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The Doors The Doors

Dead Or Alive have sold more than 30 million albums and 25 million singles worldwide and gave Stock Aitken Waterman their first #1
single. Their first three albums, which the band wrote, all reached the UK Top 30, with ‘Youthquake’ reaching the Top 10. In the 1980s, they charted seven unique singles in the UK Top 40, with two further re-entries this century, with a remix and original version of ‘You Spin Me Round (Like A Record)’. Respected US magazine Billboard, ranked them in their all-time Top 100 most successful ‘dance artists’ chart.
Recorded at PWL Studios, London, “Nukleopatra” is the Band’s sixth studio album and was initially released in Japan in 1995, although
subsequently released in different versions - track existing / versions / durations / artwork - in eight other countries between 1996 and 1998. It contains the singles ‘Rebel Rebel’ and ‘Sex Drive’. The album was not released in the UK, until a re-worked version was included within the ‘Sophisticated Boom Box MMXVI’ box set in 2016. This vinyl edition replicates the original Japanese version, which features longer versions ‘Nukleopatra’ and ‘Sex Drive’, along with rerecorded versions of ‘Unhappy Birthday’ and ‘Gone Too Long’, which appeared on “Fan the Flame (Part 1)”. This special 25th Anniversary Edition of “Nukleopatra” is the first time that the album has been commercially released on vinyl in its original configuration, with original playing durations and will be pressed on 180g heavyweight blue colour vinyl.

Yawners is the band of guitarist and songwriter Elena Nieto, a project based in Madrid and currently shaped as a duo with the help of Martín Muñoz on drums. Right after forming Yawners, Nieto started self-releasing her songs and booking her tours with a DIY philosophy.

Just Calm Down, the band’s debut LP, will be released this 2019 by La Castanya. In the album, Nieto explores the pop side of the energetic 90s sound, a vibe that instantly brings you back to classic bands like Weezer, Pavement and The Breeders and connects to contemporary bands like Japandroids, Snail Mail or Waxahatchee.

There are few more romantic musical legends than those of the neglected bands who nd spiritual homes in far away times and places where they live on to in uence new unlikely generations of musicians. Sixto “Sugar Man” Rodriguez in South Africa, Dean Reed in the Soviet Bloc, Talk Talk post pop, and The Van Pelt amongst Uyghurs are some of the tales that get passed around the camp re. Enter Yawners and their resurrecting (whether wittingly or coincidentally) of the epic yet passed over DIY catalogs of early 90s record labels like Simple Machines, Dutch East India, K records, and Merge. The miracle is how they’re able to craft something so fresh yet it makes you feel like you’ve been transported 20 years into the past, just received a mix tape from your crush, popped it on in the car, rolled down the windows to smell the spring bloom, and let the wind design your new hairdo.

Big riffs, big feelings, big tunes, st pumps fueled by hope and love and the occasional pimple. Elena Nieto sings with a con dence that manages to speak to shyness and coyness and the terrifying joy that overwhelms when on the cusp of newness. This album has all the idyllic utters of an anticipated rst date and all of the hope and excitement that you just might pull it off and score a second one.


• Yawners will be playing SXSW 2019, and will present the record touring Europe and the USA.

Mrs. Piss is a new collaboration between Chelsea Wolfe and Jess Gowrie . Drawing on their collective rock, metal, and industrial influences, the project began while the two were touring around together during Wolfe’s Hiss Spun album in 2017. The result is their debut album Self-Surgery, which was recorded at The Dock Studio in Sacramento, CA and in Wolfe’s home studio, The Canyon. These songs feel more urgent and visceral than anything either of them has created before: heaviness spurred on by punk spirit.

