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Barcelona-based label Raru Cultural Movement continues its mission of curating forward-thinking underground sounds with its fourth vinyl release, Mad Riz, by Ukrainian producer Silat Beksi. Known for his refined minimalism and deep rhythmic sense, Beksi delivers an EP that moves between precision and warmth, layered grooves, subtle textures, and hypnotic energy that unfold naturally across each track.
Rooted in Raru’s philosophy of craftsmanship and cultural connection, Mad Riz reflects both the label’s dedication to high-quality vinyl culture and Beksi’s unique approach to sound design. A pure expression of the contemporary underground — timeless, detailed, and built for lasting resonance.

Blue note / Schema / Far Out recordings artist shares a new compilation of golden age italian library music.

Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79.

The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries.

Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals – making them virtually invisible to the general public for decades.

"This is a journey through a largely forgotten world," explains Conte. "While major jazz recording opportunities were scarce, an incredible network of small labels owned by publishing companies – often created by the composers themselves – began to flourish. This created an open space where musicians could express more experimental and free thinking sounds."

At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies.

The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco - meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.

"You can hear both the haunting melodies and sun-kissed atmospheres so typical of Italian culture from that era," Conte observes. "Some of these albums could have been proper artist releases, while others were specifically designed for accompanying images on screen, yet all were crafted with exploratory creativity that still resonates powerfully today."

Coast-to-coast stripped back hypnotic techno with a funky edge.

Words from the label:

NYC’s premiere live techno maestro, Kanyon dials in three cerebral melters on the A-side that resemble the spiraling sound design of early Surgeon releases with his signature locked groove approach. Headbanger cuts from a hardware rockstar.

B.ROD hits the B-side with a Sterac-like touch that showcases the ease of his West Coast finesse. Both “Exit” and “Down With It” will be a TIP! for all long-blend DJs and perfectly molded for the turntable jugglists too. Vinylists take note!

A rare gem (Rock Hard - Album of the Month)
This album is an excellent example of what good boogie should sound like, reminiscent of AC/DC in 1977-1978 (La Planète du Stoner Rock)
It's not just a comeback: it's an act of faith. And it's damn convincing (United Rock Nations)

15th Anniversary Edition. Black Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Their original pop-infused songs blend rock, punk, and garage rock, and--together with their wild stage presence--have made them unforgettable to anyone who sees them live. Last year, the power trio even provided the soundtrack for a Ryukyu Nissan commercial--appearing in it themselves. Now, it's time for their debut LP: "Best Answer"! The album is incredibly catchy and versatile. From wild, lo-fi punk instrumentals like "Beehive!!" and "Howling Bowl", to cool pop- punk tracks like "I Want You", "45", and "Questions- theme".

There are also danceable garage punk songs like "Brighton Beach", "Koi no yokan", and "Yoakenotori ga naita". The track "I am I" references the SONICS' guitar sound and adds cool Japanese female vocals, screams, and harmonies. The album also includes two wild, punky cover versions: the R&B classic "I Got My Mojo Working", and a charming yet incredibly cool take on Jacques Dutronc's "Les Cactus". And with "Honey Pye", they even deliver a catchy off- beat tune with a feelgood pop-punk attitude. This album is top-quality Japanese rock--from beginning to end!

Tuk Smith is the kind of rock 'n' roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. "I want to do something that means something to people," Tuk says, "because a lot of shit nowadays is so disposable and so plastic. I just don't connect with that. I'd like to do things that impact people positively. It's a weird time on the planet, so to have songs about hope, but not be cheesy about it, it's something I think we need with songwriting. That's the kind of music I want to hear." Again, there's that dichotomy he speaks of. "Rock 'n' roll is essentially the illusion of not giving a fuck, right? Like, you know Axl Rose was doing sit-ups and jump rope, and Paul Stanley was on a cardio machine, and they come out and act like it just happens. The point is I sit at that piano many hours, working on this stuff."

