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MSG is a legendary name. After two phenomenal records under the guise of Michael Schenker Fest, a true guitar hero is returning to his roots. By forming Michael Schenker Group (MSG) back in 1979, Michael Schenker laid the foundations for one of hard rock’s most glorious solo careers of all times. And while nobody expected anything less from a former guitarist for Scorpions and UFO, it’s close to impossible mentioning everything Michael has built over the past 50 years, or the countless people he influenced or played with. This, truly, is the stuff that hard rocking myths are made of.

“I never looked back,” is how Michael dryly sums up an extraordinary career. Due to this mindset, he only realised much later what a huge impact his playing had made on the world of metal and hard rock. Very few guitarists can be cited as a primary influence for the likes of James Hetfield, Kirk Hammett, Dave Mustaine, Dimebag Darrell, Slash or Kerry King. However, to understand Michael Schenker means to understand one primary thing: he’s not here to be worshipped or adored, he’s not here to get rich, he’s here to play. And at 65, he’s doing it with the same swagger, verve and dizzying artistry as always. “I’m still 16 in my head,” he laughs.

Right in time for his 40th anniversary as a solo artist and his 50th birthday as a musician, he resurrects the immortal Michael Schenker Group. “Immortal” is also the name of his new album, recorded by likely the strongest line-up in his long history. Its a lightning bolt of an album that sounds fresh, bloodthirsty and agile. “Immortal” showcases the gargantuan vocal talents of Chilean hard rock prodigy Ronnie Romero (Rainbow), backed by singers Ralf Scheepers (Primal Fear), Joe Lynn Turner (ex-Deep Purple) as well as Schenker’s brother in arms, Michael Voss (Mad Max) who again produced the record alongside Michael Schenker – flawlessly, punchy and at full steam as if their very lives depended on it.
Next to Michael Schenker caressing his iconic black and white Dean Flying V, we hear bass player Barry Sparks (Dokken), keyboard player Steve Mann as well as the three drummers Bodo Schopf, Simon Phillips (ex-Toto) and Brian Tichy (ex-Whitesnake) pumping gallons of fresh blood through the tracks. And that’s not all, keyboard wizard extraordinaire Derek Sherinian (Dream Theater, Black Country Communion) gives the listener a baptism of fire in the blistering, heavy hitting opener “Drilled to Kill”, powered by Ralf Scheepers’ unbelievable vocal tornado.

Michael Schenker doesn’t live to play, he plays to live, and there’s no better way of summing up his relationship to his music than this – now for half a century and counting. The most emblematic representation of this relationship is the monumental closing track “In Search Of The Peace Of Mind”, a new recording of the very first song he ever wrote. “I composed this track in my mother’s kitchen back when I was 15,” he looks back half a century and smiles broadly: “The solo is just so perfect, I wouldn’t change a single note even today. This is the most important song of the last 50 years for me. It’s what started it all.”
When it finally got released in 1972 on the Scorpions’ debut “Lonesome Crow” Schenker had already moved on to UFO. What followed were several decades of pure hard rock ecstasy on and off stage, featuring a rotating cast of stellar players, always pressing the pedal to the metal. Now, in 2020, he reaps what he sowed. Alongside many of his peers, friends and contemporaries, he is celebrating 50 years of hard rock – fittingly with an album that is something like a zeitgeisty reminiscence of everything he’s ever done. The massive midtempo smasher “Don’t Die On Me Now” sees Joe Lynn Turner going all in, Ronnie Romero works his magic in “Knight Of The Dead” while Michael Voss cuts a grand figure before the microphone as well as behind the mixing desk on the furious second single “After The Rain”.
Towering above them all, Michael Schenker and his guitar prove they’re truly and utterly invincible. The celebrated icon pulls out all the stops – including his legendary “howler”, the fabled magnet he’s used on his fingerboard for a while now. And here’s yet another thing that’s just so archetypically Schenker, when bringing up his fiery and dedicated performance on “Immortal” he nonchalantly shrugs it off: “I simply played from the heart, as always.” This, dear Michael, is the understatement of the year – all the more so for a record that is already one of the top contenders for hard rock/metal album of the year.

