Search:ke

Original Sun Sound wurde erst 1964 veröffentlicht, sechs Jahre nach Johnny Cashs Wechsel von Sun zu Columbia Records im Jahr 1958, und enthält sowohl seine ersten als auch seine letzten Aufnahmen für das Label. Das frühe 'Wide Open Road' zeigt den Sänger noch unter dem Einfluss von Hank Williams (und ist auch deshalb eine Rarität, weil es die Steel-Gitarre von A.W. "Red" Kernodle enthält, der die Gruppe kurz darauf verließ), aber das sardonische, von Charlie Rich geschriebene 'Thanks a Lot' aus einer seiner letzten Sun-Sessions zeigt, dass Cash niemandem außer sich selbst verpflichtet ist. Auch Cashs eigener Gospelsong 'Belshazah' ist hier zu hören, eine ungewöhnliche Aufnahme, da sein Produzent Sam Phillips normalerweise nur das weltliche Material des Künstlers aufnahm.

- Remastered von den Originalbändern
- Neuauflage zum 60sten Jubiläum
- Enthält Hits wie 'Big River', 'Country Boy', 'Born To Lose' und mehr

- Ltd. Col. LP: (Violett-transparentes Vinyl)

High Roller Records, 2nd pressing, 425gsm heavy cardboard cover, black vinyl, ltd 200, 4 page insert, download code, poster

High Roller Records, 2nd pressing, 425gsm heavy cardboard cover, black vinyl, ltd 200, 4 page insert, download code, poster

Foreigner Classics ist eine Best-of-Zusammenstellung, die keine Wünsche offen lässt. Erstmals 2012 veröffentlicht enthält sie eine Auswahl ihrer größten Hits aus den 1970er und 1980er Jahren, die die Band zu internationalen Stars machten. Zu den bekanntesten Tracks auf dem Album zählen „Cold as Ice“, „I Want to Know What Love Is“, „Urgent“ und „Juke Box Hero“.
Das Album bietet einen umfassenden Überblick über Foreigners erfolgreichste Phase und zeigt ihren charakteristischen Mix aus Rock, Hard Rock und melodischen Balladen. Ein Muss für Fans, die die Klassiker der Band in einer einzigen Sammlung erleben möchten. Erstmals auf farbigem (rotem) 180g Vinyl erhältlich, streng limitiert und nummeriert.

All Traps on Earth is the name chosen by Änglagård’s founding member and bassist Johan Brand for this project of his, involving keyboard player Thomas Johnson and drummer / percussionist Erik Hammarström from the same ‘source band’.

They are joined by Johan’s talented daughter, Miranda Brand on vocals, as well as a plethora of guests from the Swedish scene.

Fans of King Crimson, Goblin, Magma, the Canterbury scene and even of Ennio Morricone, whose sounds are frequently recalled during the record, will enjoy this album for sure, but we have no doubt that any prog-lover will appreciate this unexpected, fantastic album.

AFTER OVER 50 YEARS SINCE THE RELEASE OF THE FIRST LP “DEDICATO A FRAZZ” THE SECOND AND HIGHLY SEMIRAMIS’ ALBUM “LA FINE NON ESISTE” IS FINALLY RELEASED!

Thanks to the determination of founder Paolo Faenza, intent on continuing the reunion experience already shared since 2014 with his lifelong companions, in particular Maurizio Zarrillo and Giampiero Artegiani, the new work was recorded by a renewed lineup, made up of talented musicians coming from Rome’s progressive rock scene.

“La fine non esiste” (The End Does Not Exist) consists of 6 unreleased tracks, sung in Italian, characterized by a modern sound but still in continuity with the debut album. In fact, all the instruments that characterize Semiramis’ background are present, such as keyboards, moog, flute, acoustic and electric guitars, vibraphone, leading to wide-ranging compositions, supported by rich and lively arrangements, definitely “prog rock”.