Chelsea Wolfe (vocals, guitar)
“Working on this project brought Jess and I so much closer as songwriters and production partners, after reuniting as friends and bandmates. It was freeing and fun to channel some wild energies that I don’t typically put into my own music. We tried not to overthink the songs as we were writing them, but at the same time we did consciously put a lot into crafting them into our own weird sonic vision. This project was a chance for us to do things our own way, on our own terms, and we plan to invite more womxn musicians along for future Mrs. Piss recordings.” CW

Jess Gowrie (drums, guitar, bass, programming)
“To me, Mrs. Piss represents a musical chemistry cut short long ago that now gets a second chance. Creating with Chelsea has always been very liberating for me, and we both push each other to try new things: anything and everything. Both of us have grown so much as writers and musicians since our first band together (Red Host), and with the journeys we had to take separately to get there, we both have so much more to say; so much more pain and anger to express. That said, we also had a lot of fun doing it, not to mention how freeing it is to not give a f-k and to just create.” JG

"Doomy chugs, ethereal vocals and massive distortion sounds are the order of the day, summoning the menacing timbres that fueled Wolfe’s Abyss and Hiss Spun records"
GUITAR WORLD

"a grungy, sludgy new project that defies expectations"
REVOLVER

"Together, they make a grandly grungy noise — something bigger and more anthemic than what we’re used to hearing from Wolfe"
STEREOGUM

"urgent and abrasive"
CONSEQUENCE OF SOUND

"thundering tracks that sound as if they had diliberately set about to destroy a roomful of amplifiers"
BLACKBOOK

Immense support from Press, including coverage in Pitchfork, Stereogum, Revolver (Feature), Decibel, Mojo, Uncut, Under the Radar and MUCH more.
UK/EU Publicity handled by Lauren Barley at Rarely Unable

Seventeen Seconds was the second album by the Cure originally released in 1980. It was too bleak for bassist Michael Dempsey who left after hearing Robert Smith's demos. Smith went his own merry/miserable way in the end and the album is a fine example of their spindly proto-goth. It contains one of their finest moments in menacing single A Forest which exemplifies the dark nature of the material on the album.

This superb LP is widely regarded as one of the finest rock recordings ever to have emerged from Wales. Touching on pop, prog, glam rock and even country, it’s varied and expertly played but sank without trace upon its original release in early 1974. It makes a welcome return to vinyl here, together with an insert containing numerous rare images.

When one considers the American post-rock bands that emerged at the outset of what would become the modern era of the genre, the moment when a once fringe experimental form transitioned into a recognized faction of contemporary alternative music, there are only several still active today. Salt Lake City's I Hear Sirens are a member of that circle, having released their debut EP in 2007, followed by two LPs including 2013's Between Consciousness and Sleep, an album that has achieved a place of high regard with fans. However, the moment of their greatest acclaim has since stood as their culminating statement. But now their highly anticipated new record Stella Mori marks the continuation of their inspired exploration into instrumental music and its power to foster emotional release, invite reflection, reward vulnerability, and become the artistic abstraction of a limitless number of interpretations for each individual listener.

Vinyl reissue of the now classic 1971 album. Produced by Transamericas in collaboration

with the band from original master tapes, in a fully analog process at recording studios in María Pinto

(Chile), London and Haarlem (Holland).

Los Jaivas (“El Volantín”) is the first LP by Chilean rock band Los Jaivas, one of South America's biggest names in the fusion of folk roots and psychedelia during the 1970s. Los Jaivas were born in the city of Viña del Mar, with their five members determined to guide their initial sound through improvisation and experimentation, «trusting that in time a language would emerge that would give us our identity», in their own words.

This debut album (popularly known as El Volantín - The Kite -, because of its cover illustration) combined the free-flow of extended electrical pieces with more conventional three-minute songs filled with references to Chile's popular culture and the musicians’ own upbringing. Theirs was a solitary path, not just for the band but also for the beginnings of Chilean rock. Los Jaivas blazed a trail that was rich in musical references, with ideas inspired by Jimi Hendrix, the Congolese Missa Luba, Argentinian folk (Atahualpa Yupanqui, Ariel Ramírez), South American avant-garde composers (Ginastera, Villa-Lobos, Violeta Parra), the experimentation of pianist Henry Cowell, Caribbean rhythms and Miles Davis’ trumpet re-inventions.

