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1967 Debut with original 'First Cut…Hi es mastering' 96khz-24 bit

Following on from his previous two KPM-esque library music releases for the label (Plastic Thought & Wyped Out) Debossed sees Howe ramping up his sound into more rhythmically expansive weirdo club-music territory, taking in everything from footwork, drum & bass, electro, juke and breakcore. The Japanese jazz inspired melodic phrasing is as present as ever, which is paired with affectionate nods to Dreamcast gaming & skate video soundtracks, making for a very fun, fresh and generous listen.

“A master of tricksy computer music.” - The Wire

“The return of Glasweigian, Joe Howe: a prolific noise maker who you may have otherwise known as Ben Butler & Mousepad & Germlin. He’s been doing wonderful things for many years and there’s a whole world of Joe Howe if you want to get involved!”. - Tom Ravenscroft (BBC 6 Music)

Meine Damen und Herren, entdecken sie mit uns das Bernsteinzimmer der guten Musik: Christian Steiffen ist der Künstler, den unser Land in dieser schwierigen und orientierungslosen Zeit braucht. Sein übernatürliches Selbstbewusstsein und sein klares Weltbild können Hoffnung und Vorbild sein, Halt und Trost spenden. In seinen Texten ist er oft schonungslos, auch sich selbst gegenüber! Mit Hymnen wie "Ich hab die ganze Nacht von mir geträumt", "Sexualverkehr" und "Eine Flasche Bier" hat er sich schon zu Lebzeiten unsterblich gemacht.
Und wenn er sagt: "Ich fühl´ mich Disco"!, dann tut er es auch!

In a partnership between Lost Realm Records and Classic Metal Records, we bring you the vinyl edition of Sacred Alien's first studio album "The World Doesn't Care About You" In 2020 we already had the opportunity to work with these NWOBHM legends, with the vinyl release of "Legends" (compilation of studio and unreleased songs recorded between 1980 and 1983), which was a success given the tremendous acceptance by fans and followers of this British band.

An edition that was sold out in less than 2 months! "The Universe Doesn't Care About You" is the logical continuation of the band's legacy. With a total of 9 songs, Sacred Alien once again offers us a sonic journey between parallel universes, extraterrestrial forces and the meaning of life.

And once again with a reissue of a rare record that's highly sought after by collectors around the world. After the great undertaking we conducted with lost metal bands like CHILD SAINT and more recently with KNIGHTMARE II, it is with great pleasure that we bring you the first official reissue of TRAITOR and their mini-album "Shot Down"! All those who are familiar with "Show Down" know that it is impossible to remain indifferent to songs like "The Way It Used To Feel", "Have You Ever" or "Feel The Steel".

Formed in 1984 in Bellflower, California, TRAITOR began their short-lived career with the release of the one- sided flexi- single "Feel The Steel" that same year. In the following year, they would release the mini- album "Shot Down" containing a total of five original songs, which takes us unquestionably to the best US Metal made independently in the 80s. We are delighted to bring the first ever official reissue of "Shot Down" on vinyl.

A limited edition with the quality that Lost Realm Records has accustomed you to. With a total of 12 tracks, this reissue will feature the 5 songs from the original "Shot Down" version released in 1985, as well as an alternative mix version, never released before! All tracks fully remastered for the best sound experience.

The band formed in Boone, North Carolina. (Robbinsville, North Carolina is the hometown of Ethan Goodpaster and Jess Haney.) Rainbow Kitten Surprise, ""RKS"" for short, is known for its harmonies, instrumentation, and lyrics. Their sound has been influenced by artists such as Modest Mouse, Kings of Leon, Frank Ocean, and Schoolboy Q.

The band formed in Boone, North Carolina. (Robbinsville, North Carolina is the hometown of Ethan Goodpaster and Jess Haney.) Rainbow Kitten Surprise, ""RKS"" for short, is known for its harmonies, instrumentation, and lyrics. Their sound has been influenced by artists such as Modest Mouse, Kings of Leon, Frank Ocean, and Schoolboy Q.

