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25 Jahre Garish - dazu haben zahlreiche Prominente und Gäste Songs (mit) der prägenden österreichischen Indie-Band neu aufgenommen.

Für das Compilation-Album 'Hände hoch ich kann dich leiden' haben Prominente und Weggefährten wie Thees Uhlmann, Amadeus-Preisträgerin Ina Regen, Schauspielerin und Filmakademie-Präsidentin Verena Altenberger u.v.a. ihre Versionen von Garish-Songs eingespielt. Die Jubiläums-LP erscheint im Mai, eingebettet in eine Jubiläums-Tournee der Band.

Österreich-Tournee (teilweise bereits ausverkauft). Garish waren mit 7 verschiedenen Alben insgesamt 8x für einen Amadeus Austrian Music Award nominiert, haben aber nie einen gewonnen - und gelten daher als 'Scorseses der österreichischen Musik'; die Band gilt als verlässlicher Top 20-Album-Act in den österreichischen Charts und als strukturelle und ideelle Wegbereiter des "österreichischen Popwunders" der 2010er-Jahre.

First release of this label featuring Gehlektek, Pozek and SPK

A1 "Gruntler" from Gehlektek with a long 9 minutes track at 45rpm, mega bomb at 150 bpm! Super HQ sound, stompy kick, melodic themes and delicious ear candy. Proper crowd control tool !

B1 "MR.Kubickeh" is a track from the super talented Pozek 33rpm this side with a very easy but super effective Acidcore tune at 150 bpm! Clean mix and driving atmosphere with a very important kick! The track was composed to support the victims of Redon party in 2021, parts of the revenues will go to the crews involved in that party. Massive support to Pozek for this pearl track!

B2 "We Are The Resistance" is a driving nu school Tribecore banger! It starts with a long monologue with a very well done crescendo bringing to a massive sentimental and impressing drop. Synths arrangements drive you dancing crazy with a very persistent, solid distorted kick. 165 bpm. Amazing production from the notoriously skilled SPK.

* 300 COPIES FOR UK/EU* With a friendship stretching back nearly 20 years, it strangely ended up being a couple of childhood photographs that finally brought Ben Chasny and Rick Tomlinson together as collaborators. Both have rich musical backgrounds: Chasny being a member of the psych-rock outfit Comets on Fire but probably best known for his solo project, Six Organs of Admittance, while Tomlinson has released numerous records as Voice of the Seven Woods/Thunders and under his own name. “A mutual acquaintance, Jamie Tugwell, took me to go see Rick play live around 2005,” remembers Chasny. “Jamie kept saying how Rick was sort of an ornery fellow and that I would like him a lot. He was right. I loved his guitar playing right away, which seemed so far from what a lot of players were doing. We had drinks and hit it off. We remained friends over the years.” Chasny became a regular visitor to Tomlinson when on tour in the UK and one particular stay unearthed something serendipitous that would kickstart the making of a joint album. “I was staying at Rick’s house after a show and I looked over and saw a photo of him in a Halloween costume as a box of matches,” Chasny recalls. “It cracked me up because I have a similar photo of me as a robot and I tried to explain to him how it matched his photo.” About 6 months later Chasny found it and sent it to Tomlinson to show him the uncanny likeness of their childhood outfits. “Pretty soon after that we realized we needed to do a duo record and have those photos be on the cover,” says Chasny. “The entire record comes from the photos on the cover.” Tomlinson adds: “It was a pretty odd coincidence. Even down to us both standing on flags with a conifer behind us. We obviously had no option but to use these for the sleeve.” Recorded at Tomlinson’s house in Todmorden over three days one June, initially the pair didn’t quite know where they wanted to go with their musical direction. Tomlinson kept pulling out super rare records from his vast collection for inspiration and they sat and listened to the solo piano recordings of Popol Vuh’s Florian Fricke but they knew they needed to land on something that was intrinsically them. “We knew we wanted to do a record together but we weren’t sure what direction to take,” says Chasny. “When we first sat down to work out some ideas it was pretty much just us getting down to finally having a guitar showdown where each of us tried to outdo each other with flashy moves and ridiculous riffs and playing. After we got that out of our system, we were able to settle down and concentrate on a mood for the record to focus on.” The result is 6 instrumental tracks that capture beautifully fluid and interlocking guitars played with deft grace and skill but also a subtle looseness. On the 9 minute-plus ‘Wait For Low Tide’, the sparse and spacious back and forth playing becomes utterly hypnotic, neatly capturing the kind of natural and intuitive playing that can only come from music made between friends who understand the crucialness of leaving space for one another. While acoustic guitars are the primary means of expression on the record - from the soothing and gentle ‘i’ to the intricate playing of ‘Waking of Insects’ - the pair delve into ambient drone tape loop territory on the humming 16 minute ‘Paths of Ocean Currents and Wind Belts’, which further adds to the deeply textural, spacious and immersive feel of the album. All the tracks were recorded in one take, with the titles all stemming from translations from the Chinese book, The Dream Pool Essays, and then mixed in London at Jimmy Robertson's SNAFU studio, with additional mixing and mastering from Andrew Liles. The laid back, breezy and spontaneous approach to making this record is one that was reflective of the pair’s friendship and camaraderie, with their relationship ultimately driving the tone and feel of the finished album. “We hiked around the countryside, climbed into church bell towers, drank delicious beer in the middle of sunny afternoons, and had fantastic dinners,” says Chasny of the three-day recording period. “I think all of that wound up in the music. I really had the best time in the world.

