Pop & Rock Vinyl New Releases - News

Greek artist June makes his debut on Mannequin Records with the 'Silver Demon' LP. The album explores a futuristic dystopian world where transcendence and oppression coexist, where claustrophobia and infinite openness coincide. A world of contrasts that is the product of the artist‘s active imagination and conscious effort to confront the subconscious.

The album was recorded using original techniques from the golden era of electronic music (late 70s to mid 80s) with an arsenal of vintage analog synthesizers, drum machines and effect processors (originating) from the same time period. While the aesthetics of the classic precursors emerge through the minimal, deep, dark architecture of June's music, Silver Demon prevails with the artist's characteristic originality.

Mastered by Rude 66.
Graphic design by Lee Douglas.

LTD WHITE DOUBLE VINYL

Hier ist Oscillate von PG.LOST - das neue Album der Band, welche pures Drama und Katharsis lebt. Ihr fünftes Gesamtwerk - und erstes seit dem erfolgreichen 2016er Versus - braucht mit dem ausgeprägtem Verständnis von Spannung/Entspannung einen Vergleich mit Werken von Mono, Explosions in the Sky und Godspeed You! Black Emperor nicht zu scheuen. Mit Einflüssen, die von der emotionalen Wucht von Big Thief über den erfinderischen Geist des Krautrock bis hin zur Brutalität von Neurosis und dem dunklen Experimentalismus von Coil reichen, verflechten sich diese schwereren Elemente und öffnen sich in der Weite gar bis Fennesz oder Tim Hecker. Eine neue Ausrichtung, welche eine schimmernde Schönheit und Tiefe enthüllt, wie sie in der heutigen überkomprimierten und überproduzierten Version "moderner" Musik selten zu finden ist. Das Titelstück beginnt mit einer blühend dunklen Ambientpassage, ein aufsteigender Gitarren-/Synth-Part, der die Spannung aufbaut bis die endgültige Befreiung durch einem großen Refrain, gigantische Wellen von Gitarrenklängen und Percussion-Dichte erreicht wird. Oscillate steht exemplarisch für das Album als Ganzes - massiv im Umfang und noch größer im Klang. Oscillate ist nicht nur Instrumentalmusik, es ist ein eigener Film, projeziert in einem Kino mit einem makellosen Soundtrack, der mit 120 db explodiert. Das Album wurde von der Band in ihrem eigenen Studio aufgenommen und von Magnus Lindberg von Cult of Luna gemischt und gemastert. Souverän in der Ausführung ist Oscillate acht Tracks wahrer dramatischer Bombast und ein gewaltiger Schritt vorwärts für die Band - vier Jahre warten haben sich gelohnt. Für Fans von Mono, Explosions In The Sky, Mogwai, Cult of Luna, EF, Caspian, Russian Circles Band Info: PG.LOST wurde 2004 in Norrköping, Schweden, gegründet und besteht aus Mattias Bhatt, Martin Hjertstedt (ex- Ghost), Gustav Almberg (The Great Discord) und Kristian Karlsson (Cult of Luna). Auf der Suche nach einem einzigartigen Klang und der Liebe zu Post-Rock, Ambient und Shoegaze mit einem Hang zum Post-Metal, veröffentlichte die Band 2006 und 2007 ihre selbstbetitelten sowie die Yes, I Am-EPs. Daraufhin veröffentlichten PG.LOST 2008 ihre Debut-LP It's Not Me, It's You! Es folgten In Never Out, Key, die Split-LP mit Wang Wen und zuletzt Versus. Line Up: Mattias Bhatt: Gitarre, Martin Hjertstedt: Schlagzeug. Gustav Almberg: Gitarre, Kristian Karlsson: Bass

The American rock band Clutch released their second riff-laden self-titled album in 1995. The Zeppelin/Sabbath-esque riffs can be heard throughout the album. Almost every track on the record get stuck in your head immediately, listen to songs like “Droid”, “7 Jam” and “Big News”.. If you’re into the great 90’s rock classics you can’t sleep on this one. From their early days Clutch created some impressive rocking records. Neil Fallon’s vocal together with the great guitar riffs have always been one of the signatures of the band.

Clutch is available as a limited edition of 3000 individually numbered copies on crystal clear vinyl.

Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
•One of the first-ever all-electronic film scores
•Remastered from the original master tapes

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best known album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

2nd outing from Jonny Nash & Suzanne Kraft in their MATstudio series. These records are intended to catalogue some of the experiments, explorations, accidents and fortuitous events that regularly take place at their Amsterdam studio. Each record features two compositions created from a collage of works.