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

House (Reef) and Leah Rasmussen (EMI, Bedrock, Renaissance) AKA Goldray, return with a psych-rock fuelled second album ‘Feel The Change’, released on July 31. Written and produced by House and Rasmussen. Mixed by Pedro Ferreira (The Darkness, Therapy?, Enter Shikari, Meatloaf, David Gray) at Spinroad Studios in Gothenburg, Sweden. This eight-track album is a development in the duos sound giving a heavier edge but at the same time sounding more accessible than their debut ‘Rising’ whilst still remaining deeply bedded in their psych roots.Their new music exudes their inspiration and passion. They released a new double a-side single on May 29th - ‘How Do You Know’ which builds through the entirety of its four-minutes demonstrating Rasmussen’s huge range and power vocally, ending with a massive crescendo. And ‘Oz’, a monster seven-minute-plus track driven through House’s incredible guitar playing, the song is an ambitious journey of rock and psych, building with power, then dropping into a feeling of surreal psychedelia only to be slapped back in the face with the thunderous riff! Sharing a songwriting vision blending psych and prog experimental arrangements with etheric yet powerful female vocals, House and Rasmussen first started working together as an experimental side project for the pair that soon grew into an all-consuming passion. With a clear identity both musically and visually, Goldray pulls huge inspiration from the late 1960s and early 1970s and are very much at the centre of the emerging psych-rock scene. The band have garnered a formidable reputation live with performances at Glastonbury, Bestival, Download, Ramblin’ Man, HRH, Camden Rocks Festival and various headline shows over the past three years in the UK and Europe. Live, the band (who tour as a four-piece) ensure the ethos and feel of the show emanates the same feeling as the music. Visually striking with vocalist Rasmussen looking resplendent (described in a live review by Prog magazine in 2018 as “... the high priestess of hard rock”), and House’s playing still powerful and irresistibly hooky but somehow sliding into psychedelic hypnosis that ensures the live shows are a sensory overload! Live shows will be announced in due course. “‘Feel The Change’ is a joyous, liberating listening experience unencumbered as it is by any desire to tap into the zeitgeist… more bands should be this fearless and free." - Planet Rock Magazine “Goldray have made an album ‘Feel The Change’ that’s gloriously wicked and divine in equal measures... there’s not a single dud amongst the eight tracks here.” - Prog Magazine “This is one that’s very much wanted... Kenwyn House on guitar and Leah Rasmussen on vocals make a sublime sound… Quite brilliant. Feel the change? Feel the benefit. 10/10” Powerplay “‘How Do They Know’ is a commanding, tripped-out new single” – Loudersound. Vinyl is limited to 600 copies – 400 on white vinyl and 200 pressed on marble coloured vinyl – Vinyl also includes download codes

The official 40-year anniversary issue of Imagination’s debut album Shake It.Remastered from original tapes, this deluxe edition is a double vinyl LP with gatefold sleeve, featuring a newly available lyric insert.

Shake It covers a diverse spectrum of styles and sounds, all combining to a unique soulful amalgam that ranges from sunshine AOR funk (“Mornin’ Lights”) and leftfield disco (“Strawberry Wine”) to psychy, epic, downtempo, vocoder grooves (“Can’t Stand Without You”) and more.

Originally released in 1980, it fast became one of Germany's most collectible privately-pressed LPs. Shake It was the creation of young thoroughbreds working hard on becoming professional musicians, trying to take their next big step in the music business. Starting out as a pure jazz-rock combo in the mid '70s (as we hear on the recently released lost studio tapes, I'm Always Right (The WDR Tapes 1977)) Imagination left behind their instrumental roots, incorporating new musical trends and styles.

Uwe Ziss, their saxophonist and flutist, became one of two lead singers in Imagination. He would be joined by the younger Roger Mork, a student of original guitarist Willi Hövelmann, around 1979. Roger's voice would best be heard on the aforementioned "Mornin’ Lights", one of the various standout tracks on Shake It. However, there is much more that this album offers.

There are soulful soft rock ballads like “Clouds Flee Before The Wind” and “Waitin for your Call” or the catchy “California” song that switches from a dreamy Westcoast sound (as the title implies) to danceable rhythm & blues with equal ease. Last but not least, there's three unissued bonus cuts. On one, the demo take of “Clouds Flee Before The Wind”, we hear, for the first time ever, the original refrain of this song, which, for some strange reason, was taken out from the final mix on Shake It.

