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I happened across Somewhere Anywhere like a troll... walking down web street, I walked by a window playing music and clicked on a door. I saw a rock in the middle of the room, and I looked underneath it. The moment I heard the title track Somewhere Anywhere,' I thought I had unearthed a rarity, an old bootleg or new music from a lost group. The best part was that it came from the living, a band playing music at this very time in space. (This) (is) draped-static-dim-seed-Los-Angeles-music, a flame that gets passed on down and through the avenues. Designed to be found. This mini-album floats in its own universe, and is on repeat. That is all I am allowed to say about it. Las Murallas Mad.' —Tim Presley
The Mad Walls formed in Los Angeles in 2016, led by frontman/songwriter Christopher Mercado. The band started as a personal recording project, with early demo recordings that were captured on a four-track cassette recorder. With the addition of drummer Johnathan Martin, the duo have made music that highlights their influences from earlier sonic pioneers, blending styles, and adding depth to their frenetic pursuit of a post-psychedelic sound. Brushing against the Los Angeles landscape, The Mad Walls offer a subdued but exploratory vision of sound and fury.' —Sam Brown

Die erste Neuauflage der berüchtigten "Eat Hot Lead" LP von Puke Spit & Guts aus dem San Fernando Valley. Das Album wurde ursprünglich 1980 veröffentlicht. 'Absurdist & raunchy' - das ist ein Punk-Album von einem Haufen von Weirdos, die Punk gehasst haben!

Seit 30 Jahren ist Randall Bramblett als Musiker tätig, er spielte bei The Allman Brothers Band, Chuck Leavell, Traffic, Robbie Robertson, Steve Winwood und Rick Fowler. Zudem hat er über zehn Solo-Alben veröffentlicht. Mit seinem neuen Album "Juke Joint At The Edge Of The World" kündet er vom Verschwinden einer musikalischen Kultur. Juke Joints - afroamerikanische Kneipen - in denen Musiker zusammenkommen konnten, um vor Publikum live zu improvisieren, sind so gut wie ausgestorben. Um zumindest dem Charakter der Improvisation gerecht zu werden, spielte Randall Bramblett diese R&B-und Blues-Stücke live im Studio ein.

Canadian sextet Shooting Guns is known (and oft-nominated) for their film soundtrack work, but Flavour Country is more like a collection of anthems for your jettison from this universe into the multiverse.
While they're known for heavy and saturated sounds befitting crazed horror-comedy flicks like Netflix hit WolfCop, Flavour Country features some of the band's fastest, heaviest and most visceral material to date. Yet, it also features some of the band's most atmospheric sounds as well.
At times there are slight hints of Ennio Morricone's Spaghetti Western twang amidst the looping Meddle-era Pink Floyd heavy psych and driving drone reminiscent of Bobby Beausoleil's belladonna laced soundtrack to Kenneth Anger's Lucifer Rising. But for the most part here, Shooting Guns is out for blood, regardless of tempo.
Album opener Ride Free' kicks off with a blistering wall of guitars blaring and rattling out of the gate like mutant progeny to fellow Canadian biker-rock heroes Steppenwolf having duly fired all of the guns, exploded into space and returned to hunt down every last one of us. It accelerates from there: French Safe' sounds like an unhinged battalion of musicians driving full throttle like a scene from a George Miller Road Warrior movie. Biting, lengthier tracks like Simian Shelf' and the title track occupy the heavy end of the psychedelic spectrum, haunting the foggy moor between early, bluesy Sabbath-styled doom riffery and heavy pulse-riding kraut-rock.

Flavour Country is the first album recorded by the band themselves at their own Pre-Rock Studios in Saskatoon, SK, located in the middle of the Canadian prairies. The album title's spelling is itself a nod to the band's Great White North homeland. The album was mastered by John McBain (ex-Monster Magnet, Carlton Melton), who also mastered the band's previous RidingEasy releases.
Shooting Guns have toured over 60,000 miles across Canada over the past 7 years but have yet to tour Internationally, which will be a big focus for them after this release. They are touring their live score to F.W. Murnau's Nosferatu across Canada throughout 2017 and also just finished scoring the soundtrack to Another WolfCop (sequel to WolfCop), which is slated for a US theatrical release in Sept 2017. Their sophomore LP, Brotherhood of the Ram, released in 2013 through RidingEasy Records was nominated for the 2015 JUNO Metal/Hard Album of the Year as well as the Polaris Music Prize. Their debut LP, Born To Deal in Magic: 1952-1976, was also nominated for the Polaris Music Prize in 2012.