Underdog Recordings is Proud to present the Touchdown Ep by Dark Dean & Hankinson with crowd Hype from MC Shadow & also featuring MC Stevie A.

Originally started in 1993, one of Bournemouth's foundation Jungle Labels, Underdog Recordings taps into the wealth of Jungle talent on the south coast and the Destiny connection is strong with this release. Touchdown Junglist tracks started under lockdown by Dark Dean & Hankinson feature a sample of Fusion & Destiny's Master of Ceremonies & old friend MC Shadow. After an authentic old skool jungle mix was completed, it was decided to bring the track upto date with a 170bpm Future Mix to complement the '94 style original .

Add in the much requested Dub Mix of Good Samaritan featuring another Destiny soldier, MC Stevie A that has only previously been available in the digital format and the haunting vocals of Carmen Naida on Good Vibrations and you have a fully loaded 4 track Ep on vinyl, the 16th release from Underdog On a limited Translucent Blue 12" Vinyl

Introducing the highly anticipated EP from the legendary Aston, of the Freestylers, Blapps Posse, and Rap & Aston. This time, he has teamed up with the talented DJ Quicklung to create four brand new tracks, each showcasing Aston's impeccable production skills and style.

The EP opens with "Raggamuffin Soldiers," a hard-hitting D&B track with classic influences that has already gained significant support across clubs and radio. Next up is "Moving On," a lively club roller that clearly showcases Aston's foundations and rave pedigree.

On the flip side, "Galactica" takes things in a darker direction with moody D&B vibes that pay homage to classic Suburban Base and Boogie Times, but with a fresh twist that's unmistakably 2023. Finally, "The Hangman" closes out the EP with a stunning breakbeat masterpiece that will leave listeners wanting more.

With its diverse range of sounds and styles, this EP is a testament to Aston's enduring talent and influence in the world of electronic music. Don't miss out on this incredible release!

STORMKEEP ist eine Kraft des Übernatürlichen, ein Wind, der durch die bröckelnden alten Ruinen eines verlorenen Landes weht, das von Legenden und Geheimnissen begraben ist. Aus der alten Athene entstand die gefeierte Underground-Mini-LP „Galdrum“, eine Hommage an das goldene Zeitalter des Black Metal und eine Erinnerung an das dunkle Zeitalter der Geschichte voller Mystik und Magie. Jetzt bringen STORMKEEP ihr Debütalbum „Tales of Othertime“ heraus.

repressed !

Commodo chalks up another release for DEEP MEDi and this one delivers vocals from JME. JME also featured on Skepta's 'That's not me' which recently won the 2014 MOBO for best Video.
The Instrumental sits snugly on the flip; with full focus on the beat. Anything but a B side!

