Pop & Rock Vinyl New Releases - News

Er kann es einfach nicht lassen: Van Morrison, Multiinstrumentalist, Blues-Großvater, Legende, hat
sein neues Album The Prophet Speaks für den 7. Dezember angekündigt. Bei The Prophet Speaks
handelt es sich um nichts Geringeres als das 40. Studioalbum des gebürtigen Nordiren. Es folgt einer
Serie jüngst erschienener, hochgelobter Platten ('Roll With The Punches', 'Versatile', 'Keep Me
Singing' etc.), von denen jede sich intensiv mit den Musikstilen, die Van sein Leben lang inspiriert
haben, auseinandersetzte. Blues, Vocal Jazz, Soul, R&B - Van beherrscht alle Stile und scheut sich
auch auf 'The Prophet Speaks' nicht, das mithilfe von 14 bekannten und neuen Tracks unter Beweis
zu stellen. Für das Album nahm er eine Reihe von Klassikern von unter anderem John Lee Hooker,
Sam Cooke und Solomon Burke auf und macht sie erneut auf seine unverwechselbare Weise zu
eigenen Songs. Nebst der Neuinterpretationen hält 'The Prophet Speaks' aber auch wieder sechs
neue Van Morrison-Stücke bereit.
Für The Prophet Speaks arbeitete Van mit Joey DeFrancesco (mitverantwortlich auch für sein letztes
Album You're Driving Me Crazy) sowie mit Dan Wilson an der Gitarre, Michael Ode am Schlagzeug
und Troy Roberts am Tenorsaxophon zusammen.

Made available again for 2019, Yo La Tengo's 2003
album 'Summer Sun' sees the band exploring the
sunny landscapes of summer, in every imaginable
mode of music.
Double LP.

Almunia (Leonardo Ceccanti and Gianluca Salvadori) unleashed their
debut LP in 2011 with a sweet heady mix of overdubbed disco, guitars
and psyched out grooves. With gatefold hand numbered copies selling
on Discogs for around £170, you now get the chance to own it as a
double LP without breaking the bank. Kicking off with 'Psychedelic'
the pace is set, before 'New Moon' pins you down for a sweet Pink
Flloydian ride. 'Dos Estrellas' hits home to deliver the promise of this
outft, a blissed out subtle-as-you-like intro, coming on like a 12' indie
dub mix from the late 80's, dropping half way through for full on sunset
smiles.
The essence of Peter Green is distilled through 'Electro Blues' and
underpinned with a rubbery dustbowl bassline, vocals wash over the
breakdown in what could be the soundtrack to a weird peyote inspired
movie scene that hasn't been made yet. 'Kissing Time' sweetens
things up with a nifty melody and vocal whilst 'Moving Up Slowly'
really does as it says and notches up the bass, FX, beats and voices
for a hefty slab of midnight boogie.
'Travel' then turns up the sweatiness, with a sluggish, pounding beat,
solid throb of bass and analogue lines from a John Carpenter chase,
dark and heady, with vocals added by Benjamin James Smith from
Smith & Mudd. 'Until She Comes' brings you round nicely at the other
end of the LP with a sweet lolloping bass, choral touches, nifty beats
and a delicate hand on the guitar.
Comes as a double LP limited to 300

The second studio album from punk rock legend and noted sociopath GG Allin, E.M.F. aka Eat My Fuq, is one of the rawest and most brutal slabs of wax in punk history. The dude who went too far in a genre known for going too far, this is perhaps his greatest moment and an essential piece of punk rock history.

Vault back to the dawn of 2009. Signed the previous year to Glasgow
independent label Chemikal Underground are The Phantom Band, a six
piece group that meld folk, Krautrock, the blues, art-rock and anything else
that comes to hand, lacing their idiosyncratic, intricate tapestries with
effortless pop melodies delivered by the mahoganized baritone of singer Rick
Anthony.
The group's debut album, 'Checkmate Savage', immediately attracts
widespread acclaim from critics in the national music press and newspapers.
'A record as auspicious and accomplished as it is unforeseen' - Keith
Cameron, Mojo (4/5 stars)
'This kraut-folk groove-fest could have been bashed out by The Beta Band's
little brothers' - Camille Pia, NME (8/10)
'Were they from Brooklyn rather than Glasgow, Checkmate Savage would
have been acclaimed as a benchmark album of 2009' - Michael Hann, The
Guardian (4/5 stars)
'This debut is fearlessly ambitious and unexpectedly commercial' - Steve
Jelbert, The Times (4/5)
Fans of the group's heady brew swiftly snap up all vinyl copies of the album,
the result being stratospheric prices for those searching for it on the second
hand vinyl market.
A decade on, Chemikal Underground is proud to announce the imminent
rebirth of an album that remains as spectacularly imaginative as it was the
first time round, presented in a package that does 100% justice to the
original songs, which were deftly produced by Paul Savage - whose credits
include Mogwai, Franz Ferdinand, King Creosote, Deacon Blue and many
more - at the label's affiliated recording studio Chem 19 in Lanarkshire and
Franz Ferdinand's studio in Glasgow.
Deserving of a place in every record collection worth its salt, the stylistically
wide open, moonstruck delights of 'Checkmate Savage' are, for the first
time, spread over four sides of heavyweight vinyl housed in a gatefold
sleeve, with a digital download code. The record is available 10 years on
from the release date of the original album.
This new edition - cut from the original masters - is an essential acquisition
for those with an appetite for wildly creative, mischievous and aurally
captivating music. A no-brainer, in other words.
The Phantom Band went on to release three more albums on Chemikal
Underground - 'The Wants' (2010), 'Strange Friend' (2014) and 'Fears
Trending' (2015) - while Anthony, under the name Rick Redbeard, has
released two solo records on the label, 'No Selfish Heart' (2013) and 'Awake
Unto' (2016).