To celebrate the 30th anniversary of The La's pivotal year, The Viper Label is pleased to release The La's 1987.  The band had already built up a fierce reputation during the two previous years taking Liverpool by storm but by the start of 1987 the band had a new line up and practice room- an old Stables next to Strawberry Fields, in which they could rehearse every day working on new songs and playing them later that same evening! It was an extremely creative time in which La's classics: 

There She Goes, Timeless Melody & Way Out  were written and the standard La's set,  starting with Son of a Gun and ending with Looking Glass was formulated - eventually securing them a major recording contract and exposing them to the wider World.
Featured on this album are the legendary recordings from the Flying Picket (Trade Union Centre Venue- recorded on Pete Townsend old mixing desk) plus recordings made in Echo & the Bunnymen's studio at the behest of  the late Pete De Freitas who supervised over the session with 'fifth' Bunnyman the late Jake Brockman, also featured are outtakes from the Stables rehearsals and 'live' rarities.
This album is a must not just for La's completists but for fans the world over and reveals a fresh and fertile period when the band were still white hot.
NOTE: In conjunction with it's release, The Viper Label/ Redhouse Originals is also pleased to present an Photography exhibition in Liverpool and Harrogate of recently discovered La's photos taken by  photographer Jake Summerton during 1987. 

[A] The Picket Session 11 - 27 May 1987   a1)Come In Come Out









[L] Live at St James Parson Hall 3Oct 1987 b4) Freedom Song
b5) Feelin'

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

Reissue vom 1994er Kultalbum:
"Für DIE positive Überraschung des Monats sind weder Pantera noch Mötley Crüe verantwortlich. Kein Geringerer als GLENN HUGHES, der zuletzt noch inbrünstig den 'Blues' zelebrierte, kann diese Leistung für sich beanspruchen. Nach diversen Ausflügen in benachbarte musikalische Gefilde widmet er sich auf "From Now On..." erstmals wieder der Mucke, die ihn bekannt gemacht hat, und stellt seine unverwechselbare Röhre und sein markantes Baßspiel in den Dienst erdiger, mitreißender Hardrock-Songs. Was "From Now On..." dann auch zu einem Hörgenuß allererster Güte werden läßt. Vergleiche mit dem legendären Hughes/Thrall-Scheibchen sind da schon angebracht. In einer Zeit, in der alles nach dem nächsten Trend und den damit verbundenen Dollarscheinchen Ausschau hält, hat Glenn, einer der letzten wirklich Großen im Biz, zusammen mit Musikern wie den Ex-Europe-Recken Mic Michaeli und John Leven sowie (natürlich) Pat Thrall ein bodenständiges, mitreißendes Album aus dem Boden gestampft, das einfach nur Spaß macht. "From Now On..." deckt vom straighten Rocker ('Pickin' Up The Pieces', 'The Liar', Devil In You') über anspruchsvolle Long-Tracker ('Into The Void', 'From Now On...') bis hin zur Ballde ('If You Don't Want Me To') die ganze Palette des melodischen Hardrock ab. Am Ende steht gar eine geniale Version des von Glenn mitverfaßten Purple-Classics 'Burn', die Riot eigentlich die Schamesröte ins Gesicht treiben müßte. Fazit: In dieser Ecke das mit Abstand beste Album seit langem."
(Rock Hard / 9 Punkte!)