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

Vinyl Edition: Clear with Green, Yellow & Black Splatter Part four of The Dear Hunter’s long-running concept series, Act IV combines symphonic rock with narrative-driven songwriting. The multicolor splatter pressing (clear with green, yellow, and black) reflects the album’s theatrical tone and ornate arrangement style. Includes gatefold sleeve with lyric and story inserts. Format: CD Presented in standard CD format with full booklet, Act IV continues the saga’s elaborate storytelling with orchestral arrangements and progressive rock influences. Packaging includes expanded artwork and story content.

Die dänischen Rock-Giganten VOLBEAT – Michael Poulsen (Gesang, Gitarre), Jon Larsen (Schlagzeug)
und Kaspar Boye Larsen (Bass) – haben mit ihrem neunten Studioalbum „God Of Angels Trust“ erneut
bewiesen, warum sie zu den größten Rockbands unserer Zeit zählen. Das am 6. Juni 2025 erschienene
Album begeistert mit einer kraftvollen Mischung aus eingängigen Melodien und metallischer Energie.
Mit „God Of Angels Trust“ haben Volbeat, die als nicht-amerikanische Band einen Rekord von zehn
Nummer-1-Hits in den Billboard Mainstream Rock Charts halten, alle songwriterischen Regeln über Bord
geworfen und neue kreative Wege eingeschlagen. Entstanden in nur fünf Wochen, beeindruckt das Album
durch seine Tiefe, Vielseitigkeit und den unverkennbaren Volbeat-Sound.
Nach der Veröffentlichung ging die Band auf erfolgreiche Welttournee und begeisterte Fans weltweit mit
den neuen Songs und ihren bekannten Klassikern. Nun erscheint das Album als limitierte Picture Vinyl.

Limited to 500 copies Side A/B is solid red vinyl and side C/D is solid green vinyl. Track listing is different to the CD and digital. ‘Harmonics of the Night’ is the third in what he conceived of as a trilogy of recordings from guitarist Andy Summers. Following on from ‘Metal Dog’ and ‘Triboluminescence’, ‘Harmonics of the Night’ began its life as a guitar improvisation for a museum installation of Andy’s own photos. He did not like the music they had chosen in the gallery so sat down and recorded some guitar improvisations. Summers says that he built this set out from there. These songs and the photos that inspired them have become a staple of his solo guitar shows. Stand out tracks: ‘A Certain Strangeness’, ’Harmonics of the Night’ and ‘City of Crocodiles’. The music for Harmonics of the Night came from a real-life situation, which was the occasion of a retrospective exhibition of my photography at the Pavillon Populaire in Montpellier. I was able to visit the museum in advance of the opening and decided this time (instead of the usual unsuitable music being played by the whatever gallery!) that I must make a music installation to accompany the photography on the wall, a piece that could be looped and thus provide a continual musical counterpoint to the visual. I made a twenty-minute single guitar improvisation, A Certain Strangeness - This piece put a certain approach in my in my head and pointed me in the direction of eleven more tracks. These pieces which vary from minimalist approaches to African influenced dance pieces and are what I consider the sonic parallels to the photography.

140 gram purple colored vinyl (with download code) "I've seldom allowed myself to stay in one place for very long," Glen Phillips says, explaining the genesis of his new album, 'There Is So Much Here' "I was lucky during the COVID lockdown to move in with my girlfriend, now fiance , and to stay home for the longest stretch I've had since the birth of my daughter, 20 years ago. After a life of travel and seeking out peak experiences, I began to appreciate the subtle beauty of sitting still."

The 11 tracks on Phillips' new album are informed by the time that the pandemic shut down allowed for reflection, moving between quiet love songs and rockers that consider the multi- faceted meanings hidden in our everyday lives. Glen Phillips has been making music for over two decades, with a career that began as the 14- year- old frontman for Toad the Wet Sprocket. Since then, he's accumulated an esteemed body of work comprising eight albums with Toad (which collectively have sold close to 4 million units) and three as a solo artist.