Fourth album from the acclaimed Belgian quintet.
'Fever' follows the band's self-imposed hiatus, a
break that saw frontmen and writing partners Jinte
Deprez and Maarten Devoldere pursuing different
individual interests from both a personal and
creative perspective that has ultimately led the
band to fashion their most cohesive album to date.
On reconvening the band had no plans, just a
simple desire to better their previous works and to
further the band's story. Both primary songwriters
agreed on a less serious vision leaning towards a
looser, refreshed sound - less melancholic but
retaining their unerring ability to create a hook
laden armoury.
LP formats pressed on 180g vinyl with digital
download card.

Diane Birch, the renowned US singer & songwriter, releases "In It For The Race" - a special, exclusive vinyl 7inch single on Légère Recordings. Following the worldwide chart successes with her solo albums "Bible Belt", "Speak A Little Louder" and "NOUS", she teamed up with Shawn Lee (Young Gun Silver Fox) for her first new recording in more than two years.

"In It For The Race" revisits classic late 70s Softrock stylings combined with an immaculate production: "I'd written the song a few years back and wasn't quite sure when/how I would do it," says Diane Birch. "But when I met up with Shawn it seemed like the perfect track for us to do together. It came together in a very organic and effortless way

The story of Seattle's rise to global rock supremacy in the late 80s and early 90s
begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals),
Bruce Fairweather (guitar), Stone Gossard (guitar) and Alex Shumway (drums), the
quintet put out three 12's and a 7' single during its brief existence.
Green River's influence on Seattle's music scene spread far and wide thanks to the
members' dispersion into bands including Pearl Jam, Mudhoney and Love Battery, as
well as the punk glam sludge rock songs they left behind. 'By '83, '84, there was
definitely a movement that was happening within hardcore, like Black Flag slowing
down for My War,' says Arm. 'The Replacements and Butthole Surfers were rearing
their heads, and they're very different bands, but they're not hardcore - the
Replacements are pretty much straight-up rock, and Butthole Surfers were God
knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really
interesting post-hardcore things were happening.'
Green River, formed in 1984, were part of that evolution, with a sound that
straddled a lot of different genres - blues, punk, bloozy straight-ahead rock. The
mini-LP 'Dry As A Bone' - which came out in 1987 - and the band's lone full-length
'Rehab Doll' - which came out in 1988 - were released as a single CD with a few
bonus cuts, including their sneering cover of David Bowie's 'Queen Bitch' and their
marauding version of Dead Boys' 'Ain't Nothin' to Do', in 1990 - but they've been
unavailable on vinyl for years.
Now, these slices of Seattle music history are not only back in print, they're
accompanied by items from the vaults that had been forgotten about for decades.
'Dry As A Bone' was recorded at Jack Endino's Reciprocal Recording in 1986 and it
shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's
ferocious guitar playing on 'This Town' and 'Unwind' opening as a slow bluesy grind
then jump-starting itself into a hyperactive chase. The deluxe edition includes Green
River's cuts from the crucial Seattle-scene compilation 'Deep Six', as well as long-lost
songs that were recorded to the now-archaic format Betamax.
'Rehab Doll', recorded largely at Seattle's Steve Lawson Studios., bridges the gap
between the taut, punky energy of 'Dry As A Bone' and the bigger drums and thicker
riffs that were coming to dominate rock in the late 80s. This new edition of 'Rehab
Doll' includes a version of 'Swallow My Pride' recorded to 8-track at Endino's
Reciprocal Recording, which features a more accurate depiction of how the band
sounded when they played live. 'When I listen to these mixes, I think, 'This is how
we actually sounded - this is the kind of energy we had,'' says Shumway.
Green River's place in American music history is without question but these
recordings paint a more complete picture of the band - and of rock in the mid to late
80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
CDs in digipack with 12-page booklet. 2LP formats in gatefold jacket with custom
dust sleeve and digital download code.