When all eight original songs were recorded and mastered in June, at the well-equipped West Aix-La-Chapelle studio, the stage was set for Imagination’s long-desired career push. They'd initially press about 2500 copies of Shake It selling it mainly, locally, directly to their hometown fanbase in Düsseldorf. Meanwhile, their manager would attempt to arrange a record deal with a music label. Unfortunately, this became more difficult than expected. Negotiations with a smaller publishing company were made by Imagination, and Shake It was repressed on Nash Records in 1981 without their consent, under the false promises of a nationwide promotional tour which would never come to fruition. At the same time, the group would face a UK band under the same name achieving mainstream success, making it difficult (not to say entirely impossible) to perform as "Imagination". Though the band would remain active after Shake It, they'd split shortly after Nash's duplicitous reissue hit store shelves.

Luckily, through time, Shake It itself has remained worthwhile, creatively, for those who stumbled upon it and financially, too, becoming quite the sought after gem in record collecting circles. This deluxe anniversary double vinyl issue makes the LP available once again at a far more reasonable price, featuring the original, illustrious, eye-catching, Roy Lichtenstein-influenced banana art, as well as previously unavailable presspictures and more.

11 track collection of demos of all songs from the debut studio album Dry by PJ Harvey, available for the first time since 1992, and previously unreleased as a standalone album.

Features brand new artwork with previously unseen photos by Maria Mochnacz.

Thomas V. Jäger is best known as the vocalist/guitarist in Monolord, the hottest, most crushing melodic doom band in the world. So, releasing an intimate, deeply and boldly personal album of acoustic and synth based songs hot on the heels of the band’s most successful and powerful album to date, No Comfort might seem like a risky move. And yet, that’s not even the most daring and inspiring thing about A Solitary Plan.
Rather, this 7-song album is a cathartic depiction of very real and heart-wrenching situations as a means of musical therapy for the artist and, hopefully, for the listener as well. “This album is me venting all of this emotional energy I’ve been carrying around,” Jäger says. “Now I’m feeling more open about it, but at the start I had a hard time talking with friends and family. The record is what came out instead of talking about it.”
The central lyrical theme to the album is a coming to terms with the likelihood of not becoming a parent after wanting to have a family for a long time. “When I put down vocal tracks on the last song ‘The Bitter End’, you can hear my voice is trembling at parts. Every time I listen I get goosebumps, which rarely happens with songs I write.”
Other songs also deal with personal challenges, like health scares, existential searching, and death in the family. “Goodbye” is written for Monolord bassist Mika and his wife Emma. “When they had to put down their dog Eskil it affected me greatly. This song is him talking to them and telling them it is gonna be alright.” Heavy stuff, indeed — but in a different way from Monolord’s pummeling riffs.
Jäger doesn’t intend for the album to be a “woe is me” exercise, but rather something constructive. “I know that music helps people,” he says. “This is without any irony, it’s therapeutic. I know fans can interpret and use the songs for their own purposes. That feels meaningful to me.”
The album began organically, as Jäger often writes and records at home, sketching out song ideas on acoustic guitar into a computer with no set goal for anyone else to hear them. RidingEasy Records chief and Monolord manager Daniel Hall cajoled the guitarist into sending him some of the home recordings he’d been working on, and he immediately pushed for them to be released in this stripped-down form.
“I could’ve rearranged them to get a Monolord vibe, but I wanted the basis of just voice, guitar and synths,” Jäger says. “Really laid back and mellow.” He completed the album between tours, with mixing and mastering by Kalle Lilja at Welfare Sounds. Emil Rolof plays a real Mellotron on the title track, all other instruments and voices are Jäger himself.
A Solitary Plan will be available on LP, CD and download on July 24, 2020 via RidingEasy Records

Original year of release: 1988. Features the tracks 'Mala Vida', 'Ronde De Nuit', 'Salga La Luna', etc. Mano Negra the legendary first band of French singer Manu Chao ... featuring songs in Spanish, French, English and Arabic.. We are celebrating this year the 30th anniversary of its foundation. The album has been unavailable on vinyl since its first original pressing.