With The Whole Story, their debut album released in 2024, Astral Bakers laid the foundations for a hushed soft-grunge, somewhere between misty folk and weightless rock. Vertical Life marks a turning point: a band that, after discovering itself, has now established itself as a tight-knit collective, with each member shaping its sonic identity with equal force. Recorded in the USA with Sam Evian (Big Thief, Blonde Redhead...), the album captures the freedom and raw energy of the quartet. There"s no over-recording or over-production here: the moment takes precedence, mistakes become texture, and slight imperfections a signature. Vertical Life is a choral album, a constant dialogue between the four musicians - Ambroise, Theodora, Nico and Zoé - where each now finds a more assertive place in this shifting puzzle, where voices cross and roles interchange. Textured guitars, sometimes silky, sometimes abrasive, criss- cross and overlap like wisps of delicate fuzz. Theodora"s bass anchors the tracks in a cinematic languor, while Zoé"s supple, restrained drumming builds a nocturnal, almost vaporous groove. The vocals, both fragile and assertive, are always balanced between whisper and soar, between indie introspection and grunge energy. A record where verticality is not just an upward movement, but a vertigo, a tension between rootedness and escape.

Elations Recordings presents "Tairen", an evocative cello recording marking the debut solo release of Melbourne/Naarm-based cellist LEM (Lauren Meath). This deeply personal work is an impressionistic reflection on place, memory and self at the intersection of classical technique and folk sensibility; expanding Meath's lateral, avant garde approach to sound with piano and textural percussion, resulting in a work that unintentionally falls into the post-minimalist tradition.

Conceived as a single piece across five movements and recorded between 2022 and 2024, "Tairen" reflects on memories of a formative place and period for Meath. Each movement scores part of an imagined landscape, mirroring the cliffs and expansive southern ocean of the coastal Otway ranges, remembered and reinterpreted. While tied to a place and time, ultimately "Tairen" is an exploration and expression of self.

Each piece explores this landscape, retaining its own identity while unified by recurring themes, moods and motifs. Meath emphasises restriction in her approach, creating subtly shifting layers of slowly evolving cello lines with expressive unstructured free playing bursting out. In all but one movement ("Bird"), cello is performed in a single take, utilising joined looping pedals on a semi acoustic cello from luthier Paul Davies. Equal parts meditative and expressive, uplifting and melancholic, the instrument becomes a proxy for the human voice creating a work that is intensely beautiful.

While Meath has a background in classical and pop, LEM has always been a more interior, personal project on the boundaries of minimalism and folk; in the past only as a live project featuring only herself, taking a lateral approach to sound through bow, harmonics and voice. While built on this foundation, "Tairen" expands Meath's typically minimal live approach with piano ("Sky") and additional textural percussion. Produced and engineered by James Tom and Danny Smith and with additional percussion from Dylan Lieberman. Mixed and mastered by Cam Parkin.

Pacifica wurde 2021 von Inés Adam & Martina Nintzel in Buenos Aires aus einer Onlinefreundschaft und der gemeinsamen Liebe für The Strokes heraus gegründet. Was als eine Reihe von YouTube-Covern begann, entwickelte sich schnell zu einer vollwertigen kreativen Kraft und gipfelte in ihrer Unterschrift bei TAG Music nach einer von Fans finanzierten Reise zu The Strokes in New York City. Pacificas Musik schöpft von der rauen Dringlichkeit des Garage-Rock der frühen 2000er, der Prahlerei des Post-Punk und der emotionalen Unterströmung des 90er Alternative. Auf ihrem zweiten Album ""In Your Face"" wandelt die Band weiterhin auf dem schmalen Grat zwischen Verletzlichkeit und Rebellion und beweist, dass selbst in einer zersplitterten Welt zwei Freunde und ein paar Gitarren noch etwas Unvergessliches schaffen können.