'learning To Cope With Cowardice', The Groundbreaking Debut
Solo Album By Visionary Post Punk Iconoclast Mark Stewart, Is To Be Given A Definitive Reissue Alongside 'the Lost Tapes', A Newly Discovered Cache Of Unreleased Material.
'learning To Cope With Cowardice' Is Released On Double Cd,
Double Vinyl With Digital Download Code And Separately As
Digital Download Albums. 'learning To Cope With Cowardice' Is A Vital Chapter In The Legacy Of Mark Stewart & The Maffia, A Project That Would Prove To Be A Revolutionary Benchmark For Many, From The Innovators Of The 'bristol Sound' (the Wild Bunch, Smith & Mighty, Tricky, Massive Attack) Through To The Likes Of Trent Reznor And Nine Inch Nails. Collected Together This Set Realizes An Expansive Restoration Of One Of Stewart's Most Audacious Statements. As It Was In The Early 1980s So It Is Now, 'learning To Cope With Cowardice' Is A Masterwork Of Mutant Design And A Rude Awakening Of Extraordinary Bite.
Mark Stewart Himself Perceives 'the Lost Tapes' As A Document
That Now Possesses A Storied Significance: it Was A Real
Adventure Discovering This Forbidden History, A Twisted Tale Of
Muswell Hillbillies, French Pirates And A Dutch Schizophrenic
Doctor Doing Psychic Archaeology.' Whilst Adrian Sherwood
Describes These Works As Characteristic Of A Distinct Primitivism: ('the Lost Tapes' Represent) The Early Childhood Of The Songs Before Mark And Me Conducted Frenzied, Scorched Earth, Slash And-burn, Twenty Hour Mental, Manic Editing Sessions At Crass' Studios That Led To Birthing The Finished Album.'

1985 goth-rock fronted by a pre-Janes Addiction Perry Farrell. Recorded at Radio Tokyo Studios in Venice, California by Ethan James who was a member of Blue Cheer and recorded everyone from The Minutemen to The Bangles, this is more than just the precursor to the alternative and grunge-era legend! This is classic 80s era LA glammy-goth-rock essential to any fan's of Farrell's career.

Part of the late '70s/early '80s HC/punk explosion out of the Los Angeles area, where bands like Black Flag, Circle Jerks, Minutemen, and Bad Religion originated from, ANTI formed in 1979 by a then teenage Danny Phillips, better known as Danny Dean, who was the bassist / guitarist and first original vocalist, primary songwriter, and sole continuous member throughout multiple lineup changes during the past 40 years. Their 1982 debut album, I Don't Want To Die In Your War, was recorded and mixed by legendary producer and sound engineer for Black Flag and Descendents, SPOT. It is a major example of California Hardcore from the early 80's. Despite having been completely underrated, ANTI's 1982 debut paved the way for a lot of California punk to come. Available again for the first time after almost four decades on its original format, with its original artwork and complete with insert thanks to Radiation Records.

ANTI's 1984 God Can't Bounce collects all their tracks from the New Underground's label Life Is... compilation (a California Punk manifesto of sorts which also included, among others, the Descendents, Minutemen, and the Germs), and outtakes from both previous albums, consisting of recordings made in the 1982 and 1983 period. Ten slabs of pure California Punk Rock for fans of Black Flag, Bad Religion, Sin 34 and the like. First vinyl reissue in nearly 35 years on Radiation Records.

Standard black double vinyl format of the album. Marketing activity to Xmas.

"La Tène is back with a double invitation to its third full length LP.
The hurdy-gurdy/harmonium/percussions trio welcomes two bagpipes (cabrettes and 23' to be exact), and a combo of string instruments (12-string guitar and electric bass).

Beyond the instrumentation, we're looking at a gang of high esteemed guests: Jacques Puech, Louis Jacques, Guilhem Lacroux and Jérémie Sauvage, whom works are given their due credit (with the La Novià collective and its multiple variations, the France group, Super Parquet, the Standard-In-Fi label, etc.), are at ease with fuelling the traditional ball dance floor (literally in its wooden meaning) as well as questioning it, confortable with sparking dance moves as well as pushing instruments and their sound to their ultimate limits.

La Tène's music doesn't alter itself, it is always at the conjuncture between obsessive repetition and fragmented traditional music, hence developing a mineral depth on an obstinate pulse. Where one hears an instrument, its mirror unburdens until the confusion. One lies breathless, only whishing the end becomes an eternal resumption."

The Analogues sind eine dänische tribute Band für das Werk der Beatles, gegründet 2014. Sie
konztentrieren sich auf das spätere Werk der Band, das nie von den Beatles selbst live performt
wurde.
Für ihre Live-Performance von "The White Album Live in Liverpool" zeigen The Analogues eine
erstaunliche Liebe zum Detail mit Verstärkern und Vintage-Instrumenten aus der Urprungszeit des
Albums, um den Beatles-Sound so detailgenau wie möglich zu reproduzieren. Nachdem bereits ihre
Shows von "Magical Mystery Tour" und "Sgt. Pepper's Lonely Hearts Club Band" umjubelt wurden,
reiht sich "The White Album" mühelos in die fantastischen Auftritte ein. Live zu sehen sind Hits wie
"Ob-La-Di, Ob-La-Da" und "Blackbird".

Born from a carte blanche at Cave12 in Geneva in October 2016, TOUT BLEU is the solo'project of SIMONE AUBERT (guitarist in MASSICOT / drummer and singer in HYPERCULTE) which has developed into a trio, accompanied by the electronics of the Stakhanovist musician POL, and the deeply ample & masterful electrified violin played by AGATHE MAX.