Steven Wilsons neues Album „The Future Bites“ ist eine Untersuchung der Entwicklung des menschliche Gehirn im Internet-Zeitalter. Es ist nicht nur Wilsons phänomenales sechstes Album, sondern auch ein Online-Portal zu einer Welt des High-Concept-Designs, das speziell für den hochmodernen Verbraucher geschaffen wurde.
Wo „To The Bone“ (2017) sich mit den aufkommenden globalen Problemen von Post-Wahrheit und gefälschten Nachrichten auseinandersetzte, versetzt „ The Future Bites“ den Hörer in eine Welt der Süchte.
Ausgehend von einer außer Kontrolle geratenen Verkaufstherapie, manipulativen sozialen Medien und dem Verlust der Individualität ist „The Future Bites“ weniger eine düstere Vision einer herannahenden Dystopie, sondern vielmehr eine kuriose Lektüre des Hier und Jetzt. Mit herrlichen elektronischen Klängen, die durch menschliche Eingriffe verzerrt wurden (”King Ghost”), einer schwebenden Akustik, die geradewegs in die Stratosphäre aufsteigt (”12 Things I Forgot”), unerbittlichen bassbetonten Motorik-Grooves (”Follower”) und sattem, düsteren Funk (”Eminent Sleaze”) ist es
Stevens bisher beständigstes Werk. ”The Future Bites” wurde in London aufgenommen und von David Kosten (Bat For Lashes, Everything Everything) und Steven Wilson koproduziert.

Super dope South African disco LP from 81', not a bad track on this really.. Standout tunes are the mesmerising ''Mother Earth'' and the groovy ''Ukhamba'' (even better when pitched up a bit).. GREAT basslines and solid drumplaying all over. BIG tip !!

After the phenomenal response to our previous survey of disco and boogie sounds from early eighties South Africa, we decided to wade a bit deeper into the pool to focus on one of the most compelling acts to emerge from that theater, the Space Cats.

Hailing from the small, insular music scene in the coal-mining city of Witbank, the Space Cats were a five-man band fronted by singer/bassist Themba 'T'Rex' Mzwakali and singer/guitarist Santy Dladala. Operating as a semi-professional live combo rather than a studio-driven aggregation, they stood out from the slick, highly polished conventions of the day. And when they took the stage they offered a take on disco that was stripped-down, raw, rugged and inspired by afro-rock groups like Harari and Hedzoleh Soundz.

While the Space Cats' moment in the spotlight was short-lived—the band played together for barely a year before management issues necessitated a breakup—they managed to produce one endearing document of their brief career. Something New, their first and only album, released in 1981, features ten tracks of jittery, hard-edged disco-boogie-funk that capture the flavor of their performances in the rollicking dancehalls of Witbank.

Issued on the tiny Rejoice imprint, Something New had a very limited distribution reach even within South Africa and has remained heard by very few people over the last thirty-eight years. So we're proud to make it available for the first time to the wide audience it surely deserved upon its initial release.

Very Ltd Edition 12"EP on this highly intriguing label.. TIP!

Hailing from the Ruhrgebiet and now based in Cologne, sound enthusiast and percussionist Tulips is cofounder of the free-wheeling improv kraut group NASSSAU, plays together with TRJJ (of Belgium’s Stroom crew) in the duo P.VEE, and is part of Cologne’s dub-minded jam hounds MONTEL PALMER.

Produced in his bedroom, the sonic palette for this EP derives from primitive key improvisations to talking percussion worlds as part of extended cosmic excursions to unknown paramós. All tracks on ​Matas Flores y Algo Más ​ were jammed and recorded between late 2018 and early 2019, using an array of digital and analog synthesis, such as the Juno 106 and Yamaha DX7, and the Korg Wavedrum and Pearl SC40.

The opening track ​Self Similar Melodies ​ carries itself with a certain weightlessness, as drifting keys and oscillating bleeps grasp for an unreachable climax somewhere on the horizon. As the synth layers gradually build throughout ​A Bird Feeder, ​ electronic tones chirrup like chaffinches, while the distinct feeling of sunrise breaks through the music.

On the B side, ​Retrograde II ​ winds on a syrupy slow garage lean with bright riffs and interlocking percussive signatures. The marimba tones and loping bass of ​Same Scene conjure up tropical twilights from a Ballardian dimension, and the EP closes with Matsutake ​ , a twisting rhythm in conversation with itself amid a mirage of lurching synths and pitch-shifting modulations.

Traditional Heart“ is the second album by Gianni Brezzo - the band or the studio project – of the Cologne-based musician Marvin Horsch.

The title is by no means to be understood in the sense of an authenticity pathos à la love in times of Tinder, but addresses the process of musical production itself.