Katie von Schleichers erste Veröffentlichung, "Bleaksploitation", ist eher durch Zufall entstanden: Während sie als Praktikantin bei Ba Da Bing Records arbeitete, bot Eigentümer Ben Goldberg an, eine ihrer Aufnahmen, sei es Demo oder Live-Performance, über das Label zu veröffentlichen. Daraufhin entstand ein selbstproduziertes, außergewöhnliches, pop-lastiges Werk, das sie unter einem Pseudonym selbst vermarktete. Mit "Shitty Hits" überzeugt Katie nun erneut mit der Magie ihres verzerrten und kompromisslosen Sounds. Es sind Songs, zu denen man sorgenfrei in den Sonnenuntergang fahren kann und solche, die einen zum Weinen bringen. Während "Bleaksploitation" eher ein Gefühl des fehlenden Sinns im Sein umspielt, zeigt "Shitty Hits" Vertrauen und Wachstum. Es endet in unerschütterlicher Selbstverwirklichung. Das Songwriting von Katie wirkt vordergründig als klassisch verwurzelt, allerdings bieten ihre Songs viele Kanten und Ecken an, die ihre Originalität unterstreichen. Sie wird oft in einem Atem mit Sharon van Etten, Eleanor Friedberger und Aldous Harding genannt. Mit der zuletzt genannten Künstlerin wusste sie auch Ende Mai als Support zu überzeugen (in Hamburg und in Berlin), und wir werden sie dieses Jahr noch einmal auf einer Clubtour bewundern dürfen.

"... jederzeit wahnsinnig charmant." - Spex (Ausg. Juli/August 2017)

Universal Music are proud to announce the first ever vinyl release of the New Radical's 1988 album 'Maybe You've Been Brainwashed Too' as a 2-LP set. The album went platinum in America, and proved even more popular around the world, cracking the top 10 in the U.K. as well as many other territories. The first single, You Get What You Give,' was a smash hit on the Billboard Hot 100, topped the charts in Canada and New Zealand and was in the Top 5 in the U.K. In addition to its success on the Pop Radio charts, the song also crossed music genres and peaked in the top 10 of the Billboard Modern Rock chart. 180g Black Vinyl. Includes Download Card

Ladies and gentlemen, we are no longer floating in space.. we are lost in it. Pete Bain aka Pete Bassman, pioneer and the true bassist from Spacemen 3, The Darkside (Beggars Banquet) and Alpha Stone (BOMP!) revisits Hoga Nord. Last time we heard from the legendary Rugby resident he came with ten minutes of pure acid-folk straight outta Drugby. (On now sold out HNR005 7" Small Town Illusion/Poison Butterfly). Now he's back with hist first solo album, Lost in Space. Opening track Music For Modern Living sets the tone: psychedelic, electronic and atmospheric. Tracks Sweet and Echo Lane will make you braindance - off piste style! Haunting, dark and beautiful track Scars sounds like stalking aliens lurking from a distance. Searching for ideal human guinea pigs. Ambient music to get abducted and spaced out to!

Die englische Avantgarde-Rock-Formation The Fall wurde 1976 auf dem Höhepunkt der Punk-Explosion in Manchester gegründet. Im Mittelpunkt der Band steht Mark E. Smith, der als einziges konstantes Bandmitglied seit Anfang an dabei ist. The Fall hatten und haben einen riesigen Einfluss und Millionen von Fans auf der ganzen Welt. Der 2004 verstorbene englische Radiomoderator und DJ John Peel war beispielsweise als großer Anhänger und Förderer der Gruppe bekannt. Mit "New Facts Emerge" erscheint nun im Juli das neue Album von The Fall. Zu den Albumhighlights zählen Songs wie "Victoria Train Station Massacre", "Second House Now" oder "Groundsboy And The Two Amendments". Die Vorfreude auf dieses Album wächst unaufhörlich und verbreitet sich über Webseiten und Blogs in Windeseile. Es ist Zeit für The Fall und "New Facts Emerge"!

GRADE A BANGER - before Bob Seger became the windows-down Night Moves heartland king, he played in this ripping garage soul band. This is THE chilling anti-Vietnam anthem and, like all early Seger, has been denied re-issue year after year after year. After almost 10 years of trying, Blackwell finally made it happen. BLACK VINYL EDITION.

Caddywhompus are lions of a noisy, emotive new school of math rock which has thrived in recent years, especially in the South. At this point, you're just as likely to nd their records in the racks of a DIY space as you are on the walls of record shops around the world. With close ties to Community Records, they are rightful bene ciaries of a nationwide grassroots underground support built on their consistently excellent output, tireless touring and necessary live show.
These 3 live tracks, being their rst ofcial live release, encapsulates what is so magnetic about the duo - nimble yet mushrooming euphoria in each composition. The A-side single, Decent, is a chugging, arpeggiated and absolutely contagious live sing-along that can also be heard on their 2017 LP Odd Hours on highly respected NYC indie In ated Records.