8/10 FULL-PAGE LEAD REVIEW IN UNCUT: “TALENTED ARTISTS SUCH AS ALDOUS HARDING , DELANEY DAVIDSON, IVY ROSSITER AND MARLON WILLIAMS REPRESENT A FRESH COUNTRY-FOLK/AMERICANA MOVEMENT IN AND AROUND CHRISTCHURCH AND DUNEDIN. NADIA REID'S IMPECCABLE DEBUT WILL MAYBE SET A WIDER ORBIT IN MOTION.”
4/5 LEAD REVIEW IN MOJO: “INSPIRED DEBUT BY A YOUNG NEW ZEALAND SINGER-SONGWRITER YOU'LL FEEL YOU'VE KNOWN FOREVER. A WONDERFUL ALBUM"

SUNDAY TIMES DEBUT OF THE WEEK: "SHE RANKS ALONGSIDE LOW AND THE COWBOY JUNKIES FOR DELIVERING SLOW-BURN EMOTION"
"It has all that well-smoked wisdom, that mingling of strength and yearning that seems to charge the work of all my favourite female artists – Laura Marling, The Weather Station, Sharon Van Etten and Tift Merritt, to name but four. Reid is just 23, and since I am loathe to run that “old beyond her years” line, let us simply say that when I hear a young artist making an album as soulful and rich and self-possessed as Listen to Formation, Look for the Signs, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come.” THE GUARDIAN PLAYLIST
6MUSIC ALBUM OF THE WEEK
A richness of voice; a depth of emotion; and wise beyond her years; with Listen To Formation, Look For the Signs, 23-year-old New Zealand native Nadia Reid has claimed her place as one of the country’s most evocative and profound young songwriters. Her music traces the sharp mountain peaks, azure coastline, and mirrored images of the land and sky that pinpoint her home country’s vast open landscapes.
Whether nerding about with friends, stunning audiences into silence with her spellbinding live shows or unwinding in the tranquillity of her favourite hometown spot overlooking Port Chalmers’ harbour through her large-rimmed spectacles, Nadia Reid has achieved a gloriously fresh and eloquent new folk sound. “I’ve been in New Zealand my whole life and guess at times I take for granted the serene beauty that I live so closely with,” she says of her music’s majestic affiliation with nature. Mapping out tales of change and loss, whilst drawing inspiration from reading, writing, the human condition, falling in and out of love, death, and birth - it all lends to a superbly balanced album that moves surreptitiously between sparse and fragile melancholia to beautifully brutal lyricism with a philosophical maturity that bellies her years.
Born in Auckland, Nadia’s acoustic roots stem from an upbringing in a musical household where attending folk clubs and festivals were regular occurrences on the family calendar. “I was lucky to witness a lot of live music and theatre performances because my mum was an actress. I was encouraged to learn piano and guitar, and attended a Steiner school where we spent a lot of time in nature, singing songs.” Before long Nadia was listening to The Be Good Tanyas with friend and fellow recording artist Aldous Harding, which spurred her chosen career path. “There was something spiritual about the Tanyas’ records - I vividly remember the goose-bump feelings up my arms, a true connection to the lyrics and vocals,” she recalls. “Aldous was the first person who told me I had a good voice and I thank her for that. I admire her as an artist and writer, and we like to keep up with what each other is up to.”
Creating her own enchanting wonderworld, each of Nadia’s songs explores the elements; truly organic, her vocals ebb, flow and soar but are always ignited with fire from the gut. Her lyrics clearly reference lush landscapes but equally reflect alienation provided by the surrounding Pacific Ocean and mortality of living in such close proximity to Mother Nature’s wrath, as experienced whilst living in Christchurch at the time of 2011’s devastating earthquake. “It shook the city to its core,” Nadia recalls. “I’m sure living through it has shaped my personality and writing. My first EP was recorded just months afterwards, it was a strange time. We were all quite fragile, but I was braver somehow.”
Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia’s band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum. Whilst 'Reaching Through’s rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single ‘Call The Days’ which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a “panic attack” and being “worried about making the right choices in life”. Elsewhere ‘Runway’ and ‘Some Are Lucky’ immediately channel Nadia’s love of TBGT’s Jolie Holland and appreciation for New Zealand’s Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.