Says Brezzo: “This time the process of making music was more important than the product. Not to allow even a thought regarding the effectiveness of the music; pick up the instrument on impulse and put it away again; record again. Finding a rhythm during the process. At home.”

This collection of demos and live recordings from Amsterdam/Dutch post-punk bands capture the early 80s sound and offer a unique insight into the spontaneous, DIY music style of the time. Wide representation of styles on here - from driving guitar punk to weird minimal synth .. Limited cassette edition... BIG TIP for the NL collectors and beyond!

Good Time​ is Teenanger boiled down to its very essence. A lean and muscular eight-song album that is the sound of a band who simultaneously has everything and nothing to prove. It’s what happens when seasoned songwriters flex their chops in an environment that fosters boundless creativity. It is also Teenanger’s most fun album. Choruses soar to previously unattained heights, descending to a rhythmically fertile ground to pull earworms that will stick inside listeners’ heads for days. If its songs were citizens, they would reside in a diplomatically neutral city-state, melting pots of art rock, pop, dub, post-punk and new wave.

The music of ​Good Time​ certainly elicits pleasure, but lyrically things are more weighty. The band does not shy away from its commentary on contemporary issues. There are calls to reject societal norms, ruminations on humanity’s obsession with technology and warnings about our impact on the environment. Teenanger never gets too earnest, delivering everything with an irreverence that has been there since day one.

Recorded at: Studio Z. Mixed by: Sandro Perri. Mastered by: Noah Mintz. Cover Photo: Colin Medley. Graphic Design: Thomas van Ryzwyek & Jonathon Yule.

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters. Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada.

This album was created with the generous support of the Ontario Creates.

Vor 25 Jahren, am 25. September 1995, wurde die Tür zu einer neuen Ära aufgestoßen, die die Rockmusik sowohl in Deutschland als auch global nachhaltig beeinflussen sollte: Die Berliner Band Rammstein veröffentlichte an diesem Tag ihr Debütalbum ”Herzeleid”. Aus Anlass dieses Jubiläums geben Rammstein und Vertigo Berlin/Universal Music am 04.12.2020 limitierte und remasterte Ausgaben dieses innovativen und bahnbrechenden Erstwerkes auf CD und Vinyl heraus. Unter dem Titel ”Herzeleid (XXV Anniversary Edition - Remastered)” wird das Album mit seinem originalen Tracklisting als Einzel-CD samt aufwändigem Kreuz - Digipack in einem Deluxe-Schuber erhältlich sein, wohlgemerkt erstmals in remastertem HD-Sound. Außerdem wird eine Doppel-LP, ebenfalls im Schuber, mit 180 Gramm-Schallplatten in blauer Splattered Vinyl-Optik aufgelegt. Die komplett überarbeitete Verpackung mit zahlreichen neuen Komponenten stammt vom ursprünglichen Artwork-Designer Dirk Rudolph. Die Booklets sind zudem mit den Original-Bildern des Fotografen Praler ausgestattet. Beide CD- und LP-Editionen sind streng limitiert.

Another great exclusive from AMS Records, taken from the Cinevox catalogue, a record label from Rome specialized in soundtracks. "Chi" is probably unheard by many, but it's probably known by those who are already Goblin's fans. The band, after the success of "Profondo Rosso" and the less known - but still beautiful - "Roller", started to record more frequently. "Chi", almost-7-minutes in length, is divided into two equal parts on both sides of this 45rpm, and it's the theme of the eponymous TV program transmitted on Rai Uno channel in 1976. It's no coincidence that it sounds very close to "Roller", the second Goblin album recorded in an inspirational period (the masterpiece "Suspiria" would soon follow), and could easily be an outtake from that record.

This single, especially released for Record Store Day 2015 (April 18th), is the first ever reissue of the original 7". Moreover, "Chi" has never been released in any CD or LP compilation since 1976.

Cassette Version!

Dog Person is the deserved culmination of a whirlwind few years for Kean Kavanagh. His debut project, the ten-track collection prominently features his aforementioned semi-fictional, cigarette-bumming, binge-drinking, lovestruck alter-ego; a persona with just an echo of his real personality reverberating throughout the record.