Pierce the Veil is an American rock band from San Diego, California. Formed in 2006, the band was founded by brothers Vic and Mike Fuentes after the disbandment of the group Before Today. Other members of the band include Jaime Preciado (bass) and Tony Perry (lead guitar). To celebrate the 10-years anniversary from ‘A Flair For The Dramatic’ original release Rude Records is delighted to present the album in a new and refreshed format with remixed and remastered audio. The band extensive touring action saw them perform multiple times on Vans Warped Tour stage from 2008 on. Being one of the most influential names in the alternative scene, expect continuously touring to support their eagerly anticipated fourth studio album ‘Misadventures’ which was released on May 13, 2016.

Feuerschwanz - Methämmer // 2LP Ltd. Edition - Jetzt endlich auch auf Vinyl! Für Sammler und Vinyl-Fans gibt es Methämmer jetzt als: Golden Nugget Doppel-LP 180 g schweres Vinyl Gatefold-Cover limitiert auf 2.000 Stück PO-Start: 02.10.2025 VÖ: 05.12.2025 Mit Methämmer präsentierten Feuerschwanz ihr achtes Studioalbum - und setzen damit einen wichtigen Meilenstein auf ihrem Erfolgsweg. Ursprünglich als augenzwinkernde Mittelalter-Folkband gestartet, zeigt sich hier erstmals der deutliche stilistische Wandel hin zu einem härteren, metallischeren Sound, der bis heute prägend für die Band ist. Während satirischer Humor, Gesellschaftskritik und ausgelassene Festivalstimmung weiterhin fester Bestandteil bleiben, überzeugt Methämmer auch musikalisch mit kraftvollen Riffs, eingängigen Hooks und epischen Hymnen. Einer der Höhepunkte des Albums ist der Song "Schubsetanz", der sich bis heute zum erfolgreichsten Track der Bandgeschichte entwickelt hat - mit über 10 Millionen Streams allein auf Spotify. Gemeinsam mit Titeln wie "Die Hörner hoch" oder der epischen "Krieger des Mets"-Trilogie zeigt der Song, wie gekonnt Feuerschwanz zwischen Parodie, Metal-Hymne und mitreißender Live-Energie balancieren. Methämmer markiert einen klaren Wendepunkt: Mit diesem Album legten Feuerschwanz das Fundament für ihren kometenhaften Aufstieg, der in den Folgejahren mit Chartplatzierungen an der Spitze der Offiziellen Deutschen Charts (Memento Mori, Fegefeuer) seinen bisherigen Höhepunkt fand. Die Band hat sich längst aus der Nische der Spaß-Fraktion befreit und gehört heute zu den erfolgreichsten Acts der deutschen Rock- und Metal-Szene. Jetzt erscheint Methämmer endlich auch als lang erwartete Vinyl-Ausgabe: Die auf nur 2.000 Stück limitierte und nummerierte Golden Nugget Doppel-LP kommt auf hochwertigem 180g-Vinyl im edlen Gatefold-Cover - ein Muss für Sammler, Fans und alle, die die eindrucksvolle Entwicklung dieser einzigartigen Band nachverfolgen wollen. Ein Album mit Kultfaktor - laut, lustvoll, legendär. LIVE: Lords Of Fyre Tour (Zusammen mit Lord Of The Lost) 7 Termine // 02.10. - 18.10. //Berlin - Leipzig - Offenbach am Main - Hannover - Fürth bei Nürnberg - München - Düsseldorf) Ticket: https://feuerschwanz.de/events/