- First reissue on vinyl!

- Sourced from original masters

- Small press run of 500x copies

Another great album from Canada's legendary Paragon label, a set of super bluesy psych demo tapes from 1968.

The band's album "Stink" was received not just as a great album of electric blues, but as some sort of revelation when it appeared in the second half of 1969. But lead guitarist Mike McKenna had spent time ('67-'68) in the Ugly Ducklings, and had already developed a 'local hero' tag by playing hard electric blues as a member of the legendary Luke and the Apostles. Together, he and Joe Mendelson made arrestingly earthy music, which soon attracted another of Toronto's rock gods of the day, bassist Denny Gerrard from the Paupers, whose legendary talents had served him well on the stage of the Monterey Pop Festival, where his work with the Paupers was (and still is) considered a highlight. The material included on this disc, rough and searing demo material, is arguably even more rare and interesting than that on their classic McKenna Mendelson Mainline "Stink" album.

UK ONLY 1000 EDITION COLOURED VINYL (BONE COLOURED)

The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year's A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining—with equal dashes of abandon and menace—on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you've come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer's cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there's plenty to sweat over if you just hopped into the sauna. More evil...more complex...more narcotic...more screech... more blare...more whisper...there's even more Brigid. Less Thee,' but more of everything else.

The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year's A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining—with equal dashes of abandon and menace—on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you've come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer's cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there's plenty to sweat over if you just hopped into the sauna. More evil...more complex...more narcotic...more screech... more blare...more whisper...there's even more Brigid. Less Thee,' but more of everything else.

The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year's A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining—with equal dashes of abandon and menace—on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you've come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer's cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there's plenty to sweat over if you just hopped into the sauna. More evil...more complex...more narcotic...more screech... more blare...more whisper...there's even more Brigid. Less Thee,' but more of everything else.

In February 1986, The Replacements performed a classic live show at Maxwell's in Hoboken, NJ. Until now, that pristine recording of the legendary performance has only been available in low-quality bootleg form. Even so, Pitchfork has called the show a fiery, focused set that would make a true believer out of any skeptic.' On 6th October, For Sale: Live At Maxwell'S 1986 will finally make its commercial debut as a double-LP. This marks the first live album by the band to see an official release on this format.

The show at Maxwell's would prove to be one of the last great performances by the four original members of the Replacements, a much beloved line-up including Bob Stinson on guitar, before his departure from the band in 1986. The songs they played spanned the band's entire history while giving prominence to new material from Tim, including Bastards Of Young,' Left Of The Dial' and Kiss Me On The Bus.' Mixed in were favorites like I Will Dare' from Let It Be (1984) and Color Me Impressed' from Hootenanny (1983).

The original 24-track master tapes of the show sat in the Warner Music vaults until being given a proper mix in 2007, but it would still be another decade before the concert would get its official release. Mehr writes in the album's liner notes: Now, a decade later, and more than 30 years after the original concert, Replacements For Sale finally offers high-fidelity proof of the peculiar alchemy and unadulterated majesty of one of rock and roll's greatest bands.'

In February 1986, The Replacements performed a classic live show at Maxwell's in Hoboken, NJ. Until now, that pristine recording of the legendary performance has only been available in low-quality bootleg form. Even so, Pitchfork has called the show a fiery, focused set that would make a true believer out of any skeptic.' On 6th October, For Sale: Live At Maxwell'S 1986 will finally make its commercial debut as a double-LP. This marks the first live album by the band to see an official release on this format.

The show at Maxwell's would prove to be one of the last great performances by the four original members of the Replacements, a much beloved line-up including Bob Stinson on guitar, before his departure from the band in 1986. The songs they played spanned the band's entire history while giving prominence to new material from Tim, including Bastards Of Young,' Left Of The Dial' and Kiss Me On The Bus.' Mixed in were favorites like I Will Dare' from Let It Be (1984) and Color Me Impressed' from Hootenanny (1983).