Kicking off this year with the delectable “Roll Over!”, Kean returned earlier this month with his new single “EMMA”.
A developed sound, the single delved deeper into Kean’s incredible versatility as an artist - drawing a grittier sound
and formulating a high-octane single that wouldn’t sound out of place in a festival headline set. This all served to
prove that Kean Kavanagh had firmly stepped into the limelight; garnering support from the likes of i-D, DIY
Magazine, Clash, Notion and more.
Cofounder, producer and A&R of Irish Label Soft Boy Records, Kean had previously pulled the strings behind the
scenes; but is now becoming one of the most exciting names on the emerging music scene. A story-teller, word-smith
and dexterous musician with a strong imagination, Kean’s career is set to project far beyond his Irish roots. .

Founded in 2015, Soft Boy Records morphed into a cultural behemoth that gripped the Irish music scene and has
refused to let go - alongside his co-founder Kojaque, Kean found himself sharing stages with big names such as
Slow Thai and Lana Del Ray, as well as his consequential solo-slots opening for Maverick Sabre and Vampire
Weekend.
Earlier this year, Kean appeared on the Everything is Recorded project ‘FRIDAY FOREVER’, (curated by Richard
Russell of XL Recordings) alongside Aitch, Flohio, Maria Somerville, Ghostface Killah and others, and aligning
himself with a tastemaker and hot tipped selection of musical peers.
A sensational debut offering showing dexterous musicianship and lyrical magic, Dog Person places Kean as one of
the most exciting emerging talents coming through.

From the very start of "Drawing Dead" through the memorable lead line in the slower-paced closer "Big Sky Theory," Dozer assembled a work of impeccable songwriting and deep-rooted character. In the arc of their career, every record was another step forward, and just as 2001's Madre de Dios built on the debut and 2003's Call it Conspiracy built on that, so too did Through the Eyes of Heathens pick up from where its predecessor left off. Its sound was still rooted in a heavy rock feel, but Dozer were able to translate that into something more aggressive when they wanted - their sound had bite as well as lumber, and while a cut like "Born a Legend" could be traced back to their desert-minded beginnings in its basic structure, by the time it was finally executed, it was something else entirely. The Obelisk

Beyond Colossal is the fulfillment of the promise 2005's excellent Through the Eyes of Heathens began to see through. The sound is that of the band pushing itself harder, writing stronger songs and compromising none of their edge or aural passion. You can hear it on "Exoskeleton (Part II)," truncated here from its appearance with "Part I" on a 2007 split with Iceland's Brain Police, at the 1:39-mark launching of "The Ventriloquist," on the more traditionally stoner "Grand Inquisitor" and even the quiet "Bound for Greatness" which closes out the album. Dozer are not only on top of their game, they're well beyond it. The Obelisk

Soul Jazz Records new 'Two Synths, A Guitar (and) A Drum Machine' is a new collection of current D-I-Y post-punk bands shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (ESG, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid). Other influences cited here include Manchester and Sheffield's industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can. Featured artists from around the globe include Los Angeles D-I-Y band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, VexRuffin from the Philippines/California and Madmadmad, Gramme, Tom of England and other UK groups. That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound - hip-hop, the electronic European avant-garde, rave culture, and more.

It’s been four years since Sweatbox Dynasty, the fourth solo LP from Pennsylvanian experimentalist TOBACCO. In that time, Tom Fec’s project has toured with Nine Inch Nails, provided the theme song to HBO series Silicon Valley, and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for Hot Wet & Sassy, a full-length album oozing with his

most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others.

Pop impulses have always surged beneath the surface of his sound — blown-out bass, analog synths, drum machines, and Fec’s unmistakable analog gurgle and hiss — here they’ve bubbled to the top. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”And what would Trent Reznor do? Fec found his answer straight from the source. Their collaborative track, “Babysitter,” fuses their voices into one deranged presence: “I’m the new babysitter,” they alert, before pivoting into a menacingly saccharine bridge. The track tumbles on a tom fill, then a punishing synth line rips into a cacophony of drums and feedback like a lawnmower gnawing through the living room carpet. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec. The collaboration is a work of alchemy seamlessly blending TOBACCO’s trademarks with Reznor’s industrial rust and sonic gore.