12" splattered Vinyl EP incl. Beiblatt, Bierdeckel und DLC Im Jahr 2015 lieferte die Rockgruppe Die Buben im Pelz einen gewagten musikalischen Stunt ab: die Übertragung des hünenhaften rockgeschichtlichen Referenzalbums The Velvet Underground & Nico ins Wienerische Idiom. Ein mutiger Versuch, der mit einem heftigen Bauchklatscher und darauffolgender, noch schmerzhafterer Schadenfreude des Publikums hätte enden können. Aber nein, die Buben haben ihre Sache wirklich sehr, sehr gut gemacht und ihrerseits ein Referenzalbum der lokalen Wiener Rockmusik vorgelegt. So groß war die Freude über die gelungene Immigration von Lou Reeds New York ins heutige Wien, so anhaltend die Begeisterung für das Oeuvre des amerikanischen Meisters, dass 2023 auch dessen Album Transformer dem Regelbuch für große Coverbands entsprechend für das einheimische Publikum verwandelt wurde. Nun folgt mit dieser köstlich verpackten EP ein finaler Nachschlag, eine Erweiterung zum dreigängigen Menü sozusagen. Und ein mehr als gelungener Abschluss einer nahezu epischen Hommage an eine der wichtigsten Bands und einen der größten Songwriter der Rockgeschichte. Nun befinden wir uns in der letzten Runde: noch einmal VU/Reed, diesmal in Form einer Vinyl-EP. Vier Songs von Frauen, deren Leben irgendwann ins Nicht-ganz-so-Gute abgebogen ist. Vier menschliche Tragödien, zeitlos, poetisch, fundamental traurig mit einem kleinen Funken Hoffnung. Noch einmal Warhol, denn: was sollte man denn einem thematisch so stringenten Tonträger sonst für ein Cover schenken? Noch einmal Kulinarisches: die Campbells-Suppendose natürlich, neben der Banane ein weiteres weltberühmtes Tribut Warhols an das kulinarische Alltagsleben. Aber: wie übertragen wir das ins Wienerische? Eigentlich ganz einfach: indem wir uns aus dem Sortiment des Lokalmatadors, also der Firma Inzersdorfer, versorgen. Die Inzersdorfer-Konservendose, diese Ikone der österreichischen Konsumkultur und Lebensmittelindustriegeschichte ist ein mehr als geeigneter Ersatz für die amerikanische Tomatensuppe. Genauer gesagt: passt. Wie die Faust aufs Strizziauge. Köstlich! Der Grafikdesigner Peter Hirth hat zwei historische Inzersdorfer-Dosen zu einem wunderbar geschmacksintensiven Coversujet verarbeitet. In der Kunstdruckinstitution Quint Screen Print in 1230 Wien wurden daraus im händischen Siebdruck eine farbenprächtige Hommage an die seriellen Arbeiten Warhols aus den 1960er und -70er Jahren gefertigt. Farblich perfekt abgestimmt wurde dazu das Vinyl, klarerweise ebenfalls aus heimischer Produktion. Da haben die Fachleute bei in 8350 Fehring wieder einmal ganze Arbeit geleistet. Und der geschätzte Musikerkollege Austrofred wiederum hat zwischen zwei Festivalaufritten Zeit gefunden, über einem schönen Teller Gulaschsuppe meditierend einen Begleittext zu verfassen, der keine kulturhistorischen Fragen offen lässt. Weder in musikalischer noch in kulinarischer Hinsicht. Mahlzeit!

Kill Them With Kindness is the 18th album from Beans on Toast, recorded at Greenmount Studios in Leeds with The Beans on Toast Band, a collection of musical friends he handpicked from the UK music scene a few years back.

"We've done a few tours together, but this was our first venture into a studio. Each one of them is amazing, and together... well, I'm proper chuffed with how it sounds. Have a listen for yourself," says Beans.

This album is a bit of a juxtaposition, as is the title. "There are songs that deal with the current state of the world: wars, maniac leaders, the rise of AI and the fall of the establishment. Then there are songs about trees, late nights in music venues, art, love and my new cat. As usual, it's a time stamp of my thoughts and feelings from the past year on planet Earth."

