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

Boasting the awesome "Chemical Warfare," a regular staple of Slayer's live shows, the Haunting the Chapel EP was a more crucial stepping stone in the legendary L.A. band's career development than many give it credit for. Issued in between the band's very promising debut and the following year's more sonically ripened Hell Awaits, Haunting the Chapel offers important clues about this transition period, which saw Slayer's rock-based song structures give way to the non-linear, genre-defining style thereafter regarded as thrash metal's signature sound. Among the uniformly solid cuts here, the enduring fan favorite "Captor of Sin" is another highlight, making this a well-recommended release for committed Slayer fans. - AllMusic

After a trilogy of spectacular explorations of relentlessly driving rhythms – Sagittarian Domain (2012), Quixotism (2014) and Hubris (2016) – Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes from the Estate while also following his muse down previously unexplored byways. Reflecting Ambarchi's profound love of Brazilian music – an aspect of his omnivorous musical appetite not immediately apparent in his own work until now – Simian Angel features the remarkable percussive talents of the legendary Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista's dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, 'Palm Sugar Candy', Baptista's spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece's final minutes leave Ambarchi's guitar unaccompanied. While the rich, swirling harmonics of Ambarchi's guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone we hear is quite new, coming across at times like an abstracted, splayed-out take on the 80s guitar-synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi's playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side's exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece's second half, the piano tones becomes increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista's percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi's restlessly exploratory oeuvre. --- Oren Ambarchi - guitars & whatnot Cyro Baptista - percussion & voice Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente and Oren Ambarchi. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at D&M, Berlin. Executive Producers: Konrad Sprenger & Dick Wolf. Photography by Traianos Pakioufakis. Design by Lasse Marhaug.

The legendary session from members of The Outsiders, The Sound and Honolulu Mountain Daffodils. released for the very first time.
Overseen by Adrian Janes and remastered by Nick Robbins with sleeve design and artwork by Bi Marshall.
PRESSED ON ‘SPECIAL’ COLOUR VINYL.
In December 1978 Pete Williams, later to achieve cult infamy as Lord Sulaco of the Honolulu Mountain Daffodils, decided to realise a notion which he’d long kicked around with some of his musician friends. This was to record some original songs for which he - who had never been in a studio in his life – would provide the lyrics and sing. These friends were the Outsiders, at that time consisting of Adrian Borland (guitar, vocals), Graham Bailey (bass) and Adrian Janes (drums), plus an increasingly regular guest player in Bi Marshall (clarinet). (A year later, Janes having left, the Outsiders became the Sound.)
With no prior preparation other than Williams writing a set of lyrics (reputedly all based on newspaper stories), he then hired Elephant Studio in London for a day’s session. This was engineered by Nick Robbins, later to produce The Sound among others, but at that point at the very start of his career. This was no bad thing, since he was as open to the bizarre working methods of the Crazies (named after the George Romero sci-fi horror film) as they were innocent of their strangeness:improvise a song during one run-through, record it, and then move on to the next one, each to be created in the same way.
This extremely efficient method left enough studio time after recording six songs for the rest to head off for something to eat, while Williams scribbled lyrics for a final composition, ‘When We’re Dead’, which was recorded upon their return.
The surviving members (Bailey, Marshall and Janes) all recall this as one of the most enjoyable and relaxed sessions they were ever part of. The same experimental freedom and warped humour can also be heard in the albums Williams and Borland made as the Honolulu Mountain Daffodils a decade later.
Cassette copies of the resulting album were produced for all concerned, and it seems that there was an idea of making it more widely available in this format, but this was never to occur. It is only now that, with the original tape rediscovered, that the Crazies’ ‘A Simple Vision’, mastered by Nick Robbins, can at last be perceived by the wider world.

Repress


The final chapter in the Soma Track Series has Slam team up with the legendary Green Velvet for the rave inspired 'Take Your Time'.

For this one, Jack and Meg decamped to Memphis to record at the legendary Easley-McCain Studio and walked away with a bonafide classic. Unique for a White Stripes album, as it contains no covers, no guest musicians, no blues and no guitar solos, this album would be most of the world's introduction to the band.

While the video for "Fell In Love With A Girl" could've single-handedly raised the price of LEGO stock the other jams on here are momentous, from the fuzz distorted clarion call of album opener "Dead Leaves and the Dirty Ground" to the finger-pointing accusations of "I Think I Smell A Rat" this album has everything you could ever want from the Detroit duo.

Cut directly from the original 1/4" master tapes, pressed on HEAVY 180-gram vinyl and lovingly ensconced in a beauteous Stoughton tip-on jacket...this album has never looked better, and perhaps, has looked markedly worse.

