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“SEPARATE THE SKIN FROM BONE / IN DISMAY WE’LL CALL THIS HOME” – Craig Johns Jr, The Dark, “Chemicals”.
Aus der verschmutzten, korrupten und moralisch bankrotten Metropole Los Angeles kommt eine weitere unglaubliche Rockband. Dies ist: The Dark. Craig Johns Jr tat sich mit Alan Ashby zusammen (besser bekannt als der Saitenvirtuose der RIAA-goldzertifi zierten kalifornischen Metal-Band Of Mice & Men), um ein Projekt zu starten, das das moderne Leben in LA wirklich widerspiegelt. Zusammen mit Drummer Derek Vautrinot und Bassist
Nick Goins sind The Dark bereit, ihre Debüt-EP "The Dark" über Arising Empire zu veröffentlichen.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Die allererste Veröffentlichung von Impulse! Records (mit der Katalognummer A-1) gilt als eine der besten
Aufnahmen von Kai Winding und J.J. Johnson. Die beiden Posaunisten hatten erstmals 1949 bei Sessions
für das Album “Trombone By Three” miteinander gespielt und nahmen danach bis 1956 zusammen noch
neun weitere Alben auf. Creed Taylor, der bereits 1955 ein Album der beiden für Bethlehem Records produziert hatte, stellte ihnen 1960 für “The Great Kai And J.J.” eine besonders hochkarätige Rhythmusgruppe
zur Seite, mit keinem Geringeren als Bill Evans am Piano.

Bunny Wailer, respectfully called "The Blackheart Man", produced Johnny Scar's one-off recording 'United Africa'. The mystic singer wrote this heavy roots song and sang in his unique chant with a stylistic nod to the roots reggae icon, Burning Spear. The song appeared as 12"on the Solomonic Production imprint in 1986.

Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound, hoping to continue to captivate millions of fans around the world. It helps that The Wellermen’s four members all bring their respective experience and perspectives to the table. The fact that they’re from different corners of the world really adds something to the music - there’s something romantic about the way the members have to go on a voyage to see each other.

The Wellermen’s history is well-known: having been the originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength, gaining a huge following across social media with new trends linked to their music. Their versions of ‘Misty Mountains’ and Ed Sheeran’s ‘Nancy Mulligan’, along with their spine-tingling rendition of ‘Hoist The Colours’ have racked up billions of views across Tiktok and youtube and over 110m streams of their debut album, and led them to appearances on shows like Ant and Dec, LAst Week Tonight with Jon Oliver, The Colbert Show and more.

The group have now returned with their new album ‘Northern Sky’, where they have gone above and beyond to show they are indeed masters of their craft. Recorded in a cottage in the picturesque hills of Surrey, they poured their considerable knowledge and prowess into the album’s 12 tracks, all of which fit their love of storytelling. On the Scottish folk song ‘Wild Mountain Thyme’, for example, the group’s harmonies and rich vocals capture the nostalgic, wistful nature of the song, which speaks of love and nature’s beauty. The group’s tribute to Johnny Cash on the song ‘Hurt’ is set to be a fan favourite - melding the raw and uninhibited torment of the original with the dignified but heart-rending grief of Cash’s version.

Elsewhere on the record the original song and title track ‘Northern Sky’ is a perfect demonstration of the Wellermen’s gift for creating a real dynamic, steering it gently from the darker, more ominous numbers into something truly uplifting. ‘Tall Tales’, another original, is a wonderful portrayal of humorous one-upmanship - a call-and-response that is likely to get crowds’ feet stomping and hands clapping. Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.

Gold Vinyl

Scour ist eine Metal-Supergruppe mit Philip Anselmo (Pantera, Down), Derek Engemann (ex-Cattle Decapitation), John Jarvis (Agoraphobic Nosebleed), Mark Kloeppel (Misery Index) und Adam Jarvis (Pig Destroyer, Misery Index). Auf ihrem Debüt in voller Länge verbindet Scour Black Metal mit Grindcore, Punk und Thrash und bringt Extreme Metal in modernes Terrain. Scour ist auf einigen der bedeutendsten Festivals der Welt aufgetreten, darunter Roskilde, Hellfest, Tecate Metal Fest und Maryland Deathfest.