"Don't Touch My Sister" is Romain Azzaro's Rouge Mécanique début Album. Cinematic hazy instrumentals and a heady mix of post-punk, Italo disco, ambient and noise shine through Azzaro's dedication to his signature Telecaster slide-guitar, bringing acoustic life to electronica. Citing the visual realm as a strong influence on his music, Rouge Mécanique's releases are often accompanied by short films and hand picked design. The 'Prelude' video for 'Don't Touch My Sister' was born of a collaboration between Romain Azzaro and the film maker Louis Vignat, as inspired by the cover artwork of Les Beaux Arts de Paris artist Jeanne Briand.

Wiseblood is one of the most well-known Corrosion of Conformity albums. Their 5th full length release, peaked at #104 on the Billboard Top 200 Album Chart in the US in 1996. The history of Corrosion of Conformity in modern heavy music is highly significant, not least due to Pepper Keenan’s formation of Down along with Pantera’s Philip Anselmo, leaders of the New Orleans NOLA scene. A totally authentic heavy band and movement, COC naturally progressed from their thrashy, underground days to pushing the boundaries of what was classed as heavy music. Decibel Magazine refer to COC as ‘a crucial stylistic lynchpin in the bridge between metal and punk’ that ‘irrevocably re-shaped crossover’s sonic possibilities.’ Metallica’s James Hetfield makes a guest appearance on this album, providing backup vocals on “Man Or Ash”.

Available as a limited edition of 1000 individually numbered copies on translucent blue & red marbled vinyl.

an Gillan, Roger Glover, Ian Paice, Steve Morse and Don Airey continue to travel the scope of hard rock. “Whoosh!” sees Deep Purple for the third time joining forces with producer Bob Ezrin, who invited the band to Nashville to write and record new songs.

Deep Purple's 2020 album released via ABSOLUTE / EARMUSIC.

Contents: CD+DVD Mediabook, 2 VINYL LP Gatefold,3 x 10” vinyls containing previously unreleased live recordings from Deep Purple’s performance in Rio 2017 – “The inFinite Live Tapes, Vol. 2” Exclusive Deep Purple Collector‘s T-Shirt, 3x Art Prints.

Hela´s new opus “Vegvísir”, that takes the name of the viking compass, is their 3rd LP (4th studio work) and the first one with vocalist Ayla Mae Coghlan. We must take the album name as a metaphor of the constant evolution of the band, finding their own way in the search of the perfect blend of melancholy and heaviness, melodies and darkness.

Been driven by a brilliant rhythm section of drums and bass, the guitars create the landscapes, sometimes beautiful-sometimes eerie, and the keys add the ethereal touch; but among everything shines Ayla´s voice, being the “banshee”who verbalizes lyrics of angst, sadness and pain."

Highly recommended for fans of the Gathering, Anathema, (mid) Katatonia or Neurosis.

Loaded with addictive riffs where the instrumental post-rock, the doom and the eternal sludge converge,

A beautiful 10" vinyl by the emerging label TORMO RECORDS (their previous edition is none other than Hela, and they also have some stuff from Lodo). Music by Mono Caníbal (Emu Proteus 2, Moog Sub37, Yamaha Dx27, Korg Ms2000, Korg Minilogue, Roland JV1010...); recording in a jungle in another Galaxy (The Empty Hall) in the year of the lord between 2.134 and 4.288 according to the Ummita calendar. The unique and unpredictable letters are the work of the unclassifiable Sagan Ummo (here Satan Ummo). The fantastic artwork is by Sagan Crimewear and the scary mastering (I swear the bass is really powerful) is by J.F. Rojo at Red Records Studio.

Bring ‘Em In is the 2002 debut album of Swedish band Mando Diao. “Mr Moon” was the debut single of the band. the 1960s and 1970s music style and sound as well as the singers´ voices (Gustaf Norén and Björn Dixgård) were soon seen as the “typical” Mando Diao sound by their fans. Think: the Beatles, the Clash and the Libertines.

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.