We Are Vinyl release - fourth studio album by US rock/grunge legends, originally released on August 27th 1996 through Epic Records. Following a troubled tour working their previous album (Vitalogy 1994) the band went into the studio to record this follow up. The music on the record was more diverse than what the band had done on previous releases, incorporating elements of garage rock and worldbeat. Pressed on standard black vinyl (no download code). Super deluxe gatefold sleeve packaging which includes 9 insert cards. Marketing activity. Stock is limited/allocated.

The seminal Epitaph debut, Pennywise self-titled features many of the songs that have gone on to become legends in the band's live show. "Rules," "Homeless" and of course the original version of "Bro Hymn" all appear on this album. Recorded and mixed by Brett Gurewitz at Westbeach Recorders, this album helped to lay the groundwork for what would become one of the greatest punk rock bands of all time. A classic since it's original release in 1991, Pennywise stands as one of the most shredding and fearsome albums in the Epitaph catalog.

My Morning Jacket proudly announce the upcoming release of
their ninth studio album, the self-titled ‘My Morning Jacket’.
The band’s first new music since 2015’s GRAMMY Awardnominated ‘The Waterfall’, ‘My Morning Jacket’ reaffirms the
rarefied magic that’s made My Morning Jacket so beloved,
embedding every groove with moments of discovery, revelation
and ecstatic catharsis.
Produced and engineered by James over two multi-week
sessions at Los Angeles, CA’s 64 Sound, the album came to life
after what looked like a permanent hiatus for the band. But after
performing four shows in summer 2019 - beginning with two
mind-blowing nights at Red Rocks Amphitheatre - My Morning
Jacket were overcome with the urge to carry on.
That sense of purpose can be heard throughout the thrillingly
expansive ‘My Morning Jacket’. For all its unbridled joy, songs
like ‘Regularly Scheduled Programming’ and the otherworldly,
album-closing ‘I Never Could Get Enough’ once again reveal My
Morning Jacket’s hunger for exploring the most nuanced and
layered existential questions in song form while simultaneously
harnessing the hypnotic intensity of their legendary live show
more fully than ever before.
“I hope this album brings people a lot of joy and relief,
especially since we’ve all been cooped up for so long,” says
James. “I know that feeling you get from driving around blasting
music you love, or even lying in bed and crying to the music you
love. The fact that we’re able to be a part of people’s lives in
that way is so magical to us, and it feels really good that we’re
still around to keep doing that.”
CD in digisleeve with 12pp booklet.
Double LP on clear vinyl featuring a gatefold jacket with artwork
by Robert Beatty, custom inner-sleeves with lyrics and digital
download. (Once this format has sold out, a standard black vinyl
format - ATO0573LP - will be made available.)

Bill Gage is a quasi-famous singer with a raw, rock ’n’ roll voice.
Cheater Slicks are an infamous, raw, rock ’n’ roll band. Put the two
together and the resulting album is a stream-of-conscious stew of
wild, fuzz-drenched rock ’n’ roll!
Some history: both Cheater Slicks and Bill Gage’s band BILL
began in Boston in 1987, and it was sometime around then that Gage
first sang with Tom and David Shannon playing guitars, in Gage’s
bedroom in Laconia, New Hampshire. It was an intense and primal
sound that was not forgotten by those involved.
Gage’s singing has been compared to Captain Beefheart, David
Thomas, Damo Suzuki, and Yoko Ono. However, Gage clearly has his
own sound, which includes guttural yells, sweet crooning, and bluesy
meanderings—all seemingly told from a tarpaper shack porch under
the oceans of Mars.
Cheater Slicks have from the start been a brain-melting rock ‘n’ roll
dream / nightmare of a band. Steeped in the wild guitar interplay and
pounding drums of classic noisy underground rock groups (Cramps,
Scientists, Velvet Underground), they have created their own unique
and ever-evolving style that has only gotten deeper and sharper over
the years.
In spring 2018, when Cheater Slicks were presented with the idea
of a collaborative record with Gage, they wasted no time, and began
writing and arranging new songs for the project. Gage traveled to
Columbus to record at the legendary Musicol studios in November of
that year. It was a great session and came together as if it were always
meant to be. After thirty years of performing, is the world finally ready
for Bill Gage—accompanied by the seismic Cheater Slicks?
All profits from this record will benefit the Arts Resources programs
of the National Association for Down Syndrome.

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

At long last, after decades out of print, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Costin Miereanu's "Luna Cinese", part of an ongoing initiative dedicated to bring the imprint's seminal output back into the light. Easily one of the most singular and important experimental albums of the 1970s that remains as engrossing, creatively riveting, and as ahead of its time today as it was in 1975, this is as exciting as reissues come. Complete with new English translation of their original liner notes, it can't be missed!

Quentin Tarantino’s WWII film “Inglourious Basterds” was released in 2009 to both critical and commercial acclaim. The movie won multiple awards including an Academy Award, BAFTA, Screen Actors Guild and Golden Globe and, like all of Tarantino’s movies the soundtrack played a pivotal role. QUENTIN TARANTINO'S INGLOURIOUS BASTERDS: MOTION PICTURE SOUNDTRACK – which itself was nominated for a Grammy Award – is a mixture of score from legendary Hollywood composer Ennio Morricone and a selection of quirky rare tracks, amongst them David Bowie’s theme from the 1982 film Cat People. It will be available on blood red translucent vinyl.