Downcast, sincere, woozy, “Jinmenken” might be the closest Fec has come to a ballad. “Maybe you can find me down the line,” his vocoded delivery bounces along the beat. “It’s me trying to write a Jets song,” says Fec. Album opener “Centaur Skin” presents the stylistic concoction that has been the TOBACCO MO from the beginning, crossing dreamy me-lodic shimmer with the sinister tones and slime. This has become easier to digest, but also far more potent. A motorik beat steadies the track’s galloping arpeggio, acting as a springboard for Fec’s dark ruminations as well as an uncharacteristically crystalline synth solo. “It’s my feel good self hate anthem. Don’t worry, I’m good. It was fun to write.”TOBACCO hasn’t been reinvented, but it has been refined and distilled. Brighter, sharper, and far more dangerous because of it. Hot Wet & Sassyis practically staring at the sun without shades and feeling those corneas roast. Everything looks good as your vision fades. The pop-forward struc-tures exert their undeniable hooks with baneful precision, pulling listeners into their clutches; once there, sugary melody rewards submission.

• First album in four years

• TOBACCO aka Tom Fec, founder of cult favorite group Black Moth Super Rainbow

• Features a collaboration with Trent Reznor of Nine Inch Nails (has toured with him in the past)

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

Max Graef and Julius Conrad are Ratgrave. ‘Rock’ is their
second album - ongoing transmissions of Electronic PFusion from Earth. It follows a stellar debut on Funkineven’s imprint Apron. The duo’s sound palette draws inspiration from 80's funk, soul, rock and electronic but through a contemporary lens from two versatile multiinstrumentalists.

 In their own words: “Rock is the essence of energy and
vibration we felt in different styles of music, almost like a
parallel component connecting all things we like. In the
process of recording the new album we kept coming back
to this essence no matter what style the original idea was.
There was the raw and brutal energy of Jazz-Rock, a lot of
video game influences that somehow adhered this essence
just as well as quieter Pop and Psychedelic passages that
we recorded. Among other things we absorbed a lot of
heavy music during the time of the recording like Blue
Cheer, Black Sabbath, Frank Zappa or Jimi Hendrix and
realized while writing our own music how much impact
they had even on quieter songs. This is why ‘Rock’ felt like
the perfect title although the music ranges from P-Funk
and Spiritual Jazz to various styles of Pop and beyond.”

 Max Graef has previously collaborated with Glenn Astro on
records for Ninja Tune and both artists have previously
released on Tartelet.

 This marks the fourth official album on Black Focus, a
London label founded by Kamaal Williams.

 4pp digipack. 180g vinyl LP in reverse board printed sleeve
with 3mm spine and digital download card.

20th anniversary vinyl re-issue of The Offspring's Conspiracy of One, featuring "Original Prankster", "Want You Bad". The products will all include a new bonus track, "Huck It!" that will also be available as a digital single. Deluxe package will feature yellow & red splatter vinyl & include custom Offspring Logo slipmat & spot gloss on the cover.

In addition, the official videos for "Original Prankster" & "Want You Bad" have been remastered in HD & will replace the existing SD versions on 11/13. This will be preceded by eight other HD video releases from other albums & will culminate in this final set on the album anniversary.

Clear vinyl LP (VIRUS500LPX) is for Indies only and is very limited.

Political punk rock legend returns with a much needed current situation skewering. First release in six years! Features supergroup of members of UK Subs, The Mob, Victims Family, Triclops and more!

Hot on the heels of five viral video singles, Tea Party Revenge Porn, the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would or could as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never
before.

Only so many artists have a track record of lyrics this good, and back it up with music as good or better. It’s usually one of the other, but rarely this fierce, thanks to the wall of sound production of the mysterious Marshall Lawless, with Kurt Schlegel at the board this time. Co-conspirators now feature both string-titans of longtime AT mainstay Victims Family: guitarist Ralph Spight (also Freak Accident) and wonder bassist Larry Boothroyd (also Triclops, Brubaker); plus drummer / metal percussionist Jason Willer (UK Subs, Nik Turner, Charger, The Mob).

So as germs and police riots rage, there’s no better primal scream therapy than a long-awaited new Jello Biafra album. From Dead Kennedys to Lard to the now-classic albums with the Melvins, DOA, NoMeansNo, Mojo Nixon; and of course, The Guantanamo School Of Medicine, Tea Party Revenge Porn is right up there with all of it.

Limited Indies only clear marbled red/yellow vinyl exclusive repress for November 2020’s sold out album.