Der in Bristol ansässige irische Produzent Seamus Malliagh kreiert unter dem Namen Iglooghost ungezwungen-detailreiche, elektronische Musik, indem er Juke, Footwork, Punk, Electronica, Hip-Hop und Pop in einen Mixer wirft und ins Unendliche geht. Inspiriert von den alten Frontmännern von Factory Records, Flying Lotus, ARCA und den Metalbands seiner Jugend, entstand sein neues Album in einer alten Werkstatt an der Küste von Kent neben einer Kläranlage, umgeben von alten Stämmen, Abgasen, bedecktem Wetter und rauer See. Sein Ziel war ein Sound, der mehrere Genres miteinander vermischt und aus einer Art Küstenradiosendung aus einer fiktiven Zeitlinie strömt.

- "In jede Ecke und jeden Winkel von Tidal Memory Exos 43-minütiger Laufzeit sind so viele verrückte Ideen, Texturen und Rhythmen gestopft, dass es bemerkenswert ist, dass die Platte ihre thematische Stoßrichtung mit solcher Überzeugung beibehält. Dies ist ein dichtes, langes Stück Science-Fiction der nahen Zukunft, das abstraktes Geschichtenerzählen in gefühlsbetonte, Gänsehaut verursachende Clubmusik kleidet." - Resident Advisor

- "Iglooghosts Tidal Memory Exo ist ein Meisterwerk des Weltenbaus – denken Sie an geomagnetische Stürme, prähistorische Kreaturen, erfundene Mikro-Genres wie 'Foamtek' und 'Sporestyle'." – Dazed

Formed in 2019, Lawne is the result of a meeting of minds between old friends and self confessed music nerds Joe Nicklin and Joe Martin. Their sound draws upon myriad influences with dub, electronics, hip hop, psych, jazz, post-punk and Afrobeat all somehow ingrained within the mix.

It's something that evolved during at a time of change for both of them, as Joe Nicklin explains:

"The start of this project coincided with me moving onto a canal boat, which was a hugely rewarding time of my life but not without its challenges. You can hear some of my boating vents coming through in the lyrics of Beta Pan and Ame Tova.

Another challenge during this time was trying to figure out a way of still playing and recording drums that wasn't going to break the bank. I decided to start renting a tiny storage space near Caledonian Road in North London, that I would convert into a makeshift studio and soon learned that corrugated iron sheets aren't the best walls for a drum booth. My friend cut me some curtains and a few egg boxes later we were able to insulate the thing, sort of.

These limitations meant that we had to keep recordings pretty simple and I feel like this set the tone for the whole record. Whether it was digging out my childhood bass guitar for Joe to play, squeezing every last drop out of Logic presets or mumbling into a SM57 for the first time, we made do with what we had and I'm proud of the charming thing we were able to create. I felt like I was learning on the job at times for this album and I'm grateful for what it has taught me, whilst being excited for what we can do next. As I was moving off the water and out of my lockup, the album masters were also starting to trickle through. A fitting close to that chapter of my life and the making of our first album."

Joe Martin reflects more on how their unique sound came about:

"It's interesting thinking back to the sound we were exploring when we first started writing together, and how different much of the record is to that original sound. We didn't set out a clear musical direction and that meant we were rarely constrained stylistically, we could shift between genres and feels and grooves, take inspiration from the new and the old and it still sat comfortably with what we were trying to do. I think the eight tracks we landed on illustrates that nicely.

The record's named after the self storage unit we used as a studio for many years, there's something quite poetic about parting ways with the space within weeks of the album coming out; a final homage to the place it all started."