Produced by Ross Hamilton (Buzz Killer), 'Island.' gives the band an opportunity to take their sound to new heights, boasting an incredible fusion of gargantuan altrock with undeniably contagious 80s inspired choruses. For the band, Island. represents 'a dreamlike state or place where you feel no fear.

Negative or toxic influences are silenced. Your wildest dreams and aspirations become your reality. Waves of anxiety that would previously crush you cannot reach you. Ultimately it's a place where you take control.' and this sentiment can be distinctly felt across lead singles 'Fear', 'Waves' and 'Block Out The Noise'.

Spread between Scotland, the Midlands and South England, DAYTIME TV released their debut album nothing's on but everyone's watching in 2022, recorded with GRAMMY-nominated producer Romesh Dodangoda (Bring Me The Horizon, Twin Atlantic, Lower Than Atlantis).

The singles also smashed onto Spotify's New Music Friday, All New Rock, The Rock List and shockwave playlists, alongside support from DORK Magazine, The Punk Site, Noizze and many more alternative tastemakers. Featuring the high- pitched snarl of Jamie Glass, the melodic guitar stylings of James Simpson, the rhythmic force of Rob Simpson on drums, and the ribcagerattling basslines of Oliver Nunn, Indoor Pets have finally returned triumphant from their self- imposed hiatus with the promise of tour dates, a behemoth sophomore album, and a far darker mood.

This extraordinary collaboration marks the master musicians' first recorded collaboration, resulting in one of the most anticipated releases of the year. Central Park's mosaic of reservoir, lake, paths and gardens is a testament to the enduring power of artistic connection and the evolution of musical mastery.

Featuring live versions of songs from that album, shining a light on female composers and vocalists from the classic age of jazz, this album captures the racuous and occasionally hilarious energy of a Judith Owen live show.

The formation OREGON has surely been well- known to most jazz and classical music enthusiasts.

During the past 50 plus years of band history, OREGON has become a synonym for genre-crossing music of the finest. Emerging in 1970 from the legendary Paul Winter Consort, OREGON, right from the start combined elements of jazz with those of symphonic classical music and what is known today under the makeshift term "world music".

If one takes into consideration that integrating musical elements from non- "western" cultures wasn't exactly common back then, this band's pioneering status is all the more clear.

Though their album was cut in two days over the course of 2 eight hour sessions their arrangements shine through what was a scattered recording session. "We really worked hard in the studio even though we didn't have enough time to do all the things we wanted to do with music," bassist Robb Murphy remembers. "We were pretty excited. We just had no experience with that sort of thing. We had heard things but never had any experience.

We were really babes in the woods. It was a terrific experience looking back on it. It was really a hell of a lot of fun, we loved the idea of being able to overdub even though we didn't get to do too much of that, it was still fun. That was pretty high tech in those days, being able to lay down a couple of tracks with your voice." guitarist Mike Barnes recalls.

Similar to the Bosstown sound (Orpheus, Ultimate Spinach), Tiffany Shade lean towards harmony-driven vocals that combine their clever pop sensibilities with a versatile showcase of keys, organ, and scintillescent guitars. After their album's release in '68, they had the opportunity to open for Big Brother & Holding Co., but because of poor sales (and like many Mainstream artists) the band didn't last and went their separate ways in '69.

This country-blues psych album was originally released near the end of 1970, and though it was their sole album, December's Children are a good example of how music was changing between the end of the '60s and beginning of the '70s. Accented by psychedelic keys & organ (especially in "Trilogy"), it's been described as Texas garage rock, with funky, hook driven guitar - particularly in "Sweet Talkin' Woman" and "Last Monday Night."

As an organism, Blood circa Loving You Backwards, was a six piece. Tim O'Brien is the lyric writer, but the song writing and arrangement is a painstakingly collaborative process in which the band aims for democracy over swiftness.

