Pop & Rock Vinyl New Releases - News

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List.
Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next ‘Strain Crack & Break’ edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen years old.
From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe
(namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt.
Including lesser-known artists like the late Wolfgang Dauner, whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting them whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who
was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a stuff about the Fab Four’s Hamburg roots.
Elsewhere we have a plethora of German bands made for German audiences as they try and shed secondhand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1
newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm handshakes for the camera.
‘Strain Crack & Break: Volume Two’ is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of our kind of music back to the disused elevator shaft towards ground zero. Arriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous erds have faltered (or simply, got the wrong end of the stick).
After ‘Strain Crack & Break: Volume One’ merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, this second lavish metallic gatefold double vinyl compendium drives a much deeper groove which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl wantlist in the early 1970s, comprised of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats.

re-release Find the Greatest Movie Scores selected by CINEZIK in an new Wagram Vinyl Collection!

Panthers prowling through a desert. Cowgirls swaggering into a saloon and kicking up dust. Riding shotgun with a Tarantino heroine. Having the fiesta of your lives under a giant piñata with all your friends. Los Bitchos’ hallucinatory surf-exotica is as evocative as it is playful: the London-based pan-continental group could well be your new favourite party band with their instrumental voyages that are the soundtrack to setting alight to a row of flaming sambucas and losing yourself to the night. They’ve got a bun-tight knack for a groove – and they’ve got the best fringes in rock’n’roll too.

Serra Petale (guitar), Agustina Ruiz (keytar), Josefine Jonsson (bass) and Nic Crawshaw (drums) hail from different parts of the world but met via all-night house parties, or through friends, in London. Their unique sound binds them together, though, taking in a

retrofuturistic blend of Peruvian chicha, Argentine cumbia, Turkish psych and surf guitars. They are London’s answer to Khruangbin, if Khruangbin spent all weekend getting slammed on cheap tequila in
a Dalston dive bar.

nothing,nowhere. commented on the new album detailing, “TRAUMA FACTORY is an accumulation of songs written during a confusing time. it is about accepting the present and following your true north through the pain and suffering of human life. I wanted to make an album that was truly genreless and inspire others to challenge themselves artistically. I believe the most inspiring art is unpredictable and unrestrictive. to me that’s what TRAUMA FACTORY is.”

Over the course of 15 tracks, TRAUMA FACTORY cuts deep and finds nothing,nowhere. once again emerging from darkness, shedding external expectation, and moving forward into the glow of pure creation. Whether it be the anesthetized beats and intoxicating lull of “love or chemistry,” the cold piano-laden longing of “crave,” or the emotional immediacy of “upside down,” nothing,nowhere. paints from a wide palette of pain.

nothing,nowhere. is the musical endeavor of Vermont songwriter, singer and guitarist Joe Mulherin. For Mulherin, nothing,nowhere. is about a connection. It’s one he finds with fans around the world, who gather to see him play on tour and to listen to his songs online. It’s that connection that urges the singer to place his fears aside and step onstage each night to share his art. He sees the potential to help, to make a change, however small it may be and that is why he brings his music out of the Vermont wildness.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

Die Record Store Day-Veröffentlichung "The King Is Dead" von den Cutthroat Brothers und Mike Watt war ein solcher Erfolg, dass das Album am 29.4.2022 in einer Vinyl-Neuauflage erscheint.
The Cutthroat Brothers sind ein Duo aus echten Barbieren, die Sweeney Todds des Rock. Jason Cutthroat an Gesang & Gitarre und Donny Paycheck am Schlagzeug. Für das Album "The King Is Dead" holte sich das Duo eine weitere Punkrock-Ikone ins Boot, Mike Watt. Jack Endino (Mudhoney, The Sonics, Screaming Trees, L7, Soundgarden) produzierte, mischte und masterte diese LP. Das Album hat den North Pacific-Sound in sich. Ihre Songs handeln von Blut, Tod, Drogen, Sex, schwarzer Magie und schlechten Beziehungen, wenn auch nicht unbedingt in dieser Reihenfolge.