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound. Loose, live, and brimming with energy, Sorry Ma… is a lesson in chaos.

The 40th anniversary of Sorry Ma, Forgot To Take Out The Trash is celebrated this fall with a 4CD/1LP set that offers a remarkable document of The Replacements’ formative years. Of the set’s 100 tracks, 67 have never been released before, including the first demos the band recorded in early 1980, as well as a professionally captured concert from January 1981. Along with a newly remastered version of the original album, it also uncovers many unreleased rough mixes, alternate takes, and demos from the band’s first 18 months together. The LP included in the set, titled Deliberate Noise, presents an alternate version of the original album using these previously unreleased tracks.

CD Tracklist:

1. TAKIN A RIDE
2. CARELESS
3. CUSTOMER
4. HANGIN DOWNTOWN
5. KICK YOUR DOOR DOWN
6. OTTO
7. I BOUGHT A HEADACHE
8. RATTLESNAKE
9. I HATE MUSIC
10. JOHNNY’S GONNA DIE
11. SHIFTLESS WHEN IDLE
12. MORE CIGARETTES
13. DON’T ASK WHY
14. SOMETHIN TO DÜ
15. I’M IN TROUBLE
16. LOVE YOU TILL FRIDAY
17. SHUTUP
18. RAISED IN THE CITY
19. IF ONLY YOU WERE LONELY
1. TRY ME (Demo)
2. SHE’S FIRM (Demo)
3. LOOKIN FOR YA (Demo)
4. RAISED IN THE CITY (Demo)
5. SHUTUP (Demo)
6. DON’T TURN ME DOWN (Demo)
7. SHAPE UP (Demo)
8. I HATE MUSIC (Studio Demo)
9. CARELESS (Studio Demo)
10. SHUTUP (Studio Demo)
11. OTTO (Studio Demo)
12. GET ON THE STICK (Studio Demo)
13. OH BABY (Studio Demo)
14. RAISED IN THE CITY (Studio Demo)
15. SHIFTLESS WHEN IDLE (Studio Demo)
16. MORE CIGARETTES (Studio Demo)
17. YOU AIN’T GOTTA DANCE (Studio Demo)
18. DON’T TURN ME DOWN (Studio Demo)
19. RATTLESNAKE (Basement Version)
20. TAKIN’ A RIDE (Basement Version)
21. LIE ABOUT YOUR AGE (Basement Version)
22. WE’LL GET DRUNK/CUSTOMER (Basement Version)
23. JOHNNY FAST (Basement Version)
24. MISTAKE (Basement Version)
25. BASEMENT JAM (Rehearsal)
1. CARELESS (Alternate Version)
2. TAKIN A RIDE (Alternate Version)
3. SHUTUP (Alternate Version)
4. OTTO (Alternate Mix)
5. RAISED IN THE CITY (Alternate Version)
6. RATTLESNAKE (Alternate Mix)
7. LOVE YOU TILL FRIDAY (Alternate Version)
8. CUSTOMER (Alternate Version)
9. SOMETHIN TO DÜ (Alternate Version)
10. JOHNNY’S GONNA DIE (Alternate Version)
11. I’M IN TROUBLE (Alternate Version)
12. I HATE MUSIC (Alternate Version)
13. WE’LL GET DRUNK
14. MORE CIGARETTES (Alternate Mix)
15. GET LOST (Instrumental)
16. HANGIN DOWNTOWN (Alternate Version)
17. SHUTUP (Alternate Version 2)
18. SOMETHIN TO DÜ (Alternate Version 2)
19. DON’T ASK WHY (Alternate Mix)
20. KICK YOUR DOOR DOWN (Alternate Mix)
21. LOVE YOU TILL FRIDAY (Alternate Mix)
22. JOHNNY’S GONNA DIE (Alternate Mix)
23. LIKE YOU (Outtake)
24. GET LOST (Outtake)
25. A TOE NEEDS A SHOE (Outtake)
26. YOU’RE PRETTY WHEN YOU’RE RUDE (Solo Home Demo)
27. IF ONLY YOU WERE LONELY (Working Version/Solo Home Demo)
28. BAD WORKER (Solo Home Demo)
29. YOU’RE GETTING MARRIED (Solo Home Demo)
1. CARELESS
2. TAKIN A RIDE
3. TROUBLE BOYS
4. HANGIN DOWNTOWN
5. LIKE YOU
6. OFF YOUR PANTS
7. GET LOST
8. EXCUSE ME
9. CUSTOMER
10. I WANNA BE LOVED
11. MISTAKE
12. MY TOWN
13. SHIFTLESS WHEN IDLE
14. OH BABY
15. I’M IN TROUBLE
16. JOHNNY’S GONNA DIE/ALL BY MYSELF
17. MORE CIGARETTES
18. OTTO
19. DON’T ASK WHY
20. SLOW DOWN
21. SOMETHIN TO DÜ
22. LOVE YOU TILL FRIDAY
23. RAISED IN THE CITY
24. RATTLESNAKE
25. ALL DAY AND ALL OF THE NIGHT
26. I HATE MUSIC
27. SHUTUP

repress!