The record also features the band's first major work with the producer Daniel Enrique Howard, whom the band recorded with at his studio in Brooklyn. Howard helped guide Blood into this new sonic territory. It is not a bedroom project, but instead fully realized, somehow sounding both intimate like Liz Harris' Grouper feels intimate and totally vast in the way that a Talk Talk record feels vast. It's in the same universe as Ought in its earlier iterations.

Straight from Rio de Janeiro, Dippin' Records introduces the studio album 'ASA', by the sizzling hot modern Brazilian Multi-instrumentalist/Producer Fabio Santanna. Flyest modern Brazilian tropical disco-boogie you'll find in the market! Following up on his most recent collaborations with JKriv and Joutro Mundo, Fabio modernizes the MPB vibes of Joao Donato, Marcos Valle, Ed Motta for the current dance music lovers.

ASA: Dia (Day) evokes a sunny Balearic boogie 'day time' feels just in time for the Brazilian summer skies opening up. So sit back, put on your shades and sip on your tropical drinks and press play to vibe with the fabulous Fabio sounds.

Fire-splattered vinyl is opaque red vinyl with yellow & orange starburst. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. Originally self-released in 2013, Minecraft Volume Beta was C418's longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set Rosenfeld's unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.

2024 Reissue

Transparent grünes Vinyl! Wieder lieferbar! Zum ersten Mal überhaupt seit der digital-only Veröffentlichung 2011 erscheint nun der erste "Minecraft"-Soundtrack in physischer Form. Die Vinylversion enthält zwölf Tracks! "Minecraft - Volume Alpha" ist das Werk des deutschen Komponisten und Musikers Daniel Rosenfeld. Unter seinem Künstlernamen C418 erschuf Rosenfeld den weitreichenden Soundtrack und das lebendige Sounddesign, das das auf Voxel aufgebaute Universum von "Minecraft" zum Leben erweckte. Fans und Kritiker waren durch die Bank weg begeistert von seinen beatlosen, ausgewogenen Electro-Stücken. Die bekannte Gaming Seite "Kotaku" führte den Soundtrack unter der "Best Game Music" 2011 und nannte die Musik "beeindruckend beruhigend", während The Guardian die zerbrechlichen Stücke Rosenfelds aus Klavier und minimalistischem Ambient mit den legendären Künstlern ERIK SATIE und BRIAN ENO. In einem Interview destillierte Polygon "Volume Alpha" auf seine Essenz hinuntern: "Der Soundtrack ist nicht gebunden an die Retro-Ästhetik der Minecraft Graphik. Der Soundtrack setzt sich über sie hinweg. Das Album ist ein Versuch, die kombinierte Game/Music Erfahrung in etwas Himmlisches zu übersetzen."

A selection of 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983.

“Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together.

The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia.

After digging deep into the overwhelming archive of Discos Fuentes in our previous volume, this second instalment in the series “Cumbia Cumbia Cumbia!!!” comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Legally established on July 1, 1950, Zeida (later Codiscos) was one of the companies that consolidated Medellín as the epicenter of the Colombian recording industry in the central decade of the last century.

“Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

More astonishing new music from Jason Boardman's BiD imprint.
KlangKollektor is a solo project by Lars Fischer (the drummer with the Psychedelic Cumbia band Trak Trak from Nurnberg.)
The clips here only tell half the story, these are meticulously evolving and utterly absorbing pieces.
A stellar collection of seven dubwise tracks over 4 sides with a Techno and Balearic influence.

Son Mieux is a collective formed around Dutch singer, songwriter & producer Camiel Meiresonne. Once the keyboard player in Soul Sister Dance Revolution and in his young years frontman of All Missing Pieces. After playing in bands since he was eleven years old, he is now a grown young man, ready to invite the world into his own. Son Mieux writes his songs in the after hours, which make his songs both intimate & alive. By combining folk, indie and electronic music, he manages to create a unique sound and to process the expressions of his personality in his music.