Washington, DC’s DES DEMONAS have been hailed as a favorite of Henry Rollins (KCRW FM/Black Flag), Marc Riley (BBC6 Music/The Fall), and Iggy Pop (BBC6 Music/The Stooges) since the release of their debut LP on In The Red Records and their subsequent singles and EP. DES DEMONAS’ much anticipated follow-up LP “APOCALYPTIC BOOM! BOOM!” is out this fall on In The Red Records. The group is made up of some familiar names from the DC punk, garage, and indie scenes. A Kenyan punk-poet-politique Jacky “Cougar” Abok (Foul Swoops, Thee Lolitas) is on vocals & percussion, Mark Cisneros (Hammered Hulls, Kid Congo and the Pink Monkey Birds, The Make-Up) is on guitar, Paul Vivari (Benjy Ferree, DJ Soul Call Paul) is on Farfisa organ and bass machine, and Matt Gatwood (Two Inch Astronaut) is on drums. Des Demonas’ music is a melding of disparate sounds and influences, hitting with a driving pulse and fiery intent. “The sonic fuel of the band is a blend of post punk, punk, funk, blues, psych rock, Afro beat, even bubble gum but the noise you hear is pure Des Demonas.” - Kim Salmon / The Scientists “Dig the Des Demonas. Play it loud. Twist your wig.” - Kid Congo Powers

Presented for RSD Black Friday as a double lp in a color in color pressing - record one in ultra clear w/ tangerine & record two in ultra clear w/ blue jay - housed in a deluxe gatefold jacket with a full-color OBI strip. Keith Murray first came up in the world of Hip Hop as a part of the group Def Squad. Other Squad members were Redman and Erick Sermon (from EPMD). On The Most Beautifullest Thing In The World Sermon serves as the main producer, with a contribution from Redman also in the mix as well as a contribution from Busta Rhymes. Murray’s debut tore right up to the number 34 slot on Billboard’s Top 200 and a Top 10 position on the Top R&B/Hip Hop Albums chart. In celebration of the 30th Anniversary of this stellar recording Get On Down presents The Most Beautifullest Thing in the most beautifullest fashion yet seen - as a double LP in a Black Friday exclusive colored pressing housed in a gatefold jacket with an OBI. To keep things more beautiful, the reissue closes out with selections previously issued only on 12 inches.

Viva Ngozi sees its first ever vinyl reissue for RSD Black Friday. Presented in an opaque orange pressing with an oversized 8 page booklet. Hard rock meets funk on this essential entry from Zambian guitarist and bandleader Paul Ngozi’s catalog. Featuring drummer Chrissy Zebby Tembo. A keystone release of the 1970s Zamrock movement, Viva Ngozi was first issued in 1976 on the Chris Editions imprint, and only in Zambia. The recording has never seen a reissue. Now-Again Records presents Viva Ngozi in an opaque orange colored vinyl pressing exclusively for RSD Black Friday. The set also includes an oversized 8 page booklet that details Paul Ngozi and the Ngozi Family's Arc, including rare photographs, discography and annotation.

"New Modern Homes" is the first album by The Chesterfields since nearly 40 years and was produced by John Parish.

The Chesterfields came to prominence in 1986 as part of a thriving UK underground scene that had turned its back on bland over-produced 1980s chart music and was looking for back to basics pop music. Bands, independent record labels, gig promoters and fanzine editors were making their own entertainment, with The June Brides, The Wedding Present, Primal Scream and The Loft leading the way, supported by Radio One's John Peel and Janice Long. They released 3 albums ('Kettle' getting to number 2 in the independent charts), 5 singles ('Ask Johnny Dee' reaching number 3), and toured the UK and Europe non-stop before splitting in 1989.

They reformed briefly in 1993 to tour Japan and release a fourth album and sixth single, and then returned to action 23 years later when they were asked to play New York Pop Fest in 2016. The current line-up features Simon Barber on bass and vocals, Rob Parry on drums, Helen Stickland on guitar and vocals, and Andy Strickland (of The Loft and The Caretaker Race) on guitar and vocals.

In 2012, Army of God released a cult cut of cold wave: “Salvation”. This was the only EP by the partnership of Aroy Dee and Miss Jagroe, the only EP until now that is.

Army of God are back, after more than a decade the duo return with Endless Skies. Analogue warmth is sliced by surgical synth stabs and bittersweet strings, Jagroe’s unmistakable voice echoes into the distance with the beseeching mantra of “until the music dies”. Aroy Dee’s edit of the title piece fortifies drums for the floor, emotion is further stripped from the already deadpan lyrics as melodies bleed into distorted wonder. The black streak that characterises Army of God turns a shade darker for the flip. A throbbing bass is inked by off-kilter keys, clusters of claps piercing the thicket of static and chilling chorus of “Fear the Night”. Venturing ever deeper into the night, the darker version will set speaker cones shaking and shivering.