Simone explores with her first album, a sort of atmospheric no-wave, a pre-rock invitation of travel and introspection. Simone's voice, reminiscent of Siouxie, Anne Clark or Nico arises on mesmerizing sound texture and calls as much to a new collective meaning than a crying out, a desperate shout alone, far from all, in the middle of the forest. The result is an all-encompassing music, dark, tense but full of sweetness and nourished with hope.'

Repress of their first 12'' single "The Stains". This extended edition includes a bonus track - 'Phantasmagoria'- and a friendly dancefloor cut of the title-track by Alessandro Adriani.

Conceived by vocalist Gerrie Brand, the band was starting out as performance art, and quickly became more as Gerrie surrounded himself with some of the best musicians from the club and art scene in South Florida, including our dear Mystic Bill, who was playing the guitar with the band in the early stages.

Originally self-released in 1991, the single "The Stains" became an underground club hit and charted on many college radio stations, in both the extended and the original version. The single was distributed as a hard to get promo only release. The repress contains also the title-track of the single 'Phantasmagoria" - another cult tune for early 90's goth djs - originally released in 1992. Mega tip!

'..35007's third full-length release, 2002's Liquid, is a fully instrumental, conceptual effort consisting of just four songs that, one presumes, are meant to illustrate the fluid state in musical form. Not only do they succeed in this endeavor, 35007 also churns out some truly inspiring and out-and-out cinematic sonic vistas that in the end coalesce into a single, awesome musical wave (pun intended). Rising from the ocean depths on the cusp of slowly building synthesizers, 11-minute opener "Tsunami" eventually crashes like a million gallons on a beach of ultraheavy, stoner rock guitar riffs. Appearing to rock and sway with the ebb and flow of tides, ensuing numbers "Crystalline" and "Evaporate" take the shorter route to shore by locking into rhythmically rotating bass guitar figures that spray psychedelic accents in the surf. And in 14-minute closer "Voyage Automatique," 35007 attains a hypnotic trance-groove perfection, at once blissful and utterly seductive. Do away with all of these watery metaphors and Liquidstill stands as a major accomplishment in the ambient rock field, and a recommended introduction to both 35007 and the genre at large...' ALLMUSIC

GOLD VINYL REPRESS!!! Classic album alert... from 1997!!!
'Dutch sonic experimentalists 35007's eponymous sophomore album (later referred to, more often than not, as Into the Void We Travelled) did much to fine-tune and expand the breadth of the group's style: a clever mix of analog and electronic effects and psych, stoner, and Krautrock influences. Opening statement "Herd" cleverly dissects society's disdain for individuality atop a hypnotic motorik framework spiced with electronics, while subsequent standouts like "Soul Machine," "Big Bore" (which is anything but), and the supremely danceable "Powertruth" bolster guitar riffing to stoner rock thresholds. All of these benefit from Eeuwout Baart's gritty, soulful vocals, which often bring Dave Wyndorf to mind and thus make "Monster Magnet tripping at a rave" a very apt description for the proceedings. ....Instead, the album's remaining highlights include the organ-laden "66" and the semi-epic "Undo," which, along with the closing ten-minute instrumental "Locker," bask in swirling, spacy synth effects for an ambient landscaping effect that would duly come to fruition on 35007's best-known opus, Liquid, some years later. ....' ALLMUSIC

Nice 'N Greasy is the last album of the classic Atomic Rooster and takes the formula of its predecessor. It's another successful chapter in their impressive catalogue, which find Johnny Mandela exceling as the new guitarist. The powerful melodic guitars and the soulful voice of Chris Farlowe mark their inspiration and song quality. It's a transition from heavy progressive rock into a blues/hard rock outfit. Energetic rockers like 'Save Me' and 'Satan's Wheel' are especially worthful to mention. There is a sense of creative urgency on this album and that's where you feel the intensity of their music. 'Take One Toke' and 'Can't Find a Reason' show the band's diversity, it's easy Nice 'N Greasy.

Remastered and restored performance originally recorded and broadcast in 1974. - On LP officially for the first time. - New liner notes from authors Robert Gordon and Rich Tupica. - Liners include an interview with bassist, John Lightman. Big Star recorded their second album, Radio City, as a trio, after the departure of founding member Chris Bell. When it came time to tour, original bassist Andy Hummel decided to return to school to pursue his engineering education. With this departure, Alex Chilton and Jody Stephens recruited fellow Memphis native John Lightman to take over on bass duties, and the band readied their live set. That set is on display as Big Star recorded a radio session at Ultrasonic Studios in New York for broadcast on the city's preeminent WLIR. Nearly two decades later, those recordings were issued as Live in 1992. Omnivore Recordings is proud to reintroduce those recordings, restored and remastered from the original tapes, as Live On WLIR, on CD—and, its first official release on LP. The 15 track set features material from the band's two releases, as well as a cover of 'Motel Blues' by Loudon Wainwright III (which originally appeared on his classic 1971 sophomore release, Album II). With new, updated liner notes from Memphis writer/filmmaker, Robert Gordon (who won a Grammy® for his essay in 2010's Big Star boxed set Keep An Eye On The Sky) and an interview with John Lightman by Chris Bell biographer Rich Tupica (There Was A Light: The Cosmic History Of Big Star Founder Chris Bell), Live On WLIR enters the Big Star canon in the form it deserves. Because, you know, you get what you deserve.