Matt Jones' spark for dance music was ignited in the late 1990s, as a youngster hearing tracks by Fatboy Slim, Basement Jaxx & the Chemical Brothers. A developing interest in electronic music
led him to catch the DJ bug at 16. He soon found his niche within House music, spending every last penny on imported records by House producers such as DJ Sneak, Daft Punk, Erick Morrillo, Todd
Terry & anyone with the right beats. Soon he discovered his preferred style of house music. It all came together after witnessing an
absolutely slamming party courtesy of Chicago House Music legend Derrick Carter. Tough bass lines, Jackin' beats and infectious elodies were all the ingredients necessary. Being somewhat of a gear junkie, he later acquired a sampler in an attempt to push his DJ sets further.
Discovering it was possible to create new music with the sampler, lead him swiftly down the rabbit hole of music production.
Matt Jones' has since gone on to DJ up & down the country & produce a range of material under the House Music umbrella. Music ranging from deep warm up grooves, to Jackin' dance floor cuts,
catering for....

DENNIS BOVELL, from Barbados, based in London, England, is a legend - a bass player legend (band leader of the legendary Linton Kwesi Johnson Band) - a producer legend (THE SLITS, Fela Kuti, Bananarama, Madness, Joss Stone, a.o.). He produced the soundtrack for the critically highly acclaimed movie Babylon and the hit song "Silly Games" by Janet Kay. In recent years his works regained interest, also due to the recent rerelease of the 80's movie Babylon and his participation in Steve Mc Queens drama series Small Axe about the real-life experiences of London's West Indian community, set btw 1969-82. In 2019 Vienna's Dubblestandart produced a limited selection of reworks of reggae classics of Dennis Bovell's 1980's band Matumbi, Steel Pulse, Burning Spear, Twinkle Brothers, Culture a.o. , focusing on works that have been pivotal for the inspiration of Dubblestandart's bandleader Paul Zasky. Nicolai Beverungen, dub reggae label headman of ECHO BEACH outta Hamburg/Germany, invited DENNIS BOVELL to "REPULSE" the album at Robbie Ost's GoEAST Studio. Dennis felt inspired, loved the idea, re-voiced the songs, added a couple of guitar lines and also re-dubbed the album. "Repulse" Reggae Classics features DENNIS BOVELL on vocals and as a dub producer in co-operation with Robbie Ost from Dubblestandart, mixing on a legendary E - 6000 solid state mixing board (taken over from TEARS FOR FEARS studio in London), using selected vintage outboard Analog equipment, developing a distinctive dub reggae sound for this coming up 2021 release. What do songs like "I'm No Robot", "Babylon The Bandit" or Matumbi's "Hypocrite" have in common? All of them were written during the 1980's of the last century, but never lost their contemporary accuracy, still perfectly criticizing and analysing the "pulse" todays political leaderships and societies controversial points of view, have, while entering the digital age. Re- Pulse 21!

DeLaChaud is the home and record label of krewcial.

A young veteran in the game, krewcial released solo albums on PlayItAgainSam and UK’s BBE in the early 2000’s. With longtime friend Lefto, he sampled jazz’s greats for a beatdriven album on the legendary Blue Note label. He's also released records on Nervous, Lumberjacks In Hell, We Play House, Mysterious Works, Midnight Riot and GAMM.

krewcial's DJ-sets reflect his broad musical tastes: centered around disco and house and adding touches of latin, funk, boogie, hiphop classics and afrobeat anthems into the mix. As long as it’s soulful and keeps the dancefloor in motion, there’s a chance he’ll play it. He has shared decks with disco legend John Morales, Marcel Vogel, Mr Mendel, Lefto, DJ Suspect, Mr. Leenknecht and opened for Hiatus Kaiyote, Sergio Mendez, Angie Stone, Cassandra Wilson, Common, Jill Scott, and many many more.

Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan

Nanocluster Vol 1. is an album with some serious pedigree. It sees Immersion (aka Malka Spigel and Colin Newman of influential groups Minimal Compact and Wire respectively) collaborating with some of the finest left field artists of our era: Tarwater, Laetitia Sadier, Ulrich Schnauss and Scanner. The project was born out of a Brighton based club night, also called Nanocluster, run by Spigel and Newman alongside writer, broadcaster and DJ Graham Duff, and promoter Andy Rossiter. The club features a range of influential and cutting edge music acts. But the unique aspect of the evenings is that each show climaxes with a one off collaboration between Immersion and the headliners. The songs having been written and recorded in the studio in just three days prior to the performance - or one day in the case of Schnauss. "It could have just been a series of performances." Says Newman.? "But the fact that we had built the tracks in the studio for the performances means we had these recordings." Says Spigel. The recordings have since been developed with Immersion heading up pro- duction duties. The result is a beautiful and unique album.? "I think the really interesting thing is how different everybody is," says Spigel. "Both as people and creatively." - Immersion and Tarwater: The German duo of Ronald Lippok and Bernd Jestram have created an impressive body of work. Yet their involvement with Immersion has opened out their sound, creating a more panoramic soundscape. The opening instrumental 'Ripples' is a gentle breathe of optimism, all purring tones and sun dazzled synths. Meanwhile, 'Mrs. Wood' is a dubby psychedelic shuffle, Lippok's vocal cool and assured over a fat bass line and skybound eastern melodics. It feels like a more spacious take on the Tarwater of albums such as 'Suns, Animals and Atoms'. The four musicians' 3rd collaboration is Nanocluster's most pop moment: with a heartfelt yet unsentimental lyric unfurling over feline rhythms, 'All You Cat Lovers' is a feel-good anthem for cat lovers everywhere. - Immersion and Laetitia Sadier: An original and distinctive presence in contemporary music, Sadier made her name with the inimitable Stereolab, but she's also created several impressive solo works. The instrumental 'Unclustered' sees Sadier's spidery guitar weaving through Immersion's lush web of synths drones. The following 'Uncensored' has a subtle melodic tug with a classic Spigel guitar line underpinning Sadier's sweet yet worldly wise vocal. 'Riding the Wave' is another feel good song, swapping between Newman's plaintive vocal, and Spigel's vocal and Sadier's backing vocals. With its uplifting chorus: 'Things have a way of working out' 'Riding The Wave' feels like it might be the sound of the summer we've all been waiting for. - Immersion & Ulrich Schnauss: A highly respected solo artist, as well as being a member of Tangerine Dream, Schnauss' skill with electronics is legendary. The opening 'Remember Those Days On The Road' skips along on a rimshot rhythm with Spigel's honeyed vocal telling a tale of life on tour. Yet it is far removed from such usual fare. This feels vulnerable and flecked with melancholy. 'Skylarks' opens with a lattice of arpeggios before a gently nag- ging guitar enters and everything takes a turn for the sublime. 'So Much Green' is everything you'd hope a collaboration between Newman, Spigel and Schnauss could be. A constantly spiralling urban-kosmisch, with Spigel's plangent bass anchoring the celestial sounds. The addition of her wordless backing vocals and recordings of real birdsong only serve to elevate the mood further. - Immersion & Scanner: Scanner - aka Robin Rimbaud - is one of the most prolific and diverse artists currently working in contemporary music. Spigel and Newman have of course collaborated extensively with Rimbaud before: alongside Max Franken in the art-pop group Githead. But this is something very different. Their opening piece together: 'Cataliz' is the album's moodiest moment. With its serpentine synth drones it sounds like the soundtrack to a mysterious thriller. The rich pulsing 'Metrosphere' recalls Immersion's early work whilst adding another layer of grainy uncertainty. The closing 'The Mundane and the Profound' opens with a "Rimbaud scanned" recording of an irritated flight attendant but this is eventually subsumed by a simple yet emotive piano figure: a gentle and touching end to a unique collection of songs. Nanocluster Vol.1 is a testament to a remarkable synergy between a diverse assembly of strongly individual talents. The fact that it not only succeeds, but excels should be cause for celebration.

Since slipping out on Leng last year, Paul ‘Mudd’ Murphy’s first collaboration with singer/songwriter David Harks, ‘Susta’, has become a much-played modern Balearic classic, with DJs and listeners alike responding to the track’s attractive blend of sun-kissed nu-disco instrumentation, warming melodies and deliciously evocative lead vocals from Jaanika Leino AKA JaneLy. Now the track returns for 2021 in the shape of two superb new remixes from Chicagoan deep house legend Ron Trent, who four years ago delivered similarly ear-catching revisions of Mudd and Pollard’s ‘Far Away’ as part of the 10th anniversary celebrations for Murphy’s Claremont 56 label.



As you’d expect given Trent’s impeccable track record over the last three decades, both revisions are stunning. He begins by eking every last ounce of soul from Leino’s brilliant vocal on a remix that’s warming, deep and luscious. Combining elements of Murphy and Harks’ colourful, synth-heavy original mix – including the lusciously tactile bassline and boogie-style synth flourishes – with his own yearning chords, hand percussion sounds and a shuffling, samba-tinged house beat, Trent re-imagines ‘Susta’ as a future vocal deep house classic. Melodious, musically intricate, infectious and summery, it’s a remix for the ages. It comes accompanied by a Dub Mix that successfully shows off the intricacy of Trent’s production and additional instrumentation while keeping both eyes firmly on the dancefloor. Beginning with effects-laden synth sounds reminiscent of the mid-‘80s proto-house classics by Paul Simpson, Winston Jones and Boyd Jarvis, the mix sees Trent skilfully add selected snippets of Leino’s lead vocal to a backing track rich in delay-laden synthesizer sounds, reverb-rich chords, echoing percussion hits and chords so warming they feel like a late-night, loved-up bear hug for your ears. Like the A-side vocal version, Trent’s dub is breath-taking and spine-tingling in equal measure.