Erleben Sie die rohe Kraft und den rebellischen Geist eines der maßgebenden Alben des Hardrock, jetzt
gepresst auf makellosem 2LP-Standard-Schwarzvinyl. „Slave to the Grind“ erschien ursprünglich 1991 und
markierte Skid Rows Entwicklung vom straßentauglichen Glam Metal hin zu einem härteren, knallharten
Sound, der die Härte und Dringlichkeit der Ära einfing.
Mit Hymnen wie „Monkey Business“, „Slave to the Grind“ und „Wasted Time“ vereint diese Platte wilde
Riffs, kraftvollen Gesang und eine kompromisslose Haltung – und festigt so Skid Rows Platz in der Rockgeschichte. Das Doppelvinylformat liefert einen raumfüllenden Sound und präsentiert jedes glühende Solo
und jeden donnernden Schlagzeugschlag mit der Wärme und Tiefe, die nur Vinyl bieten kann.
Diese Edition in einer auffälligen Klappcover-Hülle mit dem legendären Original-Artwork ist ein Muss für
Sammler und Fans, die das Album, das auf Platz 1 der Billboard 200 debütierte und das Erbe der Band
neu definierte, noch einmal erleben möchten.

Freddie Mercurys Debüt-Soloalbum „Mr Bad Guy“ war der erste Schritt des legendären Frontmanns von
Queen in Richtung Solokarriere. Es enthielt vier Singles und erreichte Platz 6 der britischen Albumcharts.
Auf diesem Album griff Freddie auf Einflüsse aus Disco, Dance und Pop zurück. Daraus entstanden
Songs wie „I Was Born To Love You“ und „Living On My Own“.
Mit „Made In Heaven“ und „Love Me Like There’s No Tomorrow“ lieferte Freddie außerdem zwei grandiose
Rock Balladen.
Anlässlich seines 40-jährigen Jubiläums wird „Mr Bad Guy“ auf 180 g schwerem, durchschimmernden
grünem Vinyl aufgelegt.

Das 1967 veröffentlichte Album "Jazz Raga" ist mehr als nur ein Album - es ist ein furchtloser Sprung in unbekanntes musikalisches Terrain. Gábor Szabó, der ungarische Jazzgitarrist, der für seinen grenzüberschreitenden Stil bekannt ist, liefert mit diesem Meisterwerk eines der faszinierendsten Alben seiner Karriere in diesem Genre. "Jazz Raga" vereint Jazz, Rock, psychedelischen Folk und östliche Einflüsse - mit Sitar-Melodien und lateinamerikanisch angehauchten Rhythmen, die dem legendären Funk-Schlagzeuger Bernard Purdie zu verdanken sind - und lässt sich keiner Kategorie zuordnen. Es ist eine hypnotische Fusion, in der europäische Tradition auf den Gegenkulturgeist der 60er Jahre trifft, alles verbunden durch Szabós unverkennbaren Gitarrensound. Vom verträumten Groove von ,Walking On Nails" über die wirbelnde Mystik von ,Mizrab" bis hin zu seiner eindringlich originellen Interpretation von ,Paint It Black" der Rolling Stones schafft Szabó eine Klanglandschaft, die sowohl gewagt als auch zutiefst gefühlvoll ist. Sein Spiel ist elektrisierend - voller ungewöhnlicher Akkorde, fließender Improvisationen und einer ganz eigenen Stimme. Auch Jahrzehnte später ist ,Jazz Raga" noch immer ein Meilenstein kreativer Freiheit und globaler Einflussnahme - ein Muss für alle, die Musik suchen, die Grenzen und Erwartungen überschreitet. Wenn Sie diesen Kultklassiker noch nicht kennen, ist es jetzt an der Zeit, dass Gábor Szabó Ihren musikalischen Horizont erweitert. Neuauflage auf 180-g-Vinyl.