2020 Album Of The Year “Utterly transcendent” – The Quietus
“Hypnotic, tremendous” – Rolling Stone
“A genuine landmark” – Clash Magazine
Voted One Of 10 International Albums Of 2020 – The Irish Times
“A stunning piece of work... a consistently brilliant album.” – Echoes & Dust
“A high quality not many can match in this or any music scene.” – Birthday Cake For Breakfast
“The most essential guitar band in the country.” 5/5 – Narc Magazine

Amplification moves air and gestures to the celestial. A splitter van parks in a service station. The afterglow of the stage. The weight of a bass cab up a steep flight of metal stairs. Hey Colossus are no strangers to the dualities of life as a loud rock band. But more importantly, they know how to channel both facets into records that transcend all limitations in a blinding volley of incandescence.

‘Dances / Curses’ - their lucky thirteenth record - is the work of six musicians at the peak of their considerable powers of intuition and inspiration.Constant motion is also something Hey Colossus know a little about, now into their eighteenth year as a band in a never-ending search for new trouble and new epiphanies. When this iteration of the band - which came together around the making of their last release, 2019’s ‘Four Bibles’, geographically spread between Somerset, Watford, London, Nottingham and Sheffield - first began work the chemistry apparently took care of itself, with their meetings at weekend rehearsals seeing them undergo a process less like jamming and more like a particularly intensive form of instant composition. Whatever sparks were spontaneously flying in these initial sessions, they gave rise to enough material to make 'Dances / Curses' a double record, running the gamut from the rhythmically-driven, infectiously melodic songcraft of ‘Donkey Jaw’ and ‘Medal’ via the slow-burning atmospherics of ‘U Cowboy’ to the mightily motorik-driven 15 minute travelogue that is ‘A Trembling Rose’, which takes in a plethora of unified headspaces in richly cinematic style.

Longterm Hey Colossus fan Mark Lanegan makes an appearance amidst the languid and sun-soaked denouement of ‘The Mirror’, the existential gravitas of his tones entirely at home in these revelatory surroundings. Fittingly for a band who operate entirely by their own co-ordinates, 'Dances / Curses' is released on bassist Joe Thompson’s own Wrong Speed Records (and Learning Curve Records in the US), his latest such venture in a lifetime of steadfast belief in the DIY maxim, “It's 100% time for all bands to take control of their shit” he notes. All the tools are there to do it yourself. Back your own horse. It's practical. It's positive. There's a chance things will never be the same, if change doesn't happen now it never will.”

True to form for a band in full control, 'Dances / Curses' is far from the kind of sprawling psych opus that exists purely due to the band being too baked, biased or blasé to edit it down. Indeed, this serendipitous record marks something even these six musicians never necessarily intended - a work in the tradition of the double album with an element of mystery, a record that somehow changes itself every time it returns to the shelf. Somewhere on the great continuum between Unwound’s Leaves Turn Inside You and Stevie Wonder’s Journey Through "The Secret Life Of Plants", somewhere between the dances of aspiration and the curses of reality, Hey Colossus have created their finest alchemical achievement to date.

Jack’s Mannequin is the name of a side project headed by Andrew McMahon, the lead singer of Something Corporate. It is a concept album centred around McMahon’s return to California and the demise of a long-standing relationship. McMahon wrote the material during a dark period of self-exploration in his life impacted by Something Corporate’s hiatus and the ending of a long relationship with Kelly Hansch caused in part by his career pursuit. It charted at number 37 on the Billboard 200 and sold over 250.000 copies.

Available as a limited edition of 1500 individually numbered copies on transparent vinyl. The package includes an insert.

In tune with the intensity of the record, ‘IS’ is available via 200 gram super deluxe heavy weight vinyl that comes with a free digital download for those long walks with the iPod. It offers a world of micro-trance subtleties as well as epic landscape raga journeys all brought to you on both six and twelve steel-string guitars. With multiple releases all around the globe Steffen offers a very unique approach to the instrument. Not simply trying to be just another John Fahey and while taking clear influence from Robbie Basho, treads his own path from experimental simplistic minimal space to unexplainable complex finger picking (But never for the sake of it) as Basho said “Soul first – technique later“. “it is as if a thousand fingers are brushing the strings, bringing them to a luminous sheen.” - Mr Olivetti, Freq Basho-Junghans has been forging unprecedented ground within the solo guitar world over the last few decades where his out-put has covered everything from John Fahey style finger-picking, epic pieces influenced by Indian ragas to minimalist micro-trance adventures capable of taking your consciousness beyond the limitations of time. ‘IS’ comfortably straddles Steffen’s two mainstays: transcendental landscape ragas and experimental excursions that take the steel-string guitar to places that it has never been before. For example the finishing track on the album ‘…and like Wind we go’, is a scratchy textural piece, that while devoid of any obvious melody has a striking atmosphere that will get the hairs on the back of your neck standing on end.