The past two years have been an accumulation of highlights for Son Mieux. Single 'Even' became 3FM Megahit, debut EP 'Vice Versa' (2016) was streamed more than 6 million times and the song 'Easy' was used under major advertising campaigns from ING, McDonalds and Deezer. The band toured the country with sold-out club shows, festivals such as Zwarte Cross and Where The Wild Things Are.

In 2017 and 2018 they took their time to write the debut album. With singles 'Hiding', 'Everyday' and 'Old Love', the debut album Faire de Son Mieux makes a more mature and fuller sound. Together with producer Thijs van der Klugt (Douwe Bob, Sue the Night), a deepening was sought without losing the characteristic Son Mieux sound.

Faire de Son Mieux is available as a limited first pressing of 500 individually numbered copies on white vinyl. The package includes 5 exclusive inserts with song lyrics and photos.

Both Tymon Dogg and Richard Dudanski had musical roots playing in The 101'ers with future Clash singer/guitarist Joe Strummer. All three shared a deep love for southern Spain, due perhaps to the influence of the Romero sisters, Paloma (later "Palmolive" of The Slits) and the artist Esperanza, who were among the first Spanish punk refugees in London. Tymon's career began with beguiling interactions with Apple Records, The Moody Blues and future Led Zeppelin members John Paul Jones and Jimmy Page before he discovered his true musical self as a punk / folk experimentalist, opening shows for the likes of The Slits, Raincoats and Pop Group and becoming the longest-running musical foil in Strummer's career, continuing into The Clash and Mescaleros. Similarly, Richard played in Basement 5, Public Image Ltd, The Raincoats and others before following Esperanza back to Granada...which subsequently became second home to Tymon and Joe. Spain is not without its own punk heroes, and chief among them was Granada's Antonio Arias, another pal of Joe's and leader of Spain's musical heroes, Lagartija Nick, which also included Dacoits members Juan Codorniu and JJ Machuca. Antonio sings the albums two Spanish-language songs. while Tymon sings the other nine...and there's an instrumental, "Mongols", which the band considered too epic as a stand-alone instrumental to mess with! Tymon sings three songs from his past: "The Wheel Of Life And Death" has been heard before as a live bonus track on the expanded reissue of "Battle Of Wills", "Conscience Money" was heard in a very different version on the impossible-to-find "Made Of Light" album, and an embryonic take of "Something To Prove" turned up the even rarer 1989 solo album, "Relentless". If you imagine the playful elasticity of "Sandinista!" recast into a more straightforward record, with Tymon taking the lead on something more than that album's "Lose This Skin", you're halfway there. Guests include Killing Joke bassist / famed producer Youth and Dr Robert from The Blow Monkeys

After several successful singles, Ella’s only Sound Stage 7 release was recorded at Music City Recorders in Nashville, Tennessee. The self-titled LP is all classic, no filler and surely ranks among the deepest soul in her catalogue. Full of strong ballads that showcase her raw and emotive style each song is perfectly arranged to showcase Ella's powerful vocals. Standout tracks include ‘Sit Down and Cry’, ‘All The Time’, and ‘ Stop Giving Your Man Away’. The LP also features Ella’s 1969 hit ‘He Called Me Baby’ which entered the top 40 R&B charts and garnered a Grammy nomination. Newly remastered and pressed on audiophile virgin vinyl. Limited to only 500 copies.