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

With this album Neck Deep wants to continue carving out their own unique space within rock, punk, and alternative music. They have no
delusions of "saving rock" or being the biggest rock band out there. They just want to remain Neck Deep and be an even bigger, better Neck Deep than before. They understand their roots are in pop punk, but want to expand on their sound in their own way, taking inspiration from artists like The Beatles and Nirvana who did things their own
way and still were able to be massive

“In today’s world, it’s harder than ever to let go & find sleep. So kick back and let this pastel soundscape from the NYC synth rocker, TM™ ♪ drift you off to dreamland like it was 1984...” -Tommy Mandel

"New York synth magician Tommy Mandel has an astonishing career as a composer, sideman, and electronic pop artist. Since the late 1970s, he has toured or recorded with a laundry list of talents including Todd Rundgren, The Clash, The B-52s, Tina Turner, Cyndi Lauper, and countless others. Yet it is Mandel’s solo pioneering keyboard work that has captured the attention of Invisible City, first documented on the Mello Magic compilation of his largely unreleased new wave explorations. Now, the label follows it up with an even more scarcely heard project, working in cooperation with Mandel to reissue his 1984 private press cassette, Music For Insomniacs. Recorded on four-track, each of the album’s eight songs is inspired by a wave of sleep from Alpha to Theta. Its playfully psychedelic sound features shimmering synths, baked electronics, soft drum machines, and various vocal treatments guiding listeners into a peaceful slumber. Yet Mandel can’t resist adding traces of abstracted boogie-funk with propulsive rhythms that will keep you dancing through your dreams. Fans of Mort Garson, Woo, Brian Bennett, Angelo Badalamenti, Klaus Schonning and Bruce Haack will rejoice at their new sleepy time soundtrack." - Jesse Locke

Available on vinyl for the first time with newly remastered audio baked from 2 inch tape with new artwork by Marko Vuleta-Djukanov (floating_bstrd). Re-issued in partnership with Tommy Mandel.

Nach über 12 Jahren erscheint nun endlich das lang ersehnte neue Studioalbum der Band Einstürzende Neubauten ALLES IN ALLEM. Das Album markiert die Quintessenz ihres Schaffens und es öffnet sich wieder eine unerwartete Tür der mittlerweile 40 Jahre dauernden Klangexperimente des Forschungsteams um Blixa Bargeld. Wie kaum eine andere Band haben sie es geschafft einen eigenen musikalischen Kosmos zu erschaffen, ja sogar ein eigenes Genre zu kreieren, das sowohl klangliche Härte als auch ausgefeilte Poesie auf einzigartige Weise vereint. Passenderweise im Jahr der Ratte, gemäß Chinesischem Horoskop dem Symbol für Einfallsreichtum und Vielseitigkeit, ruht sich die Band nicht auf dem nunmehr vier Dekaden umfassenden Werk aus, sondern agiert zukunftsgewandt und erforscht weiterhin neugierig und mit grenzenloser Spielfreude alles, was das Klang-Universum hergibt. In den einzigartigen Klang- und Textlandschaften der 1980 in Berlin gegründeten Gruppe offenbart sich so jene Zeitlosigkeit, die sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit und Rudi Moser stets erhalten haben: Durch ihre experimentellen Herangehensweisen ans Songwriting, die in vier Jahrzehnten entwickelten Instrumente und das kollektive Arbeiten klingt die Band in ihrer eigenen Zeitrechnung auffallend gegenwärtig. Ja, die Einstürzenden Neubauten scheinen mit ihrer einzigartigen Musik stets äußerst präzise im jeweiligen Jetzt zu walten, ob im Industrial der Frühphase, den treibenden 90er-Jahren oder dem bedachten Spätwerk. Die Verse "Wir hatten tausend Ideen / Und alle waren gut" aus dem Albumtrack "Am Landwehrkanal" könnten durchaus eine Selbstbeschreibung der Band sein. So ist eine besondere Platte entstanden: ALLES IN ALLEM das erste reguläre Studioalbum der Einstürzenden Neubauten seit 12 Jahren, zeigt eine unvergleichbare Band, die ihre eigene Kategorie bildet, ihr eigenes Genre stiftet. Neben der CD und LP wird es auch ein limitiertes Deluxe Boxset geben. Dieses beinhaltet neben der CD und LP eine CD mit Bild-Tonaufnahmen aus dem Studio, welche die Entwicklung sowie Fortschritte der einzelnen Stücke festhalten. Einige Stücke sind ungeschliffen, aber schon fast fertig und andere noch in der experimentellen Findungsphase. Eine kleine Dokumentation der Entstehung des Albums. Abgesehen davon beinhaltet die Box ein 164-seitiges Buch mit allen handschriftlichen Aufzeichnungen von Blixa Bargeld hinsichtlich der Entstehung der Liedtexte sowie Essays von einigen Supportern.