FRAK IS BACK! ...and back they are, under a new moniker for Lost Control 2097 as dj Willie Oboe. Residing from Sweden, legends in acid and techno, countless releases spanning 30 years under the Frak alias, history, history, etc, etc. We don't need to give you a long bio for this EP, it speaks for itself. For the 2nd release on the label, we (& dj Willie Oboe obviously) are offering you 4 slices of plasma house and cybernetik techno served up with a slithered seasoning of mastering from audio demi-god 'Patrik Book'. This is for all the people that went to the space raves of 2088, this is for the people dancing in the fields of Mars in 2092 and this is for the people who built the plasma machines so we're able to bring these futuristic sounds back in time to 2021. WHERE WERE YOU IN 2092?

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

First-time limited-edition reissue of this mega super-crazy rare US hard
rock/metal heavy psych private press LP from 1981, Limited deluxe
edition of 499 copies.
Includes an insert with line notes and photos. Golden Dragon were a wild Filipino-American quartet from the Bay Area lead by Freddy Mabuhay. The album
is filled with heavy blazing psyched out metallic rock, blistering guitar solos
loaded with fuzz and wah, heavy riffs and stoned vocals.
Freddy was the bass player in the legendary band Dakila who had a fantastic album out on Epic in 1972. Later in 1978, after playing the Diamond Head Crater
Festival in Hawaii, Freddy formed his own group; Golden Dragon.
In 1981 he and his band; consisting of his brother and two musicians from the
legendary Bay Area punk band VKTMS, recorded the amazing Golden Dragon
album. The album was only pressed in a few copies to be sent out as a demo to
secure a record deal. Unfortunately, the deal never happened, and the album
stayed unreleased and pretty much unobtainable for all these years.
The short lived, but lethal, Golden Dragon band performed live at the legendary venue Mabuhay Gardens, aka The Fab Mab, in San Francisco. Sadly, Freddy
passed away shortly thereafter, and the mighty Golden Dragon’s music stayed
obscure growing to mythical status among hard rock and psych rock aficionados. Subliminal Sounds has now put together this release in cooperation with
the surviving musicians. It’s finally time for the world to experience the mighty
sound of Golden Dragon!

Spiral Grave are comprised of extraordinary
vocalist Screaming Mad Dee, Iron Louis Strachan
(bass), Mot Waldmann on drums and ex-Lord
guitarist Willy Rivera. They were formed in 2018
after the tragic death of their long-time bandmate
Alfred Morris III, founding member of the iconic
Iron Man.
 Setting the mood for classic heavy as hell and in
your face doom metal, US Maryland’s Spiral Grave
quickly carved a place for themselves in North
America’s heavy music scene, playing wellreceived sets at The New England Stoner Doom
Fest and The Maryland Doomfest.
 ‘Legacy Of The Anointed’ is not a sixth album by
Iron Man, as this up-tempo doom metal has more
speed, swagger and groove with a swampy edge.
 For fans of Iron Man, Down, Cathedral, Black
Sabbath, Earthride.
 LP pressed on clear silver vinyl.

ArtPlay and Brave Wave Productions are proud to unveil their first soundtrack collaboration : GS-011: Bloodstained: Ritual of the Night The Definitive Soundtrack for vinyl.

Contains 4x 12” 150g black vinyl discs, art-decorated sleeves, a full color booklet, and download code for high-fidelity digital versions all 46 tracks.

Originally funded via Kickstarter in 2015, Bloodstained: Ritual of the Night, spearheaded by legendary game creator Koji Igarashi, was released in June 2019 to critical success. One highly rated element of the game was its melodic, moody and catchy music, composed by Michiru Yamane, along with Keisuke Ito, Ryusuke Fujioka, Atsuhiro Ishizuna and Ippo Yamada.

GS-011: Bloodstained: Ritual of the Night The Definitive Soundtrack will come in a 4-LP box set containing all 46 tracks. The set will come with a booklet containing liner notes (in English and Japanese) from Michiru Yamane and Koji Igarashi.

Originally released in 1989, Dead Moon’s second album is an absolute masterpiece even by their high standards.

The record that built the legend and cemented the band as the greatest rock and roll act of the 90’s. Features some of Fred Cole’s catchiest hooks and heaviest songwriting including favorites like “Dead Moon Night” and “54/40 Or Fight”.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

After a first volume released in September 2020 on Hard Fist, Argentinian Balam comes with “Chants of Pachamama (Part. 2)”, including a remix by Matias Aguayo.