Auf seinem dritten Album " A Quiet Ritual" kombinieren Snow Ghosts (aka Ross Tones/Throwing Snow & Hannah Cartwright/Augustus Ghost) moderne und alte keltische Vintage-Instrumente zu einem ambienten Amalgam aus Electronica, Post-Rock und Metal. Ihre Themen handeln von Spiritualität, Mystik, Rituale und alte unbändige Wahrheiten über Liebe, Tod und Natur. Mit "A Quiet Ritual" gelingt dem Duo sein wohl dringlichstes, schönstes und fesselndstes Werk.

”The Slow Rush”, das vierte Album von Kevin Parker als Tame Impala, wurde im Februar 2020 mit großemErfolg veröffentlicht. Parker erreichte seine zweite Nr. 1 in Australien und sein bisher höchstes Chart-Albumsowohl in den USA als auch in Großbritannien sowie 14 Top-10-Chartplatzierungen weltweit.

Die neue Farbversion von ”The Slow Rush” in limitierter Auflage, die zum ersten Mal seit der Erstveröffentlichung neu aufgelegt wurde, erscheint auf 180 Gramm cremeweißem Vinyl. Mit ”Lost In Yesterday”, ”Borderline”, ”It Might Be Time”, ”Breathe Deeper” und ”Is It True” taucht Parker auf ”The Slow Rush” in die Tiefen des Ozeans der Zeit und beschwört das Gefühl eines Lebens in einem Blitzmoment herauf, über wichtige Meilensteinen, die vorbeisausen, während man auf sein Handy schaut, ist es ein Loblied auf Schöpfung und Zerstörung und den unendlichen Kreislauf des Lebens.

Music history is full of miracles and wonders. OFEGE is certainly one of them. It's quite easy to imagine this band's story turning into a movie. In 1973, a bunch of teenagers with an abundance of passion for music got their hands on the official school band's instruments and jammed away. Inspired by the psychedelic rock sounds and guitar wizardry of Carlos Santana, Jeff Beck or Led Zeppelin they wrote an album worth of songs and decided to have them recorded. The goal was to press them on vinyl - one copy for each band member - as a souvenir of the fun times they had together before their school careers would rip them apart. Shortly after, they found themselves with a major record label contract in their pockets, propelled to stardom in their hometown of Lagos/Nigeria and soon across the whole country. Three studio albums followed in the years to come. The unavoidable enviousness and bickering over "who's the true band leader, who's gets the most love letters" and such led to alterations of OFEGE's line-up and subsequently to its decay in 1978. With the turn of the century, OFEGE's coming-of-age drama has fortunately found a new generation of fans across the globe and will certainly continue to do so with this dearly needed reissue. OFEGE's debut album "Try And Love" will now be available digitally for the very first time since its inception 47 years ago.

It's true what they say: Life's writing the best stories.

BIG SCENIC NOWHERE the supergroup led by Bob Balch from FuManchu is coming back with a new killer EP titled "LAVENDER BLUES" The band has a straight core of members as Gary Arce from Yawning Man and Tony Reed from Mos Generator, this time the album going to feature great names as Per Wiberg from Opeth, Spiritual Beggars at synth and piano, Daniel Mongrain from Voivod at the guitar and the mighty producer from Kyuss: Chris Goss from Masters Of Reality at the guitar. The sound once again has this mellow and psychedelic attitude, with pinches of space rock and a matrix of desert sound, but you can also hear some progressive passages, and old school hard rock riffing here and there. The album feature once again the cover art of the visionary Max Loeffler.

Gute Laune Westcoast-Pop: Beach Boys meets Zappa. Das Debütalbum der Band mit dem freundlichen Namen Hello Forever entstand im kalifornischen Topanga. Topanga war schon immer eine Art kreativer Fluchtpunkt für Künstler, die in der Abgeschiedenheit nach Inspirationen und Liebe suchten. Hier, wo"Whatever It Is" aufgenommen wurde, nahm auch schon Neil Young "After the Gold Rush" auf oder schrieb Captain Beefheart Songs für sein Album "Trout Mask Replica". Genau hier leben auch die Mitglieder von Hello Forever und fanden dort ihren Sound, der natürlich an die großen musikalischen Zeiten dieses wunderschönen Landstrichs erinnern: den Beach Boys, Neil Young und natürlich auch den Beatles (auch wenn sie nie da waren). Sänger und Songwriter der Band ist Samuel Joseph, der seine Band selbst als Art-Pop-Kollektiv beschreibt. Die farbenfrohe Instrumentierung und der mehrstimmige Harmoniegesang sind beeinflusst vom Sound der 60er. "Whatever It Is" klingt als hätten die Beach Boys Frank Zappa zu einer Jam-Session einladen, während die Beatles im Studio herumlungern, um sich in der gleißenden Sonne von ihrer "Magical Mystery Tour" zu erholen.