WRWTFWW Records is very excited to announce the first ever release of the highly-sought after original soundtrack from 1987 cult horror movie Dolls by multi-instrumentalist, composer, producer, music man extraordinaire Fuzzbee Morse. The limited-edition LP is a miracle of lostthen-found VHS era film scores and is housed in a heavyweight 350gsm sleeve with a bloody cutout sticker and exclusive composer notes.

Directed by Stuart Gordon (Re-Animator, From Beyond, Robot Jox...) and released by Charles Band’s infamous Empire Pictures (which later morphed into Full Moon Productions), Dolls is 80s campy VHS horror in all its glory, a fan-favorite with all the attributes needed for a frightening popcorn night, including one hell of a soundtrack with a very welcomed heavy dose of menacing synths, thunderous orchestrations, and quirky interludes.

The haunting score comes from master Fuzzbee Morse who composed it in Richard Band’s garage with a Yamaha QX-1 sequencer, an arsenal of vintage synthesizers, and a wide array of instruments. The result is a must-have (and never released before!) soundtrack that blends horror tropes with influences ranging from Igor Stravinsky’s The Rite of Spring to Bernard Herrmann, Frank Zappa, Beethoven, Charles Ives and Eleanor Rigby!

Dolls follows the WRWTFWW release of Fuzzbee Morse’s Ghoulies II (1988) as well as 3 other soundtracks from the Empire Pictures vaults: Richard Band’s Ghoulies (1985), TerrorVision (1986), and Troll (1986). All still available – complete the collection now!

Points of interests

- For fans of soundtracks, horror, cult, synth, ambient, classical, 80s, VHS, Charles Band, Full Moon Productions, Stuart Gordon, John Carpenter, b-movies, sci-fi, Gremlins, toys, evil toys, Toys R Us, the good old days, toys you can play with at 33rpm, Christmas presents.
- First ever release for the soundtrack of cult horror movie Dolls (1987), with cut out sticker and composer notes.

On "Not Around But Through", Portland-based experimental musician and tape wizard Amulets
 navigates the process of acceptance and the tumultuous journey of looking within. Over the course of 8 tracks he explores the emotional path of moving through rather than circumventing, in the process soundtracking a purposeful desire to face trauma and vulnerability.

Infusing his trademark ambient soundscapes with ambitious blends of post-hardcore, emo, and metal, "Not Around But Through" connects the dots between personal and social dislocation, leaving us with a taste of the fragmented and fallen future we are all steeling ourselves for. Traversing a landscape that varies from gentle and meandering to explosive and cathartic, Amulets uses cinematic tension and relentless attention to detail to construct his sonic apparitions. On "Lifelike" he collaborates with Midwife, incorporating Madeline Johnston's voice into a song that pulsates with post-shoegaze transcendent energy.

Amulets is the solo project of Portland-based audio + visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Holy Tongue (Valentina Magaletti, Al Wootton & Susumu Mukai) follow up their critically acclaimed album with a two track 7” on Trule. On the A Side ‘Ambulance Dub’ creeps in like John Carpenter at Firehouse. The B Side ‘The Bigger Tutti’ goes full on Steppers punk. They are all snakes now.

Irish rock band The Murder Capital Return with their third studio album ‘Blindness’ recorded in Los Angeles earlier this year with producer John Congelton (St Vincent, Angel Olsen, Sharon Van Etten) and featuring the recently released single ‘Can’t Pretend To Know’ and coming single ‘Words Lost Meaning’. ‘Blindness’ is the vividly realised, clear-sightedly ambitious new album from The Murder Capital. A record that’s both momentous and charged with momentum. That’s intimate and simultaneously expansive. Eleven songs that don’t hang about in terms of grabbing the listener.

Scour ist eine Metal-Supergruppe mit Philip Anselmo (Pantera, Down), Derek Engemann (ex-Cattle Decapitation), John Jarvis (Agoraphobic Nosebleed), Mark Kloeppel (Misery Index) und Adam Jarvis (Pig Destroyer, Misery Index). Auf ihrem Debüt in voller Länge verbindet Scour Black Metal mit Grindcore, Punk und Thrash und bringt Extreme Metal in modernes Terrain. Scour ist auf einigen der bedeutendsten Festivals der Welt aufgetreten, darunter Roskilde, Hellfest, Tecate Metal Fest und Maryland Deathfest.