The original 24-track master tapes of the show sat in the Warner Music vaults until being given a proper mix in 2007, but it would still be another decade before the concert would get its official release. Mehr writes in the album's liner notes: Now, a decade later, and more than 30 years after the original concert, Replacements For Sale finally offers high-fidelity proof of the peculiar alchemy and unadulterated majesty of one of rock and roll's greatest bands.'

* Brand new collection that includes some of the best alternate takes from the Complete Fun House Sessions box set
* First time all of these alternate tracks are available on vinyl
* 2LP, 180g multi-color swirl vinyl pressed at Record Industry comes in a gatefold UV-gloss tip-on Stoughton sleeve with brand new artwork
* Includes the legendary 17+ minute alternate version of L.A. Blues'—titled Freak'—that rocks the entire 4th side of this set


1970: The Complete Fun House Sessions was recorded at Elektra Sound Recorders in Los Angeles and compiled from all thirteen reels of multi-track tape that held every note and snippet of studio dialogue. Twelve reels of tape were used during the original sessions, with the thirteenth reel having the takes that would be used on the studio album.



This sprawling set which was originally aimed at the collector market would be challenging and cost prohibitive to reissue as a multi-disc vinyl box set. What is presented here is an attempt to assemble some of the best highlights from the Fun House Sessions on an officially-released 2LP set in high quality packaging with a sequence that hopefully proves to be an easier, and more casual listen. Included are some terrific alternate versions of Down on the Street, Loose,' Dirt,' Funhouse,' 1970' and others, pulled from session reels 1, 4, 6, 7, 9 and 11 and originally recorded on May 11, 12, 15, 18, 21 and 25 of 1970. Also notable is the inclusion of the 17+ minute version of L.A. Blues,' titled as Freak,' which encompasses the entire fourth side of this set and is the prime example of what makes the Fun House Sessions both loved and feared.

* Movie Anthems is the Newest Addition to Demon Records Exclusive to Vinyl Compilation Range

* 22 Blockbuster Hits from the Most Iconic Motion Picture Soundtracks

* Presented in Slick Gatefold Sleeve with Original Artwork and 2x 180g Heavyweight Black Vinyl

* This is The Definitive Movie Compilation. Movie Anthems is Available Exclusively on Vinyl

Drop Out with The Barracudas is the debut studio album by
English rock band The Barracudas, released in 1981.

The Barracudas pushed a Southern California surf-rock image on their debut - there's the cover photo for one, and then there's a good chunk of the songs. Titles like the demi- hit singles Summer Fun,' California Lament,' On the Strip,' and Surfers Are Back' are self-explanatory, while the campy His Last Summer,' detailing one dude's final big wave with Brit-accented asides, has got to win an award for being one of rock's best fake-tragedy stories.

If you like the surf and hot rod tunes of the early 1960s, you'll love the upbeat songs. The darker tunes draw you in and remind you that all is not rosy and about surf and sun. A fantastic contrast that keeps the record from becoming boring.

As Buck tells it, 'One day I was watching Austin City Limits and Dwight Yoakam was on, then he dedicates the program to 'Buck Owens.' So I said, I'm going to see what this kid is like.' It wasn't long after that he was on stage with Dwight singing his old hits. Buck was bitten by the bug to return to music, after calling
it quits almost ten years earlier.

This man from Sherman, Texas - probably best-known as the wide-grinning rube on Hee Haw for so many years - started a country music revolution. Or more accurately, a counter-revolution. It was called 'The Bakersfield Sound.' He and fellow revolutionary Merle Haggard were cranking out raw, hard-driving honky-tonk music that stood the country-pop coming
out of Nashville on its head. When Buck Owens and the Buckaroos would launch into 'I've got a tiger by the tail, it's plain to see....!' the packed crowds would be on their feet and headed for the dance floor.

Along the way Buck inspired none other than The Beatles to record their first country song, his classic 'Act Naturally,' and the master of soul, Ray Charles, to immortalize one of the best-known country songs ever, 'Crying Time'.' - Terry Lickona (producer 'Austin City Limits')

The title of the album is 'Tackle Box'. Why Because it's a catchy metaphor for the anxiety-induced, claustrophobic spirit that the country now inhabits Get it Tackle, like football, and boxing, aggressive, confrontational sports like the historical period we currently, um, 'enjoy' Yes, but... is it more specific to the White House and the tense, argumentative dictator-like relationship that Trump has with all that surround him His wife, business associates, foreign leaders, staff and media Yes, but... is it called 'Tackle Box' as a thinly disguised allusion to the torment and conflicted dialogue I wrestle with between my ears on a minute to minute basis There's that, yup... but maybe I'm just saying it's time to go to the mat and deal hands-on with this oppression Okay sure, but really it's called 'Tackle Box' because it's got so many hooks!