Yellow Vinyl

Der jüngste Teil der Magnetic Eye’s Redux Series ist einem
der Meilensteine der Grunge-Ära gewidmet: Eine Reihe von
Künstlern aus dem Doom- und Stoner-Underground
interpretieren Alice in Chains’ Dirt neu, einen vertonten
Alptraum über Drogenabhängigkeit und innere Finsternis.
Ähnlichkeiten zwischen Grunge und der Entwicklung des
Stoner Sludge Metal lassen sich besonders deutlich auf diesen
Meilenstein zurückführen, der den kulturellen Wandel vom
geistlosen Hair Metal zu roherem, dreckigerem und
authentischerem Stoff in den frühen 1990ern endgültig
machte, woraus dann der vorherrschende Stil populärer
harter Musik wurde.
Dirt Redux bietet den gesamten Albumklassiker von Anfang
bis Ende in Form von Coverversionen und Überarbeitungen
durch Szene-Schwergewichte und Aufsteiger wie Khemmis,
Thou, -(16)-, Howling Giant, Forming The Void, The Otolith
(ex-SubRosa) und weiteren.

Insanely popular across the Maghreb, name-checked in international spy novels and beloved of music adventurers like David Byrne, Libyan superstar Ahmed Fakroun is the most astounding raï-disco-electronica pioneer you never heard of. His 1983 album, Mots D'Amour, recently reissued by PMG, is regarded as a global fusion classic. This self-titled anthology of songs from the late 70's is an altogether mellower affair. The grooves are slower and sweeter, and Fakroun's multi-instrumentalist chops on the saz, mandol and darbouka drum really come to the fore. The album includes tracks from two of Ahmed's rarest and most sought-after 7's. 'Nysan' has an almost West Coast vibe: think Ned Doheny via Benghazi. Balearic-minded collectors will love the haunting flute runs in 'Awedny', produced by Tommy Vance, and 'Njoom Al Leyel'. There's even a touch of lilting reggae on 'Falah' and 'Yu Hussad.' Ahmend Fakroun is the perfect late night, come-down album. Especially after a hot and sweaty evening in a raï club, somewhere in North Africa. - Peter Moore,

“Here we have new music by an artist you may have heard but have never heard of, reason being the Austro-Balinese surf goth formally known as The Hands would now like to be referred to as Dully. Yes, Dully. The ESP Institute proudly presents his second official release which can only be described as independent gothic technotic antipop. Enjoy!” –DJ Harvey

Lydglimt by Klaus Schønning - an otherworldly blend of ethereal ambient, new age with inherent discofied undertones - reissued! Pressed at Pallas in a 500 copy run only & comes with a beautiful booklet !

Reissue on vinyl of the third PJ Harvey studio album To Bring You My Love. Produced by PJ Harvey with Flood and John Parish, and originally released in February 1995, To Bring You My Love features the singles ‘Down By The Water’, ‘C’mon Billy’ and ‘Send His Love To Me’. The album – which celebrates its 25th Anniversary this year – received wide critical acclaim on release, with nominations for Grammy Awards and the Mercury Music Prize. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish.

‘LIVING IN A GHOST TOWN’ a new song from The Rolling Stones. Written by Mick Jagger & Keith Richards, created & recorded in Los Angeles, London and in isolation.

Released on limited edition, orange 10” vinyl.

Mick- ‘‘So the Stones were in the studio recording some new material before the lockdown and there was one song we thought would resonate through the times that we’re living in right now. We’ve worked on it in isolation. And here it is – It’s called ‘Living in a Ghost Town’ - I hope you like it”

Keith- “So, let's cut a long story short. We cut this track well over a year ago in L.A. for part of a new album, an ongoing thing, and then shit hit the fan Mick and I decided this one really needed to go to work right now and so here you have it , "Living in a Ghost Town". Stay safe!”

Charlie- “I enjoyed working on this track. I think it captures a mood and I hope people who listen to it will agree.”