Short Bio: It only takes a few seconds exposure to the rolling riffs of opening track “Tom Cruise Control” to be reminded that this is Gozu’s world, we’re just living in it. Given that it has been five years since the Boston quartet dropped the monstrous Equilibrium, returning with Remedy is one hell of a way to make sure that everyone - whether previously familiar with them or otherwise - realizes that they are perhaps the most badass of American rock bands, for they have taken everything to the next level. “There is a certain maturity mixed with a childlike enthusiasm to play music, and we all are better players now than on Equilibrium,” says vocalist/guitarist Marc Gaffney. “We have all really tried to look at what we enjoy but more what we do not enjoy. Playing music is a gift and when it becomes A Nightmare On Elm St Part 37.3, you are done.” The result is nine tracks of their signature combination of fuzzy 70s inspired riffs, rich, catchy, grunge-esque vocal melodies and a touch of old school trippy psychedelia written and played with the utmost passion and enthusiasm, eclipsing everything else in their catalog. “The band wanted a very heavy groove-oriented album with singalong choruses. We also wanted sonically to hit you in the chest, like a three-combination, left-right-left, like Micky Ward. Harmonies and melodies were something we really looked at and wanted to shine, and thick guitar tones, driving bass and drums were under the microscope.”

Dubcore Volume 20 is another Istari Lasterfahrer release. dropping four tunes starting up with a more dub then jungle track "bridge over gibraltar", strictly echoing and bass. "waanya" second on the a side goes into heavy amen breaks and massiv dancehall basslines. on the flipside the speed goes up from previously 160/162 bpm to 174bpm with the soundclash mashup tune "pee pee a fi dubplate" with warping subs, filteramens and melanged on top with uptempo footwork riddims. last tune "mr. white" drops back to 162 bpm and dubwize basslines and idm jungle breaks.

Top-Kollektion mit 16 Klassikern des unsterblichen Frank Sinatra aus den 4 Alben, die er Mitte der 1950er Jahre mit dem Arrangeur Nelson Riddle aufnahm und die den Höhepunkt seiner Karriere darstellen: Songs For Young Lovers, Swing Easy!, In the Wee Small Hours, Songs For Swingin' Lovers. Erhältlich als illustrierter Bildband.

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

LIMITIERTE VINLY-EDITION DES GLEICHNAMIGEN ALBUMS ZUM ERSTEN MAL AUF VINYL.

"Kunst ist Krieg". Und vor allem Musik ist Krieg - der NACHTMAHR unserer westlichen Zivilisation. Wie eine bassdröhnende Lawine rollen die elektro-industrial-inspirierten Sperrfeuerbeats des neuen Soloprojekts von Thomas Rainer (L'AME IMMORTELLE) mit dem beängstigenden Namen auf die schwarzen Tanztempel zu, begleitet von elementaren Textfetzen, die keine Deckung zulassen: "Feuer frei!"

NACHTMAHR erscheint als "Deus ex machina", entfesselt im sadomasochistischsten Sinne "Ein Spiel" oder gibt sich schlicht elementar: "BoomBoomBoom" lässt den Titel Programm werden - "Ich habe nur ein einziges Interesse. Ob ihr lebt oder krepiert ist mir egal. Ich will Euch tanzen seh'n!" Peitschende Beatstrukturen, Elektro-Industrial im Stile von COMBICHRIST, SUICIDE COMMANDO oder FEINDFLUG und provokative Samples schlagen einen ebenso apokalyptisch-kriegerischen wie unwiderstehlichen Ton an. "Feuer frei!"

- Schwarzes, 180 Gramm schweres 12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Stabile Kastentasche
- Bedruckte Innenhülle
- Bedruckte Vinyletiketten
- Handnummeriert
- Limitiert auf 500 Exemplare

VINLY-EDITION DES GLEICHNAMIGEN ALBUMS ZUM ERSTEN MAL AUF VINYL.

Unbeugsam. Ein Wort wie dieses ist für Rainer so viel mehr als eine Floskel. Von Tag eins seiner angestrebten musikalischen Weltherrschaft war NACHTMAHR Gegenwind auf Orkanstärke ausgesetzt, wurde er angefeindet, an den Pranger gestellt, offen gehasst. Bündnisse wurden gegen ihn geschlossen, alte Freundschaften zu Grabe getragen. Doch Thomas Rainer ließ sich nicht beirren. Mit jedem Album, mit jeder EP, mit jedem Konzert bewies er eisernen Willen und Standhaftigkeit, erwies sich als siegreich - und prägte mit seiner Kunst, seiner Ästhetik und seinem apokalyptischen Sound die schwarze Szene wie es wenige vor ihm taten. Die Artworks, die Uniformen, der Stil und die Linguistik etablierten eine ganz eigene Mode, an dem man seine Truppen sofort erkannte.