Juddering and trembling, basslines are bolstered with vocals invoking the very darkest regions of the dancefloor.

In 2002, Regina Spektor was in the midst of a creative explosion. She found herself writing so many songs that she was unable to keep track of them. Her friend Joe Mendelson noticed she was forgetting some entirely, and offered to archive everything she had written that year. After Regina recorded dozens of songs, one take each, they decided to pick twelve and make them into an album. And so, Songs was born. The record includes the original versions of “Samson” and “Ne Me Quitte Pas”, later re-recorded on Begin to Hope and What We Saw From The Cheap Seats, respectively. These early recordings have now been expertly remastered by Bob Ludwig right in time for their 22nd birthday, playable for the time ever outside of a handmade CD-R.

"Bora Rokovic's MPS album, Ultra Native, is one of the most elusive titles in the catalogue and, until now, remained unissued since its original release in 1971. Inzalaco's 'J.B.W.' is a hard-grooving fusion piece with dark minor chords, opening with an almighty drum break – found here in a new all-analogue mastertape edit for this 45 release. 'Soft Hands Had the Rain' features Trunk strutting his stuff on Fender bass, as well as cello overdubs, with Rokovic's brooding improvisations on electric keys."


First vinyl release since 1971 and never before released on 7” single.
AAA Transfers from analogue mastertapes.
Audiophile-grade vinyl – limited-edition pressing of 500 copies.
New artwork authentically recreated on heavyweight gloss sleeves.
Cut at Abbey Road Studios by Grammy award-winning engineer, Sean Magee.

The No End In Suffering EP is a compilation of songs that are a bit more outside the box of traditional HAGGUS material. On this record HAGGUS experiments with brand new riff territories, added previously unused tempos and left no stone unturned when it came to delivering this slab of horror-inducing sonic butchery. Production-wise the band purposely went for a more raw 90’s goregrind sound while still adhering to the downtuned, heavy theme of the Three Cadavers EP. Limited Blood Red Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

The Three Corpses EP is a heavier, fresh take on HAGGUS traditional brand of mincegore, debuting their new drummer and lowest tuning yet (drop G) to the world. Expanding on the classic HAGGUS approach, they’ve made it the heaviest and nastiest it’s ever been without straying too far from the traditional HAGGUS sound. In traditional fashion this was recorded in the HAGGUS practice space by Hambone but professionally mixed and mastered by Chris Revill of the now defunct band Shitlife. Limited Neon Green Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

BRUJERIA is an extreme Mexican-American metal band founded in 1989 in Los Angeles. Under cover of pseudonyms, its original members were the guitarist Dino Cazares ( FEAR FACTORY ), Jello Biafra ( DEAD KENNEDYS ), the drummer Pat Hoed, bassist Billy Gould ( FAITH NO MORE ) and singer Juan Bruno. BRUJERIA first appears as a terrorist group having kidnapped the bosses of Roadrunner Records in order to be able to release a record. This joke having been denied, the group appears as a parallel project that is characterized by the themes of satanism, terrorism, sex, rebellion, and politics. The group forges a reputation of psychopaths by playing on stage , with hooded or masked with scarves, titles called "Marijuana" or "Brujerizmo ( the word "Brujeria" which means "witchcraft" ). BRUJERIA is Mexican hence the name and lyrics in Spanish. Dino Cazares ( exFEAR FACTORY ) was the guitarist. The musicians of BRUJERIA keep their identities secret but it is known that ex-FEAR FACTORY's Dino Cazares, FEAR FACTORY's Asesino and Raymond Herrera, as well as Billy Gould, ex-FAITH NO MORE, have worked on guitar, drums and bass, Nicolas Barker ( ex-CRADLE OF FILTH etc ) takes also part of the butchery, just to name a few...