I'm pretty lucky to do what I do in this life - writing these songs and being able to perform them to appreciative audiences around the world. Never let it be said that dreams don't come true! And I kinda enjoy every aspect, the writing, traveling, recording, rehearsing and performing. But this album in particular, which was basically recorded all by myself in my high-security, bunker-like isolated home studio, felt particularly personal, maybe some kind of spiritual blood-letting if you will. Catharsis! A semi-humourous approach to some crazy political times! I had a lot of fun making it, it induced some much needed laughs. Hope you feel the same. Enjoy!' - Ed Hamell

'Tackle Box' LP format includes digital download code plus bonus 'Big Mouth Strikes Again' live CD featuring career-spanning tracks.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE

Juicy Lucy is a British blues rock band officially formed on 1
October 1969. After the demise of The Misunderstood, Juicy Lucy was formed by steel guitarist Glenn Ross Campbell, and prolific Blackburn saxophonist Chris Mercer. The group later recruited guitarist Neil Hubbard, bassist Keith Ellis, and drummer Pete Dobson.

Juicy Lucy is the debut album by the Anglo-American band, also released in 1969. The music is a curiously heavy form of blues-rock, often played at break-neck speed. The album's cover was highly noticeable as it featured a burlesque dancer named Zelda Plum, naked except for a covering of fruit.

The band immediately notched a UK Top 20 hit with their cover version of the Bo Diddley composition Who Do You Love', which fast and mean and powered by a vicious guitar to make your fingers bleed.

Juicy Lucy formed after the demise of The Misunderstood. Steel guitarist Glenn Ross Campbell, and Blackburn saxophonist Chris Mercer recruited guitarist Neil Hubbard, bassist Keith Ellis, and drummer Pete Dobson to complete the band. Their eponymous debut album was originally released in 1969, and is a heavy form of blues-rock, often played at break-neck speed. The album’s cover features Burlesque dancer named Zelda Plum.

The band immediately notched a UK Top 20 hit with a cover version of Bo Diddley’s “Who Do You Love?”.

Juicy Luicy is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl, housed in a gatefold sleeve.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT

We Had To Let You Have It is the only recorded output from Britain's first all-black rock band Noir, a band which broke up before the album was released.

We Had To Let You Have It a low-key release with above average guitar work. A melt of soul, R&B, rock, blues rock formula, with minor incursions into jazz and hints of proto- prog. In their short career Noir had gigs opening up for the Rolling Stones and Cream. It's an unpolished version of the Chambers Brothers and Rare Earth due to the drums and fuzz.

In 1970 the band had spent ages recording this undisputable miracle for the label 'Dawn' (that was the label of Mungo Jerry also). How did they get there, and where from, is still a mystery. The band split before completing the album, and vanished from the studio - all attempts to discover their whereabouts failed. The music was too good to be left on a shelf and the label released it anyway, hence the album title We Had To Let You Have It.

The tracks are sometimes funky, sometimes smoky and inspirited, sometimes a tribal percussive thing pops up, all the cuts have a deep soulful feeling and the guitar playing is above reproach.

In late 2013, Preoccupations (then known as Viet Cong) released a small-run cassette EP only available on tour. Over the course of a year, Matt Flegel and Scott Munro worked in their basement studio with a mess of old and run down equipment
to build a set of fresh material. Joined by bandmates Daniel Christiansen and Michael Wallace, the band completed work on an debut cassette. What emerged from the studio was a
mixture of sharply-angled rhythm workouts and euphoric 60s garage pop-esque melodies, balanced with a penchant for drone-y, VU-styled downer moments and became a hard-to-find
classic.

Preoccupations's first ever release, 'Cassette', originally a tour-only cassette, is now being reissued on vinyl.

Preoccupations are coming off the critical success of their debut album, 'Viet Cong' (Pitchfork Best New Music) and their follow-up, 'Preoccupations', garnering acclaim from Pitchfork, NPR, The New York Times, Vulture and many more.