"Stand in Your Light" ist eine Herzensangelegenheit. Die Liebe zur Musik und die Leidenschaft für Rock tropft bittersüß aus jeder Honigwabe der getragenen Melodien, die VENUS PRINCIPLE für ihr Debüt geschaffen haben. Obwohl es sich um den Erstling des britisch-schwedischen Kollektivs handelt, lässt sich die Reife und hart erarbeitete Erfahrung der beteiligten Veteranen aus jeder dieser Hymnen für die Geschundenen und Geplagten klar heraushören. Im Zentrum von "Stand in Your Light" steht der klassische Rock, dem VENUS PRINCIPLE jedoch ihren eigenen Stempel aufdrücken. Dabei treten besonders die Elemente Dunkelheit und Schmerz hervor, die eine schreckliche musikalische Schönheit erzeugen. Doch ebenso wie es keinen Schatten ohne Licht gibt, liefern die britisch-schwedischen Musiker als Kontrast auch zarte Momente der Hoffnung und Wärme. Gerade in diesen scheinbaren Widersprüchen schimmert aus "Stand in Your Light" der Metal-Aspekt einiger beteiligter Musiker durch und bietet Balsam für die Wunde, die das Ende von ANATHEMA geschlagen hat. VENUS PRINCIPLE wurden im Herbst 2019 gegründet, nachdem sich mehrere ihrer Mitglieder von CRIPPLED BLACK PHOENIX getrennt hatten. Da sich trotz der Trennung ihre Liebe zum dunklen, melodischen Art-Rock und zur psychedelische Musik aber keineswegs erkaltet hatte, beschloss die Gruppe enger Freunde noch weitere gute Bekannte zu rekrutieren, unter denen sich aktive und ehemalige Mitglieder von AT THE GATES, ISON, TACOMA NARROWS BRIDGE DISASTER und LOUISE LEMÓN befanden. Damit war die neue Rockband VENUS PRINCIPLE geboren. Obwohl "Stand in Your Light" ganz am Anfang einer langen Karriere steht, liefern VENUS PRINCIPLE bereits ein ausgereiftes Meisterwerk ab. Dieses Album vollbringt das schwierige Kunststück, die Anhänger von Rock und Metal gleichermaßen zu begeistern.

Barbara & Ernie’s only release is a complex combination of soul, folk rock, and late 60’s psychedelia. The constant use of electric sitars, funk leaning bass e multi-layered vocals offers a different take on contemporary pop music, approaching several jazz and world influence. oul singer Barbara Massey and jazz guitarist Ernie Calabria paired up for this rare 1971 album. With Calabria having worked with Nina Simone and Harry Belafonte, among others, and Massey having sung backup for artists including Jimi Hendrix, Cat Stevens, and Herbie Hancock, the pairing was an inspired one and resulted in this superb soul-jazz outing. Massey has a dry yet passionate and evocative vocal quality that often brings to mind Grace Slick. Fittingly, the duo takes on Jefferson Airplane's "Somebody to Love," turning the Summer of Love anthem into a steamy and hypnotic soul-funk jam. Elsewhere, the duo touches upon such varying styles as folk, Latin, and psychedelic rock with cuts like "For You" and "Do You Know?," bringing to mind such similarly inclined acts as the Free Design and Bill Withers.

Raised on an unusual blend of Evil Presley, Simon & Garfunkel, Guns N Roses and Cannibal Corpse, it was Linkin Park’s Chester Bennington that first ignited the spark in Caskets vocalist Matt Flood. “It was his power and range,” he notes of the vocal powerhouse. “It was so impressive, and something I’d never heard before from a male vocalist. It was that which drew me in, it’s what got me into music.”

The parallels are clear. Caskets’ sound builds around Matt’s dynamic vocals, honed through a range of previous musical endeavours, and perfectly complimenting the band’s mastery of heavy and soft. But it’s their forward-thinking attitude that better aligns both bands, Matt’s vocal hero paving a new path for melody and metal, and Caskets now set to further reinvent expectations of metalcore and post-hardcore.

Teaming up with producer Dan Weller, the man behind works by Holding Absence, Dream State, Enter Shikari and Bury Tomorrow among others, Caskets harness this environment to capture a mix of crisp atmospherics and raw emotion; perfectly mirroring its unusual creation. The album retains the immediacy of their acclaimed ‘Ghost Like You’ EP, but sees the band secure its impact in places other than heavy riffs and crushing guitars. The mellower moments, underpinned by strings and pianos, allow space for emotion. “There’s stuff you don’t expect to happen,” Matt adds. “I’m really excited for people to hear it and be like, I didn’t see that coming. That’s what I want.”

In stepping forward from ‘Ghost Like You’, Caskets have allowed themselves even more room for their atmospheric sound. “The music was written in mind for screaming,” Matt reveals, “but we decided we didn’t want to go down that avenue. There’s more soaring energy rises and heavy, chunky low-tuned guitars. There are a lot of nice silky verses and atmospheric choruses.”