ALLES IN ALLEM (LIMITED DELUXE BOXSET

Nach über 12 Jahren erscheint nun endlich das lang ersehnte neue Studioalbum der Band Einstürzende Neubauten ALLES IN ALLEM. Das Album markiert die Quintessenz ihres Schaffens und es öffnet sich wieder eine unerwartete Tür der mittlerweile 40 Jahre dauernden Klangexperimente des Forschungsteams um Blixa Bargeld. Wie kaum eine andere Band haben sie es geschafft einen eigenen musikalischen Kosmos zu erschaffen, ja sogar ein eigenes Genre zu kreieren, das sowohl klangliche Härte als auch ausgefeilte Poesie auf einzigartige Weise vereint. Passenderweise im Jahr der Ratte, gemäß Chinesischem Horoskop dem Symbol für Einfallsreichtum und Vielseitigkeit, ruht sich die Band nicht auf dem nunmehr vier Dekaden umfassenden Werk aus, sondern agiert zukunftsgewandt und erforscht weiterhin neugierig und mit grenzenloser Spielfreude alles, was das Klang-Universum hergibt. In den einzigartigen Klang- und Textlandschaften der 1980 in Berlin gegründeten Gruppe offenbart sich so jene Zeitlosigkeit, die sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit und Rudi Moser stets erhalten haben: Durch ihre experimentellen Herangehensweisen ans Songwriting, die in vier Jahrzehnten entwickelten Instrumente und das kollektive Arbeiten klingt die Band in ihrer eigenen Zeitrechnung auffallend gegenwärtig. Ja, die Einstürzenden Neubauten scheinen mit ihrer einzigartigen Musik stets äußerst präzise im jeweiligen Jetzt zu walten, ob im Industrial der Frühphase, den treibenden 90er-Jahren oder dem bedachten Spätwerk. Die Verse "Wir hatten tausend Ideen / Und alle waren gut" aus dem Albumtrack "Am Landwehrkanal" könnten durchaus eine Selbstbeschreibung der Band sein. So ist eine besondere Platte entstanden: ALLES IN ALLEM das erste reguläre Studioalbum der Einstürzenden Neubauten seit 12 Jahren, zeigt eine unvergleichbare Band, die ihre eigene Kategorie bildet, ihr eigenes Genre stiftet. Neben der CD und LP wird es auch ein limitiertes Deluxe Boxset geben. Dieses beinhaltet neben der CD und LP eine CD mit Bild-Tonaufnahmen aus dem Studio, welche die Entwicklung sowie Fortschritte der einzelnen Stücke festhalten. Einige Stücke sind ungeschliffen, aber schon fast fertig und andere noch in der experimentellen Findungsphase. Eine kleine Dokumentation der Entstehung des Albums. Abgesehen davon beinhaltet die Box ein 164-seitiges Buch mit allen handschriftlichen Aufzeichnungen von Blixa Bargeld hinsichtlich der Entstehung der Liedtexte sowie Essays von einigen Supportern.

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in.
And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, andvicariously the rest of the world, a good kicking.
Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds,booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight...

Two guitar legends - Eric Clapton and B.B. King - first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 4 million copies globally and win a Grammy Award for Best Traditional Blues Album.

To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin’” and a cover of Willie Dixon’s “Let Me Love You Baby.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig for release on 26th June via Rhino Records.

The 14-track collection will be available on 180-gram black double vinyl package and was mastered (vinyl) by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”) and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder