiden's "Fanks" on the B-side boasts a mesmerising appeal, again reminiscent of the 90s-2000s era, with its pulsating bassline and entrancing soundscape. It delves into the realm of trance, offering a hypnotic journey that echoes the allure of that bygone era. With its captivating blend of trippy elements, the track creates a nostalgic yet timeless vortex of sound, drawing listeners into an otherworldly experience that resonates with the spirit of classic electronic music.

B2 showcases Tourman's prowess as a versatile producer, seamlessly delving into different genres. Overflowing with progressive energy and adorned with scattered UFO sounds, this track stands as a testament to Tourman's evolving artistry—a dynamic force ready to command diverse sonic landscapes. An ideal opener for peak-time set.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

This epic loot sees the epoch-making score for time-hopping action RPG Last Epoch blessing heavyweight wax.

28 tracks chosen by composer Erik Desiderio have been specially mastered for vinyl and will be pressed onto heavyweight discs. These slip into a deluxe double gatefold sleeve with artwork by the team at Eleventh Hour Games.

Desiderio had to cast his mind through time to soundtrack each of the game’s four different epochs of Eterra, with the music of this release focusing mainly on the brighter Divine Era and the darker, apocalyptic Ruined Era. Most eras of the game have a natural, acoustic sound to them with more traditional instrumentation, while the Ruined Era focuses on warped synthetic and acoustic sounds. Over the course of the game’s Early Access period, the composer was able to gather fan feedback, which in turn helped shape the final score.

Some less well-known instruments and techniques colour the music. The sound of the lute helped capture the beauty of the world, while the scratchy, intense tagelharpa embodied the conflict of a war-torn land. In the Ruined Era, fretless bass guitar and expressive Ebow serve to create a sense of unease, with melodic material returning from earlier eras.

Choral lyrics were sung in Old Norse, in particular on the “Last Epoch Theme” with its stirring refrain “Fyoern Oowled” (trans. “Ancient Era”). Vocalists include Ffion Elisa, Colm McGuiness, Mason Lieberman and Matt Lambert.

In einem elektrisierenden Kreativitätsschub sind die Southern-Rock-Giganten Robert Jon & The Wreck bereit, ihr bisher ehrgeizigstes Projekt vorzustellen: Red Moon Rising. Dieses bahnbrechende Album, das am 28. Juni über Bonamassas Journeyman Records erscheint, ist eine mutige Erklärung der Evolution und Wiedergeburt, fängt die Essenz der transformativen Jahre der Band ein und legt einen neuen Kurs für ihre musikalische Odyssee fest. Leadsingle und Titeltrack des Albums erweisen sich als Leuchtturm dieser neuen Ära der Rockmusik. CD mit Bonustrack, LP auf rot-schwarzem Splatter-Vinyl.

Macht euch auf die unerbittliche Kraft der Metal-Legenden Anvil mit ihrem 20 Studio-Album "One and Only" gefasst.
Als Pioniere des Genres haben Anvil seit über vier Jahrzehnten Metal-Exzellenz geschmiedet, und "One and Only" ist ein Beweis für ihre anhaltende Kraft und ihren Einfluss. Ihr bereits 20. Studio-Album (!) zeigt Anvil von ihrer besten Seite und liefert eine unerbittliche Angriffswelle aus brennenden Riffs, donnernden Drums und hymnenhaften Refrains, die elektrisieren. Mit Tracks voller roher Energie und Leidenschaft, festigt "One and Only" den Platz von Anvil als wahre Meister des Heavy Metal.

Macht euch auf die unerbittliche Kraft der Metal-Legenden Anvil mit ihrem 20 (!) Studio-Album "One and Only" gefasst.
Als Pioniere des Genres haben Anvil seit über vier Jahrzehnten Metal-Exzellenz geschmiedet, und "One and Only" ist ein Beweis für ihre anhaltende Kraft und ihren Einfluss. Ihr bereits 20. Studio-Album (!) zeigt Anvil von ihrer besten Seite und liefert eine unerbittliche Angriffswelle aus brennenden Riffs, donnernden Drums und hymnenhaften Refrains, die elektrisieren. Mit Tracks voller roher Energie und Leidenschaft, festigt "One and Only" den Platz von Anvil als wahre Meister des Heavy Metal.

MERMAID'S TAILS ist ein kraftvoller Mid-Tempo-Track mit Deep-Soul-Flavour, Psyche-Einflüssen und einem starken Hip-Hop-Feeling. Der Song führt die Hörer durch die verträumten Sehnsüchte der perfekten Liebe. Die Melodie und der Text sind sowohl poetisch als auch trivial. Der Track verschmilzt Fantasie und Realität in einer Psyche Soul Stimmung. Der Bass ist schwer und tief, das Schlagzeug klingt wie ein Hip Hop Sample, während das Rhodes und die Gitarren satt sind. Zusammen mit dem Fuzz-Gegengesang und den Flötenimprovisationen bilden sie die perfekte Musik zu Rachel Yarabous intensiver und doch sehr sanfter Stimme.

KICK OFF THE ROAD ist ein Uptempo-Song mit bluesigen Strophen, einem starken, treibenden Beat und einem schweren, stampfenden Bass.
Sie führen uns zum funkigen Refrain voller Orgelschläge und Drum-Breaks. Das Stax-Feeling der Band vermischt sich mit den Einflüssen von James Brown bis zur Bridge, die den Song in eine erhabene, psychedelische Klammer treibt. In diesem Song singt Rachel Yarabou die Geschichte eines Mädchens, das seinen eigenen Weg gehen will und es vorzieht, die Straße zu verlassen, bis sie am Ziel ist. Christelle Amoussou, die Songwriterin der Band, schenkt uns eine weitere Soul-Hymne für die Freiheit und die Emanzipation der Frau.

"The Coroner's Gambit" wurde ursprünglich im Oktober 2000 veröffentlicht. Fünf der sechzehn Songs wurden im Studio von Simon Joyner in Omaha, Nebraska, aufgenommen, fünf weitere in John Darnielles Haus in Colo, Iowa, und der Rest in Ames. Das Album entstand langsam; die Mountain Goats hatten von von 1991 bis 1998 jedes Jahr Musik veröffentlicht, aber zwischen der Veröffentlichung der "New Asian Cinema" EP und "The Coroner's Gambit" verging das Jahr 1999 ohne eine offizielle Mountain Goats-Veröffentlichung. Die zusätzliche Zeit, die "The Coroner's Gambit" in Anspruch nahm hatte sich gelohnt: Es war ein Durchbruch für Darnielle als Songwriter und als Produzent des kompletten Albums, der sich als Gitarrist und auch stimmlich weiterentwickelt hatte. Seine Charaktere sind hier scharf gezeichnet, die makellose Überlieferung der Welten, in denen sie leben, bieten ihnen etwas Schutz vor dem Sturm. Die Mischung aus Heim- und Studioaufnahmen verleiht The Coroner's Gambit ein mitreißendes Gefühl der Unmittelbarkeit und deutete gleichzeitig in eine Zukunft, die die 2002 mit "All Hail West Texas" und "Tallahassee" anbrechen sollte. "The Coroner's Gambit" ist ein eigenständiges Meisterwerk, ein introspektives Epos, das Darnielles Ruf als einer der größten Songwriter unterstreicht, dessen Talent für bekenntnishafte Fabulierkunst nur wenige Rivalen kennt. In den Jahren nach der ursprünglichen Veröffentlichung von "The Coroner's Gambit" wurde es schwierig das Album in seiner Gesamtheit zu erfassen. Die LPs waren damals in einer Papiertüte untergebracht, bedruckt mit zusätzlichen von Darnielle verfassten Liner Notes. Eintausend Vinyl-Exemplare wurden herausgegeben und glaubt man den Berichten aus der Sammlerszene, haben weit weniger als eintausend dieser Papiertüten überlebt. So existiert der Text heute hauptsächlich durch Flickr-Alben und auf Fanseiten weiter. Die Neuauflage von 2024 kommt mit neuen Texten und Liner Notes von Darnielle für sowohl CD als auch LP.