Bivouac did everything a 3-piece alternative rock band from Derby, who grew up on a steady diet of Husker Du, Sonic Youth and The Pixies, could dream of doing in the nineties. They released a string of records on cool indie label Elemental, recorded sessions for John Peel, played with Fugazi and Jesus Lizard, danced onstage with Nirvana, signed to a major label and split up. They'd began in 1992 and were over by 1996, but in that brief period, Bivouac crafted some essential, skewed and fuzzy tuneage that has endured and lingered on the cult fringes of alternative rock, remember fondly by those that were there as the band got on with the rest of their lives.

Then in 2016 they returned. It's all Stewart Lee's fault. Sometime that year the stand-up comedian, writer and director wrote a Guardian column that mentioned Bivouac. This brief mention was read by the good people who organise Gigantic, the popular nostalgia festival in Manchester who were fans of the band, who promptly asked the band to play that year.

'What shall we wear', that's the first thing that drummer Antony Hodkinson said in response to the question of 'shall we do some gigs after not playing for 20 odd years',' explains singer and guitarist Paul Yeadon. 'And that was pretty much the spirit of the few shows we played together thereafter! We made a racket (with earplugs this time), celebrated the folly of youth, grown men cried, people travelled from Scandinavia, Europe and America. It was very humbling...we planned a few more.'

All of which leads us to 2018, where the band have indeed planned a few more. This year marks the 25th anniversary of 'Tuber', their debut album, and to celebrate such an event, this September 7th sees the release of a beautifully presented double vinyl reissue. Remastered by Paul Yeadon himself, the album is coupled with the first official release of the two sessions recorded for John Peel in '92 and '94 and issued through the band's own label Thanks Capitalism in a limited run of 500 copies.

'Tuber was recorded on a farm in Warwickshire, we played a lot of golf on the then cutting-edge Sega Megadrive,' remembers Paul. 'At this point we had played a lot of shows and still liked one another, we were match fit and well-rehearsed. I think the combination of being confident at what we were doing but still not being really aware of why or what we were doing, (the needless pouring and scab picking would come later) made for a heartfelt and naïve record. Simplistic and uncontrived.'

And of the Peel sessions Paul remembers...

'We all grew up listening to Peel. It's a cliché I know but I listened under the bedclothes on an AM radio to his show in the early 80's. The music he played me then still defines a large percentage of my musical taste. To be part of that legacy is still really humbling, we are very proud to release the Peel sessions. I remember him playing us as I walked across the Reading show grounds, puffing my chest out! He kindly supplied us and our labelmates AC Acoustics with beer from the VIP tent cos we were skint, we did awful radio interviews with him and he had us do three sessions. It really was a dream come true.'

+ Over 250,000 albums sold worldwide
+ Tour history includes: Asking Alexandria, Periphery, August Burns Red, The Vans Warped Tour, The Mayhem Festival, and many successful (sold out) headline tours
+ Born of Osiris is currently direct-support to Killswitch Engage in the United States
+ Over 200 million worldwide streams from the entire BOO catalogue
+ Born of Osiris has an incredible die-hard fanbase, with 6M+ reach through social media platforms around the world.

"This is the soundtrack to being trapped in a mudslide on crystal meth in the middle of the worst thunderstorm you've ever seen. Whereas I don't recommend that you ever put yourself in that situation, I do recommend that you GET THIS RECORD and imagine what it would be like to be that fucked. GREAT STUFF!"

"spacey psych-rock is still alive and fighting, but the Fog is a distinct pedigree. They're dimension-shifting. They're sound is both muddy and translucent, but never stagnant. The band members play not as themselves, but as a presence, generating one continuous sound surge that vibrates through the decades, alluding time. You need gills to breathe their oxygen, it's that thick."

"Like other hard-psych-revisionists, these guys seem to have learned some of their guitar and vocal moves in a post-Dinosaur universe, but we were never too big on yappy emotive vocals anyway (unless it was Stackwaddy). Dark Fog manages to conjure up a good wad of psychedelic guitar overload." Byron Coley

"A future underground classic like they made in the good old days, you know you want some." (Simon Lewis/Terrascope)

"Literal comparisons music duo with Hawkwind, Amon Düül II, Spacemen 3, My Bloody Valentine, Flaming Lips, Dinosaur Jr., Acid Mothers Temple, Dead Meadow, Pharaoh Overlord, etc., Abused by foreign writers, was not taken seriously. DARK FOG successfully absorb all of the above and more, and from himself tricked out something different - in any frame does not fit. Just and still is - to relate to the music of another phenomenon of the "new musical aesthetics (psychedelic)." Inquiring students, researchers recommend!"