Explorations of loss, fear, volatility and abuse unfold through far reaching melodies set against often thunderous drums and gritty riffs. “We pulled it back a lot on the first EP,” Matt says of the album’s more emotive moments, “but the music has so many different elements to it now, it’s easier to write those sorts of emotions. I want people to take their own personal experience away from every song, but I want that experience to be different for each song too.”

Underneath the wide swathe of powerful instrumentation provided by fellow band members Craig and Benji (guitar), Chris (bass), and James (drums) lies Matt’s truth. The common lyrical thread that pulls Caskets’ music together is this unfiltered openness. “It’s my baby,” he notes with genuine sincerity. “I can relate to every song, but not that it’s how it has to translate to the listener. I just want them to know that it’s a personal issue.” He places emphasis on vulnerability above all else. It’s about showing the world it’s OK to be honest about yourself.

The music’s message comes to a head on the album’s rousing midpoint, ‘Hopes & Dreams’, a track that began life four years prior as an acoustic number before being given the full band treatment. Dominated by a mesmerising mix of strings and guitars, it injects a moment of hope in Matt’s darker moments. “Hope’s just a ladder and you can make it to the top,” he sings, “just believe in your ability, let your head believe you heart.”

This personable energy bleeds into their music, and the eleven tracks that form ‘Lost Souls’. It also pinpoints a significant milestone in both Matt’s musical and personal journey. “Having been a 14-year-old kid learning to play guitar, dreaming of doing what’s actually happening now, and having the ups and down’s I have had, I’m living proof that everyone is capable of doing what they love. The rewards massively outweigh the bad times and the shit that you go through. It’s an incredible feeling, and one that I’m very grateful for.”

Reissue

Left Ear re-surface with a compilation of music from Italy’s original “homewave” band the ‘Influenza Prods.’. TIP!!!!

Bruno De Angelis and Giovanna Gulinello unwittingly met in London in the late 70’s, after being introduced by a mutual friend. Both Bruno and Giovanna arrived with varying ambitions. Giovanna wanted to learn English or be a painter, while Bruno found work at the Royal Post Office, which he found testing.

It wasn’t until Bruno rescued Giovanna from an awkward date that the pair became a couple. At the time, music was just something they did for fun. Bruno already had an acoustic guitar and G bought a bass. Those were the days when you could start a new band, whether you could play or not, and new independent labels were springing up. Rough Trade Records was literally around the corner.

In 1981 the pair moved back to Italy and found an apartment in Rome. It’s here that they began to focus on their music and where they started ‘recording’ their tracks. First, they would record the rhythm, maybe add the Gigster (the name of their “cheap drum machine”), the bass, and then, as they made a copy of the first cassette onto a second cassette they would add guitar, more synth, or both at the same time. After that, it was not unusual to copy from the second cassette back into the first cassette adding even more “stuff”.

As with many artists during the early 80’s, the Influenza Prods’ sound was the direct result of the accessibility of emerging electronic instruments and the recording equipment available to them. The duo was resourceful and inventive, acquiring new equipment as resources allowed. They recorded dialogue from British Soap Operas on their TV set, which were later added to their tracks, while further making use of their family’s cutlery sets, which were used to fill in certain percussion sections

The duo’s homespun recordings found a web of admirers in the unofficial distribution of tape trading and mail-art scenes. Despite the DIY ethos and the fact that most tapes were handmade, the Influenza Prods managed to ‘release’ three tapes which comprised of the Greatest Tits (1983), Cheek-A-Bomba (1984) and Quasi Solo (1985).
Bruno and Giovanna were sadly subjected to serious family problems, including the loss of loved ones in their lives and eventually parted ways, concluding the Influenza Prods. However, to this day they remain close friends who keep in touch regularly.

The Piper At The Gates Of Dawn. The classic 1967 album remastered in 2017 from the original MONO analogue tapes by James Guthrie, Joel Plante and Bernie Grundman, issued on heavyweight 180 gram vinyl.

Das vierte Album von Stephen McBean’s Nebenprojekt von Black Mountain. Die Bandbesetzung wechselt stetig und beinhaltet Mitglieder von Redd Kross, Melvins, Godspeed You Black Emperor, Dead Meadow und Brian Jonestown Massacre.