This time Balam focuses on the experience around the ritual of magic plants that is practiced in the deep South-American rainforest. By mixing modular synth, stromping basslines, haunting vocals and real played percussions produced in his studio “Submarea” in Buenos AIres, he recreates a psychedelic trip from beginning to end.

The opening track “Yagé” is the name for a magic plant that can be found in many places in South America. With a tight djembe, the magician comes with his chants for starting the ceremony just before the bass bursts for a pagan dance. An irresistible lead synth takes the climax higher until the break where the magician enters the void and the psychedelic trip begins.

“El Curandero” – the chaman who leads the ritual – is the second tune of a frenetic organic and modular percussion bass driven dance stomper. Blazing synthesizers create a state of confusion and hallucinations when “el curandero” chants his icaros. The djembes and shakers move behind the heavy bassline while analog ding and dongs go crazy all over.

The second last track “Golfo”, just before the remix, is an instrumental tune, the end of the experience: heavy synthetic percussion, modular ambient sounds, a modal marimba and a very present djembe jamming until it fades in the analog night.

The closing track is a great reinterpretation of “Wakax” from “Chants of Pachamama (Part 1)” by the legend Matias Aguayo. A dark and heavy bass mixed with a tricky use of lots of the original elements makes you wanna twerk all night long.

Der renommierte Komponist/Regisseur John Carpenter und seine kreativen Mitstreiter Cody Carpenter und Daniel Davies haben auch zum zweiten Teil der neuen "Halloween"-Trilogie, "Halloween Kills", den Soundtrack beigetragen. Wie der Film selbst bleibt auch Carpenters Filmmusik dem Geist dessen treu, was das Original von 1978 so großartig gemacht hat, und bringt es gleichzeitig fest in die Gegenwart. Die Musik ist unverkennbar John Carpenter: die düsteren Vintage-Synthesizer-Klänge, das atemberaubende Gefühl der Bedrohung, das mit nur wenigen dissonanten Tönen hervorgerufen wird. Doch mit einer breiteren Klangpalette, neuen digitalen Techniken und einem tieferen Sinn für Musikalität ist der Score zu "Halloween Kills" das Werk eines Meisters, der auch nach fast 50 Jahren in seiner Karriere immer wieder an seine kreativen Grenzen geht und neue Wege findet, seine Fans zu begeistern und zu erschrecken. John Carpenters hypnotisches Thema zu seinem Horror-Meisterwerk "Halloween" aus dem Jahr 1978 hat mittlerweile für Generationen von Kinobesuchern die Angst vor Slasher-Stalkern verkörpert und sich so sehr in die Popkultur eingewoben, dass es zum musikalischen Kürzel für das gesamte Horror-Genre geworden ist. Es sind nur fünf Noten, die auf einem Klavier gezupft werden, so spärlich arrangiert, dass es sich wie kaum mehr als eine Skizze anfühlt, so einfach, dass ein ungeübter Spieler es leicht aufschnappen kann, aber es ist eine der größten musikalischen Errungenschaften des Kinos. 2018 kehrte Carpenter zum ersten Mal seit "Halloween III: Season of the Witch" von 1982 zu dem Franchise zurück, das er mit seiner ikonischen Schöpfung ins Leben gerufen hatte, ließ die 40 Jahre an Fortsetzungen und Reboots unter anderen Filmemachern hinter sich und kehrte zu seiner ursprünglichen Vision zurück. Während David Gordon Green die Regie für den neuen "Halloween"-Film und seine Fortsetzungen übernommen hat, ist Carpenter geblieben, um ihnen ihre unverwechselbare akustische Identität zu verleihen, die zu "Halloween" gehört wie die Totenmaske und das schimmernde Schlachtermesser von Michael Myers.

Released via Sony CMG - heavy metal legends mark an incredible 50 year career with a brand new collection of 16 tracks including remastered studio recordings and 7 previously unreleased live cuts from the band’s archive. Restored and mixed by Tom Allom at La Cucina W8 and mastered by Alex Wharton at Abbey Road Studios. Available on CD and 2 LP gatefold heavyweight red vinyl (limited/allocated). Promo/marketing activity across all media outlets.

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

A live performance from May of 1970 in Rotterdam, Groupcomposing features a North Sea-crossing ICP lineup of British free improv luminaries Derek Bailey on guitar, Evan Parker on saxophone, and Paul Rutherford on trombone, along with ICP mainstays Han Bennink, his brother Peter, Misha Mengelberg, and Peter Brötzmann. The first side, "Groupcomposing, Part 1" is a nearly all-out assault with the reeds trio and Rutherford's trombone blasting nigh-continuously for the album's first side, culminating in a blistering Peter Bennink bagpipes solo. "Part 2" acts at first as the comedown, beginning with a playful piano and percussion back-and-forth before meandering a dark, brooding, path of trill horns to the album's eventual, tense conclusion.