Snakes of Russia ist das von Joseph Holiday - Ektronischer Musik mit zeitlosem Appeal. Seine Reise begann mit der EP 'At Home Alone With Lions', was zu Remixen, Filmkollaborationen und Auftritten für Ableton und Spitfire Audio führte. Nun steht sein Debüt-LP 'True Surrender' im Mittelpunkt, eine Zusammenarbeit mit dem Metal-Produzenten Kurt Ballou. Aufgenommen im God City Studio in Salem, MA, erforscht es einen schwereren, texturierten Sound, der Synthesizer mit Gitarrenverstärkern und Drum-Maschinen verbindet. Während der kreative Prozess im God City begann, spielte Josephs Heimstudio in LA eine entscheidende Rolle bei der Verfeinerung und Fertigstellung der Produktionsphasen. Der letzte Schliff kam von Justin Weis bei Trakworx Mastering in San Francisco, um die makellose Erhaltung jeder klanglichen Kontur und emotionalen Essenz zu gewährleisten.

Repress!

repress !

Following acclaimed singles from Powell, Blood Music, Shit & Shine and Prostitutes, the next release from Diagonal is a landmark. It marks both the London label's first full-length album release, and the return of abrasive and furiously funky hip-hop deconstructionists Death Comet Crew, one of the most quietly influential underground acts to emerge from the creative melting pot of 1980s New York.

Ghost Among The Crew documents the group's return to studio operations for the first time since the 80s, as well as their first ever full-length studio album. It's a remarkable trip: a consolidation of their early feral disassemblies of hip-hop and electro, but also broader in scope, chewing up and spitting out fragments of soul, jazz fusion, punk and industrial music.
Death Comet Crew were founded in New York City in 1983 by Stuart Argabright, a founder member of post-punk/industrial mavericks Ike Yard and the mind behind Dominatrix and later Black Rain. Their sound, then as now, was a singular proposition: urban in mood, exploratory, often compellingly danceable, yet confrontational. It emerged from the interweaving talents of the group's varied members: guitarist Michael Diekmann (of Ike Yard), bassist Shinichi Shimokawa (later of Black Rain) and Nick Taylor aka DJ High Priest, frequently joined by the late, great hip hop artist and graffiti writer Rammellzee. Having recorded two studio EPs - 1985's At The Marble Bar (featuring Rammellzee) and its follow-up Mystic Eyes - the group disbanded barely a year after forming. They left behind a reputation for their incendiary live performances, several recordings from which were gathered on crucial 2004 compilation This Is Riphop.
The musical climate that first birthed Death Comet Crew was one of fertile cross-pollination of styles. In the late 1970s and early 1980s, the seeds of modern day urban musics - hip hop, punk and post-punk, no wave - were taking root in the streets of recession-struck New York City. Argabright recalls dancing at the downtown Mudd Club around 1980 to a bold mixture of styles, with DJs cutting from synth-pop and post-punk to funk, soul and early hip-hop: Bowie and James Brown next to Run DMC, Ultravox and Gary Numan. Indeed, the names of his New York contemporaries operating around the same time - the likes of Liquid Liquid, Run DMC, Afrika Bambaataa, Arthur Russell, ESG, Swans, Sonic Youth, Bill Laswell and more - have since been inscribed in modern music history.
With previous projects Dominatrix and Ike Yard having recently become inactive, in 1984 Argabright formed Death Comet Crew as a means of exploring new sonic avenues. He'd been experimenting with tape, recording and procesing the sounds of his surrounding environment and dialogue from films and TV. Joined by Shimokawa, Diekmann and Taylor, and using drum machines, turntables, spidery guitar and bass, the group assembled a scrambled collage of rhythms and sampled voices. Their live performances were, in Argabright's words, "aurally violent, sharp-edged, downright lacerating", hacking gleefully away at hip hop and electro's rhythmic frameworks. Rammellzee joined the group to vocal 1985 debut EP At The Marble Bar; his MC turn on highlight 'Exterior Street' is all the more remarkable for having been entirely freestyled in the studio. When Death Comet Crew reformed in 2003 for a string of live shows, he continued as an active member of the group, touring and working with them during the recording of Ghost Among The Crew, until he sadly passed away in 2010.
After reforming, Death Comet Crew began writing and recording new material. Now, following on from their just-released Galacticoast 12" through Citinite, Ghost Among The Crew - its title a homage to Rammellzee - hones the group's abrasive early experimentations while tripping into bold and astrally minded new territory. Alongside the core quartet of Argabright, Diekmann, Shimokawa and Taylor are new voices, including Rapscallion (a friend of Rammellzee's), Jessica 6/Hercules & Love Affair singer Nomi Ruiz, and Carolyn 'Honeychild' Coleman. Its eight tracks are steeped in the impulsive spirit of electric Miles and the deep space romances of Sun Ra, and possessed of an enigmatic yet undeniable pop edge. But equally they're pricked with urban paranoia and dread, traits that have long been hallmarks of Argabright's musical projects.
'Me Czar Of The Magyars' opens the album in a twist of tension like the turning of a ratchet. Its taut electroid shudder is paired with machine gunned cymbal hits and a voice telling of "wormwood and opium dens" - the sound of being teleported from everyday city streets into the astral plane, where every sensory input is heightened and the promise of danger or pleasure lurks unseen around every corner. Later, Coleman's lyrics pay tribute to Rammellzee on the sci-fi funk of 'Deep Space Woman'. 'Let The Clubs Ring' melts lounge bar organs and frazzled guitar into freakishly unstable shapes, while 'Drag Racing' matches its title, rocketing along frantically atop clattering drums. 'Moons On Titan's Seas' is halfway interlude pause for rest, like an exotic cocktail in a bar orbiting some as-yet-undiscovered new world. These varied strands are somehow all summarised in album closer 'Ignition Spark', which sets Ruiz's vocals alongside Taylor's and Argabright's. The zone the trio inhabit in this final track exists in perpetual push-pull between contemplation, memory, intrigue and violence, a decisive opening of a new chapter in Death Comet Crew's history.