"For in My Way It Lies" ist nach geraumer Wartezeit endlich re-releaset. Das Debut-Album von Jesper Munk kommt punktgenau zur Yesterdaze-Tour die - der Titel verrät ist - die Versöhnung mit der eigenen Geschichte und Jugend feiert. "For In My Way it Lies" brachte in seinem Erscheinungsjahr 2013 den damals 21jährigen Musiker von ganz unten über Nacht nach ganz oben - Für Jesper Munk ist es das Album an dem er für immer gemessen wird; dem man alles verdankt und an dem man sich dann doch abarbeiten musste... Er nannte es einmal "im Auf und Ab des Lebens, das eine Dinge, dass ihn immer begleitetet hat und immer auf seiner Seite war"... Dieses unbedarfte Blues Album, das so jung wirkt, in manchem, und so alt in anderem, war der letzte Release des Künstlers auf einem Indie-Label, bevor Jesper Munk 2025 bei der Major Industrie signte. Seit 2024 ist Jesper Munk auf Glitterhouse Records - wir sind privilegiert, diesen wichtigen Re-Release von "For In My Way It Lies" machen zu dürfen!"

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

In the early 90s, Jérôme Soligny met Mike Garson, the extraordinary pianist who transformed David Bowie's music on Aladdin Sane. Soligny invited him to make an album of piano covers of Bowie's songs, and in 2011 he released The Bowie Variations For Piano. In 2024, to accompany his book Rainbow+, Soligny launched The Rainbow Variations. The album features 9 Bowie covers, including "Space Oddity" and "Wild Is The Wind", and one original. Mike Garson displays the full extent of his talent one last time on this project, which brings their collaboration to a close. Available on vinyl for the first time.

Seit der Veröffentlichung ihres gefeierten Debüts "Versions of Modern Performance" 2022 (u. a. mit Höchstwertung um US-Rolling Stone) hat sich vieles für Nora Cheng, Penelope Lowenstein und Gigi Reece verändert. Im Herbst desselben Jahres zog die junge Band von Chicago in die Ostküstenmetropole, wo Penelope und Nora an der New York University ihr Studium begannen und das erste Mal überhaupt Musik außerhalb des elterlichen Zuhauses schrieben. Der Einfluss der neuen Umgebung macht sich unmittelbar im Sound bemerkbar. Zugleich wendet sich der Blick in Zeiten beispielloser Veränderungen nach innen. Im Januar 2024 kehrten Horsegirl nach Chicago zurück, um die neuen Songs aufzunehmen. Im "The Loft" Studio stellten sich dort ein Fokus und eine Intimität ein, wie sie wohl nur entstehen können, wenn es schlicht zu kalt ist, das Gebäude zu verlassen. Cate Le Bon führte die Band derweil in neue, helle und klare Sound-Gefilde, die Raum und Textur gegenüber den dichten Soundflächen des Debüts in den Vordergrund rücken und das charakteristische Songwriting von Horsegirl betonen. Dazu zählt auch der erstmalige Einsatz von Violinen, Synths und Gamelan. Die Leadsingle "2468" ist ein Beispiel für die offenkundige Experimentierlust auf "Phonetics On and On". Mit seinen Raincoats-artigen Streichern und energischen Drums verdreht einem der Song in seinem fortlaufenden Crescendo immer mehr den Kopf. Das dazugehörige Video stammt von der Schriftstellerin und Regisseurin Eliza Callahan und wurde von Alexa West choreographiert. Es ist schwer vorstellbar, dass Songs wie die auf "Phonetics On and On" augenblicklich von irgendwem anderes stammen könnten als von diesem Trio bester Freundinnen. Nora, Penelope und Gigi schreiben mit ungefilterter Aufrichtigkeit über Szenen ihrer Jugend als Momentaufnahmen des Lebens. Die Liebe zueinander ist dabei in jedem Augenblick spürbar und resoniert durch und durch im Zusammenspiel auf ihrem zweiten Album. Horsegirl gründeten sich 2019 in der umtriebigen DIY-Szene Chicagos. Die damals 17- und 18-jährigen Schülerinnen zählen Yo La Tengo und Pavement zu ihren erklärten Vorbildern. Ihr Debüt, auf dem Steve Shelley und Lee Ranaldo als Gäste zu hören sind, nahm die Band in Steve Albinis Studio mit John Agnello (Sonic Youth, Dinosaur Jr.) auf. Zuletzt tourten Horsegirl u. a. mit The Breeders.