Ronnie- “Thanks so much for all your messages these past few weeks, it means so much to us that you enjoy the music. So we have a brand new track for you, we hope you enjoy it. It has a haunting melody, it’s called Living in A Ghost Town.”

Acnalbasac Noom – meant to be the German-English-American avant-pop group Slapp Happy’s second album – was originally recorded in 1973 but did not see release originally until 1980. Recorded with legendary German art-rock group Faust accompanying the Slapp Happy core of Anthony Moore on keyboards, Peter Blegvad on guitar, and Dagmar Krause on vocals, and with Faust’s brilliant producer Uwe Nettelbeck at the helm, Acnalbasac Noom was initially rejected by the group’s label Polydor as not being commercial enough. As a result the band left Polydor, signed with Virgin, and released this album’s tracks in a completely re-recorded version for their official second album, the self-titled Slapp Happy from 1974.

Far from being simply an “alternate version” of that album, Acnalbasac Noom is a completely different beast from Slapp Happy. Simultaneously low-key and high-brow, the versions found here are damaged art-pop par excellence; the combination of Slappy Happy and Faust create a sound that defies era, sounding at times like anything from the artsier side of their contemporaries in the British folk-rock movement to damaged ‘90s indie-pop, the more accessible end of Yoko Ono’s 1970s to an alternative universe Lynchian cabaret-lounge act. It’s not often that an unreleased or “lost” album marks the pinnacle of a group’s career, but with Acnalbasac Noom there’s a strong argument to be made.

2 tracks that were issued as singles in Marc’s final year of 1977, here we have rare broadcast versions (arguably better versions).

The last in this year’s ‘alternative singles’ series features a track that was never issued in Marc’s lifetime - Funky London Childhood was shelved in favour of London Boys as a single (a broadcast version of which is also included here ). FLC eventually was renamed Visions of Domino and rerecorded as an album track for the Dandy In the Underworld album issued in 1977. By early 1976, the much delayed Futuristic Dragon album was due to be issued along with a full UK Tour, although since finishing the album Marc had recorded enough material for two more albums, most of which would also get shelved and never see the light of day in his lifetime. 2 tracks on the B side are in keeping with many T.Rex singles of the day and aligning with today’s guidelines of how much time we can get of optimum sound on 7” vinyl. A: Funky London Childhood 2:30 (Marc Bolan) This version recorded January 1976 in Hollywood Published by Spirit Music Publishing Ltd B: 1. London Boys (Broadcast Version) 2:09 (Marc Bolan) This version recorded February 1976 in London 2. Funky London Childhood (Early Version) 2:28 (Marc Bolan) This version recorded December 1975 in Hollywood

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

2 x 180g Black 12” vinyl
20 page hardcover 12” art book
Song Machine Season One Deluxe CD
Download card for the full deluxe album
3 x 12” art prints
1 x 12” label copy sheet











j 10. Désolé (feat. Fatoumata Diawara) Extended Version










j 10. Désolé (feat. Fatoumata Diawara) Extended Version

Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.

If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.

Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.

Patrick Ryder

After swapping hemispheres, Australian outfit Death Bells have found a new home in Los Angeles, emerging with a new album of fervent guitar-driven rock, stripped of gloom and punching through with a new sense of positivity. New Signs of Life, their debut for Dais Records, finds Death Bells using a DIY pedigree to plunder the conventions of “rock music” with a saxophone along for the mission. Rather than leaping genres or formats, New Signs of Life is refined and nuanced—a methodology built on process, craft, and perspective.

Following their 2017 debut, Standing at the Edge of the World, and follow-up single “Echoes,” Death Bells left their hometown of Sydney for the United States. Energized by impulse, extensive touring and exploration led to the formation of an ambitious six-piece band that eventually coalesced as a collaboration between founding members Will Canning and Remy Veselis. With Canning and Veselis becoming the engine, Death Bells began to employ several underground mainstay musicians to complete their live presentation, including Cortland Gibson (Dock Hellis), Colin Knight (Object of Affection), and on occasion Brian Vega (Fearing). Revitalized and centered, Death Bells released the single “Around the Bend” in 2019, before workshopping material that would eventually comprise their second full-length effort. As much as Standing at the Edge of the World was an energized disclosure informed by fresh naivete, New Signs of Life harnesses those initial sparks, cloaking the threads of Death Bells with authority, allowing each of the nine tracks which embody New Signs of Life to become lush streamlined vehicles.