As with all Diagonal releases, the initial vinyl pressing will be packaged in unique, specially designed artwork.

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

Lazaretto ist das zweite Studioalbum von Jack White. Das 180g Vinyl ist alles andere als gewöhnlich. Versteckte Tracks, Seite A spielt von innen nach außen, handgeätzte Hologramme, Dual-Groove-Technologie, beide Seiten enden mit gesperrten Rillen, sowie Mischungen, die sich von denen auf CD und digitaler Version unterscheiden.

Die "Gothics" glaubten an das Do-it-yourself-Punk-Ethos, dass jeder ein Instrument in die Hand nehmen könne. Graue Wolken zogen auf, und in der unwahrscheinlichen Stadt Hamburg gründete eine dreiste und eindringliche Bande von fünf Frauen, Caro May, Rita Simon, Manuela Rickers, Fiona Sangster und Anja Huwe, Xmal Deutschland. Und wie es sich für einen echten Punk gehört, taten sie dies ohne musikalische Vorkenntnisse. Die 7“ Single "Schwarze Welt" wurde 1981 auf dem lokalen Punk-Label ZickZack veröffentlicht und stellte die Band als einen beunruhigenden Schwarm von Intensität vor. Die Dringlichkeit des repetitiven Klagelieds, die wirbelnde Manie, die sich auf der B-Seite mit "Die Wolken" und "Großstadtindianer" fortsetzt, deren krude Synthesizer-Geräusche die Spannung noch steigern. Vor allem der einzigartig giftige deutsche Gesang von Huwe wurde schnell in die ungezügelte und aufkeimende Szene der glamourösen Düsternis eingebettet. Die Unabhängigkeit des Punks vom starren Griff der Tradition erlaubte es der Band, Trost in einer Anti-Establishment-Kunst und -Musik zu finden, weit entfernt von den Konventionen der Vergangenheit. Mit ihrem Pfauenhaar und den dick mit Kajal umrandeten Augen bewahrte sich die Musik von Xmal Deutschland sowohl eine Unruhe als auch eine Zartheit, die mit der Veröffentlichung der Single "Incubus Succubus" im Jahr 1982 die Grenzen der "Neuen Deutschen Welle" (ähnlich wie ihre Kollegen und Freunde DAF und Einstürzende Neubauten) überschritt. Sie wurde sofort zu einem Post-Punk-Klassiker. Die Gitarre wühlt sich durch die Melodie, während die schaurige Primitivität von Huwes Stimme andeutet, dass sie vielleicht, nur vielleicht, die alptraumhafte Kreatur ist, vor der man sich in Acht nehmen muss. Die B-Seiten, "Zu Jung Zu Alt" und "Blut Ist Liebe", halten sich an strenge militaristische Tanzbeats, während sie in Aufregung wimmeln. Im selben Jahr trat die Band in London als Support für die Cocteau Twins auf; das war die Plattform, die sie brauchten, um in die Arme der zerrissenen Netzmassen zu stürzen. „Early Singles 1981-1982“, ist eine Karte der grundlegenden Bewegungen von Xmal Deutschland, nur Sekunden vor dem Abheben. Die Bonustracks auf der Compilation, "Kaelbermarsch" und eine düstere Live-Version von "Allein", unterstreichen die Verschmelzung von Härte mit der quixotischen Dekadenz atmosphärischer Synthesizer. Das Streben der Band nach etwas Größerem ist spürbar, zu einer Zeit, in der nach dem Aufkommen von Punk neue Möglichkeiten des Musikmachens offenstanden.