Dass seine Musik in keine der gängigen Musikindustrie-Schubladen passt, hört Torre Florim, Sänger,
Texter und Frontgitarrist von De Staat ständig. Er entgegnet nur: - Sorry, aber wir können nichts
Anderes - Und für mich ist das genau die Art Musik, die wir machen müssen...'
Er muss sich nicht entschuldigen. De Staat sind eine Rockband im besten Sinne. Sie überwinden die
Grenzen und liefern ein berauschendes, gar schwindelerzeugendes Spektrum an Genres in ihrem
epischen fünften Studioalbum Bubble Gum, welches am 18. Januar 2019 über Caroline International
erscheint. Nicht dass wir etwas anderes von ihnen gewohnt wären; Es liegt in ihrer DNA seit Tag eins..
Über Bubble Gum: 'Wie immer wenn ich schreibe, kommt der Punkt, an dem ich ein Thema erkenne',
reflektiert Torre. - Und dieses Mal stellte sich heraus, dass sich fast jeder Song - auf unterschiedliche
Art und Weise - mit dem Gefühl befasst, sich in einer Blase, einer Bubble, zu befinden. Es ist fast eine
Religion, wie die Menschen immer mehr an diese individuelle Blase glauben: Sie bekommen die
Informationen, die sie wollen, allem anderen können sie sich bequem verschließen.'

Hot-off-the-Third Man Press, Death From Above's completely unheard and unreleased demos from their first release, the Heads Up EP, gets the vinyl treatment. This black vinyl 7" comes with THREE cover art variants — distributed at random.

Cardinal Fuzz are proud to introduce Dire Wolves (Just Exactly Perfect Sisters Band) - Paradisiacal Mind and their tenth (or possibly twelfth) full length since 2008. Dire Wolves put forth a sound of ecstatic improvisation, each member documenting coordinate points in the higher dimensions of cosmic free-rock. The music lies somewhere near the nebulous intersection of psych, kosmische beat and astral jazz. These are exploratory journeys, transportive trance-based experiments in vertical listening, totally collaborative and often forming spontaneous compositions. The focus is more about feeling than any specific approach to playing. Paradisiacal Mind conjures a floating stellular kraut Americano with quite a lot to pull you in to the mix and then drift you right back out again. Following two simultaneous 2017 releases - on Feeding Tube and Beyond Beyond Is Beyond - that explored out-of-body experience, this latest work turns decidedly inward. Psychic rock that guides your vision to heaven, and heaven is in your mind. When cover artist Kyla Quigley asked the band to draw from the tarot to inform her new work, the card was The Star, a renewal of hope and strength to carry on. And so it all came together - acute, right and obtuse, all at once. A portion of the record was recorded in Oakland by Zachary Watkins (Black Spirituals), who helped set the atmosphere to capture the festival consciousness vibes. The remainder was realized on Bernal Hill, celebrating the 50+ year tradition of San Francisco psychedelic

Cardinal Fuzz are proud to introduce Dire Wolves (Just Exactly Perfect Sisters Band) - Paradisiacal Mind and their tenth (or possibly twelfth) full length since 2008. Dire Wolves put forth a sound of ecstatic improvisation, each member documenting coordinate points in the higher dimensions of cosmic free-rock. The music lies somewhere near the nebulous intersection of psych, kosmische beat and astral jazz. These are exploratory journeys, transportive trance-based experiments in vertical listening, totally collaborative and often forming spontaneous compositions. The focus is more about feeling than any specific approach to playing. Paradisiacal Mind conjures a floating stellular kraut Americano with quite a lot to pull you in to the mix and then drift you right back out again. Following two simultaneous 2017 releases - on Feeding Tube and Beyond Beyond Is Beyond - that explored out-of-body experience, this latest work turns decidedly inward. Psychic rock that guides your vision to heaven, and heaven is in your mind. When cover artist Kyla Quigley asked the band to draw from the tarot to inform her new work, the card was The Star, a renewal of hope and strength to carry on. And so it all came together - acute, right and obtuse, all at once. A portion of the record was recorded in Oakland by Zachary Watkins (Black Spirituals), who helped set the atmosphere to capture the festival consciousness vibes. The remainder was realized on Bernal Hill, celebrating the 50+ year tradition of San Francisco psychedelic

Nach einer fünfjährigen Schaffenspause veröffentlichte eine der dienstältesten Punkbands Deutschlands
2010 ihr achtes Album. Der passende Titel: "Gib acht!". Es entstand mit Gastmusikern von den Skatoons,
Cultus Ferrox, Directors Cut und dem Pianisten Peter Stoppok. Das Repertoire reicht von dynamischen,
treibenden Punkrock-Songs über Ska- und Folkanleihen bis hin zur Ballade "Ich bin's", die an frühe
Lindenberg-Lieder erinnert. Mit "Danke" hat man sogar einen echten Popsong, und für "Mama, hol den
Hammer" wurde ein kultiger Uraltschlager entstaubt. Textlich geht es wieder quer durch sämtliche
Lebensbereiche: mal kritisch, mal nachdenklich, dann wieder kämpferisch oder einfach nur am alltäglichen
Wahnsinn orientiert. Die LP-Version kommt als Doppel 10-Inch mit zwei Bonus-Tracks+CD. "So ideenreich
wie die Ärzte, so urgewaltig wie ein reinigender Wirbelsturm und so humorvoll und schmerzhaft ehrlich, wie
es nur Dritte Wahl sein können", meinte "Rock Hard". "Gib acht Nein, neun!"