EU festival appearances.

Though Badmotorfinger was released late in 1991, the year grunge broke, it was 1992 that really put Soundgarden on the world's radar. They were touring continuously across the USA and Europe, handpicked by Guns N' Roses to open for them on the Use Your Illusion tour, as well as playing with Skid Row and Faith No More, and they were invited to be a part of the 2nd ever Lollapalooza tour along with the Red Hot Chili Peppers, and Pearl Jam. Their Lollapalooza set on 22nd July 1992, in Bremerton, WA was a classic one, an epic live radio broadcast from one of grunge's seminal acts and most talented frontmen, the late great Chris Cornell. Another epic live broadcast on HQ vinyl from Egg Raid.

- September 16th 2017 marks the 40th anniversary of Marc Bolan's untimely death. To celebrate Marc's life and music,
Demon is proud to release newly commissioned remixes of classic tracks including the UK number one hits, 'Metal
Guru' and 'Telegram Sam' as well as the renowned 'Children Of The Revolution' and '20th Century Boy'. The talented
remixers include 'The Reflex', 'Wye Oak' and 'Ra Ra Riot'.
- The success and continuing impact of Marc Bolan as a rock visionary, who was one of the pioneers of glam rock, is
undeniable. At the peak of 'T.Rextasy'(1970-1973), the popularity of T.Rex was comparable to that of the Beatles.
They boast eleven singles in the UK top ten with four UK number one hits and three UK number one albums.
- Over the years the music of T. Rex has been used in countless TV adverts and movies, including Billy Elliot, The
Truman Show, Hot Fuzz, Velvet Goldmine and the current TV advert for Vision Express. Many recording artists
including Marc Almond, Noel Gallagher, The Smiths, Suede and Kasabian have drawn inspiration from the infectious,
distinctive revolutionary sound of T. Rex.
- A special one-off event to celebrate the 40th anniversary is taking place at London's Shepherd's Bush Empire on Friday
15th September. The gig will celebrate the life and work of the phenomenal Marc Bolan and T.Rex.' Marc Almond and
T.Rextasy headline the event with superstar T.Rex producer Tony Visconti conducting the Dirty Pretty Strings. Special
guests include Marc Bolan's fellow band member from John's Children: Andy Ellison, original T. Rex Saxophonist
Howie Casey and many others to be announced.

'8' is Ufomammut's 8th album, comprised of 8 tracks that flow into each other without interruption.

UFOMAMMUT's status as one of the most potent, powerful and artistic contemporary doom artists in existence continues to captivate the masses, and the band's worldwide grasp grows wider with each release.

Each track expands upon the preceding song, unfolding into an exceedingly dense and malevolent journey, resulting in this being Ufomammut's most extreme venture yet, with no permittance for breathing space in the 48 minutes.

8 is a continuous flux of music, a singular entity, which can be defined in micro measurements by its 8 satellite songs. This flow can also be seen when you tip 8 horizontally, thus it morphs into the leniscate from algebraic geometry - 8 - a plane curve that meets at central point - or more commonly known as the infinity symbol.

A continuous stream of movement reflective of the uninterrupted nature of the album but also the continued togetherness of the essential elements of the band - Urlo, Poia and Vita - since the beginning of the band's history in 1999. 8 tipped vertically sees us return to the number 8.

It must be stressed there is no singular pronunciation of the title, 8 is to be spoken in every language e.g. 'eight' in Engish, 'otto' in Italian, 'acht' in German, huit in french and so on.

* Ufomammut has performed at international music festivals such as Roadburn, Hellfest, Dour Festival, Leper Fest, Asymmetry, Stoned from the Underground, South of Mainstream, Festival d'Affaire, Metalride fest, FIMAV, Up in Smoke festival and many more..

They have shared the stage with bands such as NEUROSIS, DOWN, BARONESS, RED FANG, AMEN RA, FU MANCHU and many more. Ufomammut's live show is supported by the internationally acclaimed video and graphic art of Malleus, a rock artists' collective who conjure the entirety of Ufomammut's visual impact.