Von Anfang an stand NACHTMAHR nämlich für viel mehr als Musik, für viel mehr als einen unerbittlich in die Knie zwingenden Sound. NACHTMAHR ist eine Philosophie, eine Lebenseinstellung, eine Weltanschauung. Und diese Retrospektive ist das beeindruckende Muskelspiel eines Anführers, die Biografie eines Imperators - unbequem, unerbittlich, unbeugsam!

- Schwarzes, 180 Gramm schweres 2x12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Opulentes Gatefold Cover
- Bedruckte Innenhüllen
- Bedruckte Vinyletiketten

Hochwertige limitierte und handnummerierte schwarz gebeizte Vinyl Holz Box mit farbigem Aufdruck inklusive exklusiver Pink Vinyl LP + CD, Bonus DVD ( mit 2 Streaming Konzerten ), 25 Jahre KneipenTerroristen CD, Patch, Aufkleber, handsignierter Autogrammkarte, Bierdeckel Set, Button und bedrucktem Metal Flachmann

Einige Leute haben angemerkt, dass Tinariwen schon immer eine Country-Band waren, wenn auch eine nordafrikanische Interpretation dieses nordamerikanischen Genres. Dieser Gedanke wird auf dem neuen Album Amatssou noch verstärkt. Hier verschmelzen die für die Tuareg-Band typischen schlängelnden Gitarrenlinien und hypnotischen Rhythmen nahtlos mit Pedal Steel, Klavier und Streichern von Gastmusikern wie Daniel Lanois, wobei die verschönerten Arrangements den Liedern eine epische, universelle Bedeutung verleihen. Die Texte sind voller poetischer Allegorien und rufen zu Einheit und Freiheit auf. Es sind Lieder des Kampfes und des Widerstands mit schrägen Verweisen auf die jüngsten verzweifelten politischen Umwälzungen in Mali und die zunehmende Macht der Salafisten. Der Albumtitel Amatssou ist tamashekisch für 'Jenseits der Angst', und das passt. Tinariwen haben sich schon immer durch ihre Furchtlosigkeit ausgezeichnet oder wie Bob Dylan einmal sagte, besteht die Kraft des Rock'n'Roll darin, dass er uns 'die Angst vergessen lässt', uns die Kraft und die Widerstandsfähigkeit gibt, uns den Widrigkeiten zu stellen. In den zwei Jahrzehnten, seit Tinariwen ihre Basis in der afrikanischen Wüste verlassen haben, um durch die Welt zu touren, haben sie viele bekannte Country-, Folk- und Rockmusiker aus den USA kennengelernt, darunter Kurt Vile, Stephen O'Malley, Jack White und Wilco. Der zeitlose Horizont der endlosen Sahara und die wilde Grenze des Alten Westens - mehrere tausend Meilen Ozean mögen den Wüstenblues von Tinariwen und die authentische Country-Musik des ländlichen Amerikas trennen, aber die Verbindungen sind ebenso greifbar wie romantisch.

REBELLION präsentieren ihr erstes Live-Album, aufgenommen im berühmten Paberse Club in Valencia, Spanien!

Zum ersten Mal in der 20-jährigen Karriere der Band, veröffentlichen REBELLION ein Live-Album!
Das mittlerweile 10. Album der Band, beinhaltet eine Aufnahme des Konzerts im berühmten Paberse Club in Valencia, Spanien, am 15.05.2022.
Nur wenige Details wurden angepasst, um die Live-Atmosphäre zu bewahren, daher ist das Album fast wie ein Bootleg, nur mit besserer Soundqualität.

Als The Murlocs mit den Aufnahmen zu ihrem siebten Album begannen, hatten sie die Vision, ein typisches Country-Rock-Album zu schaffen - eine Sammlung von sublimen, sanften Songs, die von kultigen Alben wie 'Sweetheart of the Rodeo' und 'Exile on Main St' inspiriert sind - aber die Platte nahm bald ihren eigenen, unbändigen Charakter an. Gespickt mit The Murlocs' unverkennbarem Garagen-Punk verwandelt 'Calm Ya Farm' die Konventionen des Country-Rock in ein frei fließendes Album, das die frenetische Energie des modernen Lebens in sich trägt.

- Col. LP: (Olive Green And Bone Mix Vinyl)