Shaka till death! Die Kyuss-Legende und Schöpfer solcher Desert Rock-Eckpfeiler wie Unida,
Slo-Burn, Hermano und Vista Chino kehrt in der nächsten Inkarnation zurück: John Garcia & The
Band Of Gold. Nach zwei Soloalben und der - Coyote Unplugged'-Tour wird hier wieder ordentlich
Staub gefressen - kein Wunder, denn kein geringerer als Chris Goss (der u.a. Kyuss und die Queens
of the Stone Age produzierte) hüllte die selbstbetitelte Scheibe in das passende Gewand. Das
entspannte 'Space Vato' leitet einen Desert Rock-Reigen ein, der mit staubtrocken Groovern wie 'My
Everything' und 'Cheyletiella', dem drängenden 'Popcorn (Hit Me When You Can)' ein komplettes
Subgenre auf seinen Kern runterbricht. Das hypnotische 'Softer Side' entlässt den Hörer wieder in die
Wirklichkeit: ein Jammer, wir wären lieber in Kalifornien geblieben.
erscheint als ltd. CD 4 Page Digipak und 1LP "Old School" Slipcase (black)

Capturing The Group At A Pivotal Point In Their Development In This Case, The Gig Coinciding With The Initial Release Of Smell The Magic As A Six-track Ep By Sub Pop Their Performance In Detroit Preserves The Raw, Kinetic Energy Of The Era. Pressed On Limited Pressing Of 800 Copies On Green Vinyl L7's Profile Is High Due To 2 World Tours The Second Includes Europe In The Summer Of 2018 For Their Reunion Album Due In 2019 Contains Classic Tracks Such As shove, deathwish & shitlist

While their style didn't change much over the course of their first three albums, they kept improving on the formula and on Life Of Crime, they reached their peak! Brannon is a punk rock whirlwind with the conviction of an old bluesman, his relentless howl make this one of his finest vocal performances to date and make this a truly disturbing and terrifying listen.

This is the last record of the 'Butch Vig Trilogy' — a beautiful, creative partnership that resulted in three untouchable records and helped point bands like Nirvana and Sonic Youth in Vig's direction.

Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin' Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times.

LP2 - Crawl EP b/w Covers EP

2 years after releasing Life of Crime, Kevin Strickland and Jim Kimball had left to form Mule. Many people thought this marked the end of the band; not the case. Todd Swalla (of Necros) stepped in on drums and Kevin Ries on bass. Over the new slightly toned down direction, the sound of the band somehow seemed even more extreme.

- Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)

The second line-up of the multinational jazz-rock fusion band Mahavishnu Orchestra recorded Apocalypse in 1974 together with the London Symphony Orchestra. George Martin was responsible for producing this brand new sound from the band. Jazz fusion and progressive rock blended together in this energetic mix of harmonies and epical orchestrations. John McLaughlin lyrical and fiery guitar sound takes an important role in the musical direction of the album.

Mahavishnu Orchestra have been cited many times as a big influence on everyone from King Crimson and Frank Zappa to The Mars Volta. Frontman and guitarist John McLaughlin has always been the main figure in the band, both during their first (1971-1976) and second line-up (1984-1987).

MESTIS IS WORLD RENOWNED GUITARIST JAVIER REYES (ANIMALS AS LEADERS) - THE SEVEN TRACK OFFERING SHOWCASES REYES' VAST MUSICAL DIVERSITY AND FEATURES A VARIETY OF INSTRUMENTATION PERFORMED BY MORE HIGHLY ACCLAIMED MUSICIANS (Matt Garstka also of Animals As Leaders, and Eric Moore)