Recorded just a few years into the ICP's long tenure, it is hard to think of a release more representative of the label's musical principles – or, more broadly, of the power of free group improvisation – than the aptly-named Groupcomposing. This limited reissue marks the first time the album has been in print on vinyl in over forty years.

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

The ICP Tentet's Tetterettet is made up of recordings from 14-17 of September, 1977, cut and spliced together by pianist/composer Misha Mengelberg in a style similar to Teo Macero's work with Miles Davis. The first side is taken up entirely by Mengelberg's multi-part title track that breaks in and out of different tempos, with a loose arrangement style owing more than a bit to Charles Mingus' finest work on Black Saint or Ah Um.

Traversing across decades and styles from free-jazz funereal marches, to carnivalesque excursions, broken piano rolls, and ear-splitting skronk, ICP Tentet show remarkable skill and chops in both their compositional craft and improvisational symbiosis. There's a playful undercurrent here that finds its home in some previously uncharted land between Mingus and Spike Jones.

Featuring numerous ICP regulars along with the brilliant Alan Silva on bass, and a return to the fold of the amazing saxophonist John Tchicai, Tetterettet is one of the best of ICP's larger group recordings; humorous, unnerving, and ultimately, quite beautiful. This limited-edition reissue marks the first time this album has been in print on vinyl since its initial release.

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

Yi Yole – recorded in 1978 – was the first time the legendary South African saxophonist Dudu Pukwana had worked with the ICP. An innovator in the genre of Cape Jazz with the Blue Notes – which also featured Chris McGregor, Louis Moholo, and Johnny Dyani – who fled the apartheid regime for London in 1964, Pukwana's style is the perfect complement to ICP co-founders Han Bennink and Misha Mengelberg, who round out the trio here.

Relaxed and somewhat understated for the ICP catalog, Yi Yole is the one and only time these leaders in European free improvisation would record together in a trio setting. This limited reissue marks the first time the album has been in print on vinyl since its initial release.

There’s a mystique in things that appear in threes. In Greek mythology it represents harmony, wisdom and understanding: for Pythagoras it’s the smallest number needed to create a pattern, the perfect combination of brevity and rhythm, while in literature there’s no story without a beginning, middle and end or past present and future. Summed up in the Latin phrase omne trim perfectum, for Southampton based songwriter Ian Miles (Guitarist/Songwriter with UK band, Creeper) the perfect trio presents itself as Degradation, Death and Decay. Inspired by performance art of the 70s and Halloween — taking cues from the visual legacies of Robert Rauschenberg and Serbian film maker Marina Abramovic while musically drawing on bands such as Conor Oberst, Leonard Cohen, R.E.M and The Cure — this first full-length is more art horror project than album. “I never really seen this as a solo project because I’ve been writing and recording acoustic music since I was about 15. I low key released some very old songs way before Creeper started and even during,” says Miles about choosing to step out on his own. “I don’t want to be the focus of this record, it’s not about me so I have decided to hide me. I want people to solely focus on the art.” Layered with haunting vocals and a myriad of rhythmic textures, Miles sets out to explore one of natures most habitual cycles: our individual journeys though life, that life eventually coming to an end and acceptance, striving to give the listener full control over the art rather than focus on the inherently human force behind the mask.

“The noisiest pop music on the planet” - Pitchfork Austin, TX’s cult noise rock trio CHERUBS return with their new EP, SLO BLO 4 FRNZ & SXY. A follow up to their critically acclaimed Immaculada High (2019), the new EP capitalizes on the musical frenzy and shining moments of the latest full length, resulting in another dose of the legendary band's take on punk infused noise rock. Lead track "A Pair of Pear Tarts" explodes out of the speakers - Kevin Whitley's vocals are at the forefront once again, backed by absolutely raucous drumming and whirry, fuzzed out bass and guitars. "Lazy Snakes" continues this momentum; the trademark psychedelic qualities of CHERUBS heaviness are at the forefront as drums rinse and repeat as the song builds and builds. Elsewhere on the EP, Immaculada High standout "Sooey Pig" is converted into an acoustic anthem, giving the track new dynamics and heights. For Fans Of: The Melvins, Metz, Queens of the Stone Age, Unsane, Butthole Surfers

Sweden’s Aeon return God Ends Here, and in doing so, up the ante with a record that is bigger, harder and stronger in every way. A darker, even more epic collection, it is everything an Aeon fan could want with a few surprises in store, pushing the genre in new directions and once again asserting that they are one of the most important bands in extreme metal. With dramatic artwork by Italian artist Paolo Girardi the final piece of the puzzle, the finished package extends Aeon’s legacy and gives the genre the push that was intended from the outset. They may have been gone a long time but make no mistake: Aeon are back, and God Ends Here will lay waste to all.