PIA UNITED zünden mit "PENG!" ihr zweites Album-Feuerwerk. Die Fürstenwalder Band um Frontfrau Frollein Höhne vereint das rotzig-freche Lebensgefühl der 80er Jahre mit aktuellem Sound, cleverem Sprachwitz und maximaler Energie. Egal ob Punk, Rock oder Neue Deutsche Welle - auf "PENG!" verschmelzen Eigensinn, Ironie und tanzbarer Wahnsinn zu einem musikalischen Manifest. Nur ein Jahr nach Erscheinen ihres Debütalbums TACH! liefert PIA UNITED im November 2025 ,PENG!" ab. Ein Album voller Wucht, Wortwitz und wohlgesetzter Haken. Frollein Höhne, General, Sir Herle und Costja Chaos kreieren einen Stil, der das Lebensgefühl der 80er augenzwinkernd für heute neu auflädt und sich dabei immer wieder selbst hinterfragt. Ob Hymnen wie ,Die 10 Gebote der Jungpianiere" oder rotzige Coverversionen - der ganz eigene Bandhumor und die Liebe zum rebellischen Genre-Mix machen ,PENG!" zur perfekten Einladung, gemeinsam aus der Reihe zu tanzen. Pia Uniteds zweites Debutalbum! NDW trifft Punk, Ironie trifft Melodie. PunkROCK. Digipac-CD, LP in Gatefold Sleeve!

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

Mathew takes inspiration from the weirdness of Aldous Harding and Amen Dunes while embracing the songcraft of greats like Neil Young and Jeff Buckley. Due for release on 3rd October 2025 via Tip Top Recordings (Mandrake Handshake, Japanese Television, Pearl & The Oysters), EP 'Full Weight' is a six track offering of emotionally driven, lyrically agile, eccentrically produced indie- rock. Released on limited edition (300) heavyweight white coloured vinyl.

Mathew's journey began with a childhood guitar and quietly grew into a private archive of hundreds of songs, never meant for anyone but himself. After stints with local outfits The Velotones and Violet May, he broke away to carve out his own space, one where every note and word belonged to him. Stepping into the studio with friends and trusted collaborators, he found the freedom and confidence to let the world in. The result is 'Full Weight', a bold new chapter in Mathew's musical story. '5:32' is the natural way to introduce Mathew's gloriously unique voice and songwriting, evoking Sheffield's musical royalty such as Richard Hawley.

As the single artwork depicts, '5:32' was conceived by Mathew "in bed, during COVID, eating cereal and taking my meds. As Thom Yorke once said, 'no one is really a solo artist'". The surging, cathartic anthem 'Weight Of Love' is about a simple case of unrequited love. Mathew says, "In my case, it's a story of my dad leaving. The cover artwork is of me and my brother around the age he left" . Further tracks like 'Lady Luck' lean into a slowburning groove of shimmer and snarl, while the fully exposed 'Creature Of Comfort' is built on skeletal instrumentation. 'Full Weight' captures the duality of refusing to choose between fragility and force. It's music that aches, bleeds, and ultimately triumphs: a testament to the strength in showing your cracks. Mathew J Hall celebrates the EP with a live show on 24th October at Hallamshire Hotel, Sheffield.

"An immersive & fantastic experience that exists, fittingly, deep within its own musical bubble" - CLASSIC ROCK From its inception, TesseracT's 2024 Radar performance was about pushing boundaries - expanding the dimensions of what a TesseracT show could be. In their own words "The 90 minutes, or so, on stage, were proceeded by 2 full years of talks. Wild creative chats about ideas & an ever increasingly ridiculous level of ambition from both Joe at Radar & Mos in TesseracT. Venue changes, schedule changes, album touring, none of these impeded the momentum once the ball was rolling". The performance soars even higher with the addition of Choir Noir, led by the indomitable Kat Marsh, whose imprint was vital in shaping the vocals on 2023's landmark 'War Of Being'. The setlist of 'RADAR O.S.T.' is a ferocious journey through career- defining anthems including 'War Of Being', 'Legion', 'Nocturne' & 'Natural Disaster'. This 2LP edition of 'RADAR O.S.T.' is presented on Special Edition Transparent Orange vinyl in a gatefold sleeve with audio remastered at half-speed at Abbey Road Studios.