Esens, Germany. Nestled at whatever-end of Lower Saxony, where the East Frisian Islands form a barrier against the wailing North Sea, the town of 7,000 has slept the years away. Most people haven't heard of Esens, once home to Baroque composer Philipp Heinrich Erlebach. But if they have, they've often confused it with Essen, Germany's ninth largest city. Well, that's about to change. Not the confusing part, but the fact that rising death metal stars NAILED TO OBSCURITY are about to put Esens on the proverbial map with new album, 'Black Frost', their first for Nuclear Blast Records.
Formed in 2005 by teenagers Jan-Ole Lamberti (guitars) and Volker Dieken (guitars), NAILED TO OBSCURITY went through the usual ups and downs as a band. The Germans took their name from a song off HATE ETERNAL's debut album, 'Conquering The Throne', but that's another story for another time. Mere months after forming, NAILED TO OBSCURITY issued their first demo, 'Our Darkness'. While most bands live and die on the possibility of signing a label deal, NAILED TO OBSCURITY persevered, releasing their debut album, 'Abyss', independently in 2007. Certainly, line-up shifts were part of the progression as a band, but Lamberti and Dieken -the band's primary songwriters -pushed on, with Jann Hillrichs (drums) and Carsten Schorn (bass) forming the rhythmic foundation. By the time, the group ushered in 'Opaque' in 2013 and 'King Delusion' in 2017 -both for German independent Apostasy Records -they were a different band entirely. BURIAL VAULT vocalist Raimund Ennenga had replaced Alexander Dirks in 2012, and the rest, at least for the present, is history.
Today, NAILED TO OBSCURITY remain Lamberti and Dieken's labor of love, but the duo are far from authoritarian in the way they write music. In fact, while the two axe-slingers comprise the creative core, NAILED TO OBSCURITY complete songs as a band. Songs like 'Tears Of The Eyeless,' 'The Aberrant Host,' 'Road To Perdition,' and the magnificent title track were part of NAILED TO OBSCURITY's weekend forays into the depths of melodic death metal (and beyond). Lyrically, 'Black Frost' continues Ennenga's fascination with struggle, strife, and self-control. The album title was plucked from a concept inspired by seafaring terminology. While at sea, ships may become over-burdened by black frost, a phenomenon where fog or rain freezes to the moorings or masts causing ships to become unbalanced. Unbalanced ships capsize easily. Ennenga took this concept to heart, applying it to humans, who struggle to control fear, anger, or rage. The idea is a cautionary tale to all of us to not let the black frost over-burden our minds.
Where NAILED TO OBSCURITY take 'Black Frost' from here is on tour. As much as the Germans enjoy the creative process and working in the studio, they are, in the end, a live band. A really good live band. They have the track record - where they were either direct support for ARCH ENEMY, PARADISE LOST, and AT THE GATES or main support for DARK TRANQUILLITY - to show for it. Additionally, NAILED TO OBSCURITY have also performed in front of thousands at festivals like Wacken Open Air, Party.San Metal Open Air, and Bloodstock Open Air. So, watch out for NAILED TO OBSCURITY! They'll be in everywhere in 2019 in support of 'Black Frost'.

Das siebte Studioalbum "Dig Out Your Soul" ist die erste Veröffentlichung der Brit-Pop-Helden seit "Lord
Don't Slow Me Down", dem Soundtrack zum gleichnamigen Roadmovie. Es erscheint als erstes neues Oasis
Album auch international auf dem bandeigenen Label Big Brother. Auf dem Produzentenstuhl saß erneut
Dave Sardy, die Aufnahmen fanden in den Abbey-Road-Studios in London statt, wo alle vier Bandmitglieder
am Entstehungsprozess beteiligt waren. Die erste Single "The Shock Of The Lightning" ist die vielleicht
wiedererkennbarste Oasis-Nummer des Albums: Noels Songwriting, Liams unverkennbare Stimme und der
ebenso unverkennbare, druckvolle "Finger in die Steckdose"-Rock 'n' Roll. Dennoch markiert die Arbeit an
der neuen Platte einen Wendepunkt. Dazu Noel Gallagher: "Ich wollte Musik schreiben, die groovt und sich
vom traditionellen Strophe-Refrain-Mittelteil-Schema unterscheidet. Ich war auf der Suche nach einem
hypnotisierenden Sound, einer treibenden Kraft." Dass die Suche erfolgreich war, zeigt "Dig Out Your Soul" in
aller Deutlichkeit.

Old Sea Brigade releases his highly anticipated full-length debut Ode to a Friend. While the songs remain rooted in Americana, indie, rock, and ambient soundscapes, they also toss and turn between analog cinematic flourishes and provocative lyricism. At times singer-songwriter, other times indie-rock - no matter the inspiration behind the mélange of styles, Cramer has created a soundscape of the utmost sincerity and beauty. Throughout Ode...Old Sea Brigade tackles one of life's most complex crises: how to make each day's fleeting moments amount to something. It's these deeply introspective, meditative songs that make Old Sea Brigade so compelling.

Thomas Huber ist Extremkletterer und einer der erfolgreichsten Allround-Bergsteiger der Gegenwart. Doch
nicht nur Speedklettern, Solotouren, Erstbesteigungen und Extremkletterei im elften Grad zählen zu den
Leidenschaften des langmähnigen "Huberbuam", sondern auch fuzzige Rocksounds, tonnenschwere Riffs
und bluesige Soli à la Kyuss und Konsorten. Deshalb gründete er 2005 als Sänger das Berchtesgadener
Stoner-Rock-Quintett Plastic Surgery Disaster, das seinen Namen von der fast gleichnamigen Dead
Kennedys-Platte aus dem Jahr 1982 hat. "Ich liebe Stoner Rock, diesen bluesigen, schweren Wahnsinn",
schwärmte Frontmann Huber anlässlich des 2013 veröffentlichten Debüts "Endless". Dieses wurde von
Produzent Christoph Beyerlein (Fiddlers Green, JBO) betreut. Nun erscheint mit "Desire" das zweite Album
der Band. Es setzt den erdigen und trancehaften Rock-Groove des Debüts nahtlos fort. Die Aufnahmen
fanden ganz stilecht auf einer Hütte in den Berchtesgadener Bergen statt.