After 10 years, WOLF HALL returned our screens in 2024 bringing Hilary Mantel's epic saga to its grim conclusion in WOLF HALL: THE MIRROR AND THE LIGHT. Directed by Peter Kosminsky, the six episodes tell the continuing story of Thomas Cromwell (Mark Rylance) and his complex relationship with Henry VIII (Damian Lewis) after the execution of Anne Boleyn,.

The new soundtrack reunites original Wolf Hall composer Debbie Wiseman with The Locrian Ensemble. Debbie Wiseman comments on her return to that world - "The distinctive sound of Wolf Hall is all about immediacy and being in the present with these characters. Drawing on elements from the original Wolf Hall score, new themes have been created for our soprano, Grace Davidson, our viola player, Philip Dukes, and our mandolin player and guitarist John Parricelli. It's been the most thrilling experience composing the score for this production."

There are very special records that achieve mythical status amongst collectors and vinyl diggers. THE SHARPEES GO ON AND LAUGH is top of that tree.

Welcome to the strange world of Nothern Soul…

The story began some years ago when legendary UK record dealer John Anderson discovered an acetate in Chicago with the record title GO ON AND LAUGH scrawled on it but no artist name.

He sold it to cutting edge Northern Soul DJ John Vincent who credited the track to THE JUST BROTHERS when playing out.

The acetate, by now popular amongst the Rare Soul cognoscenti, was traded back to John Anderson who passed it on to Mark Dobson, aka Butch. His DJ sets around the World made it an in-demand dance floor filler and a subject for many years of much conjecture as to the ID of the mystery artist who had recorded this masterpiece which was not just a one-off uber rarity but also the epitome of Nu-Northern Soul cool.

Fast forward to 2016 when USA record label Secret Stash gained access to 200 plus master tapes recorded in the 1960’s by the Windy City’s ONE-DER-FUL set up.

They were forwarded to UK Soul entrepreneur Mark Bicknell who to his amazement found GO ON AND LAUGH in the haul. And finally the whodunit mystery was over with the artist identified as THE SHARPEES, who far from being obscure unknowns aee fondly well known in Soul circles for their much loved DO THE 45 and TIRED OF BEING LONELY singles. Secret Stash promptly issued GO ON AND LAUGH in America but demand far outstripped simply and it quickly sold out with copies now fetching northwards of £150.

ANORAX - living up to its #eatsleepcollect mantra - have snapped up the rights and are delighted to issue it as a 500 run limited edition 7”.

GO ON AND LAUGH is coupled with the timeless classic TIRED OF BEING LONELY. It follows the release by ANORAX of gems from DRIZABONE, JAY. J Feat. BIG BROOKLYN RED and DON CARLOS

Seit der Gründung 2010 durch Andrew Weatherall und Sean Johnston entwickelte sich die Clubreihe "A Love From Outer Space" (ALFOS) zu einer britischen Institution, expandierte und erreichte ein internationales Publikum. Als Reaktion des Undergrounds auf den schnelllebigen Mainstream verfolgte ALFOS einen langsameren, nachhaltigeren Ansatz bei einem Tempo von maximal 122 bpm. ALFOS wurde für seinen eklektischen und hypnotischen Sound bekannt, der alles von Cosmic und House bis zu Dub und Post-Punk vermischte. Dieser Jubiläumssampler spiegelt die Musik wider, die ALFOS in den letzten 15 Jahren geprägt hat. Das von Johnston zusammengestellte und gemischte 19-Track-Album ist eine Hommage an die reiche Geschichte des Clubabends und sein Engagement, musikalische Grenzen zu erweitern. Es enthält zahlreiche exklusive Titel, darunter The Blow Monkeys' begehrten Neville Watson-Remix und Brioskis "Call 626", sowie eine breite Palette von Sounds, die sowohl die Vergangenheit ehren als auch die Zukunft begrüssen.