- 180 GRAM AUDIOPHILE VINYL
- RANKED FIRST IN ALL-TIME TOP TEN LIST OF SHRED ALBUMS BY GUITAR WORLD MAGAZINE
- LIMITED EDITION OF 1.000 NUMBERED COPIES ON GOLD VINYL

Rising Force is the first studio album by guitarist Yngwie Malmsteen, released on 5 March 1984 through Polydor Records. The album reached No. 14 on the Swedish albums chart, No.
60 on the US Billboard 200, and received a nomination for Best Rock Instrumental Performance at the 1986 Grammy Awards. It is regarded as a seminal release in the shred and neoclassical metal genres.

Steve Huey at AllMusic gave Rising Force four stars out of five, calling it 'a revelation upon its release' and 'The true inauguration of the age of the guitar shredder'. He praised Malmsteen's technique and 'blinding virtuosity', as well as highlighting 'his obsessions with Bach, Beethoven, and Paganini'.
In a 2009 article by Guitar World magazine, Rising Force was ranked first in the all-time top ten list of shred albums. The staff wrote: 'Yngwie J. Malmsteen was, is, and always will be the greatest shredder of all time. Hell, he invented the genre with his debut.'

Black Star' and Far Beyond the Sun' have endured as two of Malmsteen's most popular songs, as well as being staples of his live setlist. In a 2008 Guitar World interview, Malmsteen said of the two songs: 'I'll probably play Far Beyond the Sun' and Black Star' until the day I die.'

'Johnny's Band' is the third single from the successful album 'inFinite', following 'Time For Bedlam' and 'All I Got Is You'. The song is an affectionate portrait of a fictional band that quickly gain success and enjoy every side that comes with it. As often happens, Johnny's Band can´t help but lose it, and break up, only to find out later that the pleasure still to be performing live is all that matters, even when the hype, the success and the glory have long vanished. As special bonus treats, the single includes 4 previously unreleased songs. Starting with the rehearsal recording by no other than Roger Glover, the 'In & Out Jam' gives fans a glimpse behind the scenes of the album recordings. On top, the EP is peppered with three amazing and previously unreleased live versions. 'Strange Kind Of Woman', 'The Mule' and 'Hell To Pay' were recorded on the successful 'NOW What!' world tour in Gaevle, Sweden on August 10th, 2013 and are, just like the rehearsal recording, only available on this EP.

**13 VINYL BOX SET**

* Midnight Oil
* Head Injuries
* Bird Noises (EP)
* Place Without A Postcard
* 10,9,8,7,6,5,4,3,2,1
* Red Sails In The Sunset
* Species Deceases (EP)
* Diesel And Dust
* Blue Sky Mining
* Earth And Sun And Moon
* Breathe
* Redneck Wonderland
* Capricornia

a 10 track double LP set with download code. Marketing.

2x LP + CD

Milky Bomb Records present: Megalomatic - Symbolism EP.

- "You don't find many modern Scottish bands singing about fairy tales or fantasy." - Craig Mckenzie, Megalomatic. Read on...

Formed in 2013, by McKenzie, drummer Jamie Barnes and bassist Ben Reffin, Megalomatic do indeed sing about real life issues and they do so with equal parts muscle and heart. A power trio whose musical might comes across as a mixture of Biffy Clyro by way of Mastodon, Megalomatic have proven, over the course of their young career, that heavy music can have profound emotional resonance.

While the band's debut album Hunt For The Midnight Sasquatch showcased their penchant to play metal that was informed as much by Black Peaks as it was by "South Park," the band's new EP Symbolism is a jaw-dropping batch of new material that represents a massive creative leap forwards both lyrically and sonically.

While Megalomatic can play it dark, fast and heavy, their songs have surprising breaks and shifts that catch the listener off guard and beg for repeat listens. Their varied musical tastes that range from Snoop Dogg to Ice Cube to Everything Everything, demonstrate that this is a band that draws inspiration from the least likely of places.

This can best be evinced in Megalomatic's pre-show ritual, which is perhaps one of the more surprising reveals you'll run into all year.

"As a band we hype ourselves up before playing a show," McKenzie laughs, "by listening to Will Smith - in the car and before we hit the stage."

To start the ball rolling, Megalomatic start their UK tour with an EP launch with DF Concerts in Glasgow, this Sept., 2017.