Nach ihrem von der Kritik gefeierten UK-Top-20-Album 'As Days Get Dark' kehren Arab Strap mit ihrem zweiten Album für Mogwais Rock Action Records zurück, das den treffenden Titel 'I'm totally fine with it don't give a fuck anymore' trägt. Fast 28 Jahre nach ihrem Debüt klangen Arab Strap noch nie so essentiell, so unentbehrlich wie jetzt, und dieses neue Album ist ein glühender Beweis für ihren Laserfokus auf breitere Horizonte. Das Album, das ausschließlich von Malcolm Middleton und Aidan Moffat geschrieben und eingespielt wurde und an dem auch Paul Savage, ein langjähriges Mitglied der Band, mitgewirkt hat, unterstreicht die Wandlung der Band von melancholischen Slow-Core-Romantikern zu wütenden Alt-Pop-Chronisten.

Soul Jazz Records’ new 10th anniversary one-off limited-edition heavyweight special-edition orange coloured vinyl pressing (+ download code) exclusively for Record Store Day 2024 of their long out of print Punk 45: Kill the Hippies! Kill Yourself! Soul Jazz Records’ debut Punk 45 album charts the rise of underground punk across the United States of America in the years 1973-1980. This album is fully remastered, relicensed with new tracks exclusively for RSD 24 and includes new tracks from Iggy & The Stooges, Nervous Eaters, The Angry Samoans and more!


The Punk 45 album features a collection of seminal, classic, obscure and rare punk and proto-punk 45 singles from the likes of Electric Eels, The Pagans, The Deadbeats, The Randoms, The Lewd and many more - a lightning-rod journey across the states of America - Cleveland, Detroit, Los Angeles, Akron, New Orleans, Philadelphia – tracing the rise of punk music in these various towns and cities. The album comes complete with extensive text, biographies on each of the bands, exclusive photos and original record artwork.

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

SIX FEET UNDER werden ihr vierzehntes Studioalbum "Killing For Revenge" am 10. Mai über Metal Blade Records veröffentlichen. Schon bei der ersten Single "Know-Nothing Ingrate", die das Album einleitet, wird klar, dass SIX FEET UNDER ihre Energie in etwas fließen lassen, das so brutal, lyrisch und musikalisch umwerfend ist, wie man es sich von dem bahnbrechenden Death Metal aus Tampa erhoffen würde. "Killing for Revenge" ist ein knorriges Biest von einem Album, das nichts für schwache Nerven ist.