I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called Supersense' at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I'd planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing public sessions". I've always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That's when the idea for an Experience' was born. I decided that pieces from the second and third Ash Ra Tempel albums Schwingungen' and Seven Up' (both from 1972) would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. ... It felt a bit like pushing at open doors - or, to put it another way - it felt like being welcomed with open arms. We finally met in Melbourne for a relaxed afternoon rehearsa

A reissue of Beach House's fifth studio album 'Depression Cherry', without any extra fanfare - these dream pop dramatists don't need it. Originally released in 2015, the 2021 edition is a lightweight silver vinyl edition, housed in a deeper red velvet sleeve with a printed inner housing. There's no extra fluff on this one, either. It's simply the original 9 songs, which we are now reminded are enviable in their hazy, Christmas-jingly, shoegaze blur. It's no coincidence that this is the album that elavated Beach House to a new level of prominence and acclaim; their sound is fittingly uplifting and maximal, as Legrand and Scally's ghosted vocals whirl like a flying carpet or sonic geyser, come to propel us towards higher altitudes. Besides, it's a sign of a great 'ethereal' band to call an album of this beauty, grandeur and subtlety "aggressive". This is your chance to remember it.

Big Colors will be released on April 19 via a partnership between Adams' PAX-AM label and Blue Note Records. Ryan Adams, who has been hailed as "one of the most elegant singer-songwriters of his generation' by The New York Times, co-produced the album with Beatriz Artola. John Mayer, Bob Mould, Benmont Tench, Don Was and The Section Quartet are featured on Big Colors, which was recorded at Electric Lady, Capitol Studios and Adams' own PAX-AM.



Big Colors follows Adams' 2017 album, Prisoner, which debuted at No. 3 on in the UK album chart, his highest ever charting position in the UK. Professing his love for Manchester online around the album announce, Adams pays homage to the city that he claims shaped his life by naming a song after it. 'It is at the heart of all the things I love about music, from The Smiths, Joy Division, Oasis, New Order and The Stone Roses.'


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Big Colors follows Adams' 2017 album, Prisoner, which debuted at No. 3 on in the UK album chart, his highest ever charting position in the UK.

Professing his love for Manchester online around the album announce, Adams pays homage to the city that he claims shaped his life by naming a song after it.

'It is at the heart of all the things I love about music, from The Smiths, Joy Division, Oasis, New Order and The Stone Roses.'

Die Ukrainischen Stoner Rocker mit ihrem neuen Album "The Space", als Digipak und Vinyl! Für Fans von: CONAN, GREEN LUNG, KING BUFFALO, WEEDEATER, MONOLORD

High Roller Records, reissue 2022, fire splatter vinyl, ltd 250, gatefold cover, poster, orange vinyl bonus 7", A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1989 sound

High Roller Records, 6th pressing, orange/ blue mixed w/ yellow splatter vinyl, ltd 600, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 posters, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1985 sound

High Roller Records, 2nd pressing, doublemint green/ redish mixed vinyl, ltd 250, insert, 425gsm heavy cardboard cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2022, black vinyl, ltd 250, lyric sheet, A5 photo card

Third album from one of the best French garage/shoegaze/dream-pop
bands around. ‘Vacuum Sealed’ has the potential to become one of theguitar classics of the early 20s.
Bryan’s Magic Tears are made up of musicians who also have - or had - a footin the bands Villejuif Underground, Pleasure Principle, Bisous de Saddam and Dame Blanche.
Like all great albums, it opens with a screaming introduction (“Greeting From The Space Boys”, a middle finger raised by the whole band from the stratosphere - or Lauriane Petit on bass and vocals, Raphael Berrichon and Medhi Briand on guitars, Paul Ramon on drums).
The band goes from one breathtaking track to another (“Excuses” sung by Lauriane like a Kim Deal composition, “Sad Toys” or the paroxysm of dancing melancholia, “Pictures Of You” or the best guitar riff ever played with a vibrato).
One could believe that Bryan’s Magic Tears is the gifted son of The Jesus & Mary Chain, My Bloody Valentine and Primal Scream. In 1991 the album would have been recorded by a British band and released by Creation. Except that we are thirty years later and it’s made by a band with a Norman soul and published by Born Bad Records.

Calibro 35, the legendary crime funk combo sampled by Dr.Dre and Jay-Z, announce the reissue of "Traitors", their iconic fourth album, on Crystal Red vinyl and digital deluxe edition with bonus tracks.