The eponymous lead single is a grandiose statement, influenced by the theme song of HBO’s classic television program Six Feet Under. The lyrics are a shopping list of personal neuroses butted against self-help clichés, dressed with jagged guitars, brass, and percussion providing a deliberate pace for Death Bell’s new chapter. As method gives way to melody, New Signs of Life exudes an urgent hope laced with drive and verve. The first track for New Signs of Life, “Heavenly Bodies,” signals Death Bells’ pointblank delivery of a laconic truth: “We all vanish, anyway.” Somber and cool, it eases into hushed staccato hypnosis while still finding the tenets of guitar-driven rock. ”A Different Kind of Happy” and “Alison” push the edge of convention, speaking to the power of love in a world gone mad. A nod to their homeland and new city’s surf heritage, “Shot Down (Falling)” pivots playful to a sun-soaked beach strum, layered with shimmer before the horizon fades. As a new statement of purpose, New Signs of Life subverts the band’s moniker, offering breath during suffocation; optimism in chaos with sound over sinking.

Fu Manchu’s 8th album, Start The Machine, was originally released on 14 September, 2004. Now repressed on neon yellow vinyl. (no flexi disc with this version).

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- 25TH ANNIVERSARY OF RINGO´S 10TH ALBUM
- INCLUDES THE SINGLES WEIGHT OF THE WORLD' AND DON'T GO WHERE THE ROAD DON'T GO'
- FEATURING JEFF LYNNE, BRIAN WILSON, HARRY NILSSON, ANDREW GOLD (WAX), JEFF BAXTER
(STEELY DAN), MARK HART (SUPERTRAMP) AND MANY OTHER GUEST APPEARANCES

When The Beatles were formed in 1960, Ringo Starr was a member of another Liverpool group, Rory Storm and the Hurricanes. After achieving moderate success with that band, he quit and joined The Beatles in August 1962, replacing Pete Best. Starr played key roles in The Beatles' films and appeared in numerous others. After the break-up in 1970, Ringo Starr released several successful singles including the It Don't Come Easy', Photograph' Back Off Boogaloo' and You're Sixteen'.

Ringo Starr achieved commercial and critical success with his 1973 album Ringo, which was a top ten release in several countries. He has been featured in a number of documentaries and hosted television shows. Since 1989, he has toured with twelve variations of Ringo Starr & His All-Starr Band.

Time Takes Time is the tenth studio album by Ringo Starr, released in 1992, his critically acclaimed comeback album. His first studio album since 1983's Old Wave, it followed a successful 1989-90 world tour with his All-Starr Band. Time Takes Time features several celebrity guests including Brian Wilson, Harry Nilsson and Electric Light Orchestra front man Jeff Lynne.

Many critics considered Time Takes Time Starr's best album since 1973's Ringo. Rolling Stone magazine wrote, The drummer's most consistent, wide-awake album since Ringo, from 1973.

Hot on the heels of the release of Ringo's latest album Give More Love, 2017 also marks the 25th anniversary of Time Takes Time. The album is now finally available again on vinyl.

”Shape & Destroy” wurde von Kelly und seinem langjährigen Kollaborator Jarrad K (Kate Nash, Weezer) koproduziert und in den Dreamland Recording Studios im Bundesstaat New York aufgenommen. Es dokumentiert Kellys Weg durch die Aufrechterhaltung seiner Nüchternheit und die Auseinandersetzung mit seiner Vergangenheit. Er begegnet diesen Erfahrungen und Rückschlägen mit ungeschminkter Ehrlichkeit, Anmut und Überzeugung in dreizehn neuen Liedern, darunter ”Brave”, das Anfang des Jahres mit Beifall der Kritiker uraufgeführt wurde - ”Men’s Health” verkündete ”Be prepared: this song is a sledgehammer
straight to your heart”, während Rolling Stone ”poignant” erklärte.
Zusätzlich zu Kelly (Gesang, Akustikgitarre, hochsaitige Akustikgitarre, E-Gitarre, Klavier, Schlagzeug, Sandpapier, Mandoline) und Jarrad K (E-Gitarre, 12-saitige Akustikgitarre, Klavier, Rhodes, Hammond M3, Schlagzeug, Schülerglocken, Hintergrundgesang), Auf dem Album sind außerdem Kellys Vater Tim ”TK” Kelly (Steel-Gitarre, Background-Gesang), Eli Beaird (Bass, Background-Gesang) und Eric Slick (Schlagzeug, Perkussion, Background-Gesang) sowie die Special Guests Gena Johnson, Abby Kelly und Kacey Musgraves für den Background-Gesang zu hören.