Stockholms Postpunk-Helden V**gra Boys (mit **, um Spamfilter zu umgehen) endlich mit ihrem neuen Album. Produziert wurde das Album von Matt Sweeney (Bonnie “Prince” Billy, Run the Jewels), Justin & Jeremiah Raisen (Yves Tumor, Kim Gordon, Sky Ferreira), sowie Pelle Gunnerfeldt und Daniel Fagerström (The Hives, The Knife), mit denen sie schon in der Vergangenheit zusammengearbeitet haben. V**gra Boys sind für ihre satirische Seite bekannt und auch diesmal erwarten uns schneidender Postpunk, eine tief empfundene Ablehnung für gängige Genremerkmale und leidenschaftliche Wut auf die Gesellschaft wegen der zunehmenden Normalisierung von toxischer Männlichkeit, Rassismus, Frauenhass, Klassendiskriminierung und Egozentrismus. Sogar der Albumtitel hat ein satirisches Element, denn die Umschrift des Begriffes für das finanzielle Unterstützungsprogramm für Jazzmusiker aus dem Schwedischen trifft ins Herz institutionalisierter Klassendiskriminierung und Prioritätensetzung.
“Ich bin nicht besonders gut darin, über Politik zu sprechen, aber irgendwie ist doch heute alles politisch”, meint Sänger Sebastian Murphy. “Ich schreibe über Ablehnung oder eine Niederlage, denn dann bin ich ehrlich und authentisch.” Auf dem neuen Album vermischt sich das Kleine mit dem Großen und Murphy erklärt weiter: “Als wir diese Songs schrieben, hatte ich gerade eine lange Beziehung hinter mir, nahm jeden Tag Drogen und benahm mich wie ein Arschloch. Als ich merkte, wie unausstehlich ich war, war es zu spät. Auf dem Album geht es unter anderem darum, dass ich akzeptieren musste, dass ich mir selbst völlig falsche Ziele gesetzt habe.”

We can finally unveil our nextcoming special release MNQ 070 T. Neon Judgement - Original Tapes. The box set contains the 2 tapes 'Suffering and 'Tv Treated.
Both the tapes are authentic from 1888 and they were self-released by the band at the time. The box comes in a numbered edition of 100 copies and contains also an authentic TNJ sticker from the 80s. This is probably your last chance to get them...
Original numbered The Neon Judgement sticker from the 80's, printed by the band.

Audiophile 180g Vinyl-Reissue des Debütalbums "Private Revolution" (1986) der britischen Rockband World Party, die der walisische Sänger und Musiker Karl Wallinger 1985 nach seinem Austritt bei The Waterboys gründete. Mit den Singles "Ship Of Fools", "All Come True" und "Private Revolution".

The accomplished and uniquely characteristic world-builder Mart Avi delivers his most complete body of work yet with Vega Never Sets. His fifth full-length solo release, a record of abstract soul and spectral electronic textures finds him evolving further into a state of hyperkinetism and timeless grandeur. Like the great storyteller, Mart Avi blends the familiar and comforting with the new and the unpalatable, to seduce the unawares with a bold new record that veers between folkloristic tech-noir and melodic, post-digital ballads; a movement of electronic pulses, gently held together by his finely composed worlds. Pulling at deeper contexts, he expresses an unstrained defiance of gravity through his playful character — one that is smartly dressed, charming and full of boyish anarchism. As The Quietus wrote, Avi is “like a David Foster Wallace of pop”, cerebral and hot-blooded, with plenty of fervour and a lust for living.

Purple Viny

Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover , BLUE VINYL, and comes with a free MP3 download of the album.


racks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the "In My Eyes" 7 Inch. The Digital version of this record includes the song "Stand Up," from the Flex Your Head compilation. All songs are available on CD.

Recorded: April & August 1981
Released on 12": June 1984

Ian MacKaye vocals
Lyle Preslar guitar
Brian Baker bass
Jeff Nelson drums

„Dance Hall At Louse Point“ ist das erste Album in Zusammenarbeit zwischen John Parish und Polly Jean Harvey. Es ist das Nachfolge-Album zu „To Bring You My Love“, das von der Kritik hochgelobte und kommerzielle Durchbruchalbum PJ Harveys.
Das von Parish und Harvey produzierte Album „Dance Hall At Louse Point“ wurde ursprünglich am 23. September 1996 veröffentlicht. Die Neuveröffentlichung wird von einer vollständigen Restaurierung der
Videos zu „Is That All There Is?“ und „That Was My Veil“ begleitet.
„Dance Hall At Louse Point“ wird als 180g LP veröffentlicht.