"Purveyors Of The Groove" enters the next round and celebrates its debut on vinyl. The protagonists of the compilation, Vil, Cravo, and Chontane, who shared the stage last December at the label's event at Sektor Evolution Club in Dresden, now join forces with Regent for the third edition of the Berlin label's V.A. series. Fans can look forward to a good dose of summer old-school grooves reminiscent of the early 2000s.

Like an unsent love letter to a psychedelic London where everyone is trying to find their way to a secret Television Personalities gig, Cuneiform Tabs emerge with an astounding debut of lo-fi pop and DIY experimentation. A hazy collage of joyful heartaches, twisted children's TV themes and sing-song melodies, the album echoes the sounds of '60s AM radio from a dozen narrow alleyways to the North.

Over 18 months, the Tabs' Matt Bieyle and Sterling Mackinnon traded 4-track tapes between the Bay Area and the UK. While they previously played together in indie band Violent Change, the duo's physical distance and their songwriting process of building, blurring and distorting across the Atlantic would create something no one saw coming. Grabbing any instruments at their disposal and splitting vocal duties, Bieyle and Mackinnon pushed their Tascam to its limit to make glittering, odd-shaped gems.

There is an insular feel to Cuneiform Tabs, suited for late nights after the entire city has stumbled into dreamtime or lazy afternoons when you can't quite recall where you need to be, but you know you won't make it there on time. It's like a pirate radio show where Bob Pollard alternates Swell Maps and Cleaners From Venus records while randomly unplugging various bits of gear and reading passages from a book on R.D. Laing.

Originally released in a hyper-limited artist edition, W.25TH / Superior Viaduct is thrilled to bring this kaleidoscopic LP to a wider audience.

Sanctify the Darkness ist das zweite Studioalbum der griechischen Thrash-Metal-Band Suicidal Angels in voller Länge. Das Album wurde ursprünglich im November 2009 veröffentlicht, hier kommt eine neue Ltd. Edition LP in ziegelrotem Vinyl.

Sanctify the Darkness ist das zweite Studioalbum der griechischen Thrash-Metal-Band Suicidal Angels in voller Länge. Es war das erste Mal, dass die Band die Grenzen Griechenlands verließ, genauer gesagt nach München (Deutschland), um ein Album aufzunehmen, von Anfang an bis zum letzten Detail des Masters.

Es ist auch das erste Mal, dass die Band mit einem Produzenten zusammenarbeitet, R.D Liapakis. Die Aufnahmen fanden in den Prophecy und Music Factory Studios statt, während das Mischen und Mastern in den Maranis Studios in Backnang, Deutschland, stattfand. Die Veröffentlichung des Albums fand im November 2009 statt, hier kommt eine Neuauflage in ziegelrotem Gatefold Vinyl.

Immerse yourself in the immersive world of Succession like never before with the Official Soundtrack on vinyl. Discover the soundscape that accompanies the gripping drama of the Roy family's power struggles, brought to life through a selection of tracks that capture the essence of the acclaimed series.

Featuring both original compositions and carefully selected classics, the Succession vinyl soundtrack offers an emotional journey through the highs and lows of the Roy dynasty. From moments of intense family conflict to triumphs of corporate conquest, each track takes you deeper into the heart of the story, making it a must-have for fans and collectors alike.

Treat yourself to the luxurious experience of vinyl and enhance your listening sessions with the rich, warm tones that only analogue audio can offer. Add the Succession vinyl soundtrack to your collection today and immerse yourself in the world of power, wealth and family intrigue