Record Kicks proudly presents the reissue of CALIBRO 35's fourth legendary long-time sold out album "Traditori Di Tutti" (Traitors) on March 04thon limited edition crystal red vinyl and digital "deluxe" edition with bonus tracks.The publication is part of "The Record Kicks Trilogy" that follows the reissue of the first three albums of the band, released in 2020. This time, Milan label Record Kicks will repress on wax of three different colours and on digital deluxe edition, the fourth, fifth and sixth legendary studio albums of the Italian cinematic-funk cult band. The digital deluxe edition of"Traditori Di Tutti" includes 2 bonus tracks: a crime funk cover of "Get Carter", originally released as a b-side of the "Butcher's Bride" 45 vinyl, and the unreleased funky stormer "Milan, Michigan".

"Traditori Di Tutti" is the fourth album by Milan's combo, inspired by noir masterpiece novel "Betrayers"published by the father of Italian noir, award-winning crime fiction author Giorgio Scerbanenco. The album contains only band's original recordings, from floor-shaking first single "Giulia Mon Amour" to groovy "The Butcher's Bride", from deep funky "Filthy Bastards" to the dancefloor jazz madness of "Mescalina 6". The five-piece pays homage to "I Maestri" such as Morricone, Micalizzi and Bacalov with 12 tracks full of funky beats, heavy guitars, groovy bass lines and fuzzy organs.

There's one thing that Italians do better than others: funky soundtracks. Quentin Tarantino knows best: soundtracks from Italian movies of the '60s and the '70s are the THING! "Calibro 35 does with music what Tarantino does with films". They borrow what they love and they make it their own. With Rolling Stone magazine words "Calibro 35 are the most fascinating, "retro-maniac" and genuine thing that happened to Italy".

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Die Band selbst zeigt sich offen und legt sich stilistisch nicht fest. Holding Absence lassen sich vielseitig inspirieren, wie zum Beispiel von Radiohead oder auch Thy Art Is Murder, von denen sie selbst Fans sind. Holding Absence standen bereits mit Kollegen wie Being As An Ocean, Casey und Burning Down Alaska auf der Bühne, denen sie vom Stil her ähnlich sind.

Ferris & Sylvester release their debut album, ‘Superhuman’, a
body of work highlighting the very best of the duo’s timeless
songwriting.
 The British pair have evolved their sound into a distinct
combination of Blues, Americana and Rock ‘n’ Roll, sitting them
somewhere between Alabama Shakes, Jack White and First Aid
Kit.
 Their twelve track album, recorded in Seattle, USA and
Cornwall, is available on white double vinyl, standard black
double vinyl and CD.
 With the artwork shot entirely on film in Iceland, this album is
both an expansive yet deeply personal record to collect and
takes the listener on a journey through the duo’s world where
genres intertwine and emotions are stripped down to the core.

Forest Bathing, or Shinrin-yoku, is a term that means taking in the
forest atmosphere.' It was developed in Japan during the 1980s and has become a cornerstone of preventive health care and healing in Japanese medicine.
Taking in the forest atmosphere' became the inspiration for A
Hawk and A Hacksaw's newest album. Their forest bath of choice is the Valle De Oro National Wildlife Refuge in New Mexico. This new album features ten original compositions by Heather Trost and Jeremy Barnes. The opening track Alexandria' features Barnes on the Persian Santur, an ancient hammer struck dulcimer, and Trost's string and woodwind melodies. The composition evokes the long trader's route between what is now Bulgaria and the wealthy cities of Istanbul and Alexandria.
The band has always had a bird's eye view of this part the world—
looking for the connections between places and even eras: a belief in the power of music to reach across borders and unite.
The band is based on the idea of collecting music and inspiration
through travel. They are not of a place, but their music evokes places along a route. This is not urban music. It's rural: songs of the woods and roads where there are no sidewalks or street lamps to light your way.
While the bulk of the music heard on this record is played by Barnes and Trost, they do have some incredible guest performances, namely the clarinet virtouso Cüneyt Sepetçi, from Istanbul, Hungarian cimbalom master Unger Balász, and closer to home, Chicago trumpeter Sam Johnson, Deerhoof's John Dieterich and Noah Martinez, of the band Lone Piñon.

Recorded at the famous Paradiso in Amsterdam, “Live In The Lowlands” catches Willy DeVille and his band, Mink DeVille, at their very best during the tour in support of his album ‘Crow Jane Alley’.
This record features classic tracks such as ‘Cadillac Walk’, ‘Savoir Faire’, ‘Come A Little Bit Closer’, ‘Slave To Love’ and ‘Spanish Stroll’, all delivered in Willy DeVille’s unique musical style and in front of an enraptured full house. For the first time ever, this concert will be made available on vinyl and truly be a wonderful gem in every fan’s music collection.

Shy, Low's s/t album pressed to vinyl for the first time! This will be limited to 200.