POWER UP will be available in multiple configurations that will excite collectors and die-hard fans alike, including digital, CD, and deluxe versions. The limited edition, one-of-a-kind deluxe POWER UP box is the ultimate fan package. Hit the button on the side of the box and watch the flashing neon AC/DC logo light up while the opening bars of “Shot In The Dark” blast out of the built-in speaker. Inside the box is the full CD package in a soft-pack with a 20-page booklet that features exclusive photos and USB charging cable allowing the box to remain powered up and on display. The vinyl LP will be pressed on 180 gram vinyl and housed in a gatefold jacket.

To raise money for Grassroots Music Venues in both the UK and Canada that are suffering due to the pandemic, The Burning Hell and B.A. Johnston release this split 7" on snot green vinyl!

In collaboration with Brighton-based label Love Thy Neighbour, Mathias and BA wanted to try to help some of their favourite grassroots venues in Canada and the UK stay afloat through the crisis, and this 7” is the result. On The Burning Hell’s side, Mathias distils his coronavirus frustrations with “I Want to Drink in a Bar.” BA Johnston sings about isolation from atop his toilet-paper throne on “Supreme Self-Quarantine” and adds a bonus oldie that nods at The Burning Hell’s side with “I Want to Drink in a Bar Filled with Aliens.” But as much as we’d all like to see Chewbacca take revenge on a Sublime-singing guy at open mic night, this record hopes that we won’t have to wait until we get to the Mos Eisley cantina to hang out with all of you in bars and venues again.

Flute, congas, bass, drums, guitar and clavinet; this unconventional arrangement of instruments intertwine to form the debut album by Badge Époque Ensemble - a group of creative improvisers assembled to perform new, largely instrumental compositions by Maximilian ‘Twig’ Turnbull(formerly Slim Twig - DFA Records).

Badge employs an eclectic cast of characters from the Toronto underground music scene, whose combined experience would take pages to spell out. It includes stints accompanying songwriters Andy Shauf and Marker Starling, outfitting heavies Blood Ceremony and Biblical, and respective careers spent gigging Django-jazz and the classical cannon.

Badge’s distinctive sound arises from the diversity of these musical exploits, creating a palpable chemistry well captured on the live-tracked songs that form the group’s self-titled debut. Part of this crucial chemistry can be attributed to the fact that four of the six players in the Ensemble have been at the core of the live, U.S. Girls band, a group that has scorched stages internationally over the past year and was hailed by Paste magazine as the best live band of 2018. While it may call to mind an improbable collision between psych-era Stevie Wonder and the whimsically dark, Fantastic Planet score, it is clear we are operating in a post Wu-Tang paradigm. If a crate of library, tropicalia, prog and electric jazz records were flattened into a single 12” and then fed into a sampler, we might approximate the process.

In Time: The Best Of R.E.M. 1988-2003 is more than a greatest hits collection, it’s an opportunity to reflect on the astonishing creative and cultural influence of one of the most innovative and enduring bands of modern rock history.

This compilation of eighteen tracks serves to remind us all over again of R.E.M.’s key role in shaping the sound of the last three decades. With “Losing My Religion,” “Man On The Moon,” “What’s The Frequency, Kenneth?,” “The Sidewinder Sleeps Tonite,” “Orange Crush,” “Everybody Hurts” and many more, In Time lives up to its title as an indispensable musical document of our era. The set also features the tracks “Bad Day” and “Animal” which were released for the first time as part of this collection.

Formed in '92 with voice, distorted bass and drums. Band's symbol comes from a sign placed on witches graves, which is jolly. The assurance of the old sound sustained through energetic expression rather than shallow noise. Two MC's through Energeia, 'Simon Dreams In Violet' ('93), 'Dreaming The Lost' ('94).' Had Mick Mercer's 'Hex Files: The Goth Bible' been published a year later he would have added: 'and the self-released MC 'Follia' ('95) on their own label Interior Deus.'
25th anniversary limited edition vinyl of 341 numbered copies. Comes with a 16 pages insert also including digital album + bonus track.

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, MOJO, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.