Written in the Scottish Highlands, recorded on the West Coast in Largs and pressed on vinyl in East Lothian. Rapture Party was mixed and mastered by Jason Shaw and Fuzz Face Studios and is released by Last Night From Glasgow. ; The Joshua Hotel are an indie- pop trio from Inverness led by producer Joshua Mackenzie with Louis Slorach on guitar/ drones and Joshua Gilbert on drums/ percussion. Single Easy Feeling is released on Friday 21 March.

Killer mid 70s roots rocker from The Cool Ruler with the sound of babylon dubwise on the flip from The Mighty Two Joe Gibbs

Recorded and mixed by John Paul Peters at Private Ear Recordings and mastered by Jon Markson, the album showcases the band's collective songwriting and meticulous musicianship. Critics have praised Repose for its "brilliant ideas and exceptional musicianship" (Thoughts Words Action), and Fecking Bahamas ranked it #13 in their Top 100 Math Rock Albums of 2022 , cementing its place as one of the year's standout underground releases. Across ten tracks, Fox Lake balance technical precision with heartfelt energy, making Repose both a document of the band's growth and a highlight of Canada's underground scene.

What if fate had followed a different path? Alex Marker and Ben Reed were childhood friends who made music together before pursuing different careers, with Ben becoming a professional musician while Alex followed a career in stage design.

Originally a drummer, Alex set himself a challenge of writing a song for his wife for their wedding day. One song led to another and collaborating for the first time since they were very young Alex and Ben soon found they had a whole album's worth. Influenced by Alex's career in drama each track on Impostor Syndrome aims to tell a tale or paint a portrait encapsulating a moment of change or release. Ben brings a wider palette of musical styles and arrangements to augment a series of songs which draw from a wide range of musical influences including: singer/ songwriter, British prog, folk and rock. Ben Reed is a multi instrumentalist whose playing credits include bass duties on Frank Ocean's albums Endless and Blond as well as work with David Byrne, Sampha, Mustafa, Frank Dukes, Nilufer Yanya, Hayden Thorpe, FKA Twigs and many others.

He has previously released four full length albums of his own; Tall Story, Who Dreams of Hyssop, Station Masters, Loft, Bandaged and most recently You Do You. Alex Marker is a critically acclaimed theatre set and costume designer who has designed over 150 productions for a wide variety of venues including The West End, tours, regional theatres and the fringe. Further back he used to play drums in pit bands for productions and has occasionally been seen on stage too. The album features guests including: organist Ross Stanley (Steve Howe Trio), flautist R achel Hayter ( Alvorada ), bassoonist Philip Dale ( Orchestra of the Age of Enlightenment) and Matt Weeks who plays brass alongside mixing duties.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

"700 Miles of Desert" is the second album by White Rose Transmission, the project of Adrian Borland and Carlo van Putten. The record weaves dark, poetic rock with atmospheric melodies and introspective lyrics, capturing a haunting beauty that became a poignant farewell to Borland's musical journey.

Colored Vinyl. St. Patrick's Cough" sees the Belfast trio diving deep into psychedelic rock and improvisational soundscapes, recorded near the holy well in Holywell between Counties Fermanagh and Leitrim. The result is a sprawling journey of cosmic jams, swirling instrumentation and a meditative undercurrent _ the album stands as a bold statement of the band's creative evolution.

Hip-Hop history comes full circle with the reunion of Chip Fu, lyrical powerhouse of the Fu-Schnickens, and NBA legend Shaquille O’Neal, famously known in music as Shaq Fu. The duo first made waves in the 90s with the multi-platinum single “What’s Up Doc? (Can We Rock),” a cultural crossover moment that cemented their place in Hip-Hop history.
Now, they return with “Warning” - pressed for the first time ever on limited edition 7-inch vinyl. The record captures the raw, high-energy chemistry between Chip Fu’s rapid-fire delivery and Shaq Fu’s commanding presence, proving that their dynamic still hits just as hard today.
More than a single, this release is a celebration of two icons reunited, bridging the worlds of Hip-Hop and basketball once again. A must-have for collectors, DJs, and fans who lived the moment — or are ready to experience it for the first time